medal pre-fall winner marching in paris … · alexander mcqueen stood out during the first three...

Fancy Pants

WWD

PHOTO BY TYLER BOYE

By JEAN E. PALMIERI

LOUIS BOSTON, one of the most highly regarded and directional specialty stores in the U.S., will close its doors in July after 90 years in business.

Debi Greenberg, owner and the fourth generation to operate the family-owned business, admitted that it was a tough decision, but stressed the store contin-ues to perform well. The decision to close stemmed from the continuing development of the area where the store is located.

“It’s sad,” she said. “But I’m 60 years old. We moved fi ve years ago to an area at the end of a parking lot, but it had the most beautiful view in the world.” Louis, which was the anchor of Boston’s main shopping area for more than 20 years, took the plunge in 2010 and re-located from Newbury Street in the Back Bay neigh-borhood to a two-story, 20,000-square-foot location at Fan Pier, a 21-acre swath of South Boston waterfront that was being redeveloped from a parking wasteland to a new luxury neighborhood. Since the store relocat-ed, Fan Pier has added high-end condominiums and a museum of contemporary art and pharmaceutical com-panies have also opened offi ces there, Greenberg said.

“Moving to the Seaport gave us the opportunity to continue to evolve and change, and what most people saw as a risk proposition actually proved to be extreme-ly positive for Louis,” said Greenberg. “We are now sur-rounded by what has become a district of innovation.”

The developer is seeking to build another condo community at the site and recently approached Louis about its location. “They want to build a second condo development right on our footprint,” she explained. “They asked if they could build me another store, but

By WWD STAFF

GUCCI’S CREATIVE DIRECTOR Frida Giannini has made a surprise exit from the company after princi-pals terminated her contract early, WWD has learned.

According to market sources, Giannini was asked to leave Gucci on Friday, more than a month earlier than anticipated.

The designer was slated to exit the luxury goods house following her fall women’s collection in Milan on Feb. 25. Giannini also had been scheduled to present her last men’s show for Gucci on Jan. 19. She was said to be looking forward to celebrating her long tenure at Gucci, and was planning a farewell party with colleagues.

Sources said Gucci cut short Giannini’s contract in a bid to facilitate decision-making about the brand’s future creative direction. “The decision [about Giannini’s successor] needs to be made, so that it can have an impact on the upcoming collections and shows,” said one source.

Industry observers were left wondering why Gucci’s latest decision was so sudden and who exactly would be taking the bow at the men’s show next week and at the women’s one in February.

Gucci could not be reached for comment.Giannini and Gucci’s chief executive officer

Patrizio di Marco, who are partners and planning to marry, revealed their exit from the company last month. Di Marco has already left and was succeeded by Marco Bizzarri, previously head of Kering’s luxury couture and leather goods division.

The failure of the couple to turn around the fl ag-ging brand precipitated their departure, setting off a guessing game as to who would succeed Giannini and who might be able to get the brand back on a solid growth track.

Over the weekend, WWD learned that Alessandro Michele, Giannini’s deputy, Gucci’s head accessories de-

SEE PAGE 12

DESIGNER SEARCH CONTINUES

Frida Giannini MakesEarly Exit From Gucci

Louis Boston to Close

SEE PAGE 5

LOS ANGELES — At last, actresses took a chance on the red carpet — albeit only a little. Emma Stone, for example, eschewed the standard crepe column in favor of a Lanvin jumpsuit — an embroidered crystal bodice over black stovepipes fi nished with a dramatic taffeta bow — to wear to the 72nd annual Golden Globes Awards on Sunday night. For more from Golden Globes weekend, see pages 10 and 11.

MONDAY, JANUARY 12, 2015 ■ $3.00 ■ WOMEN’S WEAR DAILY

MARCHING IN PARISHUNDREDS OF THOUSANDS OF PEOPLE MARCHED IN PARIS ON SUNDAY FOLLOWING THE TERRORIST

ATTACKS IN THE CITY LAST WEEK. PAGE 4

PACO RABANNE, TRACY REESE

AND ICB. PAGE 8

Fancy PantsFancy PantsFancy

WWD■ $3.00 ■ WOMEN’S WEAR DAILY

MEDAL WINNER

ALEXANDER MCQUEEN STOOD OUT DURING THE FIRST THREE DAYS OF LONDON COLLECTIONS: MEN WITH A

UNIFORM-INSPIRED COLLECTION. PAGES 6 AND 7

At last, actresses took a chance on the red carpet — albeit only a little. Emma Stone, for example, eschewed the standard crepe column in favor of a Lanvin jumpsuit — an embroidered crystal bodice over black stovepipes fi nished with a dramatic taffeta bow — to wear to the 72nd annual Golden Globes Awards on Sunday night. For more from Golden Globes weekend, see pages 10 and 11.

PRE-FALL 2015

4

By WWD STAFF

PARIS — More than one million people took to the streets here Sunday in an unprecedented showing of unity following the country’s worst terrorist at-tacks in more than half of a century.

Heads of state, representatives of all major reli-gions and ordinary citizens, including many people from the fashion industry, came together for the silent march to commemorate the 17 victims of a series of terror attacks in Paris last week and to de-fend freedom of speech.

Demonstrators began gathering at the Place de la République before midday, hours prior to the sched-uled 3 p.m. start of the march, brandishing placards bearing the slogan “Je suis Charlie” (“I am Charlie”), which has become the nation’s unoffi cial rallying cry since the massacre at satirical magazine Charlie Hebdo on Wednesday that left 12 dead and set off a chain of related killings.

A policewoman died on Thursday and four perished in a hostage situation at a ko-sher grocery store the follow-ing day. The three gunmen were also killed on Friday.

“It’s a deep trauma,” Christian Lacroix told WWD. “We were and still are all speechless with the feeling of a nightmare we’ll never wake up from, but [we] are fi rmly determined to keep going with our deepest, most precious and vital values.

“French freedom of ex-pression and the legacy of creative expression are something historic, impos-sible to kill,” he continued. “It now spreads worldwide.”

The fashion community was well represented at the Paris rally.

“It was simple and beautiful, a magical mo-ment,” said Simon Porte Jacquemus, who had been working with his team on the upcoming women’s collection. “We joined the march for about an hour and a half. We shuffl ed along, as it was so crowded.”

Jean-Charles de Castelbajac, Alexandre Mattiussi and Olympia Le-Tan were among the designers to post photographs from the event on Instagram. Léa Seydoux, Carine Roitfeld, Lou Doillon and Caroline de Maigret did, as well. And graffi ti artist André Saraiva’s feed included a photo of him carrying a lit-tle girl on his shoulders, with each holding up pens — symbolizing freedom of expression.

Victoire de Castellane posted on Instagram Sunday a drawing featuring a sketch of herself that was repeated numerous times to look like women at a march.

Yaz Bukey put online an image from a rally in front of the French Consulate in Istanbul.

“I was very sad not to be in Paris today, but very proud of the march we had in Istanbul,” the jewelry designer told WWD. “In Turkey, caricatures have al-ways been very important tools for rights. People were very shocked here [about] this attack against

freedom in a country synonymous with liberty.”There was an outpouring of solidarity in many

countries. In London, where the men’s ready-to-wear season entered in its third day on Sunday, mon-uments were lit in France’s tricolor, for instance.

For Paris’ march, police cordoned off all streets leading to Place Voltaire, where French President François Hollande was joined by German Chancellor Angela Merkel, British Prime Minister David Cameron, Israeli Prime Minister Benjamin Netanyahu, Palestinian President Mahmoud Abbas, King Abdullah II and Queen Rania of Jordan and scores of other lead-ers and senior offi cials from more than 50 countries.

Although there was no offi cial police estimate of the number of participants, Socialist member of parliament François Lamy, in charge of organizing the protest, tweeted: “Fantastic France! I am told we are between 1.3 million and 1.5 million in Paris.”

Thousands of people waited patiently behind se-curity cordons as politicians and victims’ families led

the march, with the rest of the protesters only setting off around 4 p.m. By night-fall, throngs of people con-tinued to stream along three major thoroughfares leading to Place de la Nation, about 2 miles away from Place de la République.

The crowd occasion-ally broke into chants of “Charlie, Charlie!” and “Liberté.” They also sang France’s national anthem, “La Marseillaise,” and spontaneously broke into rounds of applause.

On Boulevard de Bonne-Nouvelle, a major artery leading into the Place de la République, the crowd sang part of John Lennon’s “Imagine.” But mostly, it

was a moment of silent refl ection. People waved fl ags from countries including France, Italy, Canada, Brazil, Turkey and Ukraine, and pages from Charlie Hebdo were held aloft.

Other placards read “L’amour Plus fort que la haine” (“Love: stronger than hate”) and “Je suis Charlie, je suis policier, je suis juive” (“I am Charlie, I am police, I am Jewish”). Numerous women sport-ed chignons fastened with pens and pencils.

Security remained at the highest levels across the Paris region, including at department stores, airports and other public venues. Thousands of extra police and military were deployed for the event. Policemen marched behind a black banner that read “Grieving police offi cers” in memory of their three colleagues slain in the attacks, as doz-ens of people lined up at windows and balconies overhead applauded them.

Charlie Hebdo is gearing up to print one million copies this week, up from its usual circulation of 60,000, with other media giving support. Work on the issue began Friday.

— WITH CONTRIBUTIONS FROM JOELLE DIDERICH, LAURE GUILBAULT, PAULINA SZMYDKE,

MILES SOCHA AND JENNIFER WEIL

WWD MONDAY, JANUARY 12, 2015

Financo Forum Features DVF, Horowitz

Marchers Unite on Paris Streets

ON WWD.COM

THE BRIEFING BOXIN TODAY’S WWD

Gucci’s creative director Frida Giannini has made a surprise exit from the company after principals terminated her contract early, WWD has learned. PAGE 1

Louis Boston, one of the most highly regarded and directional specialty stores in the U.S., will close its doors in July after 90 years in business. PAGE 1

New York-based label Public School won the inaugural Men’s International Woolmark Prize held during London Collections: Men. PAGE 5

Kip Tindell of the Container Store was named chairman of the National Retail Federation board and chairman of its executive committee, succeeding Stephen Sadove. PAGE 5

John Galliano’s debut at Maison Martin Margiela is to be witnessed by several famous peers, including Alber Elbaz and Christopher Bailey. PAGE 8

Saks Fifth Avenue confi rmed Friday that one of its veterans, Jennifer de Winter, is leaving the company in about a month. PAGE 8

Inside the pre-party of Art of Elysium, BAFTA’s annual tea party and W magazine’s It Girl luncheon. PAGE 11

Cathy Horyn, the former lead fashion critic for The New York Times, will serve as critic-at-large for The Cut for 2015. PAGE 12

Isabel Marant is turning female warrior for spring, casting model Natasha Poly for a campaign showcasing some “savage attitude.” PAGE 12

Former chairman and ceo of Coach Lew Frankfort will join private equity fi rm Sycamore Partners as an executive in residence. PAGE 12

Nicola Peltz is featured in a profi le on those honored at W magazine’s It Girl luncheon. For more, see WWD.com.

EYE: Nicola Peltz was among the starlets who stood out as poised for a breakout in 2015 at W magazine’s It Girl luncheon . For more, see WWD.com/eye.

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TO E-MAIL REPORTERS AND EDITORS AT WWD, THE ADDRESS IS [email protected], USING THE INDIVIDUAL’S NAME. WWD IS A REGISTERED TRADEMARK OF FAIRCHILD PUBLISHING, LLC. COPYRIGHT ©2014 FAIRCHILD PUBLISHING, LLC. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 209, NO. 6. MONDAY, JANUARY 12, 2015. WWD (ISSN 0149-5380) is published daily (except Saturdays, Sundays and holidays, with one additional issue in March, April, May, June, August, October, November and December, and two additional issues in February and September) by Fairchild Media, LLC, which is a division of Penske Business Media, LLC. PRINCIPAL OFFICE: 11175 Santa Monica Blvd., 9th Fl, Los Angeles, CA 90025. Periodicals postage paid at Los Angeles, CA, and at additional mailing offi ces. Canada Post: return undeliverable Canadian addresses to P.O. Box 503, RPO West Beaver Cre, Rich-Hill, ON L4B 4R6. POSTMASTER: SEND ADDRESS CHANGES TO WOMEN’S WEAR DAILY, P.O. Box 6356, Harlan, IA, 51593. FOR SUBSCRIPTIONS, ADDRESS CHANGES, ADJUSTMENTS, OR BACK ISSUE INQUIRIES: Please write to WWD, P.O. Box 6356, Harlan, IA, 51593, call 866-401-7801, or e-mail customer service at wwdPrint@cdsfulfi llment.com. Please include both new and old addresses as printed on most recent label. For New York Hand Delivery Service address changes or inquiries, please contact Mitchell’s NY at 1-800-662-2275, option 7. Subscribers: If the Post Offi ce alerts us that your magazine is undeliverable, we have no further obligation unless we receive a corrected address within one year. If during your subscription term or up to one year after the magazine becomes undeliverable, you are ever dissatisfi ed with your subscription, let us know. You will receive a full refund on all unmailed issues. First copy of new subscription will be mailed within four weeks after receipt of order. We reserve the right to change the number of issues contained in a subscription term and/or the way the product is delivered. Address all editorial, business, and production correspondence to WOMEN’S WEAR DAILY, 750 Third Avenue, New York, NY 10017. For permissions requests, please call 212-630-5656 or fax request to 212-630-5883. For reprints, please e-mail [email protected] or call Wright’s Media 877-652-5295. For reuse permissions, please e-mail [email protected] or call 800-897-8666. Visit us online at www.wwd.com. To subscribe to other Fairchild Media, LLC magazines on the World Wide Web, visit www.wwd.com/subscriptions. WOMEN’S WEAR DAILY IS NOT RESPONSIBLE FOR THE RETURN OR LOSS OF, OR FOR DAMAGE OR ANY OTHER INJURY TO, UNSOLICITED MANUSCRIPTS, UNSOLICITED ART WORK (INCLUDING, BUT NOT LIMITED TO, DRAWINGS, PHOTOGRAPHS, AND TRANSPARENCIES), OR ANY OTHER UNSOLICITED MATERIALS. THOSE SUBMITTING MANUSCRIPTS, PHOTOGRAPHS, ART WORK, OR OTHER MATERIALS FOR CONSIDERATION SHOULD NOT SEND ORIGINALS, UNLESS SPECIFICALLY REQUESTED TO DO SO BY WOMEN’S WEAR DAILY IN WRITING. MANUSCRIPTS, PHOTOGRAPHS, AND OTHER MATERIALS SUBMITTED MUST BE ACCOMPANIED BY A SELF-ADDRESSED STAMPED ENVELOPE.

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By DAVID MOIN

NEW YORK — The story of Diane von Furstenberg’s en-during wrap dress has been told and retold. What’s less understood is the alchemy that propels her brand.

That’s the subject at today’s Financo Forum, where von Furstenberg and Joel Horowitz, the cochairmen of DVF Studio, will discuss their partnership with Michael Gould, the former Bloomingdale’s chairman and chief executive offi cer. The event will take place at the Harmonie Club here.

It’s a different format from previous Financo pan-els stacked with executives with diverging points of views leading to heated exchanges. This year’s forum — the 25th edition — suggests a tamer approach, but as Financo chairman Gilbert Harrison said, “It ain’t over till the fat lady sings.” He said along with Colin Welch, Financo’s president and chief operating offi -cer, they’ll be asking questions and fi elding some from the expected crowd of more than 300.

Regarding the main topic, “It’s an interesting management paradigm — a close partnership be-tween a creative driving force and a strong individ-ual on the business side,” said Welch.

“There’s an analogy to Calvin Klein and Barry Schwartz, Ralph Lauren and Peter Strom and later Roger Farah, and Tommy Hilfi ger and Joel Horowitz,” who was Hilfi ger’s business partner and ceo for 19 years, stepping down as ceo in 2003 and joining DVF in 2012, added Harrison.

There will also be a presentation of consumer trends by Sarah Quinlan, senior vice president of market insights at MasterCard Advisors.

Harrison said 2014 was his fi rm’s biggest revenue year, abetted by the partners he brought in two-and-a-half years ago — Welch, and John Berg, Financo’s ceo — and the recent expansion of the London offi ce. The fi rm advised on 15 deals last year. Among Financo’s biggest were the Men’s Wearhouse takeover of Jos. A. Banks, the sale of a majority stake in Opening Ceremony to Berkshire Partners, Abercrombie & Fitch’s licensing deal with Inter Parfums and Cherokee’s acquisition of Hawk Designs. Harrison wouldn’t disclose his fi rm’s revenues or upcoming deals that the company is advising on, but the outlook is good. “I haven’t seen anything to suggest a change in the appetite for M&As, though the continued strength of the public equity market makes IPOs viable,” which could mitigate some M&A activity, said Welch.

Demonstrators advocated for

free speech while commemorating

those killed in terrorist attacks

last week.

WWD.COM5WWD MONDAY, JANUARY 12, 2015

Louis Boston Closingthey wanted a commitment for 10 to 15 years. This lease would have been up in 2020, and I was going to retire then. This just speeded up the decision.”

Greenberg said business at the store has been strong in recent years and that it did not enter into her decision to close.

“Business is on point at our current location with steady year-over-year growth,” she said, “but after 25 years of extensive travel to Paris, London and New York fi ve months a year in search of the world’s fi nest clothing, it is simply time to change direction and turn my attention to projects and passions outside the retail arena.” She said that since Fan Pier became so popular, Louis has attract-ed a lot of customers in the high-tech area. “We got that kind of customer and it was great,” she said. “Our busi-ness has been amazing.”

Greenberg bought both the men’s and women’s merchandise for the store, making for a long and gru-eling buying season.

She learned the high-end retail trade at the feet of her father, Murray Pearlstein, a legendary merchant who died in April 2013. In the late Sixties, Pearlstein trans-formed the store that was founded by his father and uncle and is credited with being among the fi rst to im-port Europe’s high-end de-signers including Giorgio Armani, Brioni and Luciano Barbera. He became known internationally as a retailer’s retailer, a visionary and a merchant with an inimi-table sense of style. Highly opinionated and often controversial, Pearlstein built a landmark store and is one of a handful of merchants, along with Fred Pressman of Barneys New York, credited with trans-forming the men’s wear industry in the U.S.

At the time of his death, Ralph Lauren said: “Murray Pearlstein was one of the leading creative minds of the men’s spe-cialty store world. He had his own design philosophy that shaped his store and its products. He had a voice and that voice was Louis Boston.”

Upon hearing of Louis’ impending closure on Friday, Joseph Abboud, a Boston native who spent 12 years work-ing for Louis part time as a salesman during college and then as a buyer, said: “To me, Louis was legendary, and I owe any success I have to Murray Pearlstein. He was Louis. He was all about moving tailoring ahead in a forward way. He was

a true genius.” Abboud believes Louis’ heyday was from the mid-Sixties to the early Eighties. “He found brands that no one else had — that was Murray. Even though it was a Boston landmark, it was globally known. This is a sad day.”

Since taking over the day-to-day opera-tions of the store in 2003, Greenberg has followed in her father’s footsteps, scouring the market. Louis had its share of ups and

downs over the years, including an ill-fat-ed short stint in New York City at the end of the Eighties.

Despite the challenges, Louis generally prospered in its home town, where it con-tinue to be a trendsetter. Among the men’s brands carried in the store today are Kiton, Belvest, Massimo Bizzocchi, Tim Coppens, Greg Lauren and Common Projects. Women’s labels include Jason Wu, Haider Ackermann, Baja East and Schai.

The store will close after its annual sale in July. After that, Greenberg’s plans are not set. “I just want to make sure my employees and vendors are OK, then I’ll think about it.”

Greenberg said she never considered selling the business or bringing in a part-ner. She said her 22-year-old daughter has “an amazing job” in a different industry and “is not ready for this yet. Maybe some-day she may want to do it, and she can, but not now. The option will be open to her.”

The thought of the store being oper-ated by someone outside the family is re-pugnant to her. “I don’t think I could bear it,” she said.

KIP TINDELL, chairman and chief execu-tive officer of the Container Store, today was named chairman of the National Retail Federation board of directors and chairman of its executive committee. He succeeds NRF immediate past chairman Stephen Sadove, the retired chairman and ceo of Saks Fifth Avenue. Tindell was elect-ed during an NRF board meeting Sunday at the organization’s 104th Convention and Expo, Retail’s Big Show, at the Jacob K. Javits Convention Center in Manhattan. Mindy Grossman, ceo of HSNi, was elected vice chairman of the NRF board. Each of-ficer will serve a two-year term.

Tindell and Grossman will work with NRF president and ceo Matthew Shay. Tindell may not be completely aligned with the NRF on all issues. At the Container Store, Tindell supports raising the national minimum wage and the retail-er is known for paying full-time workers about $50,000 a year on average. The NRF

is opposed to any minimum wage increase.The NRF also elected fi ve new board

members on Sunday. They are Marla Beck, cofounder and ceo of Bluemercury, Inc.; Pauline Brown, chairman of LVMH Moët Hennessy Louis Vuitton, Inc.; Gunther Bright, U.S. executive vice pres-ident of American Express, Merchant Services; Rick J. Caruso, founder and ceo of Caruso Affiliated; and Curtis Picard, executive director of the Retail Association of Maine.

As the world’s largest retail trade as-sociation, the NRF represents discount-ers, mass merchants, department stores, specialty stores and e-commerce retail-ers in the U.S. and more than 45 coun-tries. Shay said the group “continues to work with Capitol Hill on policies that directly impact one of the biggest in-dustries in the world, while simultane-ously learning more about the constantly changing retail landscape.”

2.5x7 (right)

Tindell Tapped as NRF Chairman

Louis Boston is shuttering

after 90 years.

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{Continued from page one}

Public School Wins Woolmark PrizeBy JULIA NEEL

LONDON — New York-based label Public School won the inaugural Men’s International Woolmark Prize held dur-ing London Collections: Men on Friday. Designers Maxwell Osborne and Dao-Yi Chow beat 61 other labels from 21 coun-tries, and will receive a cash prize of 100,000 Australian dollars, or $81,000 at current exchange.

Their collection will be stocked at re-tailers including Harvey Nichols, Saks Fifth Avenue, 10 Corso Como, Joyce, Isetan, David Jones and matchesfashion.com.

Woolmark chief executive officer Stuart McCullough said judges arrived at their fi nal decision after “vigorous dis-cussion and an arm wrestle.” Finalists included SISE from Japan; Asger Juel Larsen from Denmark; Australia’s Strateas.Carlucci, and The Emperor 1688 from United Arab Emirates.

The winners said making their cap-sule collection for the competition was a “massive learning curve” and a depar-ture from their usual work with tailor-ing, shirting and jersey knits.

“We didn’t know that [wool] can do so much,” said Osborne. “There were so many things we learned about wool doing this competition. We didn’t know about the breathability; it can protect you from sun rays; it can easily be washed; it doesn’t really smell — ever.”

With little previous experience, the design duo said they were free to explore fresh ways of using wool. “We were able to develop a fabric, boil it and treat a knit al-most like a woven. So we could cut it, we could drape it, we could pleat it, do all the things that you would normally do on a woven piece,” said Osborne.

“Many of the items were fully fashioned and fi t the body remarkably well,” said Sir Paul Smith, one of the prize’s judges.

“They didn’t use any zips or buttons because the collection was based on life in the future where you are in the middle of nowhere and the only thing you’ve got is wool. And so it was very much about, OK, we can weave it, we

can knit it, but we’re not going to sud-denly fi nd a zip or button manufacturer in the middle of nowhere.”

Smith added that the collection was wearable — and salable. “When you ac-tually dissect the outfi ts, when you just take the jacket or the sweater as an in-dividual item, then there were some re-ally good ideas there,” he said.

The winning collection came in shades of black and gray and featured boiled and blistered wool, seamless and jacquard knits and close-fi tting sweaters with skull-hugging hoods.

Maxwell Osborne and Dao-Yi Chow with a model in their design.

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Alexander McQueen: As the world reels from the terror attacks in France, the uniform must be a reassuring sight, connoting security and heroism. It’s also a symbol that “all men are equal in the face of duty, sharing equal honor, valor and truth,” according to Alexander McQueen’s eloquent show notes.

In a powerful and poignant show, creative director Sarah Burton also perpetuated the uniform’s enduring dignity and relevance via innovative tailoring and daring fabric choices.

Backstage, she said the Regency period informed the high, suppressed waists of suits, frock coats and offi cer jackets, some cut to “kick like a tailcoat” in the back. Burton magnifi ed the pinched shapes by sometimes splicing in brocade fl orals in the crisscross formation of fl ags, the apex of the X hitting the bellybutton. At a distance, and in olive drab tones, the blooms might register as camoufl age, but close up, they are poppies, the sight of which might make your chest swell or eyes well.

Interspersed were chunky army knits, neat shirts with rigid jabots and a cool navy varsity jacket-cum-blazer set off with leather sleeves.

The show climaxed with a formal segment enlivened with strategically placed military medals sparkling proudly from arms and chests. A black hourglass coat with a white shirt and stovepipe pants was a knockout, the picture of authoritative and gracious elegance. — MILES SOCHA

Moschino: Mountaineering ravers? That was the idea behind Jeremy Scott’s typically pumped-up, more-is-more Moschino collection. Taking his cues from Bruce Weber’s outdoor images, depicting what Scott described as “this triumphant mountaineer-type man,” Scott spiked all the plaid checks, shearling and fur that that idea conjures up with rave-ready textures, such as shiny plastic and shimmering sequins.

His muscle-bound models wore blanketlike coats in faux fur done to look like zebra or ermine, or bulked-up puffer coats that came in shiny sky blue or a patchwork print depicting images of denim jeans.

There were also some tongue-in-cheek takes on eveningwear, like a tuxedo jacket done in a mélange of plaids, while another bare-chested model sported a tux in silver, printed with garish orange Hibiscus fl owers. Scott piled on more embellishment with sequined silver pants and shearling-lined parkas covered in gold or silver sequins.

It goes without saying that this wasn’t a lineup for retiring types, but no doubt Scott’s photo-op-ready pieces will garner column inches and entice his growing crowd of celebrity fans. — NINA JONES

Dunhill: John Ray’s debut runway collection for the brand was a refi ned, glamorous effort inspired by late Fifties and early Sixties British bohemians, Soho denizens and men such as Francis Bacon, Richard Burton and John Osborne. “It’s the spirit and energy of London,” said Ray who cast stylish young bucks — including artist Guy

Gormley, musician Gwilym Gold and the pro-hunting activist Otis Ferry — to walk alongside the models.

The collection spanned pieces as diverse as plaid shirts, silk pajamas and even a mink coat modeled on one worn by Burton. There was outerwear galore, including a big alpaca coat layered over silk striped pajamas; plaid or hound’s tooth wool coats worn as casually as dressing gowns; and a parka with a shearling lining and fl uffy fur collar.

Suit trousers had high waists and were often worn with suspenders — much like the way Ray himself dresses. Tweed jackets had a preppy feel, while corduroy ones were looser with rounded shoulders, resembling artists’ smocks. The color palette, according to Ray, was inspired by leftover paints found in Bacon’s studio. Thanks to men like Ray, the British creative spirit is alive and well.

— SAMANTHA CONTI

J.W. Anderson: Carpeting his runway venue with shreds of purple rubber, Jonathan Anderson staged a Seventies

show that was inimitably his in its borderline awkward proportions and drab colors. Backstage, Anderson said his research hopped from the Fifties through the Eighties, “mixing everything up to the point where references don’t matter. It’s just about a look.”

Yet the decade that taste forgot came to the fore in slim leather trenchcoats, pointy collars on shoulders and striped or color-blocked “Brady Bunch” knitwear. Everything was shown with slim, high-waist dress pants intentionally slit to fl are and fl ap like French shirt cuffs. “I like the idea of the fl oppiness,” the designer enthused.

Not since Christian Lacroix’s heyday has a runway seen such big and eclectic jewel-like buttons, here punctuating fl aring, fi ngertip-length coats. Dramatic, fringed scarves added to the gender-bending spirit of the collection and telegraphed Anderson’s penchant for showmanship.

Snug shearling jackets with bibs and collars of clipped wool were exceptional, and stood out from the retro retreads. — M.S.

Coach: For his debut men’s runway show, Coach’s creative director Stuart Vevers was aiming for a collection that “suits the way we dress today,” and said his inspiration included New Yorkers’ no-nonsense winter wardrobes and the American fi lms of his youth, starring actors such as the young Keanu Reeves and Mickey Rourke.

The result was urban sophistication with a utilitarian twist. Shearling — long and short — played a central role: as a black dash of luxe on the front of a white varsity jacket; the trim on the edges of a nylon parka hood; or a warming addition to a zippered, elongated biker jacket. Short, teddy-bearish shearling coats were a highlight of the show that saw models strutting their stuff in front of two full-scale Joel Sternfeld images of the chilly outdoors.

Vevers also played with the idea of modern-day “fetishistic objects” — sneakers in particular. He decked out his footwear with thick, fuzzy shearling tongues, Coach’s turn-lock details and Whipstitch “tear and repair” trim, and printed

the word “Coach” in Japanese on sneakers and T-shirts. — S.C.

Christopher Raeburn: Christopher Raeburn is the latest designer to craft clothing from an infl atable boat. Rugged yellow parkas, bombers and backpacks bearing the original arrows and makings of a life raft opened his show, which pitched between outdoorsy classics and quirky novelties. The former included hooded macs and quilted toggled coats: the latter intarsia sweaters with shark motifs and zippered sailing bags in the shape of a Great White.

Raeburn seemed keen to impose a menacing narrative about survival and self-protection with his booming soundtrack of crashing waves and dubstep throb. He recently purchased a 25-man life raft online that came with enough rations to survive up to a month in open sea.

Yet the collection was approachable and easy to like, with cool tapered pants in raw denim setting off jean jackets and hoodies. Infl atable rubber puffer jackets and vests — way

6 WWD MONDAY, JANUARY 12, 2015

Alexander McQueen

DunhillMoschino

THE SEVENTIES — AND OTHER RETRO THEMES — HAVE RUN RIOT OVER THE LONDON MEN’S COLLECTIONS, ALONGSIDE ENGLISH HERITAGE FABRICS AND PERFORMANCE TOUCHES.

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FALL 2015

MEN’S COLLECTIONS

Alexander McQueen: As the world reels from the terror attacks in France, the uniform must be a reassuring sight, connoting security and heroism. It’s also a symbol that “all men are equal in the face of duty, sharing equal honor, valor and truth,” according to Alexander McQueen’s eloquent show notes.

In a powerful and poignant show, creative director Sarah Burton also perpetuated the uniform’s enduring dignity and relevance via innovative tailoring and daring fabric choices.

Backstage, she said the Regency period informed the high, suppressed waists of suits, frock coats and offi cer jackets, some cut to “kick like a tailcoat” in the back. Burton magnifi ed the pinched shapes by sometimes splicing in brocade fl orals in the crisscross formation of fl ags, the apex of the X hitting the bellybutton. At a distance, and in olive drab tones, the blooms might register as camoufl age, but close up, they are poppies, the sight of which might make your chest swell or eyes well.

Interspersed were chunky army knits, neat shirts with rigid jabots and a cool navy varsity jacket-cum-blazer set off with leather sleeves.

The show climaxed with a formal segment enlivened with strategically placed military medals sparkling proudly from arms and chests. A black hourglass coat with a white shirt and stovepipe pants was a knockout, the picture of authoritative and gracious elegance. — MILES SOCHA

Moschino: Mountaineering ravers? That was the idea behind Jeremy Scott’s typically pumped-up, more-is-more Moschino collection. Taking his cues from Bruce Weber’s outdoor images, depicting what Scott described as “this triumphant mountaineer-type man,” Scott spiked all the plaid checks, shearling and fur that that idea conjures up with rave-ready textures, such as shiny plastic and shimmering sequins.

His muscle-bound models wore blanketlike coats in faux fur done to look like zebra or ermine, or bulked-up puffer coats that came in shiny sky blue or a patchwork print depicting images of denim jeans.

There were also some tongue-in-cheek takes on eveningwear, like a tuxedo jacket done in a mélange of plaids, while another bare-chested model sported a tux in silver, printed with garish orange Hibiscus fl owers. Scott piled on more embellishment with sequined silver pants and shearling-lined parkas covered in gold or silver sequins.

It goes without saying that this wasn’t a lineup for retiring types, but no doubt Scott’s photo-op-ready pieces will garner column inches and entice his growing crowd of celebrity fans. — NINA JONES

Dunhill: John Ray’s debut runway collection for the brand was a refi ned, glamorous effort inspired by late Fifties and early Sixties British bohemians, Soho denizens and men such as Francis Bacon, Richard Burton and John Osborne. “It’s the spirit and energy of London,” said Ray who cast stylish young bucks — including artist Guy

Gormley, musician Gwilym Gold and the pro-hunting activist Otis Ferry — to walk alongside the models.

The collection spanned pieces as diverse as plaid shirts, silk pajamas and even a mink coat modeled on one worn by Burton. There was outerwear galore, including a big alpaca coat layered over silk striped pajamas; plaid or hound’s tooth wool coats worn as casually as dressing gowns; and a parka with a shearling lining and fl uffy fur collar.

Suit trousers had high waists and were often worn with suspenders — much like the way Ray himself dresses. Tweed jackets had a preppy feel, while corduroy ones were looser with rounded shoulders, resembling artists’ smocks. The color palette, according to Ray, was inspired by leftover paints found in Bacon’s studio. Thanks to men like Ray, the British creative spirit is alive and well.

— SAMANTHA CONTI

J.W. Anderson: Carpeting his runway venue with shreds of purple rubber, Jonathan Anderson staged a Seventies

show that was inimitably his in its borderline awkward proportions and drab colors. Backstage, Anderson said his research hopped from the Fifties through the Eighties, “mixing everything up to the point where references don’t matter. It’s just about a look.”

Yet the decade that taste forgot came to the fore in slim leather trenchcoats, pointy collars on shoulders and striped or color-blocked “Brady Bunch” knitwear. Everything was shown with slim, high-waist dress pants intentionally slit to fl are and fl ap like French shirt cuffs. “I like the idea of the fl oppiness,” the designer enthused.

Not since Christian Lacroix’s heyday has a runway seen such big and eclectic jewel-like buttons, here punctuating fl aring, fi ngertip-length coats. Dramatic, fringed scarves added to the gender-bending spirit of the collection and telegraphed Anderson’s penchant for showmanship.

Snug shearling jackets with bibs and collars of clipped wool were exceptional, and stood out from the retro retreads. — M.S.

Coach: For his debut men’s runway show, Coach’s creative director Stuart Vevers was aiming for a collection that “suits the way we dress today,” and said his inspiration included New Yorkers’ no-nonsense winter wardrobes and the American fi lms of his youth, starring actors such as the young Keanu Reeves and Mickey Rourke.

The result was urban sophistication with a utilitarian twist. Shearling — long and short — played a central role: as a black dash of luxe on the front of a white varsity jacket; the trim on the edges of a nylon parka hood; or a warming addition to a zippered, elongated biker jacket. Short, teddy-bearish shearling coats were a highlight of the show that saw models strutting their stuff in front of two full-scale Joel Sternfeld images of the chilly outdoors.

Vevers also played with the idea of modern-day “fetishistic objects” — sneakers in particular. He decked out his footwear with thick, fuzzy shearling tongues, Coach’s turn-lock details and Whipstitch “tear and repair” trim, and printed






Alexander McQueen

DunhillMoschino


True BritLONDON

FALL 2015

MEN’S COLLECTIONS






cooler than any life preserver, and with PVC valves jutting out at the shoulders — were greeted with smiles. — M.S.

Hackett: Baa baa. Hackett London takes its wool very seriously — so much so that tailor Jeremy Hackett invested in a sheep fl ock as part of a deal with his British fabric suppliers Fox Brothers & Co.

The capsule collection he showed Friday evening at a grand townhouse formerly owned by William Waldorf Astor was called “Sheep Shape & London Fashion” and was inspired by the late British tailor Tommy Nutter’s use of checks in various scales. There were suits, trousers and jackets done in contrasting checks — magnifi ed windowpane, tartan-inspired — and others made with a pattern of thick and thin stripes. Even the bowler hat, a Hackett signature, came decorated with a patchwork of checked fabrics.

Hackett nodded to another great sheep-related product, the shearling, which came in the form of a short coat or a

sleeveless vest, both paired with corduroy trousers. — S.C.

Margaret Howell: With its neutral color palette, natural fabrics and relaxed tailoring, this was another whisper-quiet outing from Margaret Howell.

But this season, the designer’s suiting had a particularly youthful air, with some pants cut to graze the ankle, while others slouched low on the hips and pooled at the ankles. Howell underlined the laid-back feel by pairing the tailoring with knitwear, such as a rugged, gray argyle sweater tucked into black pants.

Distinctive outerwear — like a Seventies-style shearling-lined jacket, or a roomy trench in faded yellow — also pierced the collection’s calm mood. — N.J.

Lou Dalton: Fall-winter 2015 is shaping up as a season celebrating the great — and blisteringly cold — outdoors, with designers showing performance-oriented, no-nonsense clothing with dashes of urban fl air.

Dalton was no exception. The designer turned out a

chic and restrained collection with lots of layering, including fl eece jackets and coats worn with fi tted, detachable vests, and nylon trousers that gathered at the ankle. Other jackets came complete with utilitarian zips while work shirts had oversize pockets.

The palette was mostly black with rare pops of dusty pink peeking from under jacket hems or from the skinny panels sewn onto the front of jackets. — S.C.

Topman: This was another retro outing for Topman Design, with a collection that embraced the outré side of Seventies fashion.

Dubbed Bombay City Rollers, the collection nodded to Scottish pop band Bay City Rollers, who made their sartorial mark with tartan fl ares and cropped tank tops. The collection took a largely literal approach to its theme, with shaggy faux-fur jackets, patchwork boiler suits, denim kick fl ares and tartan frock coats in navy or searing yellow all making an appearance.

While all that nostalgia made for a fun show, the most appealing looks had a more

modern touch — as in a wide-lapel peacoat in ombré shades of blue and cream, or skinny, double-breasted pinstripe suits paired with high-top white sneakers. Ultimately, the lineup skewed more costume party than real world. — N.J.

Richard James: The snowy, sun-stippled mountains of South America and the brave British men who built the railway through the Andes were the driving forces behind this polished collection packed with mineral-rich colors — such as cobalt blue — and dashes of bright folk embroidery.

Rust-colored herringbone coats took their cues from the fringed poncho that opened the show, while other coats and jackets in solid hues had skinny colored threads dangling from the sleeves or colored scraps of fabric on the front pocket.

Among the collection’s standouts was a short cobalt shearling coat, a dark gold velvet suit with a subtle glossy sheen and a lineup of embroidered silk jackets. Accessories such as scarves and slippers were decked with small

folk doll fi gures in colors such as pink, red and black. — S.C.

Christopher Shannon: Plastic carrier bags are going the way of incandescent lightbulbs, but not without a fashion tribute, courtesy of Christopher Shannon.

The unlikely motif yielded humorous slogans for intarsia sweaters — a plastic bag declaring “Thanks 4 Nothing,” a can of soda labeled “Broke” — and actual sacks as goofy headgear, fodder for tabloids and eye candy for stylists. Also strictly editorial were side-snap track pants deconstructed into shredded castaway pants. Yet the collection was inventive and newsy with oversize shapes.

Shannon has a knack for making his sporty and streetwise clothes distinctive, adding fuzzy 3-D patches to sweatshirts, contrast panels to sweatpants and zip-off sleeves to pilot jackets. Backstage, he characterized it as “reinventing classics.”

Scattering his logo and stick-on shapes across shirts and outerwear added to his wry commentary on throwaway culture. — M.S.

Coach

Lou Dalton Topman Richard James

HackettChristopher Raeburn

Margaret Howell

Christopher Shannon

J.W. Anderson


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8WWD.COM

FRIENDS IN DEED: John Galliano’s debut at Maison Martin Margiela today is to be witnessed by a number of his famous peers.

According to sources, Lanvin’s Alber Elbaz, Burberry’s Christopher Bailey and milliner Stephen Jones are among the designers expected to attend the French label’s Artisanal couture show, with a new offi ce tower in central London the chosen venue for Galliano’s comeback after racist and anti-Semitic outbursts in 2011 led to his spectacular fl ameout.

Kate Moss and Jamie Hince, along with fi lmmaker Pedro Almodóvar, are also said to be on the guest list. The show, rescheduled for 4:30 p.m., overlaps two men’s shows, Tiger of Sweden and Nassir Mazhar, and a C.P. Company presentation, as the men’s shows in the British capital wind up.

Meanwhile, buzz around Galliano’s work for Margiela is set to last long after the lights go down. On Jan. 25, Galliano’s appointment at Margiela will be the focus of a podcast to be aired by TuneIn Radio.

The podcast is part of a series created by Debra Scherer, a former Vogue editor and founder of the creative agency The Little Squares, and produced and distributed by TuneIn. It addresses Galliano’s appointment at Margiela as well as “the lost role of criticism” in fashion and the “new awkward relationship” between fashion and tech.

As part of a wider editorial project, Scherer did a shoot with vintage pieces by Margiela and Galliano from the late Nineties. In the podcast she talks about how similar the designers’ aesthetics have always been.

“All you really have to do is take a John Galliano jacket and turn it inside out, and you have a Margiela jacket. And there was a certain Margiela dress…a beautiful silk dress cut on the bias, like it could be John. With the distance now I realize how in tune with each other they actually were,” Scherer said in the podcast.

“It was really interesting to go back and actually look at the pieces together. They defi nitely have a lot more in common than one would think,” Scherer added.

— MILES SOCHA AND SAMANTHA CONTI

DE WINTER TO EXIT: Saks Fifth Avenue confi rmed Friday that one of its veterans, Jennifer de Winter, is leaving the company in about a month to take another job. De Winter, executive vice president and chief merchandising offi cer, reports to Marigay McKee, president, who has been playing the major role in reshaping Saks’ buying and fashion direction. The general merchandise managers report to de Winter.

According to Saks, it wasn’t a case of too many cooks. “Jennifer is tremendous.

She’s been with the company for 20 years and is very well respected,” said Kathleen Ruiz, Saks’ senior vice president of marketing and public relations. Asked if de Winter was nudged out of her Saks job, Ruiz said, “Not at all.” She had no knowledge of de Winter’s next job, and de Winter could not be reached for comment.

De Winter was promoted to her current title from executive vice president and director of stores in September 2013, at the same time it was revealed that McKee would be joining the retailer from Harrods.

— DAVID MOIN

H&M’S FESTIVAL FARE: H&M is rockin’ out. The Swedish retailer has teamed up with the Coachella Valley Music and Arts Festival in Indio, Calif., to produce its fi rst cobranded collection, H&M Loves Coachella. H&M, now

in its sixth year as a sponsor of Coachella, will sell the collection at 350 stores in North America beginning on March 19, and worldwide beginning on March 26, as well as online. In addition, a pop-up shop in the H&M tent on the festival grounds will feature exclusive merchandise. The music lineup at Coachella, which will take place during April 10 to 12, and 17 to 19, includes AC/DC, Alabama Shakes, Drake, Florence and the Machine, Nero, David Guetta, Kele and Lykke Li.

Over the years, the festival has become almost as famous for the array of fashion on display — worn by everyone from fans to members of young Hollywood — as the music. The H&M Loves Coachella collection features all the BoHo touch points: fringe, tunics and cutoffs. H&M’s in-house team designed for women lace tops, rompers, graphic tops, crop tops and wide-leg pants. For men there will be graphic T-shirts and shorts. Prices will range from $4.95 to $49.95. While tickets to the festival have been sold out for some time, H&M in March will give away several all-inclusive trips to Coachella. Customers who bring unwanted clothing to any H&M store to be recycled will receive a voucher for 20 percent off their entire purchase and be entered to win a Coachella weekend. “Coachella is one of the most anticipated music events in the country, and this collection gives fashion and music lovers the opportunity to be a part of it,” said an H&M spokeswoman.

— SHARON EDELSON


FASHION SCOOPS

Pre-Fall 2015

FOR MORE PRE-FALL 2015, SEE

WWD.com/runway.

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Paco Rabanne: Add Julien Dossena’s name to the list of designers who’ve opted to rework and refine fruitful ideas from past collections. His first pre-fall effort since joining Paco Rabanne in late 2013 carried forward the sporty, tomboy allure he’s spun to reboot the label’s Space Age image.

Sure, there were metal-mesh dresses, but styled with graphic Seventies ski sweaters or warm-up jackets (and not as short as the one Jane Birkin wore in the Sixties to shimmy with Serge Gainsbourg at a nightclub), plus fl at shoes or boots. Dossena etched active references lightly and cleverly: stripes-banded pert pea coats and kicky skirts, industrial zippers slithered up body-conscious jersey dresses and sturdy judo cottons cut into boyish utility shirts and dresses.

“Easy, light and accessible,” he said. Minus some overcharged optical prints and asymmetrical looks pierced with metallic jewelry and grommets, most of the collection was — and youthful, too. —MILES SOCHA

Tracy Reese: Approaching pre-fall with a wear-now, keep-forever state of mind, Tracy Reese provided her customer with a rich palette of easy, feminine

separates for the season. There were full, embellished skirts styled with slouchy, off-the-shoulder sweaters and deconstructed jackets — one belted style in colorful microstripes and another sleeveless option in black that could be worn as a dress. She also played with prints: eyelashes, dreamy digital florals and a Mark Rothko-inspired block print. “How can we look cool but not have to try too hard?” mused the designer during a walk-through. “That’s the goal.” — KRISTI GARCED

ICB: According to press notes, the ICB girl didn’t want summer to end and was clutching onto memories of nights on the beach and dining alfresco. As such, the design team — taking over for Prabal Gurung, whose three-year term as chief designer for the brand has come to an end — riffed on seasonal nostalgia via abstract patchwork prints and mixed-media knitwear. The palette read fall with its rich tones of burgundy, navy and slate gray, though there were a few pops of bright orange. Loose silhouettes and a focus on fabrics such as chambray and jersey kept things decidedly light. — K.G.

FOR MORE SCOOPS, SEE

WWD.com.

A look from the H&M Loves Coachella collection.


PERHAPS CHASTENED by past critiques of playing it too safe, quite a few actresses decided to go their own way at Sunday’s 72nd annual Golden Globe Awards, critics be damned. Emma Stone wore a jumpsuit with a crystal embroidered bodice and black pants from Lanvin, for instance, while Keira Knightley, Claire Danes and Anna Kendrick donned prints from Chanel, Valentino and Monique Lhuillier, respectively. And there were quite a few voluminous gowns on the likes of Kerry Washington, in Mary Katrantzou; Taylor Schilling, who wore Ralph Lauren; Felicity Jones, in dark teal Dior Haute Couture, and Jemima Kirke, in a silver-caped crop top and high-waisted white ball skirt by Rosie Assoulin. “It’s brilliant to be able to be yourself in your dress, instead of playing a role,” said Ruth Wilson of her green Prada sheath.

Julianne Moore, nominated for her role in the indie “Still Alice,” was also jazzed about her dress, a silvery beaded custom Givenchy with ostrich feathers at the hem. “Riccardo [Tisci] sent a few sketches for me to look at and this is what he came up with. I’m very lucky,” she said.

Jessica Chastain was already having a good time in her curve-

hugging and skin-baring Atelier Versace, which also had a bit of copper thread to match her hair. “It’s not just a good-time dress, it’s…I’m stuttering because it’s so amazing…I feel like it’s some movie star character I’m playing in this dress,” she said. Well, she is a

movie star, after all, and one who commands custom dresses made months in advance (she had her fi nal fi tting when she landed in L.A. on Wednesday).

Matt Bomer was celebrating even before he picked up his prize as best supporting actor for his role in the HBO movie “The Normal Heart.”

“This show is always a bit more fun, more relaxed. I mean, there’s alcohol on the table. And the only way to win is to have a good

time. Even if you win, if you’re not having a good time, you’re really not winning,” he said.

While in the past the other halves of celebrity couples have stood back while their spouses ran the gauntlet, Sunday was a night of couples walking the red carpet together and none did so more prominently than George and Amal Clooney. The newlyweds arrived to much fanfare — he wore

Giorgio Armani, she was in Dior Haute Couture

— and breezed into the Beverly Hills

Hilton, stopping only to sip a mini

bottle of Moët & Chandon.

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Dakota Johnson in

Chanel Haute Couture.

Rosamund Pike in Vera Wang and Fred Leighton.

Allison Williams in Armani Privé and Cartier.

George Clooney in Giorgio Armani with

Amal Clooney in Dior Haute Couture and

Harry Winston.

Matt Bomer in Ralph Lauren.

Eddie Redmayne in Gucci.

Keira Knightley in

Chanel Haute Couture.

Taylor Schilling in

Ralph Lauren. David Oyelowo

Sienna Miller in Miu Miu and

Tiffany & Co.

Reese Witherspoon in Calvin Klein Collection and Tiffany & Co.

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Circling the Globes

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BEFORE THE Golden Globes, Hollywood was keeping quiet Saturday night at Barker Hangar in Santa Monica. Marina Abramovic was tasked with conceptualizing Art of Elysium’s annual Heaven Gala, and she came up with a “no speaking policy” for the cocktail portion of the evening.

As the likes of Johnny Depp and Amber Heard, Usher, Joaquin Phoenix and Dita Von Teese fi led into the venue, they were greeted with Costume National robes and headphones.

“I like to do unusual events,” Abramovic said. “I like to have people come away with a different experience. At galas, it’s always the same setup. Let’s change the rules and the experience. There’s silence. There’s beds. And there’s pajamas. Let’s see how L.A. is going to like that. It’s diffi cult to fi nd something original. So here I am. I tried my best.” Los Angeles seemed to like that just fi ne.

“There’s something really beautiful about it — this forced silence,” said Elijah Wood, who later DJ’d. “It’s a great equalizer.” For their part, Depp and Heard ignored the rules and chatted in a roped-off area until it was time to walk on stage for the actress to be honored for her work with the children’s nonprofi t. The occasion was only dampened by the daylong rainstorm that soaked the red carpet outside and even some of the guests.

“My poor Valentino,” sighed Jaime King. The gala was one of the last of the many swanky shindigs

thrown around Los Angeles since Thursday in anticipation of the coveted awards on Sunday. Earlier on Saturday, the Four Seasons Beverly Hills was fi lled with gorgeous Brits like Keira Knightley, Rosamund Pike and Cara Delevingne for BAFTA L.A.’s annual

tea party. But all eyes were on “The Theory of Everything” star and Globe nominee Eddie Redmayne. Dapper in a cerulean Alexander McQueen suit, Redmayne said his approach to dressing for the busy awards season is to rely on

the experts at McQueen and Gucci. “They have brilliant people there who basically tell me what to do,” said the newlywed, with wife Hannah Bagshawe by his side.

“He’s upstaging all the girls,” complained his costar Felicity Jones. “I’m like, ‘Come on, Eddie. Stop doing this to us. I can’t compete with that velvet suit!’” she said, recalling the Gucci ensemble he donned to their premiere in New York.

While a sign declared the soirée a “no selfi e zone,”

when Delevingne, Redmayne, Knightley and husband James Righton converged to joke around, all bets were off, as cellphone-wielding attendees snapped away despite warnings from security. Much earlier in the day, a phalanx of starlets — Allison Williams, Brit Marling, Kiernan Shipka and Michelle Monaghan — took over A.O.C. for W magazine’s It Girls luncheon. “It’s fl attering to be invited to stuff like this,” said Gigi Hadid, who was catching up

with fellow comrade in “It”-ness Nicola Peltz. Unlike many of the Globes-bound actresses there, the model will sit out the awards show because Sunday is boyfriend Cody Simpson’s birthday, and the two plan to spend it at home. “It’s important to make time, otherwise we’d never see each other,” she said. “We both work in entertainment and jobs can be so last-minute.…We keep crossing paths on planes.”

Though Miley Cyrus turned up at the magazine’s party Friday night for its “Shooting Stars” exhibit at the Old May Company building, it was Kim Kardashian

who caused the biggest stir this time, at least among the paparazzi. She was in town not for the Globes — she was returning to New York later that night — but to take husband Kanye West and daughter North to a children’s birthday party.

“I brought my husband and we walk in and it’s, like, only the moms. I was like, ‘Sorry!’” she said. “All the moms were like, ‘How’d you get him to come here?’ I didn’t know some parties were moms-only. I’m still learning.”

— LINDZI SCHARF, JENNY SUNDEL AND MARCY MEDINA

Jamie Dornan and James Corden with Cara Delevingne in Mulberry.

Miley Cyrus in Balmain.

Steve Carell and Adrien Brody at the BAFTA L.A. tea.

Keira Knightley in Hermès and Eddie Redmayne in Alexander McQueen.

Kim Kardashian in Ann Demeulemeester.

Amber Heard in vintage Christian Dior with Johnny Depp.

Jaime King in Valentino

and Dita Von Teese

in Carolina Herrera.

Usher

Gigi Hadid in Cushnie et Ochs.

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signer and the creative director of the Gucci-owned Richard Ginori, is among the con-tenders to succeed her at the creative helm.

“The Michele option reinforces the idea that Gucci wants to get back on track with hot accessories,” said a source familiar with the company. “There hasn’t been an iconic product for the past three or four seasons.”

The source also underscored how Michele “knows all the inside mecha-nisms. With a brand such as Gucci, cre-ativity is tied to industrial development. It’s a very scientific machine, where mar-keting has its say. It’s creative only up to a certain point. Calling in a designer from outside can bring an added touch of al-lure, but a designer from the inside may work better in the long run.”

Kering, controlled by France’s Pinault family, has a track record of promoting inside talents.

Indeed, when Gucci was faced with replacing its tag-team of Tom Ford and Domenico De Sole when they exited in 2004, it promoted a trio of insiders — Alessandra Facchinetti, Giannini and John Ray — to succeed Ford at the design helm, heading women’s ready-to-wear, ac-cessories and men’s wear, respectively.

Giannini eventually took over as the brand’s sole creative director, ultimate-ly relocating the design studios to her hometown of Rome.

If Michele does prevail, he would become the latest hidden talent inside luxury’s most lucrative category to win a broader creative purview, echoing the recent appointment of Johnny Coca as creative director at Mulberry.

Most recently the head design direc-tor for leather goods, accessories, shoes and jewelry at Céline, Coca is to join the British brand in July.

“It makes perfect sense that the cre-ative director would be an accessories designer at a house like Gucci, which historically is a leather goods compa-ny,” said Mary Gallagher, European as-sociate for New York-based search firm Martens & Heads. “People tend to forget that it was only in the past 20 to 25 years that houses like Gucci, Prada and Louis Vuitton had a significant ready-to-wear offering and held catwalk shows.”

In recent years, Valentino’s duo Maria Grazia Chiuri and Pierpaolo Piccioli, and Stuart Vevers are among accessories de-signers hidden inside marquee brands to take over the overall design steward-ship, underscoring the primacy of the cash-cow category across a broad swath of brands. Vevers, who cut his teeth at Mulberry, emerged as creative director

of Loewe, recently moving on to Coach, for which he just unveiled his first men’s effort during the London men’s shows.

A more recent example is Pablo Coppola, who in February was named design director at Bally after six months as the Swiss brand’s accessories design director. During his career, Coppola has designed accessories for brands includ-ing Christian Dior, Tom Ford, Alexander McQueen, Burberry and Céline.

Such appointments marked a sea change in the industry over the past de-cade, which tends to have relied on hot names in fashion to rejuvenate brands of all kinds — even if bags represent the lion’s share of business.

Rtw accounted for only 11 percent of Gucci’s revenues in 2013, versus 58 per-cent for leather goods, 14 percent for foot-wear and 17 percent for other categories.

Giannini herself was initially Gucci’s handbag designer and rose through the ranks to become its sole creative director in 2006. In an interview in 2007, she cited a potent reason: “There is a lot of compe-tition in the accessories sector, which is highly profitable.”

Gallagher noted that accessories de-signers are “extremely sought-after these days by brands that know they can add a chunk to their bottom line with the right handbag or shoe collection.”

The headhunter characterized the talent available as a “rather small and exclusive pool” and noted that an expe-rienced, creative bag or shoe designer with technical chops and a strong track record of “hits” can claim a very high salary equal to or better than his or her counterpart in rtw.

Michele joined Gucci’s design team in 2002 and in 2011 was named Giannini’s associate, with direct responsibility for the leather goods, shoes, jewelry and home collections.

In September, he was named creative director of Richard Ginori, the Gucci-owned porcelain brand, and helped to create its new store concept in Florence that was unveiled in June. He has also worked at Fendi, and is a sought-after talent in the industry.

A market source familiar with Gucci said, however, that Michele may be too closely associated with Giannini to be considered for the job: “They can’t afford to make a mistake at Gucci right now, and it would be a strange message to send if the company wants to telegraph a big change, since Michele has been working with Giannini for so long and may just carry on her legacy.”

The source wondered whether ap-pointing Michele would “be a way to cush-ion Giannini’s sudden departure. Perhaps until a marquee name is available.”

According to sources, Bizzarri has yet to make a final decision. Givenchy’s star couturier Riccardo Tisci and Valentino’s Chiuri are believed to be among other tal-ents being considered for the job, along with Joseph Altuzarra. Kering took a minority stake in Altuzarra’s New York-based fashion house last year and the de-signer has sat front-row at the Gucci show.

WWD reported in February 2013, cit-ing market sources, that Tisci renewed his Givenchy contract for another three years, which could impede his immedi-ate mobility. It is understood the current pact expires in October. “Perhaps this could be a move similar to Dior’s with Billy Gaytten succeeding John Galliano,” the source said, alluding to the stopgap period between Galliano’s ousting and the appointment of Raf Simons as the French house’s new couturier.

It is understood that Gucci has a lease on its Rome headquarters that runs until 2020, so the designer who replaces Giannini has to be prepared to work be-tween Rome and Milan.


CATHY HORYN IS BACK IN FASHION: Cathy Horyn, the former lead fashion critic for The New York Times, is picking up her pen, but for a different publication. Horyn will serve as critic-at-large for The Cut for 2015. Although financial terms of the contract were not disclosed, Horyn will cover both spring- summer and fall-winter collections in New York and Paris for The New York Magazine-owned site. Her contract may also be extended after this year.

Horyn, who resigned from The Times last February to care for her partner, the late Art Ortenberg, did not at that time indicate she planned to return to fashion criticism, following her 15-year career at the newspaper. Since then, she has penned occasional stories for The Times, and is currently in the process of writing a book, which will be published by Rizzoli, about how the Times has covered fashion from the 1850s to the present. Under the New York contract, Horyn cannot write for another publication about fashion; however, she may continue to work on her book, which is deemed a long-term project.

Horyn’s departure from The Times was part of a departmental shake-up in which the Styles section lost two other critics — Suzy Menkes, who left to become a critic for Vogue’s international Web sites, and Eric Wilson, who decamped for InStyle.

“Cathy was always on our dream list for her unique authority and style,” said The Cut’s editorial director Stella Bugbee, who explained that Horyn “was not looking” to return to the fashion circuit. “We approached her,” Bugbee said. “It wasn’t a very long convincing process.”

Through executive editor Laura Kearn, who had worked at The New York Times Magazine where she became close to Horyn, The Cut was able to lure the high-profile critic. According to Bugbee, while Horyn will write reviews and commentary, her role will be expanded at The Cut to potentially include other mediums. “I think she’s going to be doing a mix of things for us — traditional reviews and exploring what a site like ours has to offer,” the editor said. “She’s not limited strictly to reviews. I’m hoping she’ll have a lot of fun with it.”

Prior to Horyn, The Cut had contracted Robin Givhan as its fashion critic for the September 2013 and February 2014 shows, before she returned to The Washington Post as its fashion critic. The Cut’s fashion news editor Véronique Hyland handled reviews for Paris and New York shows last fall. She will now just review emerging designers in New York, while Horyn covers the bigger players in Manhattan and reviews shows in Paris.

Editor in chief of New York Magazine Adam Moss added: “I loved working with Cathy at The Times, and I love even

more the opportunity to work with her at the Cut. She’s as good as they get.”

Horyn could not be reached by phone Friday, but said via e-mail of her new gig: “It’s a new platform for me, a nice change, and I look forward to writing about the shows.”

— ALEXANDRA STEIGRAD

CHIC AMAZON: Isabel Marant is turning female warrior for spring. The French designer has cast model Natasha Poly to appear in a campaign that telegraphs the brand’s more dynamic side. “The inspiration for the spring-summer show was something tribal, but not in the literal sense. And so for the campaign, we wanted to show a very modern and urban girl, but also to get across her savage attitude,” Marant told WWD. Dressed in an oversize, belted jacket, a printed miniskirt and Spartan leather sandals — a must-have next season — Poly is seen playing her bellicose part with humor.

“She’s a warrior, but she’s also fun. It’s not supposed to be so serious,” explained the designer, adding that the whole team was cheering the model on, mimicking gestures to help Poly strike a pose for photographers Inez van Lamsweerde and Vinoodh Matadin.

“Natasha has a lot of different characters and we knew she would play the game. She is also not as [branded] as the other girls,” said Marant, who noted that even the makeup done by Lisa Butler and hair by Didier Malige was “a bit animal too — like a leopard or a lioness.”

The campaign, which is to appear in the February issues of French Vogue, British Harper’s Bazaar and Elle, before breaking in the March issues of Elle US and Interview magazine, comes at a time of strong development for the brand, with forthcoming store openings at the Miami Design District and in San Francisco.

— PAULINA SZMYDKE

Frankfort to Join Sycamore

MEMO PAD

{Continued from page one}

Natasha Poly in Isabel Marant’s new spring campaign.

Frida Giannini Makes Early Exit From Gucci

By VICKI M. YOUNG

NEW YORK — Lew Frankfort will join private equity firm Sycamore Partners as an executive in residence.

Frankfort, former chairman and chief executive officer of Coach Inc., holds the title chairman emeritus at the accesso-ries firm. In his new role at Sycamore, Frankfort will work closely with the pri-vate equity firm and the management teams of its portfolio companies, allow-ing them to tap into his knowledge and managerial expertise, as well as his net-work of industry connections.

Stefan Kaluzny, Sycamore’s man-aging director, said, “Lew Frankfort is a legend in the retail industry, with decades of experience building brand awareness, developing customer loyalty

and driving global growth at Coach.”Kaluzny said his firm and Frankfort

will be focusing on “building a portfo-lio of best-in-class consumer and re-tail brands.”

Frankfort said, “I am excited to join Sycamore Partners as an executive in residence. The firm has an excellent reputation in the industry for building lasting value.”

Coach was founded in 1941, but saw much of its growth under Frankfort’s leadership. He took the brand global and drove sales to $5 billion from $6 million during his tenure.

Victor Luis became ceo in January 2014, with Frankfort staying on as chair-man until his retirement in November, when he was given the honorary title of chairman emeritus, honoring his 35 years with the company.

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