● The company aims to focus on its core brands, close stores and reduce headcount.

BY WWD STAFF

Ralph Lauren issued a mea culpa to Wall Street on Tuesday.

“Did we drop the ball? Did we make some things wrong? Absolutely. Am I happy about it? No, but I believe in this company,” he said during the company’s investor presentation, titled “The Way Forward.”

During the presentation, Stefan Larsson, the group’s new president and chief executive officer, outlined a series of initiatives aimed at getting the fashion house back on the growth path. These include speeding up the supply chain; focusing on the core collections of Ralph Lauren, Polo and Lauren; shuttering stores, and eliminating management layers that will result in job cuts of about 8 percent of the company’s workforce, or 1,000 people, this year.

“We are not rightsizing the organization because of cost reasons. We are rightsizing the organization to empower our doers. We are taking the amount of layers down from an average of nine to six. So there is no reason why we need more than six layers between me and the actual doer doing the work.” Larsson said.

“This is a multiyear journey. That means that we’ll going to have an evolution phase when we get this in place. Look at that as 2017, 2018. Then we’ll segue into sustainable profitable growth 2019-20. At the end of this four-year period, we aim at driving market share growth and having operating margins in the midteens,” he added.

Perhaps it was that longer timeframe that disappointed Wall Street. Shares of Ralph Lauren ended Tuesday’s trading session down 2.4 percent to close at $94.06 on the New York Stock Exchange. The shares have recovered somewhat from its earlier intraday low of $86.25.

Nonetheless, most analysts and industry observers applauded the new strategy. Craig Johnson, president of research and consulting firm Customer Growth Partners, said, “We’ve seen this movie before — an accessible luxury brand that lost sight of the key element of a luxury brand: the value of scarcity. Whether you are Coach or Kors or Ralph Lauren, once the brand overly expands its distribution to the point it becomes ubiquitous, it loses its exclusivity. And once a luxury brand is avail-able in lesser forms — whether “Lauren by Ralph Lauren” or with made-for-outlet quality for the outlets — it risks diminishing the brand’s cachet. Larsson’s efforts to trim the sails and restore the ship to its true heritage and heading are spot-on.”

Larsson said although more resources will be devoted to focus on the group’s three key brands — Ralph Lauren, Polo and Lauren — which represent the majority of its brand strength, that doesn’t mean the other labels in the company’s portfolio will languish.

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DAILY EDITION 8 JUNE 2016 1

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Fashion. Beauty. Business.

WINNING FRAGRANCESThe Fragrance Foundation honored Leslie H. Wexner — and his Victoria’s Secret won a major award. PAGE 3

QUEEN BEEBeyoncé was the surprise guest at the CFDA Awards — and stole the show. PAGES 4 AND 5

He may not have taken off to an itinerant location, but Marc Jacobs delivered a spectacle of the sartorial sort. His resort collection screamed flamboyant fashion — and Eighties-injected overstatement — at every turn. For more resort, see pages 6 to 8.

FASHION

More Is More

THE MARKETS

Ralph Lauren’s ‘Way Forward’ To Reinvention

PAUL’S PICKPaul Stuart tapped Paulette Garafalo of Brooks Brothers as its new chief executive officer. PAGE 10

http://www.blauer.it

● Marc Jacobs Decadence and Dior Sauvage took home multiple accolades.

BY ALLISON COLLINS

As L Brands founder Leslie H. Wexner solidified his place in fragrance history with his induction into the The Fragrance Foundation’s hall of fame on Tuesday night, one of his brands — Victoria’s Secret — took home the Women’s Fragrance of the Year, Popular, award for VS Forever Sexy.

Wexner and VS Forever Sexy were two of many winners at Tuesday’s Fragrance Foundation Awards, hosted by Alec Bald-win. Cosmopolitan editor in chief Joanna Coles won the foundation’s Gamechanger award, and IFF’s Sophia Grojsman took home the Lifetime Achievement, Per-fumer, award. Grojsman has created scents for Lancôme, Estée Lauder, Yves Saint Laurent, Bulgari, Elizabeth Arden and others. This is L Brand’s second year with a win in the Consumer Choice, Women’s Popular category. Last year, the Bath & Body Works division won with A Thousand Wishes.

Marc Jacobs Decadence and Dior Sau-vage brought home multiple wins each. Decadence won awards for Packaging of the Year, Women’s, and Prestige Fragrance of the Year, Women’s. Sauvage picked up Media Campaign of the Year, Men’s; Consumer Choice, Men’s, and Prestige

Fragrance of the Year, Men’s.The other honorees included: John

Varvatos Dark Rebel for Packaging of the Year, Men’s; La Collection 34 Diptyque for Interior Scent Collection of the Year; Nautica Life Energy for Men’s Fragrance of the Year, Popular; Maison Martin Margiela Replica for Social Media Campaign of the Year; Mimosa & Cardamon Body Crème

and Body & Hand Wash from Jo Malone for Bath & Body Line of the Year; Voulez-Vous Coucher Avec Moi from By Kilian for Indie Fragrance of the Year; Tom Ford Venetian Bergamot for Luxury Fragrance of the Year, Men’s; Miss Dior Blooming Bouquet for Women’s Media Campaign of the Year; Tom Ford Noir Pour Femme for Luxury Fragrance of the Year, Women’s; D&G Light Blue for Fragrance Hall of Fame; Modern Muse Rouge from Estée Lauder for 360-Degree Marketing Campaign of the Year; Chanel Misia by Olivier Polge for Per-fume Extraordinaire; Narciso by Narciso Rodriguez for Breakout Star, and Versace Eros Pour Femme for Consumer Choice, Women’s Prestige.

8 JUNE 2016 3

● The fall women’s collection from the brand’s founders will be available in August.

BY VICKI M. YOUNG

Vince Holding Corp. reported a first-quarter net loss following the company’s planned reduction in promotional activity and inven-tory levels.

For the three months ended April 30, the net loss was $1.9 million, or 5 cents a diluted share, against net income of $2.5 million, or 6 cents, a year ago. Net sales rose 13.1 percent to $67.6 million from $59.8 million.

By segment, wholesale sales rose 16.9 per-cent to $44.8 million, while direct-to-consumer sales rose 6.1 percent to $22.9 million during the quarter. Comparable sales fell 12.3 percent, including e-commerce sales, which was in line with expectations, the company said. Vince had planned reductions in both promotional activity and inventory levels. The company also said gross profit was $28.3 million, or 41.8 percent of net sales. That compares with gross profit of $30.7 million, or 51.4 percent of net sales in the same year-ago quarter. The decline in the gross profit rate was due primarily to a “change in product mix and continued strate-gic investments,” the company said.

Brendan Hoffman, chief executive officer, said the first-quarter results were as expected, “despite the difficult retail environment, and we remain on track to meet our expectations for the year.”

Hoffman affirmed that the company also is on track for its fall women’s collection,

scheduled for August, and noted the “highly favorable response we received from our wholesale partners during the preview.” The August line will be the first developed by the brand’s founders since they returned to the company last fall as consultants.

“Overall, we will continue to move forward with strategic actions and investments that support recapturing the Vince DNA as we strive to position the company for improved results in the second half of fiscal 2016 and for long-term profitable growth,” Hoffman said.

For fiscal 2016, the company guided total net sales at between $290 million and $305 million, including revenues from six new retail stores and comp growth inclusive of e-com-merce sales in the flat to low-single digit range. Sales are expected to decrease in the mid to high-single digit range for the first half of the year, and then to be flat or increase in the midsingle digit range in the second half. Gross margin is forecast at 47 percent, and diluted earnings per share is expected in the range of 0 cents to 6 cents.

The company in the quarter issued slightly over 11.8 million additional shares of common stock, raising gross proceeds of $65 million from the completion of a nontransferable rights offering. A part of the proceeds were used to repay $22.3 million due under a tax receivable agreement with an affiliate of Sun Capital Partners, and repay $20 million of debt under the company’s revolving credit facility. Sun Capital Partners, the private equity firm based in Boca Raton, Fla., still owns a stake in Vince.

Vince shares closed Tuesday at $5.96, up 4.75 percent.

THE MARKETS

Vince Holding Reports Q1 Net Loss

xxx

BEAUTY

Fragrance FoundationReveals Award Winners

Vince waxed cotton trench coat $495, vince.com

Marc Jacobs Decadence

Master Builder ● An interview with retail visionary

Leslie H. Wexner.

In-Store Evolution ● The shopping experience is

undergoing its biggest transition.

Pitti’s Promise ● Raf ruminates and Gosha on

where to go.

PLUS: ● Report Card ● Social Studies ● Briefs

Global Stock TrackerAs of close June 7, 2016

ADVANCERS

DECLINERS

Dickson Concepts (International) +7.31%

Giordano international Ltd. +4.78%

Chow Tai Fook Jewellery Group +3.09%

Li Ning Co. Ltd. +2.52%

Hugo Boss AG +2.35%

Elizabeth Arden Inc. -7.77%

Abercrombie & Fitch Co. -4.82%

Revlon Inc. -4.14%

Ascena Retail Group Inc. -3.94%

Yoox Net-a-porter Group -3.68%

OUT THIS WEEK IN

“Men’s fashion has not been daring for a long time…I would almost say that men deserve to be treated like women.”

— RAF SIMONS

4 8 JUNE 2016

No sense in burying the lead: Be-yoncé was the surprise guest/hon-oree at the CFDA Fashion Awards Monday night, waking up the crowd when she took the stage in a giant black wide-rim hat and striped Givenchy suit to receive the Fashion Icon Award toward the end of the evening.

The CFDA is not an organiza-tion that withholds its proximity to celebrity, but it kept Beyoncé a secret, maximizing her impact and minimizing the damage control if she no-showed. She gave one of the best speeches of the night, a very sweet ode to her grand-mother, mother and uncle, the lat-ter two of whom were responsible for the homespun, matchy-matchy ensembles of early days Destiny’s Child. Who remembers House of Dereon?

“When I wore these clothes on stage I felt like Khaleesi. I had an extra suit of armor it was so much deeper than any brand name,”

said Beyoncé. “My mother, who is so fabulous and beautiful, and is here tonight…actually designed my wedding dress, my prom dress, my first CFDA Awards dress, my first Grammy dress and the list goes on and on. And this to me is the true power and potential of fashion. It’s a tool for finding your own identity and expression. It transcends style and is a time capsule for all of our greatest milestones.”

If Beyoncé upstaged the real fashion crowd, no one was com-plaining. The running joke is that the fashion crowd is a tough one, with an indiscernible sense of hu-mor. “I know why you guys are here tonight. Because you’re all huge fans of comedy,” said Joel McHale, the evening’s host, during his opener. “I still believe that you love comedy even after I saw all your cameos in ‘Zoolander 2.’ But if you can do me a favor and instead of laughing at my jokes tonight, just stare back at me blankly, please.”

The audience all but obliged.“I’ve never heard any fashion

person LOL,” said Alexa Chung.“This isn’t really our crowd, so

we’re going to be counting on this

The 2016 CFDA Fashion Awards in a Word: BeyoncéBey, Jay and Blue Ivy stole the show at Monday night’s CFDA Awards.

Tilda Swinton in Haider Ackermann.

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The Late ShowDesigners and celebrities headed to the Samsung store in the Meatpacking District for the 2016 CFDA Awards after party.

“I just want alcohol,” bemoaned a young woman as her VIP wristband was snapped onto her wrist at the entrance of Samsung’s Washington street pop-up on Monday night. It was nearing midnight, and after sitting through the three hours of dinner and awards-doling at the annual CFDA awards, everyone was feeling entitled to a cocktail. The pack of designers, both emerging and established, and their celebrity guests had come downtown from Hammerstein Ballroom to the official after party venue, conveniently located mere feet from The Standard, host of the Met Ball’s after party - a fact that was not lost on guests. “Weren’t we just doing this?” an attendee said aloud as she walked into the room.

The tri-level space, which was complete with all sorts of Smart gadget displays (e.g. phones, watches, etc.), was a new venue for many of the guests. “I’ve never been here,” a man, apparently experienced on the party circuit, observed to his comrade. “Darling,” his date replied, “I don’t think anyone has.”

Those hoping for a quieter night found solace on the lower level, content with watching the DJ at work, whlie the top floor was brimming with fashion’s sparkliest, eager to party.

Secluded behind a harp-like screen, Phillip Lim chatted on a couch, while next to him Jason Wu remained intertwined with date Emily Ratajkows-ki. Across the way Selma Blair sat perched atop a stool, welcoming those who came before her to mingle.

“I loved it,” Vera Wang gushed of the awards, sweeping through the crowd early in the evening,

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CONTINUED ON PG. 5

Lion Babe

Soko in Gucci.

Beyoncé in Givenchy.

Emily Ratajkowski in Jason Wu, with the designer.

Jay Z and Naomi CampbellThom Browne

Marc Jacobs

Calvin Klein and Donna Karan

The David Bowie tribute.

8 JUNE 2016 5

The Late Show CONTINUED FROM PAGE 4

partygoers parting in her path. “I was so proud of all the female designers, they were amazing. Donna Karan, Norma Kamali..”

Jillian Hervey, daughter of Vanessa Williams and one half of group Lion Babe, was spending her first CFDA night with date Adam Selman, the designer who still can claim fame to one of the most remembered looks to grace the cere-mony (that would be Rihanna’s barely-there look of 2014). It was his first CFDA Awards night as well. “We feel like juniors in high school,” Hervey laughed. And though it was her first time at the CFDAs, she is no stranger to the fashion awards circuit. “I went to the British Fashion Awards so it was kind of the same thing,” she continued. “I’m a native New Yorker so [tonight] I just felt more connected to the designers.”— LEIGH NORDSTROM

The 2016 CFDA Fashion Awards in a Word: Beyoncé CONTINUED FROM PAGE 4

table, “ said Abbi Jacobsen of “Broad City” to her tablemates, who included Chung, Prabal Gurung, Jennifer Hudson, Miroslava Duma and Alex-ander Skarsgård. Jacobsen and “Broad City” co-star Ilana Glazer attended with Rebecca Minkoff and were enlisted to present the Accessories De-signer of the Year Award.

The CFDA changed it up this year, moving the awards from Alice Tully Hall to Hammerstein Ballroom, where for the first time in a long time a seated dinner preceded the ceremony. People were always griping that they were starving during the lengthy proceedings, so they gave them chilled lobster and chilled steak to chew on. Originally, the CFDA planned to televise the production, but it scrapped that idea last month. It was the smart move. There was no shortage of star power in the room — Olivia Wilde, Lena Dunham, Victor Cruz, Karlie Kloss, Ansel Elgort, Irina Shayk, Claire Danes, Naomi Campbell, Tilda Swinton — but at the end of the day, it’s an industry event with questionable appeal to a broader audience. Jacobsen, Glazer and Minkoff headed for the door midway through the ceremony. They missed Beyoncé, but caught Michael C. Hall’s brilliant performance of “Changes” in a David Bowie tribute.

As for the winners, Mens-wear Award winner Thom Browne gave heartfelt shout

outs to his boyfriend Andrew Bolton and his team, seated at his table and showing their devotion to their leader by dressing identically in the Thom Browne uniform. Marc Jacobs was more casually dressed for short, sweet acceptance of Womenswear Designer of the Year — he wasn’t scheduled to attend the awards. Rachel Mansur and Floriana Gavriel accepted the Accessory Designer of the Year Award with a speech that was ever so slightly less awkward than last year, when they won the award for the first time. The Swarovski Awards for emerg-ing talent went to Paul Andrew for accessories, Alex, Matthew and Samantha Orley of Orley, for men’s, and Brandon Max-well, for women’s.

Anna Wintour was an improbable source of genuine enthusiasm when she took the stage to present Ales-sandro Michele of Gucci the

International Award. “I know that you’ve all been looking at your iPhones,” said Wintour. “I would like to ask you all to join me in a round of applause for the incredible news that Hillary Rodham Clinton is now the Democratic Party nominee.” She might have actually “woo-ed” but the audience drowned her out. They’re With Her.

Calvin Klein introduced his friend Donna Karan for the Founder’s Award. Michael Kors introduced Lifetime Achievement Award winner Norma Kamali, who knows how incredible she looks at 70. Her next project is beauty and wellness-related. In case that doesn’t pan out she has a plan B. “Just in case, I asked Mickey Drexler if maybe he would want to do a sex tape with me,” said Kamali. “He said it would be a very, very long sex tape.” May-be she was onto something. J. Crew could use a sales boost. — JESSICA IREDALE

Jennifer Hudson performing a tribute to Prince at the CFDA Awards.

Sarah Williams and Joel McHale

Norma Kamali

Vera Wang

Samira Wiley

Jordan Dunn and Jacquelyn Jablonski

Donna Karan

Sarah Abney and Grace Bol in Thom Browne.

Brandon Maxwell, Ryan Roche and Eva Fehren.

Gigi Burris

Michael C. Hall performing at the CFDA Awards.

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6 8 JUNE 2016

Resort Now

Marc JacobsIt was like an itinerant show, but without the power venue, hotel or fear of disease-carrying bugs. In other words, the resort collection Marc Jacobs showed on Tuesday morning — the day after winning the CFDA Award for Women’s Wear — was a spec-tacle of the sartorial sort, screaming flamboyant fashion at every grommeted, logoed, pink-flamingo-ed turn. “God knows, we’re just doing a nice showroom presentation,” Jacobs said during a preview on Monday afternoon. “It doesn’t mean the clothes should be nice little showroom clothes, right? There’s plenty of that.” A sliding door away, the foyer was occupied by about a dozen models awaiting fittings; hence, Jacobs’ insistence that he wouldn’t make the Awards fete. “I need to be at work,” he said. A last-minute change of heart required the canceling of the first of his two shows (every hour counts) in favor of a single 10 am presentation. (Actual start time: 9:58).

This was as retro-feisty as it gets. “Miami Vice Rococo!” one guest quipped on the way out. It was also a deep dive into the house archive. While the show’s grounding in the crimped-hair, pile-it-on overstatement of the Eighties made obvious con-nection to Jacob’s last spring outing, it was rooted, too, in fall’s melancholy masterpiece, but less obviously so. Fall’s shots of moody pinks and purples here erupted into shocking tones; its voluminous grandeur reinterpreted as rustling fare for girls who just want to have fun.

Beyond that, the strong elements of Jacobs vernacular were restated throughout: madcap polka dots; military; oversize sweats; demure florals; crazy, beachy — palm fronds; giant fla-mingos; patches, pins and co-opted pop culture logos, here most noticeable in giant MTV signage.

Jacobs worked it all into a decorative frenzy: More is more, more and much, much more. Yet he worked in moments of (rela-tively) calm chic: an impeccable trench; a sinewy lame shirtdress with shades of metallic and YSL. He also made a deliberate, if not necessarily obvious, statement of high-low, both the traditional kind (the integration of affordable clothes) and something else altogether (a look in an intricate multimaterial pastiche that included strips of python and five-dollar-a-yard plastic some-thing-or-other. Madcap fun? Absolutely. It was also a treatise on impeccably realized bravado. — BRIDGET FOLEY

Michael Kors Collection“Jennifer Hudson’s coming to sing afterward. I hope you’re p---ed off, cranky and tired by the time she gets here,” Michael Kors said by way of greeting, unable to resist a quip about Monday night’s CFDA Awards. He then transitioned seamlessly to the matter at hand, his resort collection.

As a matter of clarity, Kors prefers the handle “des-tination” to resort. Destination, he said, can mean hot weather, cold weather or, “I’ve got a party in town.” And by his lights, form follows function — he’s got it all cov-ered. Yet rather than eclectic mayhem, Kors delivered his multipurpose clothes within razor-sharp parameters: clean lines, graphic patterns and a witty take on match-ing items — striped sweater-and-bag duo, anyone?

Kors kept his silhouettes characteristically classic, whether in neatly cut dresses or precision separates. Which is not to say he played it safe. There’s no safety — but plenty of wow — in a black-and-white chevron mink coat and matching backpack. Ditto his new trouser: out-to-there dotted palazzo pants, worn with a horizon-tal striped sweater and nifty maritime jacket. He had pragmatic fun by tricking the eye — dresses looked like separates and vice versa. His customer may “want to look layered, but she doesn’t want to pack layers,” he reasoned. She does have a penchant for pattern, which he rendered in numerous ways: the causal glam of a sweater in navy cashmere and gold cashmere stripes worn with a sailor skirt; a Sixties-ish black dress with silver eyelash fringe; a long, large-dot guipure column — the perfect, casual sexy take-away gown.

It all made for a particular take on tony panache — ultrapolished, but with the unfettered attitude that pleasant destinations require. — B.F.Marc Jacobs Marc Jacobs

Michael Kors Collection

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Resort Now

MaiyetResort season marks a year since Declan Ke-arney took over the creative direction of Maiyet, and he approached this anniversary lineup as a remix of the label’s signature motifs and greatest hits. His mood board contained mixed inspira-tions, from mid-20th century portraits by African photographer Seydou Keïta to Eighties images of Princess Diana — the latter’s influence reflected in delicate pearl appliqués on a collared cotton shirt with cut-out sleeves.

Kearney revisited the rounded hemlines of seasons past, but updated his skirts, blouses and dresses with whimsical cactus prints and tiered, wave-mimicking ruffles. A dot motif also ran throughout the collection, from an ostrich-em-bossed leather jacket and a polka-dot blouse to hand-cut circular discs that decorated the gros-grain straps of an elegant, backless slipdress. Mongolian cashmere and Egyptian cotton knits, done in soft shades of blue, cream and lavender, featured perforations and custom lattice stitch-ing done in Bolivia — staying true to Maiyet’s artisanal roots. — KRISTI GARCED

Reem AcraKnown for elaborate, embellished evening at-tire, Reem Acra this season was invigorated with a definitively more casual vibe. A pair of cigarette pants (the brand’s first, which were well-received by retailers during the market appointments) of-fered a youthful alternative to traditional cocktail dresses, especially as styled with an intricately beaded crop top. Other separates, meant to be mixed and matched, provided even more wardrobe versatility. A red lace top, for instance, could appear as a traditional gown with a peplum when paired with a voluminous matching skirt, and equally appropriate as elevated office attire when paired with trousers. Modern as they were, the separates received couturelike treatments with fanciful decorations; Acra even managed to work her signature embellishments on a LBD.

As for the evening gowns proper, some were made of a refreshing, if surprising, substance: Scuba-suit material. Allowing the gowns dramatic structure and volume, it has the advantages of being lightweight and breathable — and also, it doesn’t wrinkle. — ANDREW SHANG

Suno“I was traveling nonstop — two days in L.A., two days in N.Y., two days in Italy — and pulling clothes in and out of the bag. So I started thinking of a travel collection, pieces that you can layer together, dress up or down,” said Suno creative director Erin Beatty. As a result, resort became a series of looks with that “I am going or coming from somewhere exotic” vibe.

Suno’s aesthetic has always been very global since its inception, but this time around, as Beatty pointed out, it was more item-driven. Tops, for example, ranged from Japanese floral puffed-sleeve numbers to embroidered peasant styles to baja striped button-ups; skirts were flared and midlength, with drawstring tassel details or tiered for extra volume. Dresses included a memorable, multicolor plaid off-the-shoulder look; the same plaid also came as a peplum skirt. And the piece of the season — denim overalls — also made an appearance, in a wide cropped-leg version.

“It’s just basically all the pieces you would want in the moment,” Beatty said. “What am I craving?” — MAYTE ALLENDE

Talbot RunhofFor their pre-collections, designers Johnny Tal-bot and Adrian Runhof seek inspiration in textile techniques they’ve yet to master, coupled with the customer’s seasonal needs: “We’re looking for something you haven’t seen, you haven’t touched, you haven’t experienced yet,” said Run-hof. For resort, they thought about lace, how far they could elevate it. The answer: a lot.

Using a mixture of couturelike embroidery and cut-and-sew techniques, the duo showed a range of cocktail attire featuring lace paneling and prints whose intricate details stood out against flashes of skin when the looks floated away from the body. For a yellow tunic, three different lace patterns were dyed the same color, stitched together and then layered over a silk georgette base, and styled with a lace-printed and guipure lace satin skirt. A beige-colored gown, created with what the designers call “lie-detector lace” that looked like needlepoint, was another stand-out.

Of course, there were plenty non-lacy looks too, like a voluminous blush ballgown with floral embroidery, paired in modern fashion with a matching bomber jacket. — A.S.

Kate SpadeKate Spade’s offerings are always for the destina-tion-minded, as well as the buy-now-wear-now set. For resort, creative director Deborah Lloyd had something for everyone. Free-flowing boho party dresses contin-ued to be key, coming in black-and-white polka dots and an abstract holiday lights-inspired pattern. A pale pink and black group veered closer to the typical Kate Spade New York fare, featuring an abstract floral pattern on a nip-waist full skirt dress or flowers as appliqueś on a pale pink blouse paired with a scalloped edge miniskirt. The exclusive Madison Avenue group featured red-car-pet-ready party dresses, especially appealing in a floor-length black floral style and a tiered black lace look with a bow neckline detail — worn with patent-leather loafers.

Lloyd expressed the brand’s wittier side in accesso-ries that were themed around holidays gifts and lights; bags and jewelry even had a white rabbit popping of a black hat in a nod to what Lloyd called that “magical time of year.” — ROXANNE ROBINSON

Emilio PucciWhat’s luxury now? To Massimo Giorgetti, “nowadays, luxury means time for ourselves, means vacation, means well-being,” as he said during a walk-through at Pucci’s Milanese showroom.

These thoughts translated into a joyful lineup, where Giorgetti reworked a sophisticated Fifties-inspired aes-thetic through a contemporary lens. The holiday mood was enhanced by the vibrant patterns — a bamboo motif, a swirl print — which appeared on asymmetric silk cadi shirtdresses and full skirts, silk T-shirts, bra tops, a roomy trenchcoat and a luxurious Kalgan lamb fur coat. Silk pajama suits took on a tropical air, adorned with the silhouette of Miami’s historic Raleigh Hotel swim-ming pool in one look and an archival print of Bermuda dancers in another.

While some pieces exuded an athletic attitude — i e., fitted scubalike knitted viscose sweaters and a neon orange parka with chunky zipper — Giorgetti also in-dulged in a feminine romanticism, with ruffled skirts and maxidresses worked in an exquisite archival buttercup pattern. — ALESSANDRA TURRA

Maiyet Reem Acra

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Resort Now

Rosie AssoulinExuberance seems to be the core value at Rosie As-soulin, whose collections are perpetually optimistic exer-cises in loopy colors, textures, patterns and proportions. “It’s fun, right?” said Assoulin during her resort presenta-tion, set up with models in a giant game of musical chairs played to live strings. To answer her question: yes, the atmosphere was indeed fun, and the clothes, giddy.

A picnic theme seemed afoot in the mismatched ensembles of seersucker ruffles on smocked tops and tiered skirts, the fruit and floral embroidery on a breezy dress and a red off-the-shoulder top and yellow pants with a ruffled waistline that Assoulin called “our Oscar Mayer look.” But there was also a Latin flair to the shirtdress gowns trimmed in hot-blooded ruffles, and a hippie baja babe mood to a patchwork halter and paper-bag pants.

Perhaps it was more of a carnival of festive fashion than a picnic. — JESSICA IREDALE

DelpozoFor Delpozo’s first resort lineup, creative director Josep Font looked to the pioneering French cinematographer George Méliès, translating the fantastical worlds of his silent films into a dreamy, whimsical collection that fea-tured celestial and oceanic themes, woven throughout his looks via elaborate embroideries and prints.

Done in a rainbow of soft and vivid hues, the ele-gant dresses, skirts and blouses were decorated with gorgeous embellishments that begged to be seen up close. Daywear offerings in crisp cotton poplin, linen and raffia jacquard featured starburst prints and star-shaped sequins, an homage to Méliès’ “A Trip to the Moon.” One standout coat, a voluminous, kimono-sleeve raffia number, was covered in colorful fabric appliqués, sequins and beads artfully arranged into playful flowers and fish. A delicate femininity ran throughout the evening looks, which were notable for their color contrasts: A prim, pale-pink tulle sleeveless gown featured a ba-by-blue collar, while a lavender tulle skirt was worn with a structured lime cropped top with an oversize bow. But then, every piece in the collection made a statement, with their clean, architectural silhouettes inspired by British sculptor Anthony Caro — another Font influence. — KRISTI GARCED

Jonathan SimkhaiIt was just a matter of time before Jonathan Simkhai branched out into evening wear. After all, he is highly sought out by the girl around town. “I have been doing some special red carpet looks and I have always loved to connect with the customer, so this was the perfect opportunity to expand,” said Simkhai at his presentation, where he displayed eight handmade evening looks on models.

Inspired by the iconic glass ceilings of the Grand Palais and the Galleria Vittorio Emanuele II, Simkhai filled his gowns with transparencies, gilded details and fantastical elements. A red corded lace appliqué look featured flared sleeves and a magistral trumpet skirt. Another standout was an ivory long sleeve gown with lace bodice, and a shredded chiffon and ostrich feather skirt. On a lighter note: a fun crepe jumpsuit with lace inset and train.

So there was definitely a range — especially since Simkhai did not forget his more casual roots, offered this season via his hit lace little dresses and flirtatious tops. — MAYTE ALLENDE

HaneyResort saw Mary Alice Haney, known for her relaxed California glamour, in a more Hollywood mode. Inspired by Michelle Pfeiffer as a fallen party girl in “Scarface,” she did fluid dresses with daringly high thigh slits, as in a flowy floral gown, and a skintight navy dress with hip embellishment. “You’ll get a leg but not cleavage. It’s all about body consciousness,” Haney said. There were also plenty of mix-and-match separates, imbued with a breezy formality, proposed for what Haney referred to as “night-to-day” wear; especially interesting was halter/one-sleeve hybrid top with metallic stripes.

On her customer, Haney says “she’s sexy and not afraid to make a statement; she doesn’t want to be fussy, but she does want to be relaxed.” — ANDREW SHANG

Noon by NoorA sense of nostalgic longing and displacement was the basis for designers Shaikha Noor Al Khalifa and Shaikha Haya Al Khalifa’s resort lineup. The duo juxta-posed an ethereal color palette of their native Bahrain’s sunsets and spring florals against cracked concrete and marbled textures of New York City for a collection that was both delicate and dense, whimsical and wearable. It was most prominent as a custom-made marble pattern on a matching top and pant set with a dramatic bust, and most elegant as layered organza that created a broken surface effect on a floaty dress. Marble lace on a black and white bomber jacket and slipdress combo provided a youthful play on the theme.

For the less print-inclined, there were plenty of mini-mal looks: Especially chic was an all-white camisole and wrap pants set. While the prevailing mood was elegant simplicity, it wouldn’t be a true Noon by Noor collection without some embellishment — represented this time via the floral-patterned beading on a cool, roomy coatdress. — A.S.

CarvenAlexis Martial and Adrien Caillaudaud’s Carven girl is something of a sartorial mixologist. For resort, they imag-ined her rooting through her granny’s wardrobe to plan outfits for a sun-soaked trip to Italy’s Aeolian Islands.

The result: Sixties/early Seventies ingénue with a strong urban streak. Into the suitcase go sporty jacquard logo minis, vintage slip-inspired dresses with contrasting ruffled hemlines peeking out, or embroi-dered 3-D guipure tunics with a Twiggy vibe to layer over swimsuits. She also packs deconstructed silk-chiffon skirts and surfer tank tops. Then, for sundown: retro knits — some sporting crystal patches or a dégradé flush inspired by Vulcano Island sunsets — and a ruffled frock in flocked-velvet nodding to both a vintage Madame Carven sketch and artist Yumi Okita’s patterned moth sculptures.

A playful clash of prints, colors, textures, naturals and synthetics, the line’s exclusive fabrics also dressed accessories. The design duo’s promise to “electrify” the Carven girl held true, literally, on cute sweatshirts embroidered with neon sign-inspired love hearts and black cables attached to a charger featuring the Carven logo. — KATYA FOREMAN

Monique LhuillierKeeping in line with her past pre-collections, Monique Lhuillier focused her latest resort offering on versatile, mix-and-match daywear. “It’s about dressing our girl earlier in the day and making eveningwear more about separates than gowns,” she said.

In a punchy, tropical palette, Lhuillier worked colorful sequins and floral embroidery across the tops of silk twill trousers and bustier peplum tops. The collection’s cheerful spirit came through in looks featuring oversize polka dots or covered in colorful sequins, including a “confetti” long-sleeve minidress fit for the disco. As for the evening gowns, fluid, slinky silhouettes prevailed, among them a silk Champagne slipdress with a draped, knotted bodice, which pooled at the floor like liquid. Lhuillier fashioned a few dresses and jumpsuits with floor-length capes — for a touch of drama. — K.G.

Rosie Assoulin

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8 JUNE 2016 9

FASHION

Public School Unveils First Coed Collection● The lineup made a statement

about the state of affairs in world politics.

BY JEAN E. PALMIERI AND KRISTI GARCED

Public School kicked off the men’s spring season by making a global politi-cal statement.

The stage was set — literally — as a mock factory, complete with a hero-less monument meant to symbolize “the rise of leaders who shouldn’t be leaders,” said codesigner Dao-Yi Chow. “It’s very dystopian and George Orwellian ‘1984.’ We need to wake up and snap out of it.”

The clothes were designed to repre-sent the uniform of the revolution, and the rebels walked down the runway wearing heritage military pieces such as slouchy officers top coats, boxy parachute parkas and cropped bomb-ers — the strongest outerwear pieces in the collection. New graphic elements appeared in flag prints and embellished patches with the seal of WNL. The show ended with one factory worker spray-painting the full words, and the meaning, of the initials: We Need Leaders.

While the set was imaginative, the men’s wear was very familiar with its mix of tailoring and street layering.

Utility references were used throughout in oversize cargo pockets with statement zippers in jackets and pants and cinched effects on sleeves and waists. The brand’s relation-ship between streetwear and tailored garb continued through its offering of athletically skewed jackets, shorts, sweatshirts and shirts blended with sharply constructed blazers and fitted dress pants.

The women’s resort collection bore the same street influence as the men’s, and included sporty bombers — some in bright yellow, “the collection’s dominant color [symbolizing] a call to action,” according to Chow — as well as sleeveless hoodies, tailored blazers, military jackets and wool coats with circular hardware detailing. A few skirts and tops featured slashes, adding to the apocalyptic mood. All of the looks were cut oversize and layered with abandon, lending the collection an undone, tom-boyish vibe, as the girl gang stomped down the runway in leather high-top sneakers.

A dripping black-and-white flower print, which decorated a floaty silk slip-dress and a trenchcoat, symbolized cli-mate change and “the idea of the earth melting around us,” Chow said. “This collection represents the resistance. It’s our secular army of boys and girls who are rising up.”

New GroupRag & Bone appeals to a diverse range of men, and its newest advertis-ing campaign reflects that.

An eclectic assortment of men from various artistic backgrounds will be featured on Men’s Project, the New York-based brand’s newest campaign that starts today on the brand’s web site. These range from actor, writer and director John Turturro and musicians Mauro Refosco, Honor Titus, Wiz Khalifa and Joey Waronker to photographer David Flinn, actor and director Harvey Keitel, dancer and choreographer Mikhail Baryshnikov and actor Mark Hamill.

The men were photographed by Andreas Laszlo Konrath in locations they chose themselves, dressed in Rag & Bone pieces they personally selected. Videos were also filmed at the same time.

The photos and videos of the nine men will be released throughout the year to coincide with the arrival of the featured collection in stores.

Marcus Wainwright, co-chief executive officer, said the idea for Men’s Project is not dissimilar to the portrait series that Rag & Bone used for its fashion show a few seasons ago. “But this is not a show,” he said. “That worked very well for us to experiment with different ways of showing clothes for the average guy.”

Rag & Bone is also doing the same thing with its women’s initiative, which launched in February.

Wainwright said Rag & Bone prefers to see “constant campaign imagery” rather than “big splashy campaigns” twice a year. “It allows for a constant flow of content, which is more relevant for guys.”

He believes the eclectic nature of the choices speaks volumes about the brand. “When would you see Wiz Khalifa and Mikhail Baryshnikov together? These are not people you’d put in a campaign together — ever,” he said.

“The Men’s Project goes beyond a typical fashion campaign; this is what we’re all about,” said David Neville, Rag & Bone’s co-ceo. “It’s our unique way to innovate in the creative sphere. We want to create a direct connection with our audience by creating imagery that speaks to the diversity of the Rag & Bone man.”

The campaign begins with Turturro, who was photographed in his Brooklyn neighborhood. It will be featured in digital and print outlets. — JEAN E. PALMIERI

First TimerHaley Bennett, the 28-year-old actress and singer, is getting her first magazine cover courtesy of Interview.

The glossy is featuring the actress in its June-July issue, which is devoted to young Hollywood.

According to Interview editor in chief Keith Pollock, the choice of Bennett was multitiered. Central to the decision was the fact that the actress, who is

admittedly “not a household name,” has a handful of buzzy new films coming out this year, including “The Magnificent Seven” with Denzel Washington and Chris Pratt and “The Girl on the Train” with Emily Blunt.

“With Hailey, we felt like that this was the Jessica Chastain, Alicia Vikander moment where they break on the scene and have five movies at the same mo-ment,” said Pollock, who cited upcoming projects with directors Terrence Malick and Warren Beatty among others.

Pollock noted that Bennett has also “been embraced” by the fashion

community, citing recent appearances at Chanel and Dior events.

Bennett’s interview, which was conducted by senior editor Chris Wal-lace, accompanies a photo shoot by Mikael Jansson, which is styled by Karl Templer. Editorial director Fabien Baron told WWD that he wanted the shoot to reflect Bennett’s “charming” character.

“We didn’t want the fashion to over-take her character,” said Baron, who noted she wasn’t dressed “overtly,” in identifiable labels. “It was very light and whimsical.”

The spread accompanies a larger

black and white portfolio on emerging talent in Hollywood, which is shot by Craig McDean. Each actor or actress holds a sign, akin to a casting plaque, which provides scant details on their bios. Actors include Hooper Penn, Lola Bessis, Connor Jessup, Laura Harrier, Malachi Kirby and Jeremy Allen White.

The issue also includes more estab-lished talent such as Jennifer Saunders and Joanna Lumley of “Absolutely Fabu-lous” and actor Jeff Goldblum.

The summer issue of Interview hits newsstands early next week. — ALEXANDRA STEIGRAD

Memo Pad

John Turturro in Rag & Bone’s new campaign.

Haley Bennett for Interview.

Looks from Public School.

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● The former Brooks Brothers and Hickey Freeman executive will succeed Michael Ostrove on June 14.

BY JEAN E. PALMIERI

Paul Stuart has selected a men’s wear vet-eran to lead its business.

Paulette Garafalo has been named presi-dent and chief executive officer of the retailer, effective June 14. She will succeed Michael Ostrove, the third generation of the family that founded the business in 1938, who is retiring.

“This will be my last hurrah,” Garafalo told WWD. “I’m so excited to take everything I’ve learned and build this amazing boutique American brand.”

For five-plus years, Garafalo has been president of international, wholesale and manufacturing at Brooks Brothers. Prior to that, she was ceo of The Americas for Bally and ceo and group president for Hickey Freeman, which was part of the Hartmarx Luxury Group.

“I was really happy at Brooks Brothers,” she said. “But I was also at the point where I

was trying to figure out the last chapter of my career. Claudio [Del Vecchio, owner and ceo of Brooks Brothers] asked me to build interna-tional, then wholesale, then green grass and then get the manufacturing in order, and I did that.”

When she received a call from the Spencer Stuart search firm about Paul Stuart, her initial reaction was that she wasn’t interested. But the recruiter pointed to her experience in men’s luxury brands, women’s, wholesale, global, e-commerce and social media and talked up the dedication and global reach of Paul Stuart’s Japanese parent, “so I thought, what’s the chance of finding a parent com-pany of that magnitude?”

At the end of 2012, Paul Stuart was acquired by Mitsui & Co. Ltd., its longtime Jap-anese licensee. Mitsui’s relationship with Paul Stuart dates to 1975 when it began to import the retailer’s private-label merchandise into Japan. In 1991, the relationship was expanded and Mitsui was granted an exclusive license to produce and sell Paul Stuart product in Japan. There are two Paul Stuart flagships in Tokyo — in Aoyama and Ginza — as well as about 150 points of sale in Japan. In the U.S., the company operates a 60,000-square-foot emporium on 45th Street and Madison, as well as two branches in Chicago and one in

Washington, D.C.Garafalo said she met with Tak Shirai,

chairman of the Paul Stuart board, and said she immediately liked him. “I’ve been in charge of Japan for Brooks Brothers for five-and-a-half years and I love the Japanese and understand the culture,” she said. With that as the backdrop, she accepted the position. She will also assume a seat on the board.

Shirai pointed to Garafalo’s talent, experi-ence and leadership skills as those needed for a new leader as the company enters a period of planned expansion. “Given the strength of our company with an exceptional group of talented people, I am sure we are able to build further success on top of the strong platform Mr. Ostrove has passed on to us. The board believes that Ms. Garafalo, because of her familiarity with brands such as ours, is an ideal choice for Paul Stuart at this time. We look forward to continuing to build with a new leader, ensuring both firm and sustain-able growth and further enhancement of the brand value.”

Garafalo said she left Brooks Brothers on good terms and gave six weeks’ notice. A spokesman from Brooks Brothers said her position has not been filled.

“I would like to be the person who puts all the pieces of the puzzle together,” she said. “Paul Stuart is an undamaged, pure boutique brand. Their real estate is one of their gems and the stores in Japan are incredible.”

Plans for the business going forward include a major renovation of the Madison Avenue flagship in 2017, expanding product categories and adding stores domestically and internationally, she said.

“I have an affinity for heritage brands, especially for American heritage brands,” Garafalo added. “Paul Stuart has enjoyed a truly special place in that pantheon, in terms of that very particular sort of sophisticated, Anglo-American tailored clothing for which they are so widely celebrated.”

Ostrove become ceo of Paul Stuart in 2009 and oversaw the opening of the company’s second Chicago store as well as the Washing-ton location. He was also the catalyst for the sale of the business to Mitsui.

RETAIL

Paulette Garafalo Tapped As CEO of Paul Stuart

● Sold online only, the A-Z brand is a venture with Norwegian retail giant Varner Group.

BY MILES SOCHA

PARIS — Spend a few minutes in the pres-ence of Zlatan Ibrahimovic and you might feel inspired to jog a little further, or do a few more pull-ups.

Known to work out three hours a day or more, the formidable Swedish soccer player poured all of his sweat equity – along with his fashion instincts – into A-Z, his sleek new activewear range that was unveiled here on the eve of the 2016 UEFA European Championship.

“After 15 years of training, I know what you need to put on yourself to train,” he said. “It is pure me.”

A joint venture with Norwegian retail giant Varner Group, the 70-sku range for men and children went on sale Tuesday (EDS: June 7) on a dedicated website, delivering to 11 European countries. Retail prices range from 9.95 euros, or $11.30 at current exchange, for socks to 89.95 euros, or $102.10, for a zippered jacket.

“We have high ambitions,” said Jens Bonesmo, chief marketing officer at Oslo-based Varner, the privately held parent of such banners as Bik Bok, Volt and Carlings.

Activewear is a new category for the firm and Ibrahimovic adds immediate muscle – and credibility – to the foray.

“The market is growing and we want to be part of that market,” Bonesmo said. “Zlatan knows about training. He does it all the time so he knows what works and what doesn’t work.”

Bonesmo said Varner originally approached the athlete about doing a capsule for its men’s wear chain Dressmann, but decided the web offered a larger platform.

He declined to give sales projections, but

hinted at future brand extensions – wom-en’s is in the cards – and an eventual rollout beyond Norway, Sweden, Finland, Denmark Germany, Holland, France, the U.K., Austria, Spain and Italy.

At a launch event, the partners unveiled the form-fitting clothes on a diverse cast of fit dancers, along with a pulse-pounding advertising film with Ibrahimovic voicing motivational slogans and reflections on his career and upbringing.

“Our motto is, ‘it’s not about the gear. Only you will make yourself better, stronger, faster,’” he told the audience of young fans. “It’s all about how far you take it.”

The sportsman, who recently left the Paris Saint-Germain Club after a four-year stint, nimbly deflected questions about his next move and widespread speculation he is headed to Manchester United. “There is no

confirmation. You will have to wait,” he said with a smile. However, he cheekily noted A-Z would be available in the English city.

Asked to name the most stylish figures in football, he replied: “There’s only one: David Beckham.”

Then he gamely lifted his shirt to show the waistband of his briefs. “We do under-wear, too,” he said, to a round of hoots and whistles.

In an interview, the six-foot-five striker said he tested all prototypes, insisting on the highest quality for the made-in-Turkey range and giving input on its discreet branding – a horizontal gold bar – along with the muted colors and minimalist shapes.

Often seen wearing the dark, elongated hoodies, shorts and T-shirts of Rick Owens, Ibrahimovic said he relates to the ethos of the Paris-based designer.

“He does his thing and he doesn’t care what anybody else says and he keeps doing it. That is what I find cool because that’s the way I play football, with the confidence I have. I do it my way,” he said, seated on a leather sofa in navy warm-up jacket over a white T-shirt and navy sweatpants.

While the A-Z clothes wick sweat and allow freedom of movement, Ibrahimovic said he’s not a big believer in highly specialized sport clothes, figuring leggings can be worn for run-ning or yoga. “I believe the more comfortable you are, the easier you make it for yourself to train,” he said. “The cuts have to be good.”

Ibrahimovic is upfront about his upbring-ing in a rough-and-tumble immigrant neigh-borhood of Malmö, using the term “ghetto” for lack of a better term.

“I didn’t have it easy. I didn’t have many opportunities. But when we were going around, we always had sporty clothes, track clothes because we were always playing foot-ball, running, doing gymnastics at school,” he said.

In fact, when he was 17 and visited the downtown of his city, he confessed he was struck by seeing people in jeans and polo shirts, saying to himself. “This is not my world.”

He noted tracksuits are still the standard uniform in have-not neighborhoods of big cit-ies, and now its chicest quarters, too, thanks to the growing popularity of activewear.

Asked if his collection could be considered ath-leisure, he replied: “I believe you can wear it for normal everyday wear, but we are focusing on the training market. And we are the people’s brand so it’s for whoever you are, wherever you come from, it is for everybody, so A to Z, you can be an amateur or you can be Zlatan.”

The outspoken athlete made his first steps into fashion last year with a signature fragrance with licensee Amazing Brands of Sweden, also aimed at a wide audience. A new fragrance duo, for women and men, is due out soon.

FASHION

Zlatan Ibrahimović Launches Training Collection

Paulette Garafalo

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8 JUNE 2016 11

● The designer riffed on some of his top archival looks from the past decade.

BY SAMANTHA CONTI

LONDON — Neil Barrett hadn’t taken a proper look at his scattered archives for about two decades until Harvey Nichols urged him down memory lane — and the result is a 12-piece exclusive capsule for the store.

Called Originals: Vol #1, it lands Friday — the first day of London Collections: Men — at Harvey Nichols’ men’s wear pop-up concept space, Project 109. The space is located in the store’s new 28,000-square-foot men’s space in Knightsbridge.

Originals: Vol #1 will also roll out to the retailer’s other stores in Britain.

Barrett certainly isn’t short of archives. “I have three in Italy, two in Britain, and for 18 years I haven’t seen them,” the designer admitted. “It’s about 25 years’ worth of design work.”

He said the idea for a collection was born after a conversation with Anita Barr, group fashion buying director at Harvey Nich-ols, although he’d already begun looking to his past for inspiration for the fall 2017 collection.

“I was born in the U.K., my inspirations are British, so for this collection I pulled from the archive — or my memory — if I couldn’t actually find it in the archive,” said Barrett, who studied at Central Saint Martins and the Royal College of Art in London.

His company, which he founded in 1999 after working at Gucci and Prada, is based in Italy and he lives between London and Milan.

The pieces that Harvey Nichols picked are from the past 10 years, and Barrett believes they’re as wearable now as they were then. “My fits are pretty consistent and my color palette is pretty restricted — it’s very Savile Row.”

Looks include shirts and jackets adorned with bonded silk bands like tuxedo stripes; tailored trousers with a ribbed cuff around ankle; a jacket with a magnified and decon-structed, unraveling chevron pattern, and a

buffalo leather jacket. Barrett said Brad Pitt wore the original during the press tour of his film “Mr. & Mrs. Smith.”

There are also leather detailed coats, and T-shirts, jacquard suits, color-blocked shirts, and double-bonded sweatshirts.

Barr said the collection features some of the designer’s key pieces from the last 15 years. “Neil’s clean and modern approach to design teamed with his technical expertise, has made the brand one of our fastest grow-ing men’s wear labels at Harvey Nichols.”

Prices range from 265 pounds, or $382, for a cotton poplin contrast sleeve shirt to 1,755 pounds, or $2,530, for a washed buffalo leather biker jacket.

Barrett’s business is about 70 percent wholesale, with the balance coming from retail. It sells through 400 doors worldwide and 15 monobrand stores, the concept of which was developed with Zaha Hadid Architects.

Barrett has other projects on the boil, among them a new ski collection that will land in stores in October. He described it as “crazy detailed,” with the sort of pieces that will take a man straight from the slopes into the bar. He said he’s working with the same factories he used 16 years ago when he launched Prada Sport.

FASHION

Neil Barrett Creates a Capsule for Harvey Nichols

● The bomb, which killed 11 and injured 36, put Istanbul’s textile trade further on edge.

BY SEBNEM ARSU

ISTANBUL — The car bomb explosion Tues-day morning in central Istanbul, which killed 11 and injured 36, also left the city’s already suffering textile trade further on edge.

The attack took place near Istanbul’s traditional garment district during the morn-ing rush hour. Although no group claimed responsibility for the fourth major bombing in Turkey’s largest city this year at press time, government officials suspected the involve-ment of a Kurdish separatist group, which often targets security personnel and busy urban areas throughout Turkey.

The tremor from the explosion that tar-geted a police bus passing by the Vezneciler neighborhood was strongly felt in nearby textile shops of the Laleli district.

“I heard the explosion at home and rushed out to see what happened,” said Lorina Androni, who lives close to Laleli’s Esmeralda wholesale coat shop, where she works as a sale assistant. “Our shop was luckily not dam-aged, but I’m sure this attack will very much scare our customers.”

The blast caused no major material damage to stores, but instigated panic and fear among members of the Laleli Industrialists and Busi-nessmen Association, it stated late Tuesday.

Once bustling with merchants from the Russian Federation, Laleli has already suf-fered historic lows in trade in recent months with more shopkeepers than customers mill-ing around stores draped in signs in Cyrillic.

When Turkey’s military downed a Russian fighter jet that violated the country’s airspace in November, Russia’s president Vladimir Putin called it “a stab in the back” and warned against consequences that ultimately brought a standstill to the suitcase trade, the practice involving Russian traveling traders, who hand-carry goods back to their own country.

“We just opened the new season, but it’s

still empty,” said Nedim Kohen, 38, referring to Gel-Al, his large apparel shop in the heart of the district, in an earlier interview.

After Tuesday’s terror attack, Kohen believed future prospects looked even more grim.

“This will of course have further effects on our business in a bad way,” he said.

Not only did recent devaluations of the Russian ruble on world markets contribute to an 80 percent loss in Gel-Al’s revenues last

year, but an increasing brand-consciousness among Russian consumers also added to the slump.

In the first two months of 2016, garment exporters nationwide reported a 59 per-cent decrease in overall trade with Russia, although Turkish textiles were not directly sanctioned like the energy, food and con-struction sectors.

Moscow’s pressure was more indirect. The Russian government has terminated charter flights to Turkey, pressured travel agents to stop selling holiday packages to the country and state media has kept highlighting terror attacks in Istanbul and Ankara.

“Our customers still ring us to ask whether

there’s war in Istanbul after they watch exag-gerated Russian news reports,” said Elena Savgaeva, 38, a Moldavian textile broker at empty Esmeralda’s, a few weeks ago.

“It is typical propaganda to make sure peo-ple are afraid to come here,” she added.

Giyasettin Eyyupkoca, chairman of Laleli Industrialists and Businessmen Association, said he believes the effects of the most recent attack would be short-lived, like he called the previous ones.

“Such attacks are very unfortunate, but it’s not true that there have been cancelations because of fear. Today’s attack will not be treated any different,” he said in a phone interview. “We were already stepping into quiet time with the season coming to an end, and Russians leaving for vacation as schools were closing this week. So the impacts will be minor.”

Other retailers disagreed, saying their business has suffered a dramatic decline in recent months. And they underlined the need for versatility in the market.

“We definitely need to stop relying on Russia. We need a backup plan,” said Muhammed Sengul, 40, Esmeralda’s owner.

Laleli’s leather shops have also been suffer-ing. Many have kept their lights off, reduced personnel and marked their windows with big sale signs in Russian.

“I have nothing to say,” said the owner of a two-story leather shop, when asked how his business was hurt by the recent political crisis between Turkey and the Russian Federation. “As there’s absolutely nothing.”

The suitcase trade in ready-to-wear, leather and other garments to the Russian Federation generated around $4.5 billion of Turkey’s estimated $8 billion suitcase trade revenues in 2014, according to the country’s exporters’ association. The Russian Federation ranked seventh among Turkey’s top export markets the same year.

Such gray-market numbers far eclipse the registered rtw and garment exports to Russia, which have plunged from $413 million in 2013 to $351 million in 2014 and $204 million in 2015, according to the Istanbul Ready-to-Wear Garment Exporters’ Association.

Both rtw and leather exporters, however, have rolled up their sleeves to try and turn today’s crisis into an opportunity.

“In order to bypass the current deadlock and diversify our resources, we’re turn-ing to Africa, exploring Iran in a changing financial climate for its 80 million people, reviving links in Europe and working hard to win a better share in the United States,” said Hikmet Tanriverdi, chairman of IHKIB, which represents more than 7,000 businesses that generate 49 percent of Turkey’s overall exports.

The group is preparing to launch Turkish Trade Centers in Dubai, London, Düsseldorf, Paris and New York, the latter of which is to open by the end of July, with showrooms of 30 rtw leaders.

Exports to Algeria, Libya and Egypt have already increased 25 percent, and the IHKIB is organizing familiarization trips for potential buyers from Nigeria and Cameroon with a target of doubling their Africa exports in three years, the chairman said.

In leather, there has been a similar search for new markets to compensate for the 50 percent loss in Russia, and to increase its share in the $250 billion global market.

“We’re going to fill the gap Russia created with big leather buyers like the United States, Canada, European Union countries, Japan, China and South Korea,” said Mustafa Seno-cak, chairman of the Istanbul Leather and Leather Goods Association.

Back in Laleli, where many had to close their businesses, Savgaeva expressed some cautious optimism.

“The Russian market is indispensable, when even Kyrgyzstan, Uzbekistan, Azerbai-jan and Tajikistan altogether cannot match Russia, let alone starving Africa,” she said. “This crisis might crush small businesses, but big players will thrive and Russians will be back one way or another because we both need each other.”

THE MARKETS

Bomb Explosion Occurs in Istanbul’s Garment District

The site of the bomb explosion in Istanbul, Tuesday, June 7.

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A jacket from the capsule collection designed by Neil Barrett for Harvey Nichols.

12 8 JUNE 2016

● The beauty giant is taking Decléor from spa brand to consumer-facing skin-care line, setting its sites on the U.S. market.

BY RACHEL STRUGATZ

NEW YORK – L’Oréal is taking Decléor from spa brand to consumer retail-driven skin-care line.

The 42-year-old, French skin-care company — largely a professional business with the majority of sales coming from day spas and resorts — is turning its eye to the U.S. market.

The brand has spent the past year under-going a “reawakening” — which is not to be confused with a “repositioning,” according to Laurie Lam, vice president of marketing at L’Oréal USA, managing the Decléor and Carita brands, during an interview at L’Oréal’s U.S. headquarters here in May.

She explained that instead of revamping the entire look and feel of the brand, her team is working to get closer to what the brand “was all about” when it was founded by Solange Dessimoulie in 1974. The pillars of Decléor — skin, body and mind — will shape all messaging going forward.

In the U.S. specifically, Lam estimates 30 percent growth for the brand in 2016, fueled by increased spa doors coupled with new retail accounts. Global increases for the brand are expected to be in the double digits.

The U.S. is Decléor’s top priority right now, and the “brand reawakening” is in full swing. A logo change took place in January, as well as the rollout of new promotional and advertis-ing materials. A press event, which focused on sensorial experiences, and the naming of a U.S. brand ambassador for the first time took place earlier this year, and the line is expand-ing its presence at retail across the country. In the two-year pipeline are freestanding stores and spas, including a Decléor flagship spa in New York City, Miami, Los Angeles or Southern California.

L’Oréal has been preparing for these moves for more than a year after finalizing the acqui-sition of Decléor and Carita from Shiseido Co. Ltd. two years ago, paying 227.5 million euros, or $315.4 million at current exchange, for the two skin-care brands. Industry sources estimate that two brands combined did more than $115 million in sales in 2015. It’s rumored that one bottle of Aromessence serum — the anchor product of the brand – is sold globally every 30 seconds.

“You can find an essential oil in every prod-uct in the range across all skin-care concerns. It’s never a brand that’s strayed from where it’s started. It’s always stuck to its DNA,” Lam said. The best-selling Aromessence Neroli Hydrating Oil Serum retails for $73 with Hydra Floral moisturizers ranging from $42 to $67.

Decléor has presence in more than 70 countries with more than 10,000 doors and select retailer distribution in places like Har-rods, House of Fraser and Nordstrom.com. There are over 350 premium spa locations in the U.S.

Currently, 75 percent of Decléor’s business is professional, but this is changing. Within several years’ time, the brand projects that the U.S. business will be much more balanced between professional spas and specialty retailers. The goal is to build a hybrid con-sumer and spa brand. The line will hit select specialty retailers in 2017 and is already sold on e-commerce sites such as Dermstore.com and SkinStore.com.

“I was on vacation and somebody gave me the essential balm [Neroli Essential Night Balm], and it totally calmed my skin. I was using Clarins before, [but] I came back from vacation and ordered a few things,” said Mzia Shiman, the New York-based, celebrity facialist who was introduced to Decléor two decades ago. “It was working for me and working for my clients. I started using it on Mariah Carey and Naomi Campbell. I put everybody on it.”

Today, 80 percent of the product she uses comes from Decléor.

Lam said Shiman was her first call when shaping the brand ambassador strategy. The

fact the facialist was well-known indus-try-wide — coupled with the fact that she’s been organically using the products for 20 years — made her the first (and only) choice.

Shiman hosted a launch breakfast in February for Decléor’s antipollution range of products (an Anti-Pollution Hydrating Active Lotion and an Anti-Pollution Gel Cream) that came out in March. Another event was held at the New York Edition in mid-May where Des-simoulie (also the global brand ambassador) was on hand to walk guests through Decléor’s updated look and feel.

Lam noted that the company made an effort not to showcase new product at this event.

“We did it intentionally without a launch. It

was a risk,” said Lam, who added that guests were asked to submit their bags and jackets so they could have their hands free and experi-ence a complete interaction and “feel” what the brand was all about.

The event was composed of six rooms with hands-on stimuli in each. For instance, a pulse room stimulated each guest’s pulse and measured breathing before and after experi-encing a product, a brightening room allowed guests to control the brightness of the room with essential oils and a yoga instructor led a 10-minute power mediation session using Aromessence in a meditation room. There was also a social media steam wall where guests could write their message and then see it in steam.

“In every room you engaged with Aromes-sence in a way that you normally wouldn’t,” Lam said.

Up next for the brand is this month’s launch of two products: Aromessence Svelt Body Refining Oil Serum and Aroma Svelt Body Firming Oil-in-Cream, which retail for $72 and $66, respectively.

While the introduction of March’s antipollution range was decidedly more consumer-facing, this launch is professional, according to Lam. She explained that the two products were designed for use in tandem with Aroma Blend, the brand’s first cus-tom-blended body treatments. A collection of four concentrates and three active oils, only available at spas and salons, are “tailored, body-shaping” products customized by the aesthetician based on the client’s needs (and used with the Svelt serum and cream).

Citing estimates that 40 percent of rituals in beauty salons are body-shaping treatments, Lam said the formulas target “four body obsessions” (refining, firming, improving circulation and reducing swelling in legs and waistline) that can be fused with active and essential oils in front of the client.

“It’s based on the area of concern and what they [the client] wants from a mood benefit. Are they sleepy? If so, then there is an active blend to address energy that contains citrus, peppermint and rosemary. If you need to relax, there is a blend with neroli, chamomile and sweet orange,” Lam said.

BEAUTY

L’Oréal ‘Reawakens’ Decléor Brand

Decléor products.

The Decléor spa.

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“For Club Monaco and our relatively other smaller brands, we will continue to support them with the appropriate resources and we will do that simultaneously,” the ceo said.

Larsson said the change for the company’s e-commerce platform is “well under way,” with the planned changes and upgrade targeted for completion at the end of the current fiscal year. “That will really unlock our potential for creating a flagship experi-ence and consumer functionality online. The platform will enable us to do what we need to do, which is to build an online flagship experience,” he said.

But also what seems to be energizing for Larsson is the ability to work with the com-pany’s wholesale partners in a way that helps the Ralph Lauren brand and benefits its retail partners.

“We are looking forward to partner with our wholesale partners to execute our Way Forward plan together with them. They are ready and excited to partner to cut lead times and match demand to supply better, [as well as] how we are going to strengthen the assort-ment. They are on board — we had to hold them back,” Larsson said, noting that the company wanted to move forward only after getting its operational model in place before engaging with its business partners.

Larsson said he believes in the strength of the wholesale channel, and that the com-pany will be “working more closely with its partners. Our goal is to be absolutely the best partner so we can unlock some engines with them.”

The company said fiscal 2017 restructuring activities will result in $180 million to $220 million of annualized expense savings. It expects to incur restructuring charges of up to $400 million as a result of the activities and up to a $150 million inventory charge

associated with the reduction of inventory out of liquidation channels in line with the new plan.

For the first quarter of fiscal 2017, consoli-dated net revenues are likely to decline at the midsingle-digit rate, the group said. It also expects consolidated net revenues for fiscal 2017 to decline at a low-double-digit rate due to a “proactive pullback in inventory receipts, store closures, pricing harmonization and other quality of sale initiatives.” Guidance for the quarter and full year exclude the restruc-turing and inventory charges connected with the restructuring activities.

In its restructuring, the company is fore-casting up to $445 million in savings from three general areas. The first is in creating a leaner, flatter organization, resulting in $240 million in expected savings, made up of $90 million in headcount-related savings from the 5 percent reduction in staff previously made last year and a $150 million in savings from restructuring this year that will include an 8 percent cut in full-time headcount, or about 1,000 jobs.

On the real estate side, the company closed 43 stores during fiscal-year 2016, with another 50-plus store closures expected during fiscal 2017. The total number of stores to be closed during fiscal 2017 is still being finalized. The store closures are expected to generate $70 million in cost savings.

“We have had an undisciplined retail expansion,” the ceo said. “We have stores in the portfolio today that we have decided to close because of two reasons: They don’t strengthen the brand and they don’t drive profitable sales.”

Larsson’s team has also identified an addi-tional $135 million in cost savings from other expenses, such as driving operating costs out

14 8 JUNE 2016

Ralph Lauren’s ‘Way Forward’ to Reinvention CONTINUED FROM PAGE 1

A fall 2016 men’s look from Ralph

Lauren Purple Label.Ralph Lauren

The Polo store on Fifth Avenue in New York.CONTINUED ON PG. 15 Pu

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of the business. He said targeted selling, gen-eral and administrative categories can reduce costs by 14 percent year-over-year. Larsson said the company will develop best-in-class sourcing by strengthening the collaboration with its supplier base; developing fabric plat-forming and multistep buying, and focusing on innovation.

In his presentation, Larsson said the company hired Millward Brown, a market research firm, to study the strength of the brand. It found that in men’s luxury, the brand scored number one in power and num-ber three in premium, in women’s luxury, it scored number one in power and number seven in premium (after Louis Vuitton). In aspiration luxury, Polo scored number one in power and number one in premium, and the Lauren brand scored number one in power and number one in premium. He said the bottom line is the strength of the brand is incredible, but the business hasn’t matched up to that strength.

Over the past year, the brand had 150 covers in national magazines, and 3,000 editorials. There were also 28 billion media impressions, and $500 million in established media value by editorial. “That’s a sign of strength,” Larsson said.

He also noted that the brand has elasticity, and everyone advised Lauren not to open another restaurant in New York City, but Lau-ren wanted to open “the right restaurant,” with incredible service, which has been a very successful venture for the brand.

Along with not focusing enough on its core brand strength, the company failed to evolve the product, its marketing and shopping experience, Larsson admitted. The company will change its operating model to tighten lead times on the supply chain from the current 15 months down to nine months with an eight-week testing period. The aim is to shorten that even further to six months.

It also found that excess inventory was

growing its outlet and off-price channels out of balance.

Rick Snyder of Miller Tabak & Co. said, “This is generally a life cycle that luxury brands seem to go through. They accumu-late inventory in the channels and then they have to wring it out and start all over again. They’re not the only ones. Cutting back in the wholesale channel, closing stores, these are all positive steps for the brand. Shortening lead times is a positive — it gives them the opportunity to work in the demand-base sys-tem, rather than just supplying merchandise and hoping it sells.”

For spring 2017, the company will cut out unproductive styles, and will build out more icons. Examples of those for spring 2017 include the army jacket, tweed jacket, safari jacket, peacoat, duffle coat, oxford shirt, military shirt, cargo pants and Aran cable sweater.

In the women’s business, 42 percent of the core products will comprise of the style icons, with 28 percent focused on seasonal fashion. The style icons will stay true to the brands’ core DNA, with no markdown and a higher margin. The seasonal fashion will highlight the vision of the season, and include possible potential future icons.

In addition to expanding the role of brand president Valerie Hermann, the company has added three new hires to work on its Way

Forward strategy: Halide Alagoz is the new head of global sourcing; Fredrik Hjalmers is head of global expansion, and Marcelle Par-rish is head of e-commerce North America.

The three new hires have an expertise on the fast-fashion side of merchandising. Alagoz has 18 years’ experience heading up the global supply chain and sourcing initiatives at H&M; Hjalmers has seven years’ experience in leading H&M’s new market expansion, and Parrish has four years’ experience as general manager of eBay Fashion. Larsson joined Ralph Lauren from Old Navy, but prior to that worked for 15 years at H&M.

“In these challenging times, I think the restructuring plans that Ralph Lauren and Stefan Larsson have laid out are all key steps to getting the company back on track,” said Susan Sokol, founder and ceo of Sokol Consultancy. “I liked the fact that there was mention that the women’s product would be evolving. I think this is an area of the business that has needed attention for some time. The women’s clothing particularly has become too predictable on all fronts. While Ralph Lauren is a classic lifestyle brand, he is an American iconic designer. It’s always essential to develop core classic business drivers, and there’s also the highly important need to balance the classic with fresh and new designs each season.”

Andrew Jassin, founder of Jassin Consulting

Group, added, “I thing change is important and alterations in size of businesses at Ralph is important, but you can’t economize your way to prosperity. That’s the most important thing. There needs to be a change in how they sell their products and to whom they sell their products, and also, the product. I think the jury’s out to a large degree on these changes.

“I was on the conference call earlier, and it was interesting,” he added. “The words are appropriate. The question is the activities and the actions right now. It’s still one of the greatest brands in the world. It’s not that young people don’t buy the brand, it’s not that old people stopped buying the brand, business has changed so dramatically, and I think of all the brands that exist in luxury and in subluxury, the Ralph Lauren brand has the best opportunity to transition. I think over the next period of time is really how it gets done. There are so many things going on in retailing and wholesaling right now with the crazy election and that Asia’s not growing the way it did grow, because of the brand’s standard and the DNA, they’ll fix it. It’s not broken, it just has to change.”

He said they need to do as much modern marketing as they can, but not necessarily change the advertising. “They have to change how they communicate the brand, because so many younger people buy differently and shop differently,” he said. He noted that Lauren’s son, David, knows about marketing, and the new president comes from a market-ing-dominated company. “They’ll hire the right people to get there. I think you always have to bring in new people at the expense of some of the old,” said Jassin.

Dana Telsey of Telsey Advisory Group said while Larsson said on the call it likely won’t be until 2019 that the business returns to growth, she expects to see guideposts along the way where certain goals — even small steps — are met to indicate progress in the right direction.

“I think the change Stefan Larsson was brought in to do he is now executing on, and he is [doing so] in collaboration with Ralph,” said Telsey. “The iconic nature of the product and what they have to focus on, whether it’s updating the channels or the methodology of the supply chain for the inventory, are needed and necessary. The plan is over-encompass-ing, so it will take some time [to complete].”

8 JUNE 2016 15

Ralph Lauren’s ‘Way Forward’ to Reinvention CONTINUED FROM PAGE 14

Looks from the spring collection.

Stefan Larsson and Ralph Lauren

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Bird’s-Eye ViewLVMH Moët Hennessy Louis Vuitton has opened a high-tech project show-case for its controversial renovation of La Samaritaine.

The Maison du Projet, initially opened in 2011 when work began on the landmark Paris department store, has moved to a new space at 1 Rue du Pont-Neuf. It features an updated sce-nography, including a 3-D tour of the project using virtual-reality platforms, the luxury conglomerate said on its web site on Tuesday.

Some 60,000 people visited the previous showcase space on Rue de Rivoli, it added.

LVMH got the green light to move ahead with the project a year ago, after being forced to halt construction following legal action by residents.

With an estimated cost of 450 million euros, or $510 million at current exchange, the structure will incor-porate 280,000 square feet of retail space alongside a luxury Cheval Blanc hotel, 95 units of affordable housing, a day-care center for 60 children and 215,000 square feet of offices.

LVMH estimates the project will create approximately 1,800 jobs in the three years of work, and that it will create 2,200 jobs directly and 2,200 in-

directly once the renovation is finished at the end of 2018. — JOELLE DIDERICH New TeamJen Atkin has partnered with Chloe + Isabel, the direct-sell jewelry brand, on a line of hair accessories that launched Tuesday.

The Jen Atkin x Chloe + Isabel collection comprises 13 trend-driv-en styles, including pins, barrettes, headbands and bun cuffs that can be converted into bracelets, available in a variety of plated metals (rose gold, gold, silver and hematite) and finishes (shiny, matte and hammered).

The collection will be exclusive to Chloe + Isabel, and will be available for purchase at chloeandisabel.com and via Chloe + Isabel merchandise sellers. Prices range from $18 to $45.

Atkin got her start as a hairstylist to celebrities such as the Kardashians and Katy Perry, and has become a well-known rising force in the industry. In 2014, she launched maneaddicts.com, a web site and social commu-nity for hairstylists and hair-product junkies, and this year she introduced her own hair-care product range, Ouai. — ELLEN THOMAS

Fashion Scoops

8 JUNE 2016 17

● Panelists who spoke at FIT’s “The Hidden Price Tag” said the approach to apparel production creates too many clothes and an unmanageable waste stream.

BY ARTHUR FRIEDMAN

NEW YORK — Fast fashion is the “root cause” of an environmental crisis in textile and apparel manufacturing, according to “The Hidden Price Tag” panelists at the Fash-ion Institute of Technology.

“Fast fashion takes a toll on the con-sumer mind-set and the environment,” said Elizabeth Cline, author of “Overdressed: The Shockingly High Cost of Cheap Fashion.” “The low-price driven fashion trend has shifted shopping patterns from seasonal to disposable.”

Cline showed a slide from an H&M Twitter feed that said “New Week New Outfit” as an example of the fast-fashion approach that cre-ates too many clothes and an unmanageable waste stream. She said research shows that women make 236 apparel purchases annually and wear only 38, and that “the majority of purchases are worn only seven times.”

“The flip side is an environmental crises in textile waste,” Cline said.

She noted that $705 million worth of cloth-ing, or 38 million pounds, are shipped abroad

every year to places like Nairobi, Kenya, by charities such as the Salvation Army and Goodwill. In addition, 80 percent of textile and apparel purchases, or 21 billion pounds, wind up in landfills every year.

“It’s imperative to shift consumer behav-ior,” Cline added.

Maxine Bedat, cofounder of Zady and a former human rights lawyer, admitted that she “was that fast-fashion consumer.”

Bedat said on Zady.com, “in every case we looked at quality versus quantity…about buying fewer, but better things.”

Zady.com believes in the “citizen con-sumer” she said. Its “manifesto” equates fast fashion to fast food, “empty calories that make us feel full.” Fast fashion is also related to “Rivers full of toxic chemicals, closets full of disposable wear…[and] landfills full of yesterday’s garments.”

Kirsten Brodde, project lead of the Green-peace Detox Campaign, explained that the program asks big companies to eliminate hazardous chemicals from their manufactur-ing supply chain.

Since the Detox Campaign began in 2011, Brodde said 66 companies have committed and begun to do so, driven by an overall policy change in the way to manufacture the fashions. These companies include Adidas, H&M, Levi Strauss & Co., Burberry and Zara.

She noted that there are 3,500 chemicals in the making of textiles, 10 percent of which are found to be hazardous to human health and the environment.

“The textile industry is the second-largest

polluter of fresh water in the world,” she said, citing the dyeing and finishing process as the biggest problem while showing slides of such factories in China. “We’re trying to protest against these practices all over the world. Just compliance with laws doesn’t protect against pollution.”

She cited a recent court decision against three companies in Indonesia for their waste-water pollution.

The aims of the Detox Campaign includes toxic-free production by 2020 and a responsi-ble policy for the whole life cycle of the textile and apparel industry, even after end use.

“The Detox Campaign is not about working against the companies and the industry, but working with them,” Brodde said.

As part of its holding the fashion industry accountable, the campaign produces and annual “Detox Catwalk” ranking of best and worst companies in this area, the next of which is due out next month. It also publishes

detailed research reports, the latest one on the outerwear sector and its use of PFCs in performance additives and efforts to phase those out.

Brodde noted that Zara, Adidas and Levi’s were the subject of protests before they com-mitted to Detox.

She agreed that fast fashion is the “root cause” that has led to need for the Detox Campaign.

“The production system that’s needed for fast-fashion companies and their relationship to the contractors is problematic,” she said. “But progress is coming from fast-fashion brands at a faster pace than luxury brands.”

She said some solutions are the “sharing movement” that includes clothes-swapping parties, a “Buy-Nothing Day” in Hong Kong, the Slow Fashion Movement emphasizing craftsmanship, local production and longevity in clothes, and Eco Store, a list the campaign has collected and posted on its web site.

FASHION

Fast Fashion Complicit in Environmental Problems

Francesco Marin of Marini Industrie, as 20 textiles companies from Prato, Italy, commit to the Detox Campaign.

Four varieties of the pony tail clip from Jen Atkin’s collection

with Chloe + Isabel.