Category: Fashion

How Vogue Got Modern

How Vogue Got Modern

he Met Gala is the one night each year when the fashion industry lives up to its potential, when Rihanna sweeps up the steps of the Metropolitan Museum of Art in a fox fur–trimmed robe the color of an egg yolk, its train pooling yards behind her, and all you can do is gasp, or laugh, or melt into a puddle because you just can’t believe this is real life.

A white tent goes up over the museum’s wide steps and a red (or blue, or pink) carpet is thrown down, creating a perfectly manicured universe that in the coming hours will be packed with all the ingredients for an Important Media Moment. Dozens of photographers and camera operators assemble near the entrance, and just as many reporters take their assigned spots on either side of the staircase, prepared to shout and tweet and Instagram until their throats go hoarse and their backup batteries die. The railings they stand behind are tastefully dressed in greenery. Everyone is in mandatory black-tie.How Vogue Got Modern

The first guests start to trickle in, and before long, the scene is a flash flood of musicians (Beyoncé!), actors (Blake!), athletes (Serena!), models (Kendall!), and fashion designers, who pose and preen and recline on the stairs if they’re Diddy. It’s like the Oscars, plus the Grammys, Emmys, and ESPYs, but frothier fun than any of them. As far as spectators are concerned, the red carpet is the entire point.

The annual fundraiser for the Met’s Costume Institute is an irresistible, often viral soup of celebrity and over-the-top style, and it’s all engineered by Met trustee and Vogue editor-in-chief Anna Wintour, for whom the Costume Institute was renamed in 2014. She oversees who gets to come, where they sit, and, frequently, what they wear.

Finding a Place for Glamour Magazine in 2018

Finding a Place for Glamour Magazine in 2018

Glamour’s new editor-in-chief Samantha Barry says she isn’t afraid of change. She had better not be; in her first foray into magazines, the CNN and BBC veteran is embarking on a comprehensive redesign of the 79-year-old title, which has struggled to gain traction in an increasingly digital media world.

Barry joined the challenged Condé Nast title just three months ago, succeeding Cindi Leive. The former editor led the publication for 16 years, turning it into what was at one point Condé Nast’s most lucrative title. The magazine still has the largest circulation at the publisher — an average of 2.3 million in the second half of 2017, according to the Alliance for Audited Media. Barry was a surprising choice, coming to the magazine with no significant prior print experience after working as the executive producer for social and emerging media at CNN.Finding a Place for Glamour Magazine in 2018

Barry’s experience attracting online audiences is key to her main goal: making Glamour relevant again. Glamour rarely generates buzz online, and risks losing both print and online readers to fast-growing upstarts like Refinery29 and Bustle. Other Condé Nast publications are grappling with the same problem. At Teen Vogue and Self, that meant shuttering print editions to focus on digital readers. A company spokesperson has denied rumours of more cutbacks in frequency coming to other titles, as well as any plans to change Glamour’s print frequency.

Since the 2016 election, fashion and beauty publications have embraced feminist positions and politics to vie for audiences online. Hearst’s Cosmopolitan has the biggest audience, New York Magazine’s The Cut is distinguished by its slate of writers. Indie title Gentlewoman is hosting intimate events.

Is Fast Fashion Slowing Down?

Is Fast Fashion Slowing Down?

The past few months have been trying for H&M. After the Swedish company (aka Hennes & Mauritz AB) released its fourth-quarter results for 2017 in January, which had its biggest profit decline in six years — 14 percent for the full year — it announced that it would be closing 170 stores in 2018 (even as it maintained that it would open 390 more around the world). Add to that a growing inventory of nearly $4 billion that many have criticized as environmentally irresponsible and it’s clear that the company is in need of a shift, CEO Karl-Johan Persson acknowledged. “The fashion industry is changing fast. At the heart of the transformation is digitalization, and it is driving the need to transform and rethink faster and faster,” he said in a January statement.

Some have pointed to H&M’s lagging production cycle compared with that of competitors like Zara, Asos and Boohoo (H&M’s cycle can take up to six months with much of its production in Asia, while others are able to manufacture and deliver product in a matter of weeks). Others have criticized its merchandising for being less than savvy, with too many basic tees and jeans, and not enough trends to compel shoppers.

But new initiatives this month from H&M and competitor Zara — along with some surprising new stats on consumer behavior — indicate a changing ethos in the fast-fashion landscape and even challenge the very idea of it.Is Fast Fashion Slowing Down?

This year, H&M is launching two initiatives that could help it diversify. The first is Afound, a brand that will sell various clothing labels — including H&M — at a discount. And last week, it dropped a prelaunch collection for /Nyden, an affordable luxury brand aimed at millennials.

The latter will focus on what the company calls “cocreation,” culling designs from various personalities (or “tribe leaders,” as the company identifies them) to create capsule collections, even inviting fans to submit photos of themselves via an Instagram hashtag “iamnyden for a chance to win a trip to Los Angeles to design their own collaboration for the brand. /Nyden will also use the “drop” system that even department stores like Barneys New York have enacted outside the traditional four-season system. The brand is a clear nod to the success of Virgil Abloh’s Off-White label, which has risen from cult T-shirt purveyor to a bona fide fashion brand.

Ashley Longshore Is Fashion’s Latest Art Darling

Ashley Longshore Is Fashion’s Latest Art Darling

 The artist Ashley Longshore is not one to fret. Her remedy for worry can be summed up in a word. “Action,” she said. “Action is my cure for everything.”

On this late winter day, she rose at 5:30 a.m. “Mornings, as soon as my eyes open, I grab my phone, and on my way to the bathroom I instantly start emailing,” she said. “Then I pee, put on my Spanx, yank on my pearls, pop on some sunglasses, and it’s time to get rolling.”

Ms. Longshore, who boasts of working 16-hour days, doesn’t roll so much as churn, her copious output all but assaulting visitors to her storefront gallery on funky Magazine Street.

Greeting me was a larger-than-life portrait of the model Kate Moss cloaked in a houndstooth patterned nun’s habit; a throw pillow stamped with the formidable visage of Anna Wintour; and a portrait of Jesus wearing a T-shirt and flanked by a pair of teddy bears. There was also a self-portrait of Ms. Longshore tricked out as a pleasingly chubby Wonder Woman.

Those shrilly colorful sculptures, paved with crystal and glitter, seem to wink from the walls or spring from the floor, a stretch of poured concrete slicked with garage paint in a naughty shade of pink. “It makes you feel happy the minute you walk in,” Ms. Longshore said. “Besides, I like the stimulation.”Ashley Longshore Is Fashion’s Latest Art Darling

Indeed, she thrives on it. Working outside the corridors of the mainstream art world, she has become an avatar of pop feminism to thousands of followers, who view and buy her work on her proudly profane Instagram feed, her website and, most recently, in the rarefied precincts of Bergdorf Goodman in New York.

At the department store, introducing her installation there in January, Ms. Longshore, 46, lured a crowd of mostly young women scrambling for a chance to view the art and the artist, up close. They jostled, scarcely registering the presence of the actress Blake Lively, one of Ms. Longshore’s most ardent collectors; the designer Christian Siriano; and celebrity stylists including June Ambrose and Jenke Ahmed Tailly, who counts Beyoncé and Kim Kardashian as clients. Single-mindedly they snaked toward Ms. Longshore, who stood at the rear of the room dispensing hugs.

“I love her, she captures a lot of positive vibes,” said Cara Dimino, 24, a medical researcher from New York, as she threaded her way through the crush.


Carine Roitfeld Talks Japan Launch and #MeToo

Carine Roitfeld Talks Japan Launch and #MeToo

When Carine Roitfeld was ready to launch CR Fashion Book’s first international edition, Japan was a natural choice.

“I have a special relationship with Japan,” Roitfeld tells BoF, fondly recalling the time she spent there working with Uniqlo on her collaboration collections in 2015 and 2016. “It’s a country that still likes magazines. They have the best bookstores with lots and lots of magazines.”

CR Fashion Book Japan will launch this autumn through Hearst Corp.’s subsidiary Hearst Fujingaho, deepening a partnership between the former Vogue Paris editor’s biannual title and the New York-based publisher that dates to 2016. Hearst hosts, syndicates and sells advertising against, while also printing and distributing the print edition (through a joint partnership with Condé Nast).

Hearst is putting its promotional muscle behind the new Japanese edition as well, bundling 10,000 inaugural CR Fashion Book Japan copies with Harper’s Bazaar Japan and Elle Japan issues for subscribers, with an additional 15,000 copies available in stores.Carine Roitfeld Talks Japan Launch and #MeToo

The Japan edition — which will feature a larger format and translated content from the American edition with one additional editorial and a different cover image (but the same cover star) — will be followed by the launch of Online, translated content will be supplemented by news and local coverage produced with the Hearst Fujingaho team, and shared across Hearst’s international sites.

Roitfeld’s son Vladimir Roitfeld — the president of CR Fashion Book since the magazine parted ways with its former publisher, Stephen Gan’s Fashion Media Group — has been working on making the Japanese edition a reality for over a year. He started the conversations with former head of Hearst Fujingaho, Yves Bougon, who recently left for Condé Nast France. Chief operating officer Nicolas Floquet has been promoted to president to succeed him.

Fashion-related classes you didn’t know you could take

Fashion-related classes you didn’t know you could take

As a University of Massachusetts Amherst student, you may not be aware of all the fashion-related courses that are being offered. Here are some fabulous classes to register for this fall if you’re interested in fashion or fashion merchandising:

Note that although the Isenberg marketing classes are only open on SPIRE to Isenberg, Economics and BDIC (Design-Your-Own-Major) students, if you email a professor expressing interest or visit the class on the first day, you might just have a chance at enrollment, provided there’s physical space in the classroom.

Even if you have not completed a class prerequisite, just let the professor know your relevant experience, willingness to work hard and dedication to the course material. If you don’t get a reply from the professor, email them again with a follow-up (it’s easy for professors to miss emails as they get hundreds per day), or go talk to the instructor in person. You’re able to enroll in virtually any class you want with permission from an instructor.Fashion-related classes you didn’t know you could take

The final fashion show gives students amazing hands-on experience. My class created a theme for our fashion show, titled “Reinvention: A Fashion Showcase,” and it was held in Flavin Auditorium in Isenberg December 2017. I was able to experience recruiting my friends as models, establishing a budget for makeup and clothing for the models, scheduling model practices via Facebook, creating posters for the show, compiling a music playlist and decorating the auditorium.Ever wanted to put on a fashion show instead of taking a final exam? Look no further. In this class you will have the opportunity to read fashion magazines, make a collage of your favorite fashion and beauty brands, put together a portfolio of the outfits you wear every week, read interesting texts about the history of fashion, and you might even have a guest speaker from TJX or New York Fashion Week come in to share fashion career advice!

From Merch to Full Collections, Magazines Boost Their Fashion Lines

From Merch to Full Collections, Magazines Boost Their Fashion Lines

At the Pitti Uomo trade show in January, male models walked the halls of the Palazzo Medici Riccardi clad in embroidered sweaters, hunting attire and leather pyjamas. But it wasn’t the clothing that was most surprising. It was the company behind the collection: Berlin-based magazine 032c.

Founded in 1999, the publication launched its first clothing range in 2015. Today, fashion makes up half of the company’s revenue, surpassing advertising, says founder and editor-in-chief Joerg Koch. Koch, along with his wife Maria — who has a background in fashion design — is increasingly occupied with growing 032c’s clothing line, which is stocked in over 100 retailers worldwide including Selfridgesin London, KM20 in Moscow and Bergdorf Goodman in New York.From Merch to Full Collections, Magazines Boost Their Fashion Lines

“The magazine would act as an incubator for the clothing line,” says Koch. “But now the apparel line has taken over. It survives on its own. We’re happy to cannibalise on the attention. It’s fine if people think the apparel line comes before the magazine.”

Many magazine fashion lines began and ended with merch: logo-emblazoned cotton T-shirts by publications like Fantastic Man, LOVE and even Vogue. But 032c is among a number of publications launching fully fledged fashion collections. Mostly produced by niche magazines with small but dedicated readerships, these lines can help to build loyalty and provide a new source of revenue as advertising dollars dry up. According to data by Standard Media Index, the top 35 fashion magazines in the US saw advertising revenue decline by 40 percent from $2.4 billion in 2010 to $1.5 billion in 2017.