DAILY EDITION NOVEMBER 1, 2016 1

Fashion. Beauty. Business.

New BabyOlivia Chantecaille is adding a prestige baby line to her beauty business.

Page 8

All About ThomasBurberry’s latest film is a fictional account of its founder, Thomas Burberry.

Page 11

Country DudsCountry stars are expected to go more designer than down-home at the CMA Awards.

Page 9

● Other trends expected to be seen on Nov. 11 are virtual-reality technology and an emphasis on customization.

BY CASEY HALL WITH CONTRIBUTIONS FROM TIFFANY AP

SHANGHAI — Ahead of China’s largest annual consumer event, high-end brands have started jumping on the Singles’ Day bandwagon.

Other trends emerging ahead of this year’s event are the introduction of virtual reality shopping experiences and the emer-gence of a consumer-to-business strategy in which customization will be used to attract consumers in what has become an excep-tionally crowded marketplace.

According to Singles’ Day folklore, the shopping festival more commonly known in China as “shuang shi yi” or “double 11” — a term the e-commerce giant Alibaba trademarked back in 2012 — started its life as a sales promotion on Alibaba’s Tmall platform in 2009 with just 27 brands taking part.

Last year, consumers spent $14.3 billion on Alibaba’s shopping platforms over the 24-hour period, beating both analysts’ expectations and the web giant’s previous

● Fashion designers support Varsity Brands in the case, an effort to fight for design protection.

BY KRISTI ELLIS

WASHINGTON — Sending a shiver of worry through the fashion world, the Supreme Court on Monday expressed some skepticism about copyright protec-tion for designs.

The justices weighed the legal question of what the appropriate test should be to deter-mine when a feature of a piece of clothing is protectable under the Copyright Act.

Cheerleader uniforms were at the center of the debate in the case before the High Court — Star Athletica LLC v. Varsity Brands Inc. The court’s decision could have

BUSINESS

Singles’ Day Festival Looks Upmarket

BUSINESS

High Court Ponders Copyrights On Apparel

CONTINUED ON PAGE 6

CONTINUED ON PAGE 3

Spring’s most appealing bodysuits are not for exercise — but rather forflaunting on a night out with sexy jeans for that Nineties-cool look. Here,Halston Heritage’s sleek silver foiled jersey bodysuit paired with Rachel

Comey’s cotton denim jeans and Amator’s polyester, cotton and polyamideblazer. Casadei pumps; Louis Vuitton earring; Diaboli Kill and Luz Ortiz rings.

For more, see pages 4 and 5.

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FOR MORE INFORMATION, PLEASE CONTACT PAMELA FIRESTONE, ASSOCIATE PUBLISHER AT 212 256 8103 OR PFIRESTONE@WWD.COM

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Marc Jacobs Goes All Out at Bette Midler’s Annual Hulaween Party● He might’ve been the

costume contest judge, but Marc Jacobs wore easily the most talked about costume of the night.

● François-Henri Pinault Lauds Alessandro Michele’s Gucci Turnaround, Promises More ‘Fireworks’

● LACMA Art + Film Gala 2016: Leonardo DiCaprio, Salma Hayek, Gwyneth Paltrow

● Chatbots Are Moving In, But Not Taking Over

● Fan Bingbing and Li Chen Front H&M’s Chinese New Year Campaign

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far-reaching implications for the fashion world, which is seeking clarity on design copyright rules.

A group of fashion designers and industry executives led by Susan Scafidi, founder and academic director of Ford-ham University’s Fashion Law Institute, have filed an amicus curiae brief in the case in support of Varsity Brands in an effort to fight for design protection.

The designers include Jack McCol-lough and Lazaro Hernandez of Proenza Schouler; Narciso Rodriguez; Maria Cornejo, creative director, and Marysia Woroniecka, founder and president, of Zero + Maria Cornejo; Jeffrey Banks; Barry Kieselstein-Cord; Melissa Joy Manning; Keanan Duffty, and Natha-lie Doucet, founder of Arts of Fashion Foundation.

But if Monday’s oral arguments are any indication, some justices seemed skeptical that copyright protection extended to the two-dimensional designs applied to fabric if they are also deemed functional in the utilitarian articles.

A few justices repeatedly pointed to the example of camouflage in military uniforms, noting that camouflage serves a function — for example, to let the soldier hide in the woods — and cannot be sepa-rated from the uniform itself.

John Bursch, Star Athletica’s attorney, argued that Congress did not “intend to grant a century-long copyright monopoly in cheerleader uniform design.”

He said Congress made clear that two-dimensional and three-dimen-sional designs must be “analyzed for separability.”

In the case of Varsity’s cheerleader uniforms, he argued, the copyrighted designs served the function of an “optical illusion,“ making the cheerleaders appear taller or slimmer and added to the useful article’s utilitarian function.

“The purpose of having a separability test under [the statute] is to make sure that anything that enhances in any way the functionality of a useful article is not within the subject matter of copyright,” Bursch argued. “Our position is that they cannot then take that image and prohibit us from making the actual three-dimen-sional uniform. And the reason for that [under the law] is because the design neither can be identified separately, nor can exist independently, which are the statutory requirements of the ‘utilitarian aspects’ of the cheerleader uniform.”

Justice Elena Kagan said: “The reason why camouflage is such a good example for your side is that camouflage actually — we can understand it as having a utilitar-ian function that is different from simply conveying information and it is different from simply making something appear a certain way…In other words, the utilitar-ian function that camouflage has is to hide you in the woods.”

Bursch said Star Athletica does not con-test that Varsity has the copyrights of the designs and wouldn’t contest that some-one could in some cases also copyright a camouflage design.

“But that copyright doesn’t extend to prevent you from making the useful arti-cle depicted. That’s where the line stops,” he said.

William Jay, the attorney for Varsity, argued that the graphic designs covered by the copyrights, including the striped chevrons and color blocks, are separable from the useful article.

But Chief Justice John Roberts peppered him with a long line of questions.

“If you take them off the useful article,

you have whatever color the fabric is, a white dress. If you look at somebody in the white dress, you don’t say, oh, that’s a cheerleader,” Roberts said.

Jay argued that in Star’s own catalogue there were “examples of uniforms that have neither stripes nor chevrons nor color blocks. Those simply aren’t essential to identifying a cheerleader as a cheer-leader, even if identifying were a function that’s cognizable under the statute, which it is not. Ultimately, the design can be taken and put on other articles.”

He said he resisted the premise that “these five particular designs — striped chevrons and color blocks — are what make a cheerleading uniform a cheer-leading uniform.”

Roberts seized on Star Athletica’s argument: “Because it is the design that makes the dress a cheerleading uniform, you can’t separate; you can’t copyright the design applied to that functional article.”

The quest to expand copyright pro-tections for fashion creations has been elusive in an industry plagued by design piracy. They are seeking to hold on to the limited protection they have and sup-port more clarity for design copyright rules in the courts.

Justice Sonia Sotomayor proclaimed: “You’re killing knock-offs with copyrights. You haven’t been able to do it with trade-mark law. You haven’t been able to do it with patent designs. We are now going to use copyright law to kill the knock-off industry. I don’t know that that’s bad. I’m just saying.”

“For a hundred and more than that years, the fashion industry has not enjoyed copyright protection,” said Justice Stephen Breyer. “It’s an industry on the women’s side, I believe, $225 billion, at least, worth of clothes are sold every year. If suddenly in this case we say that dresses are copy-rightable and they are because every one of them has some design, perhaps we’ll double the price of women’s clothes.”

Scafidi said she was concerned about the court’s questioning on Monday.

“The court’s focus today on function-ality rather than a test for conceptual separability” could have potentially been a benefit for Star Athletica and “unwel-come” news to Varsity and the fashion supporters.

“Functionality is the bar to copyright protection that prevents most fashion designs from being registered,” she said. “Over a century ago, the Copyright Office decided to categorize even the most fan-ciful clothing as merely functional, apart from conceptually separable elements, and the fashion industry has been fight-ing for some kind of protection against copying ever since.

“Today’s questions from the court raise the specter of the court attributing copy-right functionality to military camouflage

patterns, to surface designs that have a visual slimming or curve-enhancing effect when worn or to clothing that indi-cates the wearer is a cheerleader,” Scafidi added. “This line of thinking could lead the justices to deny protection to the designs on cheerleader uniforms at issue, and by extension to many other surface designs on clothing. It is also in my opin-ion fundamentally misguided.”

The U.S. Solicitor General’s office sided with Varsity in the case. The jus-tices will issue a decision in the case by next summer.

It is already a case that has divided lower courts. Varsity Brands sued Star Athletica in 2010, accusing the company of infringing on several copyrighted designs on its cheerleader uniforms. Var-sity said it had five registered copyrights for multiple graphic designs, including stripes, color blocks and chevrons, that appeared on its uniforms and warm-ups, and accused Star Athletica of infringing on those designs, alleging they were “substantially similar” to the designs for which Varsity held valid copyrights.

Star Athletica asserted that Varsity’s copyrights were invalid because the designs at issue were “unprotectable” designs of useful articles and they were not physically or conceptually separable from the uniforms.

The District Court for the Western District of Tennessee in Memphis ruled in favor of Star Athletica, agreeing that Varsity’s copyrights were invalid because the elements weren’t separable from the utilitarian function of a cheerleading uniform.

Varsity appealed the decision to the Sixth Circuit Court of Appeals, which reversed the lower court’s ruling in August. The appeals court, noting that the copyright law protects fabric design and (typically) not dress design, ruled that Varsity’s designs were “more like fabric design than dress design” and therefore protectable. The appeals court ruled that the arrangement of stripes, chevrons, zig-zags and color blocking are separate from the utilitarian aspects of the cheerleading uniform’s design.

The concept at the heart of the case is known as “conceptual separability,” according to legal experts. Generally speaking, under the Copyright Act, “use-ful articles” cannot be copyrighted, but components of an item that can be iden-tified as being separate from or existing independently of the utilitarian aspects of an article of clothing can be.

The circuit courts, Copyright Office and academics have proposed at least nine different tests to analyze this “sep-arability” of components of an article and distinguish between copyrightable designs and industrial designs that are not protectable.

High Court Ponders Copyrights On Apparel CONTINUED FROM PAGE 1

The U.S. Supreme Court questioned copyrights related to cheerleader uniforms.

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TrendsBodysuits

More than just figure-sculpting innerwear, spring’s bodysuits are meant to be shown off. Standout styles range from the flashy paillette-adorned Mugler, to the dramatic one-sleeved Adriana Degreas, to the downright chic offered by Anais’ asymmetric long sleeve — and everything in between. BY ANDREW SHANG

Stretch Out

Adriana Degreas’ silk bodysuit.

Fleur du Mal’s polyester, polyamide and

spandex bodysuit.

Mugler’s cotton and sequined bodysuit.

NOVEMBER 1, 2016 5

TrendsBodysuits

Zigilane’s microfiber and nylon bodysuit.

Anais’ heavyweight, stretch-jersey bodysuit.

Libsa’s polyester, viscose and elastane bodysuit.

Katie Gallagher’s pony hair and nylon

spandex mesh bodysuit.

Alix’s polyester bodysuit.

Cover’s nylon and spandex

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● Industry observers shared their thoughts on his influence on the landscape of American fashion.

BY ROSEMARY FEITELBERG

For those who knew him or his work, James Galanos was a top-flight American designer whose craftsmanship rivaled that of his European counterparts.

Galanos, who died Sunday at the age of 92, was remembered for his exactitude. Plans for services or a memorial were not yet available Monday.

In September, the James G. Galanos Foundation gave nearly 700 ensembles to the Robert and Penny Fox at Drexel University’s Westphal College of Media Arts and Design. Galanos’ alliance with the Philadelphia school was due in part to his hometown roots. Photographs and other ephemera from Galanos’ career will also be given to Drexel’s James G. Galanos Archives, according to Clare Sauro, direc-tor and chief curator of the Robert and Penny Fox Historic Costume Collection.

“We are constantly amazed at the quality of the textiles. It is one of the things that you read about. Until you actually see them up close — rack after rack after rack of these garments — it is absolutely aston-ishing the variety and the textures and the colors. They’re just incredibly sumptuous and beautiful,” she said.

Hoping to have a retrospective of Gala-nos’ work in two years’ time, Drexel plans to purchase more tailored mannequins since the designer was partial to really thin models, Sauro said. “There are a few things young designers across disciplines can take away from his legacy. He had a

very clear sense of who he was and what he wanted to accomplish. This could be read as prickly and standoffish, but really he was just dedicated to his craft. If anything distracted him from his craft, it wasn’t worth it. I think the single-minded focus, attention to detail and the integrity are something designers and aspiring designers can really take to heart — to be the best that you can be and don’t try to be like everyone else.”

Iris Apfel first met Galanos in the Fifties when he frequented Old World Weavers, the textiles business she ran with her husband, Carl.

“Galanos was one of the most brilliant designers I’ve ever come upon. He should sit in the pantheon. His clothes were Amer-ican couture. His clothes were made as well as the finest houses in Paris. It was a sen-sual experience to put on one of his dresses because the inside was so exquisitely made. You could turn them inside out and they were gorgeous. He was very advanced. He walked to his own drummer. He didn’t play around with trends,” she said.

Sonja Caproni, fashion director for I. Magnin in the Seventies and Eighties, which carried Galanos’ designs, said, “We had a very large Galanos business. It was just enormous. I think our trunk show figures with him were larger than any other designer at that time. I remember them going over $1 million at times. In today’s dollars, that would really be a lot of money. He had dedicated customers who would wait for him. Twice a year they would really wardrobe from him. They would buy 10, 15 outfits which would add up quite a bit.”

“His perfect workmanship and dedi-cation made him so successful and the fact that he never did a second line,” she added. “He never had licensees or any

of that. He did furs and perfume, but his clothes really were a work of art. Every one of them was fit by him and fabricated by him. I don’t think there was any such thing as a hands-on designer like that. Many times it was even better than what we could buy in Paris. It was so close to couture. You really couldn’t make a mis-take if you wore Galanos.”

Marylou Luther, editor of the Interna-tional Fashion Syndicate, recalled, “When I first went to work at the L.A. Times, there were two big names at that moment. Norman Norell once funnily said, ‘You have to be up for wearing a Galanos. For a Norell, you can just go into your closet.’ I totally adored what Galanos did as an American designer, not only being creative but seeing him with his customers. He had

the most loyal clients.”“He spent his life in California so he

became like an exotic flower,” said Stan Herman. “He would come to New York to show his collections in the hotels in a very high-end manner where Norell did showroom shows. Galanos’ shows were for the ladies mostly. He was the first designer other than maybe Norell or Mainbocher who chose gorgeous fabrics from Europe and he essentially competed with the Euro-pean designers. He eventually became more of a custom, couture designer. He was a little more relaxed in his designing. He didn’t have the deadlines that we have now. Sometimes he would come to New York maybe six weeks after everyone had shown. The press treated him reverently. He is certainly one of the major branches in American fashion. But like people who choose to be on their own, he never really fit into the big trunk of the tree.”

Valerie Steele, director and chief curator of The Museum at the Fashion Institute of Technology, also pointed to his craftsmanship. “What Galanos was really best known for apart from dressing Nancy Reagan, within fashion history he was best known for craftsmanship that was the equivalent of couture craftsmanship on the part of an American designer. He made a real point of hiring people for his atelier, who either had worked in couture, or had done couture level work for the Hollywood studios. Although the clothes were essentially for the most part off-the-rack, everything was done so exquisitely — the embroidery, the handling of the material like a chiffon. He and his people could handle it all so beautifully.”

But Ellin Saltzman perhaps summed Galanos up best: “He was a genius and his clothes were perfection for his clients.”

EYE

James Galanos Recalled as Design Titan

2014 Singles’ Day record of $9.3 billion worth of merchandise sold.

By even further diversifying its offering and brand partners participating in the festival, as well as extending the period for pre-orders of discounted product to sev-eral weeks before Nov. 11, Alibaba is likely to break this sales record again this year.

According to Tompkins International Consulting principal Michael Zakkour, there should be “massive growth” in Singles’ Day results for the next ten years as China’s online shopping population grows from its current level of 500 million up to as many as 800 million shoppers, and the country’s middle class expands by hundreds of mil-lions of people over the same period.

“It is reasonable to assume 15 to 20 percent year-on-year growth for the next decade,” Zakkour said, though he pointed out that he expected Alibaba to hit $11 bil-lion to $12 billion in sales for Singles’ Day last year and was found to be too conserva-tive in his predictions.

“Risking being wrong again this year, I am estimating total sales from Alibaba to be between $15 and $18 billion, and total [Singles’ Day] sales across channels and platforms both online and offline for all of China to surpass $25 billion.”

Since Singles’ Day began, other major e-commerce platforms have embraced the shopping festival. JD.com, China’s sec-ond-largest business-to-consumer e-com-merce player, saw its gross merchandising

volume rise by 140 percent on the year for Singles’ Day in 2015.

Other players with Singles’ Day activities planned this year include Amazon, Wal-Mart’s Yihaodian (which is now operated by JD.com), Farfetch and electronics retailer Suning.

Chinese luxury flash sales e-com-merce platform Mei.com, which last year accepted strategic investment from Alibaba and, as a result, now has a permanent channel on the Tmall marketplace, is par-ticipating in Singles’ Day promotions for the first time this year.

“My personal belief is that 11/11 is not only a commercial shopping festival based on discount but that it is slowly evolving to a shopping festival where customers search for relevant and unique products, following the rising income of Chinese middle classes,” Mei.com founder and chief executive officer Thibault Villet said.

“Those customers are less discount-sen-sitive but care about relevancy of prod-ucts, styles and brands. To win in China online, international brands will have to adapt their products to local tastes and leverage local marketing tools such as [Singles’ Day] to reach deeper audiences,” he added.

According to Villet, many of Mei.com’s luxury brand partners — including Rebecca Minkoff, Opening Ceremony, Paul Smith, Sonia Rykiel and Ports 1961 — were keen to be involved in Singles’ Day promotions, in spite of the deep discounting that is inher-ently part of the festival.

“They are aware that customers are expecting to get discounted products or special offers so they support it. It is like

a seasonal sales promotion and they have prepared inventories accordingly,” he said, adding that Mei.com will also release a full-price capsule collection from Trussardi to coincide with Singles’ Day.

It seems a number of high-end brands have chosen 2016 as the right time to make their Singles’ Day debut. At Tmall Col-lection, an eight-hour, see-now-buy-now fashion show recently held in Shanghai and billed as the official launch for Singles’ Day activities, there was a noticeably higher-end feel to the brands participating, which included Ted Baker, La Perla and Daniel Wellington.

Also participating in both the launch event and Singles’ Day promotions are brands such as Burberry (which has had a Tmall store since 2014 but has declined to offer promotions as part of Singles’ Day until this year); Guerlain (which is one of the few LVMH Moët Hennessy Louis Vuitton brands to officially partner with Tmall), and Maserati, which will be offering 20 Quattroporte GranLusso cars, retailing for 1.54 million yuan, or $226,705, each exclusively on Tmall for Singles’ Day.

Over at JD.com, there is an increased focus on promoting independent local brands — more broadly and as part of Singles’ Day. Chi Zhang, a designer known for sexy, skin-baring looks with a sporty influence, will stage a runway show of his spring-summer 2017 collection at JD’s Beijing headquarters on Nov. 11. The show, which will be live-streamed on JD.com, will coincide with the commercial launch of Zhang’s fall collection on the company’s e-commerce platform.

“Every brand and retailer has to have a

custom approach [and] to balance the value of discounting and promotions to drive sales volume with the opportunity to intro-duce or bolster the brand awareness among 600 million shoppers,” Zakkour said.

“It really depends on what goals and KPIs a brand sets for itself. That said there is no doubt that brands can create aware-ness pre-, during- and post-Singles’ Day to realize long-term upsides with Chinese consumers,” he added.

According to Teresa Lam, vice president of the Fung Business Intelligence Centre in Hong Kong, the evolving trend of C2B and mass customization creates a win-win for retailers and consumers.

“This year’s Singles’ Day will see a lot more pre-sale activities that leverage the C2B business model. Mass customization will also be more common and allow businesses to create more unique online shopping experiences for customers,” Lam said, adding that Alibaba’s record-breaking 2015 transactions were largely attributable to pre-sale activities.

Another new addition to Singles’ Day is virtual reality technology, with Alib-aba touting its end-to-end VR shopping experience, available from Tuesday to 11, whereby shoppers can browse, order and pay using VR headsets at home and on the Taobao app.

As it did last year, Alibaba will host a countdown gala ahead of the 24-hour sales period, this time to be held in the southern Chinese technology and innovation capital of Shenzhen and headlined by pop star Katy Perry — who is commonly known in China as “fruit sister” because of her color-ful costumes and sweet persona.

Singles’ Day Festival Looks Upmarket CONTINUED FROM PAGE 1

A design by James Galanos in 1968.

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● Highlights included a seminar on politics and trade addressing such topics as the Comprehensive Economic and Trade Agreement (CETA) trade deal, Brexit and the U.S. election.

BY LAURE GUILBAULT

AMSTERDAM — Make it performance-ori-ented and comfortable.

That was the mantra at the sixth edition of Kingpins Amsterdam that ended its two-day run at the Westergasfabriek here on Thursday. The denim fair counted 49 exhib-itors, plus 19 at Why, a boutique brand-ing-only show now in its second edition. Kingpins Amsterdam drew around 1,400 attendees, up from 950 in November 2015.

Highlights included the continued explo-ration of technology with high-perfor-mance products from DSM Dyneema and Invista’s Cordura fabric brand; a seminar on politics, trade and the economy tack-ling such topics as the Comprehensive Eco-nomic and Trade Agreement (CETA) trade deal, Brexit and the U.S. elections; vintage collections inspired by mills’ history, and a fair amount of black denim.

Vintage and classic retro looks continue to trend for spring 2018.

“It’s been all stretch and skinny,” said Scotch & Soda global sales director Alex Jaspers. “We’re going back to more originality. Denim is going looser, wider silhouettes; there’s more worn-out denim,

a comeback to the old boyfriend style, looser silhouettes, on tops also, a bit off the shoulder, cooler, more street.”

Dutch company DSM Dyneema pre-sented its Dyneema Denim fabric that can be applied to single-layer motorcycle clothing and pass the four-second standard impact abrasion test thanks to its high percentage of Dyneema fibers.

“It means that the fabric doesn’t break below four seconds so it offers protection if you fall, while still featuring stretch,” explained Noud Steffens, DSM Dyneema global business director.

Steffens cited an appetite among tra-ditional denim manufacturers for dura-ble jeans incorporating from 5 up to 60 percent of Dyneema fibers, citing Levi’s Strong Jeans series strengthened with Dyneema as one example. He anticipates a growing interest down the road as “the newest technology allows for high perfor-mance but with the traditional look and feel of denim.”

Cordura presented its Cordura Denim Infinity Collection done with Lenzing’s Tencel, which is a softened performance denim fabric. Lenzing also used the fair as a platform to introduced Lenzing Modal Black spun-dyed fibers, requiring only 20 percent of the total pigments of the dye required for conventional dyeing.

Other exhibitors are also seeing oppor-tunities in the performance segment. Spanish mill Tejidos Royo previewed a high-performance denim fabric in partner-ship with Sympatex involving a membrane applied to denim that makes it antitranspi-rant and waterproof, slated to hit the

market by the end of the year. “The per-formance market — brands like Salomon and O’Neill — doesn’t work with the timing of the fashion, there’s only one delivery per year and it’s in January,” said Alberto Guzzetti, Tejidos Royo sales manager. “We believe there’s a new segment to discover

and performance needs fashion.” The mill also presented its first stretch recycled post-consumer denim.

Italy’s Candiani Denim recently signed a patent for Kitotex, which Alberto Candi-ani, a fourth-generation executive of the family-held Italian denim firm, touted as “the biggest game changer in the finishing world in the past 10 years.” The patent concerns the application of Kitosan, a natural polymer obtained from the shells of shrimp. “We apply it after the dyeing. We no longer need fixing agents and we’re saving 50 percent of the water in the fin-ishing process. The color turns even more brilliant. We don’t want to look like eco hippies but we do sustainability because it’s innovation,” said Candiani.

Speaking on trade and politics, Robert Antoshak, managing director of Kingpins organizer Olah Inc., said: “Many U.S. com-panies that basically moved offshore have come back. They employ fewer people but now meet much of their production with the help of foreign investments. It’s the irony of globalization that goes full circle and becomes localization.”

“Some FDI [Foreign Direct Invest-ment] is geopolitical, some is the result of trade agreements and some is for purely economic reasons,” Antoshak said after the seminar. “Production might be more expensive but the tradeoffs are that companies are able to ship faster and do quicker turns. There’s growing demand from specialty retail stores: local regional brands are using local regional suppliers. It’s a growing slice of the market.”

Meanwhile, mills are tapping into their history for new collections. Coinciding with its 125th anniversary this year, Cone Denim brought back its Pinto Wash from 1969, while Berto launched a capsule col-lection of indigo pieces with stripes to kick off celebrations for its 130th anniversary next year. And Orta Anadolu had an area within The Vintage Showroom to feature a collection using Orta fabrics, in which pieces are replicas of vintage garments.

● Beauty’s answer to Lululemon is entering the specialty retailer as part of an ath-leisure installation.

BY RACHEL BROWN

Sephora is getting in shape with Yuni Beauty.

The specialty retailer is bringing in the yoga-inspired beauty brand as part of an effort to capitalize on the ath-leisure move-ment that’s dominated the apparel market. Yuni will hit Sephora’s web site in Decem-ber with five products priced from $15 to $26 — the body wipes Shower Sheets, hair treatment Hot Head, muscle gel Chillax, body cleanser Flash Bath and essential-oil rollerball Pocket Savasana — plus a $32 kit containing Shower Sheets, Chillax, Flash Bath and the body mist My OM World.

“We are very much involved in yoga, and that’s why we recognized a couple of years ago that there was a really interesting white space in the beauty industry for people who are into yoga, cycling and more,” said chief executive officer Emmanuel Rey, who founded Yuni with his wife and fellow Ashtanga yoga teacher Suzanne Dawson. “Most retailers are used to classic skin-care regimens with basic approaches, but we felt those approaches were not in tune with our audience that is more into their life-style and has needs around their lifestyle.”

Tailored for active people, Yuni’s prod-ucts are rooted in three main principles: to be time saving, enhance the body’s per-formance and relieve stress. At the brand’s launch last year, it released 13 products and the bestsellers to date have been the Shower Sheets, Hot Head and Chillax. It’s growing its assortment with warming body oil Wind-Down Wonder in November and

cooling body gel Rise & Chill in March.“The overarching backbone of the brand

is that our products are sustainable, porta-ble, convenient, naturally based and effec-tive,” said Rey. “Sephora told us, ‘One of the great things about you guys is that you didn’t create products that are so normal.’ Every product has a particular reason, and they recognize the innovation behind it.”

To suit Sephora’s highly visual Millennial clientele, Yuni amplified the impact of its packaging. Rey described the initial pack-aging as neutral and Zen, and the updated packaging as playful and injecting a jolt of personality. The boxes and bottles feature watercolor illustrations of the ocean, sunset and mountains. “It adds a lot of color, and it anchors the natural aspects of our brand,” said Rey. Yuni changed its product names, too, to make them fun. Chillax was previ-ously Muscle Recovery Gel, for instance.

At the start of next year, Sephora will be sending out 60,000 samples of Yuni’s Shower Sheets. Yuni will also be pro-moted in a Sephora Beauty Insider e-mail campaign expected to reach 12 million shoppers. “They are strong in makeup, skin care and fragrance, but body care is a bit of a sleeping giant for Sephora, and the majority of our products are body products. It’s a category they want to grow not only through ath-leisure, and that’s an opportunity for us,” said Rey.

Today, Yuni is found in 65 doors, includ-ing YogaWorks, Credo and BeautyKind.us. Rey envisions the brand’s distribu-tion to be a mix of fitness-oriented and beauty-focused outlets going forward and for its product selection to evolve beyond traditional beauty merchandise. “We look at this brand as really more of a lifestyle brand than a beauty brand. It would be easy for us to go into other product cate-gories. It could be home or it could yoga,” he said. “Yoga is a very personal ritual. It’s a moment for you to concentrate on yourself. Anything we can do for people to continue a mindful journey of yoga and fitness is our overarching goal.”

BUSINESS

Performance, Vintage Drive Kingpins Amsterdam Show

BEAUTY

Yuni Beauty Steps Into Sephora

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Products from Yuni Beauty.

Berto’s collection for its 130th anniversary in 2017.

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● The artist received the Trophée des Arts award while the L’Oréal executive was awarded the Pilier d’Or.

BY PETE BORN

The annual Trophée des Arts gala dinner that raised an expected $1.3 million was held at the Plaza Hotel in Manhattan Fri-day night to support the educational and cultural programs of the French Institute Alliance Française. But the event seemed to double as a marriage between art and beauty, with Jeff Koons receiving the Tro-phée des Arts award and Jean-Paul Agon, chairman and chief executive officer of L’Oréal, being given the Pilier d’Or.

“Beauty and art are two aspirations that converge on the same ideal,” Agon noted in his acceptance speech. “The ideal of expression. Expressing who you are, what you want to be and what you want to say and show to the world.”

Turning to Koons — whom Agon had praised as an iconic trailblazer and genius disruptor — he said, “Jeff, you once said, ‘Art is a vehicle of acceptance.’ Indeed, Jeff, we share this same passion, since beauty products are also a tool of self-es-teem and empowerment. We both seek to make life more beautiful for all.”

Before the program began, Koons said he has had a long connection with French culture. “The first time I ever exhibited in a museum was in France….in Lyon. So I have had an ongoing relationship with France. Even my first understanding of the power of art came from Manet from the appreciation of the avant-garde and starting in 19th century France.”

He elaborated during his acceptance speech, recalling how he was able to par-ticipate in FIAF-sponsored art and drawing programs when he was young. ““When you are able to help educate children through

the arts it connects them and connects them to learn that they can accept them-selves as human beings,” he said. “Once you can accept yourself, you can go out into the world and accept other people.”

His first art teacher had showed a slide of Manet’s “Olympia,” and all the elements of the painting and its importance in 19th century France made an impact on him. “I realized how lucky I was to be involved with art because it so effortlessly con-nected me to all the human disciplines. I could be involved in philosophy and psy-chology and aesthetics,” he recalled.

“I have to thank French culture for hav-ing heroes like Manet and the type of love that Manet would show to Goya and the type of love that he showed to Valesquez and that everybody would give to each

other. They found something greater than themselves to believe in. That gave them the ability to expand their parameters and they shared that with us. If I have become a better artist, it’s because of this French heritage.”

Another theme of the evening was the history of Franco-American affinity and cross-cultural dynamics. Agon’s award was presented by Kenneth M. Jacobs, chair-man and ceo of Lazard Ltd. and Lazard Group. “Jean-Paul is an inveterate world traveler. He knows that every culture has an instinctive approach to beauty, according to its history and its heritage. Jean-Paul could be satisfied with all that he has achieved, but instead he is driving the creation of a new L’Oréal. The new L’Oréal is universal and multicultural.”

Among its other achievements, “L’Oréal has set the pace for gender equality in business and science today,” Jacobs said. “Women represent more than 40 percent of senior management and almost half of its board of directors.”

During his acceptance speech, Agon underscored that L’Oréal’s strength is derived from its international portfolio of not only French and American brands but also influences from the rest of the world. “You could say, we are the worldwide Alliance for Beauty,” he said with a smile. “Beauty is multicultural. Just like art.”

During the earlier interview, Koons touched upon his present outlook. “I’ve been trying to make works that can communicate as profoundly as possible,” he said. “I’m 61 now so I think I’ve hit my mature stage. I really want to take advan-tage of the opportunity to make gestures. I have a platform where I can have a mean-ingful effect and I don’t want to waste it.”

Koons brushed aside questions about his legacy and what critics and historians may think of his work in 100 years. “I really don’t think I’m thinking about my legacy. I’m thinking about I want to enjoy life today. I want to have the greatest experiences possible through my art. I’m not really concerned with after I’m gone, other than the moment I have to just take advantage of it and to do the best I can, to reach the highest standard.”

Typical of a New York fund-raiser, the evening wasn’t complete without a live auction. Larry Gagosian, who later presented Koons with his award (“He is an artist of incredibly subtle innovative intelligence, but also an artist that touches people all over the world”) got the auction rolling with a winning bid of $8,000 for a magnum of Cheval Blanc from Bordeaux.

Agon, who had credited his new wife Sophie and her passion for art in helping him develop a sharp, more sensitive eye, also entered the fray by bidding on two Koons art works — a plate and a vase — which were accompanied by a commen-tary from the artist. The bids went back and forth, then hovered around $22,000, prompting Agon, the winner, to end the contest by taking the gavel from auctioneer Adrien Meyer and banging the table with authority, breaking his plate in the process.

BEAUTY

Jeff Koons, Jean-Paul Agon Honored by Alliance Française

● The collection of three products includes body lotion, hair and body wash and face cream for babies.

BY RACHEL STRUGATZ

Forget the UppaBaby Vista, the new Tri-BeCa mom status symbol comes in a bottle.

This week will see the launch of Olivia Chantecaille’s newest addition to her beauty range, Chantecaille Bébé. The col-lection of three products to start — a fourth will launch this spring with additional products in the works — includes Wild Moss Rose Body Lotion, priced $55; Flower Petal Hair & Body Wash, $49, and Orange Blos-som Face Cream, $48. The plant-powered line, which is certified organic, hits the brand’s e-commerce site this week at chan-tecaille.com and will roll out to existing retailers such as Bergdorf Goodman, Holt Renfrew, Saks, Bluemercury and Harrods.

“It sounds excessive if you don’t have a child, but if you do, you understand that you need something to calm their skin,” Chantecaille said during an inter-view Monday. After having her first child,

Delphina, almost three years ago, Chante-caille became so nervous about what she was putting on her daughter’s skin that she began to do research on the topic so she could develop her own line.

She soon realized that the baby cate-gory could be prestige beauty’s untapped market — and she quickly got to work on

creating a line that could live within her luxe beauty brand, Chantecaille.

The prices, she explained, reflect not only the attention to detail when it comes to ingredients, but making sure that everything reflected the Cosmetic Organic Standard. Originally, products were made according to Ecocert organic standards,

she said, but were later reformulated to adhere to COSMOS, which has even stricter guidelines. Everything is pro-duced in Switzerland.

“We spend so much time and money on the actual product, but unless the packaging reflects that, people miss it. It’s important that the packaging reflects what’s inside of it,” Chantecaille said of the watercolor illustrations of baby animals that are printed on each tube, which was harder to manufacture than anticipated. “It was hard to find anyone to print that watercolor on a tube, which to me was like ‘What?’ I was told I could do only color or black and white…and that would ruin it.”

Additionally, Chantecaille discovered airless tubes with an innovative technology that allows the user to push a button on the back of the tube to distribute product evenly with each squeeze. Beyond the waste factor — it dispenses to the last drop, she promised — the tube maintains it shape.

“It never gets the ugly, scrunched-up toothpaste look. [The tube] solved so many little things that sound so minor,” she said with a laugh. “It looks almost like an acces-sory as opposed to something functional.”

FASHION

Chantecaille Bébé Caters to Untapped Market

Jeff Koons Jean-Paul Agon

Products from Chantecaille’s new baby range Chantecaille Bébé.

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● The musicians will be donning designer lines for the 50th anniversary of the Country Music Association Awards.

BY JEAN E. PALMIERI

Blame the big hair, turquoise ballgowns and rhinestone-encrusted suits. Toss in the stacked jeans, cowboy boots and plaid shirts and it’s no wonder that the country music industry has never received high marks when it comes to its fashion choices.

Times have changed.Today’s stars have tossed aside their

Manuel jackets and prom-like dresses — or worse — and are embracing designer names. So when the industry turns out in force Wednesday night for the 50th anniversary of the Country Music Association Awards, the red carpet will be filled with looks from some of fashion’s most-directional designers including Alexander McQueen, Givenchy and Dolce & Gabbana. To mark the anniver-sary, the association has asked everyone to dress in black tie this year.

“Black tie to Nashville is not black tie to New York,” said Trish Townsend, a longtime stylist in the country music capital who has dressed everyone from Carrie Underwood and Blake Shelton to Vince Gill, LeAnn Rimes, Alan Jackson and Tim McGraw.

“We don’t do the Beyoncé ‘show me all your parts’ around here,” Townsend said. “So you’ll still see jeans, but others will be original and unique — but still staying true to their audience.”

Townsend traces artists’ more-fashion-able shift to Underwood, who became a mega-success in the country music world after winning “American Idol” in 2005. “Taylor [Swift] had not yet hit the scene and the only one who was doing high fash-ion was Faith Hill,” she said. “Carrie was the first country artist to come off of ‘Amer-ican Idol’ and she wasn’t ashamed of it.”

So Townsend dressed her in David Rodriguez for her first red carpet jaunt that year, and over the years Underwood has worn Badgley Mischka, Gauri & Nainika and others — many of which show off her well-toned legs.

“The first time I put Carrie into shorts, it changed everything,” Townsend said.

Those gams will undoubtedly be in full view Wednesday night since Underwood will serve as cohost of the show for the ninth consecutive year, along with Brad Paisley, and will change outfits 11 times. The looks this time will be inspired by the

Sixties through the Aughts in a nod to the history of the event.

Before Underwood, Townsend said most entertainers just wore their performance clothes to the event “or went to the local mall. Fashion never had a big presence.” But today, entertainers are taking more risks — and getting more respect.

“The designers have really come on board and realized it’s a good marriage between these country artists and their fans,” Townsend said. “Before, they were skeptical, but designers such as Oscar de la Renta and Valentino are moving toward an

acceptance of Nashville and its fashion.”Gina Ketchum, the stylist for the popular

duo Florida Georgia Line, will be dressing her clients in runway designer fashions on Wednesday night. Brian Kelley will wear a black Alexander McQueen suit with embroidered roses on the jacket on top of a black shirt with a burgundy stripe running down the middle. Tyler Hubbard will don a black Givenchy suit with silver chain detail-ing on the collar and pockets. His black shirt will have the same contrasting trim.

“Brian and Tyler are excited to dress up, but that’s not true for everybody,” she said.

Their touring outfits have also gotten a facelift since they started out in 2012 wear-ing jeans, T-shirts and tanks. Now they opt for Diesel and Belstaff jeans and Gucci work boots. “They give a high-energy show and need to know they can jump off the high riser in what they’re wearing. They’re not Adele, standing still and singing.”

She said in the early Nineties, country red carpet events were filled with ball-gowns, sequins and bow ties, but then things got casual, and jeans and baseball caps were not uncommon. “So the CMA is using the 50th anniversary to kick it up a notch. It’ll be a welcome return to the glamour we’ve been missing.”

John Murphy, who dresses artists includ-ing Jason Aldean, Easton Corbin, Jon Pardi, Dustin Lynch, Chase Bryant and Parmalee, said that while his clients are more fashion savvy, it’s still not easy to get designer clothes for them to wear. “It’s nearly impossible to get anything on loan,” he said. “There’s a misperception that we’re behind the times or not trendy or current.”

For this year’s event, Pardi went the custom route and will wear a burgundy jacket with distressed leather detailing and a bolo tie with his trademark cowboy hat. Lynch will wear a white pick-stitch tuxedo and black bow tie from Dolce & Gabbana and Bryant has opted for the brand’s horse and cowboy print shirt that he’ll wear under a black three-piece suit. The four members of the group Parmalee will wear Dsquared2, Alexan-der McQueen, Dolce & Gabbana and Paul Smith, Murphy said.

“People are really starving for designer labels here,” he said. “It’s a big city grow-ing in leaps and bounds but there’s no place you can buy Balmain.”

Among the best-dressed entertainers in Nashville, according to Townsend, are McGraw, who channels his sex appeal and “tweaks it in just the right way to make the girls swoon” (although he generally sticks to his black cowboy hat). She also likes Sam Hunt, who is “modern and young”; Aldean, who stays true to his “southern rocker” roots with, again, jeans, a cowboy hat and perhaps a jacket, and Little Big Town, whose two female members man-age to dress with an edge but still look ladylike. She also liked Kacey Musgraves’ “cute little pinup” outfit she wore to last year’s awards.

“Country has come a long way,” Ketchum said, “and we want to show the rest of the world how we’ve evolved.”

EYE

Country Music Industry Embracing Fashion

Carrie Underwood in 2015. Taylor Swift in 2013.

Kenny Chesney in 2003. Shania Twain in 1999. Hank Williams Jr. in 1988. Reba McEntire in 1991.

Thomas Rhett in 2015.

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Fashion Scoops

Memo Pad

Going To GreeneOvadia & Sons is dipping its toe into the retail business.

The men’s wear line created by twin brothers Shimon and Ariel Ovadia in 2010, will open a pop-up shop at 63 Greene Street in SoHo on Friday. The 2,700-square-foot store will offer the Ovadia & Sons collection as well as Ovadia+, the company’s interpretation of activewear. There will also be some exclusive product, Shimon Ovadia said, noting that the assortment will be refreshed every few weeks.

The shop will remain open through the beginning of February and following the company’s fall runway show during New York Fashion Week: Men’s at the beginning of the year, will also show-case the new collection, he added.

“This is our neighborhood,” he said. “It’s where we grew up roaming the streets, so it’s sentimental for us.”

The shop also allows the brand to have more personal experience with its customers, he added, “so we under-stand what’s working and what’s not.”

Although the label is carried in Bar-neys New York, Bloomingdale’s, Saks Fifth Avenue, Nordstrom and other top retailers, “we feel that in today’s world, it’s not good to rely on strict wholesale

and want to do more direct-to-con-sumer,” Shimon said. And the pop-up is a good way to take the first steps toward someday having their own flagship store.

“We’re happy with where we are as a new brand and look at the last few years as schooling,” he said. “But this pop-up store is our way of getting our feet wet.” — JEAN E. PALMIERI

Condé Consolidates, AgainCondé Nast International plans to integrate the Vogue digital editions, a company spokeswoman confirmed on Monday.

The company said it plans to make “a significant investment” in Vogue digital, which is a multiyear growth proj-ect. The editions’ editorial teams in 20 countries will remain on staff, while an editorial hub will be created in an effort to increase “journalistic coverage.”

Condé’s aim is for coverage to be “comprehensive across all markets,” with each team to focus on local and national content. The central hub for Vogue will be based in London and will “maintain an international outlook.” Each edition will retain a new role of “network editor” and will act as an intermediary between the local teams and central hub.

The company noted that the purpose of the hub is not to reduce the number of editorial employees but to aid the different editions with coverage and content sharing. This will affect editors, reporters, social media strategists, video staff, audience engagement editors, analysts and the interactive team.

A Condé Nast spokeswomen clarified that the role of Suzy Menkes would not change. Menkes is the international Vogue editor and will continue her position with her work appearing on all Condé Nast Interna-tional Vogue web sites.

The company declined to com-ment further. — LORELEI MARFIL

All About ThomasBurberry has tapped the Academy Award-winning British filmmaker and documentarian Asif Kapadia to direct

its latest holiday film, a short, fiction-alized narrative about the brand’s founder and inventor of gabardine, Thomas Burberry.

“The Tale of Thomas Burberry” has been filmed as a cinematic trailer, and stars the Irish actor Domhnall Gleeson; Dominic West as the polar explorer and Burberry patron Ernest Shackleton, and Sienna Miller as Thomas Burberry’s fictional first love.

Lily James, the face of the MyBurb-erry fragrances, appears as Betty Dawson, a fictional character based on the female record-breaking pilot Betty Kirby-Green, who flew a Burber-ry-sponsored airplane. In the film, she steals young Burberry’s heart.

“I want there to be a full movie,” said James. “And with the amount of footage we shot, I’m sure they could have made a film. We invested in the characters, and it was shot like a normal film.”

James said she channeled the spir-it of Kirby-Green, who broke a world record flying from Croydon, England to Cape Town, South Africa — never forgetting her lipstick.

“There’s a bit in the film where I put on red lipstick, and apparently that was true — Betty did reapply her lipstick before she landed in Cape Town, which I just think is fabulous,” added the actress, who has just begun filming a feature-length film, “Darkest Hour,”

with Gary Oldman. That film focuses on Winston Churchill’s battle against Hitler’s army in the early days of World War II, and James plays his secretary.

“I don’t think I exist in the modern day,” said James of her costume drama work. The actress is certain-ly familiar with time travel, having starred in the TV dramas “Downton Abbey” and “War and Peace,” as well as the 2016 film “Pride and Prejudice and Zombies.”

The Burberry film, which will be released Tuesday on the brand’s social platforms, as well through digital and cinema advertising outlets, has a “Downton Abbey” feel, with lush scenery and costumes.

Christopher Bailey, chief creative and chief executive officer, said Burberry wanted to tell the story of its founder “in our own words,” and nod to the brand’s 160th anniversary year.

“The film we have made is a brief glimpse inspired by his full and extraordinary life, which threaded its way through the history of the 20th century in all its tumultuous highs and lows,” said Bailey.

Stills of the cast members and key moments in the film will appear in print ads starting this week in titles includ-ing French and British Vogue. The holiday campaign will run through the end of December. — SAMANTHA CONTI

"Penny Dreadful" fans may still be lamenting the unexpected end of the critically acclaimed Showtime hor-ror-drama, but those who tuned in every week to see Reeve Carney portray the immortal and ageless Dorian Gray had the opportunity to catch up with the actor recently when he took on another iconic character, Riff Raff in Fox’s "The Rocky Horror Picture Show: Let’s Do the Time Warp Again."

Carney, 33, talked to WWD about becoming Dr. Frank-N-Furter’s handy-man, his thoughts on fashion and his solo debut album, "Youth Is Wasted," also out now.

WWD: "Penny Dreadful" had its series finale in June, so when did you wrap filming and what have you been up to since then?

Reeve Carney: I wrapped filming I be-lieve Jan. 8 of this year and I flew directly to Los Angeles and began rehearsals on "The Rocky Horror Picture Show."

WWD: How long did it take to film?R.C.: We had a considerable amount

of rehearsal time, which was great and quite necessary considering I had to dance in heels, but I think only about three weeks of actual filming following about four weeks of dance rehearsals and four weeks of pre-production rehearsal during which time we recorded the soundtrack.

WWD: So far your acting career seems to be carefully selected roles. Do you get pitched many parts?

R.C.: I definitely do take care and consideration with the things that I like to be involved with, and I guess I do have a certain taste for styles and genres, but at the same time I like to jump back and forth between as many varied projects as I possibly can. "Rocky Horror" is much more comedic, which for me has been a great challenge and a thrill having that opportunity to involve myself in something in which I had to play what I consider to be sort of like a gothic clown in a way.

WWD: Is that what drew you to the role of Riff Raff?

R.C.: I think so. My great-uncle is a very famous actor named Art Carney [of "The Honeymooners" and numerous other iconic roles]. I think he is one of the most brilliant comedians of all time and I don’t say that as a family mem-ber. There were actually moments in "Rocky Horror" where I thought, "Oh, wow, something about this feels like I can inject a little bit of Uncle Arty in this part." I wonder if that will be apparent to anyone or not.

WWD: Do you feel torn between both aspects of your career, musician and actor?

R.C.: I don’t feel torn, I feel grateful to be able to involve myself in both things because I look at acting and singing sort of like waking and dreaming. To have the most enriched life that you possibly can, it’s important to obviously live life in reality and be awake, but also live life in the reality of your dreams. I think that they both feed one another.

WWD: Tell me about your solo album.R.C.: I grew up in recording studios

in New York with my father, who was a jingle writer in the Eighties and Nineties and then continued that with my brother and my sister in our bands together, Carney and then Reeve Carney & The Revolving Band. I grew up around a lot of different types of musicians and equip-ment so I learned a lot along the way. When it came time to make an album on my own I felt it was time to explore some of those things and employ some of those tactics I had observed over the years. I did actually play everything on this album and I wrote all the songs, produced, mixed and recorded it. It might sound a little crazy to do that but some of my heroes have done some of my favorite albums that way.

WWD: How long did it take to record?R.C.: It was over the course of a few

years sort of dabbling. I started it while I was doing Spider-Man ["Spider-Man: Turn Off the Dark" on Broadway]. I didn’t have a whole lot of time the last few years because I was working on "Penny Dread-ful," but that’s when I started building the skeleton of what has become the album.

WWD: What’s up next for you after promoting this album?

R.C.: I don’t think any acting stuff for the end of the year, but I’m going on two tours. That will end right before Christ-mas so I guess looking to hopefully find some acting things to be doing in the early part of next year, otherwise I’ll just go on tour again.

WWD: You definitely have a cool style of your own. Are you really into fashion?

R.C.: I’m a huge appreciator of fashion. For me it’s a mode of personal expression and it doesn’t have to do with the cost. The other day I bought a $2 Hanes shirt and my friend was like, “Oh man where did you get that, it’s cool.” I just cut a bunch of holes in it but I guess it made it look a little bit fancier in some weird way. I think in the same way you find a song that you feel represents the way you feel on the inside, that’s for me what fashion is all about. It’s sort of an external expression of an internal feeling. — TARA BONET-BLACK

Reeve Carney Dishes on Music And ‘Rocky Horror’The actor discusses becoming Riff Raff, personal style and dropping his solo debut album.

Reeve Carney

Carney as Riff Raff in a scene from “The Rocky

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The cover of “Youth Is Wasted.”

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spring line.