Tag: Gucci

  • Gucci invests 10 Million in diversity programs

    Gucci invests 10 Million in diversity programs

    Luxury apparel retailer Gucci has invested US$10 million into a diversity program to foster inclusion within the firm.

    The Gucci Changemakers scheme responds to public outcry over a black turtleneck jumper released by the brand with a mouth slit highlighted by thick red lips, resembling blackface makeup.
    Gucci promptly pulled the controversial item from sale and issued an apology.

    “Gucci deeply apologises for the offence caused by the wool balaclava jumper,” said the brand in a press statement. “We consider diversity to be a fundamental value to be fully upheld, respected, and at the forefront of every decision we make.”

    The Gucci Changemakers program, launched internally last year, is reing ramped up in the wake of the scandal. It will involve the recruitment of a global director for diversity and inclusion and a training scheme to bolster cultural awareness amongst all 18,000 global staff, as well as an internal exchange program that will bring five staff from diverse backgrounds to work in its creative studio in Rome. The scheme will also provide paid leave for employees to volunteer at various social programs.

    Further initiatives will provide scholarships for fashion students in North America and make funds available to benefit communities in several North American cities and in the Asia-Pacific region.

    “I believe in dialogue, building bridges and taking quick action,” said Gucci CEO Marco Bizzarri. “This is why we started working immediately on the long-term infrastructure at Gucci to address our shortcomings.

    “And now through our Changemakers program, we will invest important resources to unify and strengthen our communities across North America, with a focus on programs that will impact youth and the African-American community.”

  • Dapper Dan is holding Gucci accountable for controversial “blackface sweater”

    Dapper Dan is holding Gucci accountable for controversial “blackface sweater”

    Renowned Harlem fashion designer and tailor Dapper Dan’s relationship with Gucci through the years has been a rocky road. After gaining notoriety for knocking off the Italian house’s logo in his designs throughout the ’80s and ’90s, the tables turned in 2017, when Alessandro Michele was taken to task for knocking off one of Dap’s designs in his Cruise 2018 collection.

    However, all’s well that ends well: Both parties made peace and began working together. Not only did Dapper Dan collaborate with Gucci on a vintage hip-hop-inspired capsule collection and lookbook, the Kering-owned luxury label underwrote his brand new studio and atelier in Harlem, also making him the face of a special tailoring campaign.

    As lovely of a story as this is, it might not wind up with a happy ending. Just last week, Gucci apologized for (and pulled from shelves) an $890 sweater that resembled blackface. After several days of impassioned conversation among fans on social media, the brand released a statement, saying: “Gucci deeply apologizes for the offense caused by the wool balaclava jumper … We consider diversity to be a fundamental value to be fully upheld, respected and at the forefront of every decision we make. We are fully committed to increasing diversity throughout our organization and turning this incident into a powerful learning moment for the Gucci team and beyond.”

    While acknowledging the misstep and the need to prioritize diversity is a step in the right direction, the situation did not sit well with Dapper Dan. On Sunday, he posted a statement of his own on Instagram, insinuating that his partnership with Gucci may be on thin ice. “I am a Black man before I am a brand,” he wrote. “Another fashion house has gotten it outrageously wrong. There is no excuse nor apology that can erase this kind of insult. The CEO of Gucci has agreed to come from Italy to Harlem this week to meet with me, along with members of the community and other industry leaders. There cannot be inclusivity without accountability. I will hold everyone accountable.”

    Gucci made a concerted effort to make things right with Dap — and, seemingly, to educate themselves about both his neighborhood and his culture — the last time they were at odds, but this understandably hits very close to home, and could certainly cause major issues within their business partnership.

    Whatever the outcome, this case only underscores the dire need for more inclusion and diversity in the industry, as the frequency with which fashion brands slip up in regards to racism only gets higher by the day. It’s a change that needs to be implemented immediately, and hopefully Gucci will set an example for its industry peers, as it’s already been known to do in other areas.

  • Gucci unveils fragrances collection ‘The Alchemist’s Garden’

    Gucci unveils fragrances collection ‘The Alchemist’s Garden’

    Gucci has revealed its luxury fragrances collection – The Alchemist’s Garden – with oud, amber, violet, iris, mimosa, rose and woods as the seven scents. The Alchemist’s Garden collection has seven scents – oud, amber, violet, iris, mimosa, rose and woods.

    The design of the bottles is inspired by vintage apothecary, pharmacy jars and the first perfumery containers, resonating with the nostalgic theme of the collection. All the bottles are white except for oud, which is black, and rose, which is in a shade of blue chosen by Michele.

  • From Gucci to Dolce & Gabbana: racism in fashion continues?

    From Gucci to Dolce & Gabbana: racism in fashion continues?

    Luxury fashion is all about breaking codes, creating a new, irresistible message that captivates consumers. But some of the globe’s top brands have raised eyebrows with designs that have seemingly racist undertones. The latest instance of that was Italian fashion designer Gucci, which produced a black wool balaclava jumper with an oversized collar that pulls over the chin and nose. It includes a slit where the mouth is, ringed with what look like giant red lips.

    Its similarity to blackface prompted an instant backlash from the public and forced the company to apologise publicly on Wednesday.

    Gucci also withdrew the offending garment from sale on websites and stores. It said the incident would be “a powerful learning moment for the Gucci team and beyond”.

    But the question persists: how can fashion houses that thrive on detail miss such critical social cues?

    Prada similarly withdrew a monkey bag charm that recalled blackface in December, saying it “abhors racist imagery.” And Dolce & Gabbana issued a video apology after one of the designers made insulting remarks about Chinese people in a private chat discussing the questionable depiction of a Chinese model in a campaign.

    “Luxury brands used to be able to get away with provocative and eccentric ads that push the boundaries of our society and culture in the name of being creative and cutting edge,” says Qing Wang, a professor of marketing at Warwick Business School in the United Kingdom.

    “However, a long list of recent incidents have caused public outrage, suggesting that era is now gone, or that luxury brands have lost touch with public sentiment. What used to be considered ‘creativity’ has now turned into ‘bad taste’ or even ‘racist’.

    He cited other fashion fails that evoked stereotypes, including Dolce & Gabbana’s “slave sandal” in its spring-summer 2016 collection and a recent Burberry campaign for the Chinese New Year that was compared to Asian horror films.

    While many of these incidents have caused immediate social media backlashes, the longer-term impact will take time to measure, and will depend on the brands’ reaction and future sensitivity.

    Dolce & Gabbana was forced to cancel its Shanghai runway show after the insulting remarks were publicised, top Asian influencers backed out of campaigns and Chinese websites dropped their line – a warning sign from a region that holds great sway in global luxury sales.

    The blackface images have particular resonance in the United States, where the governor of Virginia and his attorney general have been caught up in a scandal over blackface incidents from their college days in the 1980s. The offensive depictions are reminiscent of travelling entertainers from the 19th century, who would paint their faces black to portray African characters in a ridiculous and mocking fashion, spreading racial stereotypes along the way.

    Italian sociologist Michele Sorice at Rome’s Luiss university says that the evocation of blackface by Italian fashion houses signals “a mixture of good faith, and ignorance”. He notes that Italian society still isn’t fully aware of the racial charge in some words and images.

    “I imagine that they don’t truly think they are racist,” Sorice says. “I think they didn’t have the instruments to understand that these images are archetypes that were used to contrast the concept of blackness and make them ridiculous. I think that many simply don’t know. It is a cultural issue.”

    Paolo Cillo, a marketing professor at Milan’s Bocconi University, says the designer’s intent may have been taken out of context and amplified, and she credits Gucci with acting swiftly to quell the controversy.

    “I wouldn’t stigmatise fashion,” Cillo says, comparing the fashion designer process to artistic pursuits like filmmaking, painting or music. “There are artists in the world of culture that did more outrageous things and no one ever said a thing. There is a perception that fashion is ephemeral, or commercial. But from my point of view, it is not. It reflects the times, like all other artistic forms.”

    While the fashion world has been at the forefront of addressing sexual norms – Gucci has been redefining genderless dress codes under Alessandro Michele – it has lagged behind other industries in taking on social issues such as racial tolerance, climate change or women’s empowerment, according to Larry Chiagouris, a marketing professor at Pace University, US.

    “It is not clear why this is,” Chiagouris says, “but the evidence clearly points to the fashion industry’s need … to catch up with the rest of the world.”

  • Kering faces €1.4 billion Italian tax bill

    Kering faces €1.4 billion Italian tax bill

    Kering is facing an Italian claim for €1.4 billion (£1.2 billion) in unpaid taxes. The company’s Swiss-based Luxury Goods International (LGI) subsidiary has been under investigation for allegedly avoiding tax on earnings generated elsewhere. The probe has largely centred on Gucci, Kering’s star brand and biggest revenue driver. Italy’s tax police carried out checks at Gucci’s Florence headquarters and Milan offices in 2017, and drew up the report that has now been handed to Kering, a source close to the investigation said.

    Kering has consistently denied avoiding tax, saying its activities were fully compliant with all tax obligations.

    In its statement on Friday, the group said the Italian tax authorities’ findings for the years 2011-2017 had yet to be finalised by their own enforcement team.

    “Kering challenges the outcome of the audit report both on the grounds and the amount,” the company said, adding that it “does not have the necessary information” to record a provision against any potential bill for back taxes or penalties.

    The company has said that LGI is a substantial firm in its own right, with 600 employees handling inventory, billing and supply-chain logistics, with a business model “known to French and other competent tax authorities”.

    According to reports by France’s Mediapart newspaper and Germany’s Der Spiegel, Kering’s wholesale activities – the sale of products to retailers such as department stores – have come under particular scrutiny.

    Some business carried out by Kering employees in locations including Milan and Paris was billed through the Swiss unit, incurring lower tax rates, according to those reports.

  • Gucci adds 6 new intriguing Gucci Places

    Gucci adds 6 new intriguing Gucci Places

    Luxury fashion brand Gucci has labelled six international destinations as ‘Gucci Places’ – a list that includes Daelim Museum in Seoul. The Gucci Places were selected by the Italian Fashion House as destinations that “surprise, arouse interest, and inspire a creative response”, according to a report in Prestige Online. They were chosen in collaboration with well-known artists who were tasked with visiting the place and record their impressions, establishing a visual journey of photographs, travel notes and sketches.

    Daelim Museum was named for its association with Coco Capitan, an artist whose calligraphy has appeared on Gucci collections.

  • Net-a-Porter launches kidswear with Gucci

    Net-a-Porter launches kidswear with Gucci

    After its Gucci and Dolce & Gabbana childrenswear pop-up e-shops generated a resounding “more!” from Net-a-porter.com customers, the retailer is launching a multi-brand kidswear collective. By “collective”, Net-a-porter.com means, quite simply, a tight edit of brands which have all created exclusive capsule collections for the website. Yeah Right NYC Kids, Alanui Kids, ATM Kids, Chinti & Parker Kids, Lingua Franca Kids, Golden Goose Deluxe and Veja make up the list of seven labels for girls and boys ages one to 12.

    “The new year felt like the perfect time to launch this collective,” Elizabeth von der Goltz, Net-a-porter.com’s global buying director, tells Mini Vogue. “It’s January – kids are back to school but there’s this idea of cosiness and wanting to feel comfortable.”

    The capsules, accordingly, reflect this: cashmere sweaters, comfy cardigans, track pants and trainers populate the new section. “Whether it’s for ourselves or for our kids, we are always thinking about wellness in January so this this an extension of that – it’s luxe athleisure for kids!”

    If the list of brands feels more offbeat than the global labels Net-a-porter.com first dabbled in the kidswear market with, this was intentional.

    “As an online global retailer known for our distinct fashion point of view, we wanted to take this and bring it to the kidswear market, creating something different from traditional retailers.”

    Von der Glotz is particularly excited about the patterned cardies from Alanui Kids collection and the mini-me versions of Golden Goose and Veja sneakers – two of Net-a-porter.com’s best-selling shoe styles.

    The e-tailer is confident it has quietly developed a recipe for success: “Our customers have been highly engaged with all of our kidswear pop-ups with most styles selling out within just a matter of weeks of launching,” she continues.

    Four out of five of the Gucci products sold were logo T-shirts, and the fifth was the belt bag. “It’s so interesting to see, as the pieces are in such high demand in our adult range too.” Starting them early is certainly paying off for the business.

  • Reebonz to use blockchain technology to assure authenticity

    Reebonz to use blockchain technology to assure authenticity

    Southeast Asian online luxury marketplace Reebonz is exploring blockchain technology as part of its strategy to demonstrate the provenance of products. Complementing the firm’s existing in-house team of ateliers who specialise in authenticating leather products, timepieces, gemstones and jewellery, Reebonz intends to incorporate all transactions on a blockchain to ensure the comprehensive traceability of all products sold within its ecosystem. The firm’s goal is to enable buyers to verify the authenticity of products on their own and stamp out losses and distrust generated by the global exchange of counterfeits.

    By establishing end-to-end traceability, customers will also be able sell their items back to Reebonz, which would allow the company to easily identify a customer’s purchase.

    “The Reebonz leadership team is extraordinary and has already developed a cutting-edge technology and platform”, said Tim Draper, senior advisor of Draper Oakwood Technology Acquisition and founding partner of Draper Associates.

    “The authentication of pre-owned luxury items using the blockchain is just one of many high impact innovations Reebonz is pioneering to improve the luxury shopping experience for customers across Asia Pacific.”

    “While we started as an online platform that helps consumers access affordable luxury, we have evolved into an ecosystem that connects buyers and sellers through the widest range of luxury,” added Reebonz CEO and co-founder Samuel Lim.

    “Identifying gaps and opportunities in the luxury e-commerce landscape and spearheading strategies that present innovative ways of redefining luxury consumption has made us a leader in this industry. As we continue to build out a thriving community of buyers, sellers and international boutiques, it will become critical for the industry to evolve, and for us to become a leading innovator of authenticity solutions. We are excited to use the blockchain technology to solve one of the key global issues that impacts our industry.”

  • Gucci fine jewelry new style revealed

    Gucci fine jewelry new style revealed

    These are flush times for Gucci, the 96-year-old house that in recent years has become fashion’s all-conquering luxury brand. And amid booming sales, Alessandro Michele, Gucci’s creative director since 2015, has introduced the brand’s first high-end fine jewelry line, a series of extravagant styles that present the designer’s florid evocations of flea market finds as gem-encrusted treasures.

    Talking of the nostalgic inspiration behind many of his creations, Mr. Michele said, “I’ve dressed a number of women in things that were gathering dust in vintage archives — they no longer existed.”

    “That includes jewelry as well,” he added. “It’s beautiful to bring them back to life and give them importance once again.”

    At the Gucci Hub, a former aeronautical factory here where the brand opened its headquarters last year, the jewelry showroom reflects Mr. Michele’s opulent touch: red velvet-covered walls, red velvet room dividers, red velvet-topped tooled wood tables around a densely floral Oriental rug, and bright-toned velvet coffers lined in silk to showcase the designer’s well-established motifs rendered as precious jewels.

    Tigers, snakes, lions and foxes form necklaces, bracelets and rings, mirroring earlier versions that Mr. Michele created for both the costume and the mid-market fine jewelry lines at Gucci. But the new higher-end collection — which has no specific name — is more elaborate, its 25 design styles accented with a range of gemstones.

    The new line appears to expand the reach of Mr. Michele’s remarkably successful universe for his most ardent and wealthy collectors. It’s Gucci style for Cartier spenders — at a time when Gucci has pledged to go fur-free, eliminating what had been the brand’s biggest-ticket items.

    Mr. Michele, who calls himself “a passionate student of antique jewelry,” has resurrected animalier styles, like those of the midcentury American jewelry designer David Webb, and for this new collection he has employed some vintage techniques like the intricate hand engraving used to create the animals’ faces, skipping the rhodium plating now common on white gold so it retains a yellowish cast, and the use of old-fashioned raised settings for the tiny diamonds spangled across the fishtail of a ring.

    “When you see the way I combine things with each other, you perceive everything together as a new language,” he said, referring to his fashion aesthetic that mashes up the animal motifs with Chinese silks and Mexican embroideries, Renaissance gowns, Victoriana, disco drama, high ’80s glam, shades of Elton John and Dapper Dan, and more. “There’s a complete fusion of ideas. This ‘disruption’ that everyone’s talking about is found in the dialogue between these elements.”

    From the new collection, Marco Bizzarri, the chief executive of Gucci, wears a woven gold bracelet with black diamonds that is embossed with the phrase “Blind for Love” in capital letters across the top.

    Mr. Michele himself has a gold ring with a fox’s head, a large brown diamond set between its ears.

    Though the pieces look like styles that, in their antique forms, were made for women, in the Gucci context, anyone can wear them.

    “Clothes, like jewelry, don’t have very revolutionary roots, meaning that what’s revolutionary is the way you wear a piece of jewelry,” the designer said.

    So far the collection, with prices that mostly range from 15,000 euros to 70,000 euros (US$17,900 to US$83,500), has been offered only to favorite clients through private sales in Japan, China and the United States and private appointments that began in July.

    Gucci refers to the pieces, which are not high jewelry (typically starting in the $100,000 range and going into the millions), as “medium-high,” or as “unique pieces” when it repeats designs using different gems.

    However, the brand says it is considering a move into the bigger stones and larger price tags of true high jewelry for its next collection.

    Gucci is not the first fashion house to enter the upper echelons of jewelry.

    Chanel, Dior and Louis Vuitton have all made it big business, as the high jewelry market has flourished through and beyond the economic downturn of the last decade.

    And the brand’s fortunes have been growing at a clip that has shocked industry watchers.

    Kering, its parent group, reported that Gucci’s revenue soared 42 percent to €1.5 billion in the three months to the end of September. And its biggest boost has been coming from millennials, who, Kering says, account for at least half of its 2017 sales thus far.

    “The new generation is going to want a more modern jeweler,” said Maurizio Pisanu, the house’s director of jewelry merchandising. “So it’s up to the brand that realizes that first, and Gucci already had the right intuition two years ago — to break the rules.”

    Gucci has hired its first staff gemologist to search for stones worldwide and maintains a jewelry workshop with about 30 goldsmiths and stone-setters near Milan.

    All of the brand’s existing fine jewelry and now most of its high-end fine jewelry pieces are made there, with some help from an external atelier in Valenza, a center of Italian jewelry fabrication about 60 miles to the south.

    According to the brand, sales of the initial pieces have been brisk (although it won’t provide specifics).

    So if the collection does expand, Mr. Michele’s antique-tinged, everything-is-precious aesthetic might disrupt the higher stratospheres of the jewelry sector in the way that he has already reset Gucci and the fashion desires of a vast public.

    The collection has arrived at a moment when the codes of high jewelry are in flux — important stones are becoming more difficult to find, and a new generation of customers is more interested in showing off wearable (and possibly recognizably branded) design than owning the special occasion gem-encrusted parures of the past.

    Mr. Pisanu said design-driven jewelry customers “benefit a brand like Gucci, where jewelry isn’t our core business but we have the ability to make high-quality jewelry like the other brands — and with a different aesthetic that’s much more innovative than what a classic brand would ever dare to make.”

  • Kering’s new digital strategy revealed

    Kering’s new digital strategy revealed

    Customers draw inspiration from today’s hyperconnected world and they engage with luxury brands through the digital tools they use every day. In a fast-changing environment, the success of luxury houses depends upon their ability to offer creative propositions, and a consistent customer experience across all distribution channels and devices.

    In December 2017, Kering appointed Grégory Boutté as Chief Client and Digital Officer with the mission to carry out Kering’s digital transformation and to take the lead on e-commerce, CRM, data science and innovation for the Group. Since then, e-commerce has been the fastest growing channel for all Kering’s brands and represents 6% of the Group’s total retail sales for the first half of 2018.

    “Digital can be many different things at once – a distribution channel; a platform for offering seamless omni-channel services to clients; a driver of brand image and visibility; and a tool for engaging with customers in a personalized way. Digital technology, data science and innovation provide a way of offering our customers the best possible experience – on every touchpoint”, declared Grégory Boutté.

    Drawing upon his vision, Kering’s digital approach is based on the following objectives:

    • to provide the Group and its Houses with a real-time 360-degree view of their customers, and to deliver rich and personalized experiences;
    • to offer clients high levels of service, from initial transaction to after-sales;
    • to enable Kering’s Houses to develop close relationships with their clients and to adapt their offerings in order to meet specific needs.

    Today, Kering is announcing new milestones on its digital journey.

    The following initiatives will strengthen Kering’s focus on enhancing the Group’s omni-channel capabilities and further developing its Houses’ digital activities.

    In-store customer experience

    Kering is working on a suite of apps in partnership with Apple to be used by Houses staff in store, the first of which is a store experience app that enables sales associates in-store to access stock levels in real time to provide their customers with a fully personalized service.

    Via the app, sales associates know instantly if a specific size or color is available in-store or if it can be ordered from other stores; they can also give customized styling recommendations.

    Client service

    Kering developed a new approach to customer service with centralized teams in Europe and the US focused on addressing customers’ requests.

    Gucci, Saint Laurent and Bottega Veneta have dedicated teams, while other brands grouped their efforts under a single customer service unit, operated by Kering on their behalf.

    CRM and Communication

    Kering has launched several pilot projects using data science techniques to deliver personalized messages and experiences to customers, based on their profile and purchasing history.

    All Kering Houses have launched or are launching WeChat mini-programs in order to build as close a relationship as possible with their Chinese customers and to offer social commerce.

    E-commerce 

    Kering will leverage its in-house technology and operations team to fully internalize the e-commerce activities currently handled through the joint venture with YNAP.

    Following a highly successful and fruitful seven-year partnership with YNAP, these e-commerce activities will transition to Kering in the first half of 2020.

    Coordinated efforts and shared expertise with YNAP have enabled Kering Houses to enhance the level of service of their e-commerce websites. Most of them now offer services such as check availability, reserve in store, make store appointment, pick-up in store, return in store, exchange in store, and buy online in store.

    Kering will continue to develop partnerships with third-party e-commerce platforms when relevant.

    Digital capabilities

    A data science team has been created at Group level to improve the service provided to the clients of Kering’s Houses by making the best use of the available data.

    A China-based Client & Digital team is currently being formed. It will be responsible for adapting digital practices to the Chinese market, along with identifying and promoting innovations from China to other markets.

    Kering’s Group Innovation team has been tasked with two missions: to instill an internal culture of innovation (test-and-learn approach, quick sharing of discoveries, scouting business trends), and to work on disruptive technologies to further improve the client experience in the future in terms of business or environmental matters.

    Kering’s Chief Client & Digital Officer Grégory Boutté added: “These exciting new initiatives have been designed to meet – and exceed – the needs of our Houses’ customers and to ensure we continue to offer them an exceptional experience across all channels in a fast-changing global market. These opportunities have been made possible by the experience and know-how that Kering has gained over the years, notably through its successful joint venture with YNAP. We will continue to work with them post-transition and to enjoy a fruitful relationship.”

  • Matching mom-and-daughter outfit is a new trend

    Matching mom-and-daughter outfit is a new trend

    The luxury childrenswear market is forecast to reach $6.6 billion in 2018, up by 3.8 percent year-on-year, presenting ample growth opportunities as spending power increases and parents dish out upwards of $500 for a pair of miniature Gucci loafers to match their own.

    Brands from Gucci and Balenciaga through to Burberry have their own multi-million dollar childrenswear lines (the latter made £117 million in revenue in 2017, about $153 million) which largely shrink runway looks from ready-to-wear collections to fit young children rather than designing them from scratch, hoping to bank on a mother’s desire to wear matching pieces with her daughter.

    But putting celebrity power to one side, as Kim Kardashian West signaled that mini-me dressing is once again big business by stepping out in a matching outfit with her daughter, what else is driving this phenomenon that seems to reappear every few years?

    “Childrenswear is increasingly trend-oriented,” says Nathalie Christen-Genty, the founder of Paris-based Melijoe, the luxury e-commerce site dubbed “the Net-a-Porter for childrenswear.” “A few years ago, childrenswear was dictated by just a few kids-only brands and parents’ motivation to buy was first and foremost driven by practicality,” meaning pieces for children were designed specifically for them with a timeless and classic design in mind.

    In the recent past, matchy-matchy ensembles were considered passé, reminiscent of bygone eras like the 1960s when women would make garments for themselves and their children from the same piece of fabric.

    When luxury brands began launching childrenswear lines in the 2000s, “they didn’t think it would be big business,” says Giuliana Parabiago, a consultant at Pitti Bimbo, a key international childrenswear trade show where the latest trends are often discovered. They would use past-season styles that would be delayed by six months or a year, she says, but now childrenswear and ready-to-wear runs at the same speed. “This new generation wants to be young — and matching.”

    Chloé launched its children’s line in 2010 with licensee Children Worldwide Fashion (CFW), which also makes lines for Givenchy, DKNY and Little Marc Jacobs.

    For the current season, stand-out pieces include a velvet bomber jacket with horse embroidery and a pair of suede ankle boots — mini-versions of products creative director Natacha Ramsay-Levi sent down the runway.

    “The pieces which are obviously Chloé, [for instance] the horse pattern, tend to perform better,” says Geoffroy de la Bourdonnaye, the brand’s chief executive who credits the success of mini-sized versions to the fact that some “mothers take pride in seeing their daughters look like themselves” and that others want “to share the brand’s DNA of being ‘free’ with their children.”

    “The [childrenswear] business has consistently grown for the last eight years,” he adds. “The countries that spend a lot of money to dress their kids tend to be Russia and the Middle East, along with China. Countries in Latin America also invest in their kids.”

    While Chloé’s relationship with its licensee means there is constant contact with the ready-to-wear design studio and the capacity for CWF to select the runway pieces it wants to adapt for children, Dolce & Gabbana’s approach was to take its line in-house allowing it to have complete control like Ralph Lauren, Burberry and Dior Baby who also go it alone.

    However, such arrangements are still unusual; most luxury brands sign with a handful of specialist licensees. Simonetta produces childrenswear for Balmain and Fendi Kids; Kidiliz Group has the license for Kenzo Kids, Paul Smith and Levi’s Kids; and Brava Kid takes care of the brands under the OTB umbrella which include Diesel, Marni and Trussardi Junior.

    The reason that the license route is so popular is that childrenswear requires an expert hand since it is not as simple as it may seem to scale down a garment pattern to fit the body shape of a child. The specialist experience on offer by the licensed manufacturers means they also understand intuitively how to make an outfit appropriate for children.

    The movement has also helped drive childrenswear into the same trend cycle as womenswear as brands respond to demand by bringing out more novelty.

    “Children’s lines [now] have their long-awaited collections as much as the ready-to-wear for the parents,” says Emi Ozmen, the mother of one of the child vloggers behind Silver and Lux.

    Source: @beyonce

    Dolce & Gabbana launched a four-week kids pop-up at Net-a-Porter, including a £1,100 tiered fil-coupé silk-blend dress for ages two to six, a £775 satin-trimmed brocade suit for ages two to five and an array of handbags and footwear.

    “When [the mini-me trend] is executed well, it’s incredibly fun and expressive,” says the site’s global buying director Elizabeth von der Goltz. “It’s performed particularly well in the Middle East.” Having launched Gucci and Dolce & Gabbana capsules, Net-a-Porter’s next collaboration is with Moncler for miniature-sized puffer jackets.

    However, not everyone sees the trend as a harmless way for kids to bond with their parents; some find it incredibly uncomfortable and question the subtle messages it seems to underscore.

    “Two troubling phenomena converge in this mommy-and-me thing,” said Natalia Mehlman Petrzela, an associate professor at the New School in Manhattan. “There’s the infantilisation of women to look like little girls and, on the flip side, [the pressure] for young girls to always look older— to wear bikinis and crop tops.”

    Some mini-me dressing is criticised as a gimmick; there is a fine line between matchy-matchy dressing and ill-fitting clothing to be worn once and thrown away.

    “It’s clever marketing and appeals to emotional values,” says Jane Lewis, the founder of womenswear line Goat.

    In August, the brand launched a mini-me line of dresses for girls with the design remaining unmodified bar reducing the size — the crepe dresses have a timeless feel to them. “Again, it depends — I’m not going [to do] a pink bomber jacket. There’s going to be a distinction between viable mini-me childrenswear and the theatrical element.”

    Foraying into theatre is something SemSem founder Abeer Al Otaiba is also weary of.

    The Emirati entrepreneur launched the brand after seeing a gap in the market — there was an absence of stylish yet understated occasionwear for mothers and daughters. “It’s more of a lifestyle, and mothers in [markets like Russia and the Middle East] enjoy elegant pieces for themselves and their daughters all within one brand. It’s unique to find a brand that caters to both,” she says.

    SemSem’s Spring/Summer 2019 collection features matching lamé mother-daughter dresses and shirt dresses made from the same cotton fabric. Rather than shrinking women’s dresses to children’s size, Al Otaiba prefers to play around with fabrics and silhouettes.

    A far cry from Kardashian’s more literal matchy-matchy approach.

    Yet, social media and Instagram influencers continue to be the main driver of mini-me mother-daughter dressing.

    While the trend has long been popular in the Middle East and Russia, it has rapidly expanded to the US thanks, in part, to celebrities like Beyoncé, whose Instagram in matching Gucci with her daughter Von der Goltz cites as an example of celebrity culture popularising mini-me.

    Indeed, mommy-and-me looks drive likes and engagement, becoming good reasons for multi-brand retailers such as The Tot, a Dallas-based childrenswear store founded by Nasiba Adilova, to approach companies and ask for small-sized pieces of womenswear best-sellers.

    “The era when childrenswear was entirely functional is over,” says Christen-Genty. “It’s now firmly in the territory of fashion.”

  • Why is Kering buying its shares back?

    Why is Kering buying its shares back?

    Kering, which owns Gucci, Saint Laurent and Balenciaga, said it planned to buy back up to 1 percent of its share capital over a 12-month period. According to the luxury-goods group, the total amount of the share buyback agreement would not exceed €300 million (about $342 million) and the price would not exceed €480 per share.

    A stock buyback, also known as a share repurchase, occurs when a company buys back its shares from the marketplace. This means that by paying shareholders the market value per share, a company like Kering can reabsorb a portion of its ownership that was previously distributed among public and private investors.

    But what are the reasons for this?

    Each share represents a small stake in the ownership of the company. There can be several reasons for a share buyback, such as preserving stock price, but in Kering’s case, the move suggests that the company’s senior management is confident about the business and believes its shares are undervalued.

    Undervaluation can occur for multiple reasons. Kering’s management may believe the business is undervalued due to investors’ jittery sentiment around the China market and their ability to see potential in the company’s long term performance.

    Shares in Kering hit a record high of around €522 in June, but dipped in the past three months over worries that white-hot megabrand Gucci was running out of steam.

    The stock rose again in late October after the group reported a better-than-expected rise in third-quarter revenue.

    Sales growth for the conglomerate had been expected to slow from 31.5 percent a quarter earlier to the 22.5 percent rise forecast in a poll of analysts by Inquiry Financial.

    But Gucci sales proved stronger than expected.

    Buying back shares is also a common way for companies sitting on big cash piles to do something about it, and the ideal time is usually after a drop in the stock price.

    It wasn’t Kering’s stocks alone that fell earlier this month.

    Shares in European luxury-goods companies including French rival LVMH sunk, with analysts citing concerns over a consumer slowdown in China, its single biggest market.

    Part of this is due to a crackdown by customs officials, which limits the amount individual Chinese travellers can bring back from abroad.

    “In the most recent weeks, Kering has suffered more than its fair share of pain on the back of the luxury sector downward adjustment following concerns on Chinese consumer confidence,” said Luca Solca, head of luxury goods at BNP Exane Paribas.

    “This has come as investors wanting to reduce exposure to the sector have chosen to lock in gains in stocks that had performed the most, like Kering.”

    Since Chinese consumers account for 32 percent of the worldwide total of luxury sales and about one third of them shop overseas, this is a worry for brands.

    In addition, there is the continued issue of daigou (grey market shopping agents) and the fact that China’s economy is growing at its slowest pace since the financial crisis.

    Gucci president and chief executive Marco Bizzarri acknowledged these challenges.

    “I control what I can control,” he said.

    “Currency fluctuations, traffic flows, daigou duties. It is something we cannot control as a company, so as a CEO I need to control what I can. I hope that Chinese customers are now going to spend more in China, so we’ll do our best to increase their shopping experience here.”

    Jean-Marc Duplaix, Kering’s financial director, said during Kering’s third-quarter earnings call, which came after luxury stocks fell, that the company was seeing an improvement in the retention of Chinese millennial customers and demand had not dipped.

    “In terms of spending power, the situation is still quite sound in China,” he said. “All the events especially in China we had in September or in October, we saw quite good figures. I think that underlying trends are still very, very, very solid.”

    Earlier this year, Bizzarri said that Gucci’s eventual target is to achieve €10 billion ($11.6 billion) in annual revenue.

    “We don’t expect short-term growth issues at Gucci, and anticipate more positive surprises on operating leverage,” said Solca.

  • Gucci powers Kering third quarter sales

    Gucci powers Kering third quarter sales

    Kering sales growth significantly outpaced its rivals during the third quarter, up 27.6 per cent as reported and 27.5 per cent on a comparable basis, to €3.402 billion. In Kering-operated stores, Asia Pacific sales rose 33.3 per cent on a comparable basis, bettered only by North America’s 36.1 per cent increase. Growth in online sales exceeded 80 per cent and wholesale sales rose 27 per cent.

    “We are extraordinarily proud of the remarkable performances Kering delivers quarter after quarter,” said chairman and CEO Francois-Henri Pinault. “Our growth, whose pace is unprecedented in the luxury sector, is sound, well balanced and sustained across all regions and distribution channels.”

    Pinault said the company’s enduring success comes down to the talent of each of its brands in “creating strong emotional ties with its customers, conceiving a bold, generous creative universe, and reinventing its codes”.

    “Beyond short-term developments, we know that the secular growth of the luxury market, but particularly our solid fundamentals and the discipline with which we implement our strategy, will continue to support our operating and financial outperformance.”

    Gucci led Kering sales growth during the quarter, with sales up 35.1 percent and strong performance across all distribution channels, regions and product categories. Gucci Asia-Pacific sales soared 41.9 per cent.

    Yves Saint Laurent sales rose 16.1 per cent, driven by the strong performance of iconic lines and the success of new collections.

    While Bottega Veneta sales were down 8.4 per cent on a comparable basis, the label is in a transitional phase led by recently appointed creative director Daniel Lee (ex Celine). His first full collection will go on sale early next year.

    Kering’s other houses (labels) achieved a 32.3 per cent increase in sales, driven by  “exceptional momentum” at Balenciaga and ongoing growth at Alexander McQueen. New collections and extended iconic lines from Boucheron, Pomellato and Qeelin were “very well received”.

    The watches and jewellery categories delivered what the company described as “solid performances”.

  • More brands join anti-fur movement

    More brands join anti-fur movement

    Among the investors who snapped up shares in luxury e-commerce marketplace Farfetch after its September IPO was one buyer with little interest in operating profits or projected revenue. People for the Ethical Treatment of Animals pounced on shares in the newly public company so it could make its case directly to ban fur sales on the platform. They needn’t have bothered.

    Farfetch quietly committed to going fur free in May, inserting a promise in the terms and conditions section of its website to stop selling items made with fur by the end of next year.

    Farfetch joins a growing list of luxury brands and retailers turning their backs on animal fur.

    Within the past 18 months, Yoox Net-a-Porter, Gucci, Michael Kors, Versace, Furla, Burberry and DVF have all announced anti-fur policies, while this year’s September London Fashion Week became the first of the major fashion weeks not to show any fur on the catwalk.

    Within the luxury space, the balance has tilted against fur.

    In the 1980s, fur was synonymous with luxury, representing a status symbol for many women.

    The global fur trade is valued at $40 billion, but today fur is central to the image — and revenue — of only a handful of major brands.

    Meanwhile, anti-fur messaging is being amplified by social media and a millennial customer base that is paying closer attention to the values represented by the products they buy.

    For brands like Gucci, the goodwill generated by banning fur outweighs the sacrifice of a few million dollars in sales of fur-trimmed loafers.

    “[It’s about] being more modern in our thinking and our approach to business and how we talk and engage with our consumer and our community of women,” Sandra Campos, chief executive at DVF, said of the decision earlier this month to stop using fur, exotic skins, mohair and angora in upcoming collections.

    “No one really wanted to associate the brand with [fur]. We don’t need real fur to have a status symbol anymore.”

    The anti-fur movement has ebbed and flowed for decades.

    Calvin Klein stopped using fur in 1994, the same year Peta ran a campaign featuring supermodels including Naomi Campbell and Christy Turlington, who claimed they would “rather go naked than wear fur.”

    Ralph Lauren, Tommy Hilfiger and Selfridges barred fur in the mid-2000s.

    More recently, Hugo Boss joined the no-fur list in 2015, followed by Armani the following year.

    Gucci kicked off the latest wave of brands announcing fur bans in October 2017.

    Winning over luxury’s hottest brand was a coup for animal-rights activists who had been targeting specific companies for almost a decade via a mix of behind-the-scenes talk and public protest.

    In July 2017, more than 20 animal rights activists heckled Michael Kors during a speech, while in September 2017, Burberry’s London Fashion Week show was disrupted by about 250 anti-fur protesters.

    Michael Kors agreed to ban fur in December, Burberry last month.

    The rise of social media has provided the general public with a direct line of communication to companies and a platform for opinions and protest, making it harder for brands to ignore targeted activism.

    It’s also given animal rights organisations a platform for mobilising consumers into action.

    The global fur industry is fighting back, launching its own campaign making the case for fur as a natural, sustainable product that is better for the environment than alternatives, which are often made from plastic.

    One recent campaign featured Fendi and Oscar de la Renta, among other brands.

    “Brands are under huge pressure to respond to social media and avoid any controversy,” says Mark Oaten, chief executive of the IFF.

    “Even in a five year period that has changed … the fear of reputational damage is increased at the moment.”

    Studies show activism is impacting purchasing decisions.

    Prior to announcing its fur-free policy last June, Yoox Net-a-Porter surveyed 24,000 customers: 72 percent said social or environmental considerations drove their purchasing decisions at least some of the time, while 58 percent said having more information about the ethics and sustainability of a product would influence their shopping choices.

    Indeed, the idea of what luxury means to consumers today has evolved.

    “It’s become synonymous with social responsibility and innovation,” said PJ Smith, fashion director at the Humane Society US.

    “Companies that want to position themselves as corporate social responsibility leaders are seeing the marketing potential of going fur free, especially with new luxury consumers.”

    For a brand like Michael Kors or Burberry, going fur free won’t have much impact on the bottom line, while providing a marketing boost.

    For DVF, fur was “a very minimal percentage” of the overall business, said Campos.

    “It wasn’t something we relied on heavily at all,” she said. “It made sense for us to walk away from it in total.”

    Similarly, Gucci’s decision to bet on animal rights activism wasn’t much of a trade-off, as the brand sold only €10 million ($12 million) in fur products last year, less than 0.2 percent of revenue.

    Gucci’s Instagram post announcing the news was among the brand’s top performing posts at the time of the announcement, amassing 179,524 likes.

    Even brands that still use fur are acknowledging shifting attitudes.

    Fendi, which started as a furrier in 1925, rebranded its Couture Week show this past July as haute couture, rather than the haute fourrure description it used in recent seasons.

    And while fur was still present in the label’s Spring 2019 collection, it was less prominent than in past seasons.

    Prada, too, has been decreasing its use of fur.

    Recently the brand has come under pressure as a result of a targeted campaign spearheaded by the Fur Free Alliance, a coalition of 40 animal rights groups.

    According to the company, thousands of e-mails demanding it bans animal fur have been sent to the Prada Group and personal addresses of employees.

    However, the company has not announced plans to stop using fur.

    “We believe it is important to stress that all the advertising campaigns of the Group’s brands, together with the fashion shows and displays in the shop windows, have not been presenting these products for some time, in order to discourage demand from consumers,” the Italian house said in a statement.

  • The 15 hottest online luxury brands in 2018

    The 15 hottest online luxury brands in 2018

    Some brands have embraced digital better than others, as evidenced by their popularity online. According to a new report by Luxe Digital, the top 15 most popular luxury brands online are particularly successful at building online awareness but also at forging deep emotional connections with their audience—particularly young affluent consumers.

    The ranking provides a good gauge of the sales potential of the brands for this coming year-end.

    It’s also a great source of inspiration and best practices for luxury leaders. By exploring how the top high-end brands are performing online, one can understand the reasons for their popularity and how their approach could be replicated.

    Gucci is leading the 2018 ranking, followed by French houses Chanel and Louis Vuitton.

    Interestingly, it is Italian fashion brand Balenciaga that saw the most impressive growth thanks to its fresh take on luxury streetwear.

    The Direct-to-Consumer approach emerges as a winning strategy for luxury

    The ranking is largely dominated by fashion brands, although Rolex and Tiffany made it to the top 10.

    It is worth noticing that Lancôme is the only beauty brand to appear in the list, finishing at the 13th position.

    A noticeable trend is the Direct-to-Consumer retail model which is increasingly more adopted by luxury brands. The DTC approach emerges as a great way for high-end brands to control their brand identity online and own their customers’ data.

    Influencer marketing is also playing a key role in 2018. Virtually every brand in the top 15 has collaborated with social media influencers to shape the conversations online and drive brand discovery amongst untapped audiences.

    For luxury fashion specifically, high-end streetwear is clearly making the buzz this year.

    Other noticeable trends for 2018 include more interest in sustainable practices and social causes. Natural cosmetics, natural and vegan beauty products, in particular, are also generating a lot of online interest.

    The rising share of affluent Millennials and Gen Z consumers

    These trends are mainly driven by the growing portion of more socially-conscious, affluent Millennials and Generation Z consumers.

    This shift in consumers’ values and preferences combined with the disruptive impact of new technologies are challenging the traditional notions of luxury.

    As the sophisticated younger generations become important luxury shoppers, modern luxury brands are evolving their offerings to appeal to their specific tastes.

    Luxury brands are also adapting their marketing strategy to offer a seamless shopping experience both online and offline in line with the younger affluent consumers’ growing expectations.

    Conscious of the essential role that new technologies play in driving their narrative, luxury leaders are finally embracing digital technologies.

    For brands, it is clear that the ability or inability to pivot to this new reality will continue to widen the gap between the successfully agile luxury brands and the slow adopters.