the expectations of clothing and apparel retailers on the fashion week in New York

ennifer Wheeler, vice president of designer apparel at Nordstrom
Are there any young designers you feel hopeful about?
What trends are you expecting to see at fashion week?
What are you looking for from fashion week?
Are there any trends you'd like to see disappear?
How is your open-to-buy?
Michael Fink, vice president and women's fashion director at Saks Fifth Avenue
Are there any young designers you feel hopeful about?
What are you expecting to see?
What are you hoping to see?
What are you looking for from fashion week?
Are there any trends you'd like to see disappear?
Nevena Borissova, owner of Curve in Los Angeles and New York
Are there any young designers you feel hopeful about?
What collections are you excited about seeing?
What are you looking for from fashion week?
Are there any trends you'd like to see disappear?
How is your open-to-buy?
Nicole Fischelis, vice president and fashion director of women's at Macy's
What are you looking for from fashion week?
What collections are you excited about seeing?
Which young designers are you looking forward to seeing?
How is your open-to-buy?
Jeffrey Kalinsky, founder of Jeffrey New York and Atlanta
What are you hoping to see for spring?
What collections are you excited about seeing?
Are there any trends you'd like to see disappear?
How is your open-to-buy?
Stephanie Solomon, vice president and fashion director of women's ready-to-wear and accessories at Bloomingdale's
What are people buzzing about?
Are there any young designers you feel hopeful about?
What collections are you excited about seeing?
What are you expecting to see?
What are you looking for from fashion week?
Are there any trends you'd like to see disappear?
How is your open-to-buy?
Ken Downing, senior vice president and fashion director at Neiman Marcus
What are you expecting to see?
What are you hoping to see?
What are you looking to get from fashion week?
Stefani Greenfield, co-owner of Scoop
What are people buzzing about?
Are there any young designers you feel hopeful about?
What trends are you expecting to see at fashion week?
What are you looking for from fashion week?
Are there any trends you'd like to see disappear? yanzic0530.
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Rufus men's shifts by April Singer feature bold patterns and signature red buttonholes on cuffs

This spring, let your shirts spin a yarn about great design and innovation. Zachary Prell: Racing Stripes
Like any promising MBA student, Zachary Prell recognized a source of frustration as a business opportunity. Fed up with trying to find a nicely tailored shirt for his slim body, the former I-banker vowed to design and manufacture his dream shirt himself. Among his innovations: a wider cuff to accommodate large watches; a shorter tail, so the shirt still looks great untucked; luxurious Japanese cotton; French seams and no topstitching to prevent puckering; and a snazzy satin side stripe that's a subtle brand motif.
Prices: $165-185; zacharyprell.com
Rufus: Reddy and Willing
Want to instantly establish your style cred? Compliment your friend on his new Rufus shirt, an ID made by eyeballing the red buttonholes on the guy's cuffs. When designer April Singer was searching for a name for her new company in 2004, she happened on rufus, which in Latin means "red" and stands for charisma, boldness, charm, and self-assurance. It also didn't hurt that her husband is a redhead. Singer's 100% cotton shirts feature bold patterns coexisting in harmony. There's also a fledgling women's line.
Prices: $175-$195; rufus.com
Thomas Pink: In the Pink
Indulge your inner master of the universe by day with a striped shirt with impeccable white collar and cuffs. Then button on less plutocratic striped trappings after work for drinks with the guys, or lose the collar and cuffs for a true man-of-the-people vibe. Thomas Pink's Convertible slim-fit men's shirt, in Egyptian cotton, is designed to eliminate one of the hassles of travel: packing multiple shirts for different occasions. Right now, it only comes in tasteful blue-and-white stripes, but given early demand, that palette should expand.
Price: $175; thomaspink.co.uk
Rebecca & Drew: If the Shirt Fits…
Buttonhole gapping. Boxy fit. Pulling at the chest. What does a girl have to do to get a shirt that actually fits? Unlike guys, who have always had a range of neck sizes and sleeve lengths to choose from, women have been at the mercy of manufacturers' whim. Rebecca & Drew's TrioFit collection lets women choose a shirt based on chest circumference, bra-cup size, and torso length. The one-and-a-half-year-old company, started by friends Rebecca Matchett and Drew Paluba, is rapidly adding sizes as demand escalates. "Out goal is to fit everyone," Matchett says.
Prices: $165-195; rebeccaanddrew.com
Anne Fontaine: Woman in White
For Anne Fontaine, becoming a shirt designer was a complete non sequitur from her intended life of ecological activism. But on a whale watch, the Brazilian native met her husband, Ari Zlotkin, the son of French textile entrepreneurs. The two now have 60 stores worldwide built on one simple idea: the beauty of the white shirt. Like her stylistic inspiration, Yves Saint Laurent, Fontaine often mixes feminine styles with masculine shapes. She has recently expanded her line to include black and, occasionally, a burst of color.
Prices: Starting at $150; annefontaine.com
Robert Graham Pattern Recognition
"Knowledge. Wisdom. Truth." Somewhere, on every Robert Graham shirt, you'll find embroidered those three little words. Why? Not even the designer, Robert Stock, really seems to know. But they sure are cool and identify you as a person who's probably, you know, deep. Truth be told, "Color. Pattern. Jazzy" would sum up this line more accurately. Stock, who once designed Ralph Lauren's Chaps line, launched his own company in 2000. Since then, he has fielded a steady stream of gorgeous shirts, distinguished by their exquisite detailing, such as contrasting fabric inside cuffs and placket. For every 100 shirts he produces, Stock uses 400 fabrics. He recently added a women's line. Introducing "Tonya."
Prices: $188-$228; robertgraham. yanzic0530.
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http://fashionlover13.jigsy.com/entries/general/their-sudden-departure-from-the-gucci-group-in-april-2004-rocked-the-global-fashion-business

the designer could more effectively protect its brand equity

Target's strategic answer to this issue is to have the collections changed every 90 days. Once a line, through its Go International program, has concluded, the name and all links are removed from the company's Web site and replaced with the next lineup of designers.
Still, the challenge remains of how best to insulate the core brand while at the same time selling a lower-tier line that bears the same designer name. Because of the risks involved--in particular, the risk of losing quality control during the manufacturing of the retail line--some designers elect to produce line extensions on their own and without any retail partners at all.
But that involves a trade-off. While secondary lines produced in-house can potentially bring in more sales than even the flagship collection, they require a significant investment--in sourcing, production, distribution and marketing, to name a few--that isn't part of the retail design model. Though considerably more expensive, it's a tactic well used by industry leaders such as Prada, Dolce & Gabbana, Marc Jacobs and the ubiquitous Ralph Lauren.
In 2006, Lauren launched Chaps for women and boys, distributing these collections via an exclusive agreement with Kohl's stores. Doing its own manufacturing ensured that the designer could more effectively protect its brand equity, but it wasn't easy. According to the company's 2006 annual report, "This was a significant undertaking from designing, manufacturing and delivering product to all Kohl's stores, which number more than 700 locations, to using existing infrastructure from systems to supply chain to human resources."  yanzic0522.
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http://fashionandbeauty412.blogspot.com/2013/05/forget-that-you-have-expensive-clothes.html

forget that you have expensive clothes on sale at the luxury stores

"New audience," of course, translates in practice to the hope for increased revenue. The collections are geared towards giving the designers access to the high-volume arena, with the hopes of a trickle-up effect for their luxury collections.
While the business models vary by individual venture, the basic structure contracts a designer to work up a collection for the retailer, who in turn produces, inventories and merchandises the entire line. In return for what boils down to the cost of time and labor to design garments, the brand receives sales royalties, with virtually no capital outlay, according to Stone.
"It's definitely a revenue-generating proposition for the designer, and very profit-rich," he said. "If the sales of [the retail collection] are at a high level, the designer can be earning millions of dollars a year."
To cite one example, Proenza Schouler's sales not only went from a prepartnership total of $2 million to an estimated $6 million currently; its management has stated that it hopes to hit $25 million in sales within five years, not an unrealistic proposition if its growth maintains the pace that it has now.
The Delicate Balance
Extra millions in revenue will mean very little if the core brand suffers from a downscaled perception on the part of consumers. The trick with doing these projects well--and emerging with brand image unscathed--is making sure that the designer is in, and then quickly out of, the lowerend retail chain. So says Dana Thomas, Newsweek's fashion and culture reporter and the author of Deluxe: How Luxury Lost Its Lustre. "The most important thing," Thomas said, "is to do a capsule collection with a clear beginning and end time so that people don't think you're just a Kohl's or Target designer, and forget that you have expensive clothes on sale at the luxury stores."  yanzic0522.
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I like to see how a fabric threads, what the selvage looks like, how it reacts to the scissors

"I like to see how a fabric threads, what the selvage looks like, how it reacts to the scissors," she says, twirling a red and black cloqué sample with her fingers. "The structure of a fabric is what makes it organic."
Indeed, treating and manipulating fabrics are a Toledo signature. For fall, she "built" a gold silk damask with gray undertones by backing it with chiffon, then married the two fabrics with a picot machine. "I start with a very drapy fabric, which is perfect for the top of a dress, but then I give it structure and architecture by backing it, which works well for the bottom of the dress," she explains. "So you have a playful, barrel-like bottom that stands away from the body with a softer, sensual top that moves with the body."
Working in mostly nude, ivory, black and "elephant gray," one of her favorite colors, Toledo forgoes a defined palette for fall in favor of textures via stitching, patchworking and pleating that she says create the shade and color. A fake croc-embossed black acetate is a perfect example: "It's all black, but at a certain angle, when the light hits it, you see glimpses of silver," she says.
That red and black cloqué, meanwhile, will be cover-stitched or double-stitched to give it even more dimension. "It's a very couture-like fabric," says Toledo. "I plan on creating something with a military feel, something a bit more active."
And for another cloqué -- a richly textured wool and silk in gray and ivory -- Toledo is feeling particularly playful. "I want to shape it into a big pullover of some kind," she says. "Maybe I'll rib it to really enhance the texture." Leave it to Toledo to give even cloqué a friendly feel. yanzic0510.

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creativity and innovation continues to be alive and well within the fashion world

This includes Stella

McCartney and Karl Lagerfeld's phenomenally successful ranges

for H&M, while Kim Jones and Philip Treacy have recentiy stepped

up to create lines for Umbro. Although these designs could be

considered gimmicky, by making limited edition lines (which

usually sell out within a few hysterical hours in the case of H&M),

they manage to keep a whiff of exclusivity about them.

Film, as evidenced by McQueen's recent show, is also

beginning to be used as a more cost-effective means of showing

off new designs, "Films are increasingly popular in place of or

combined with a catwalk show, and this is something we have

been encouraging over the past five years at SHOW studio through

our moving fashion channel. " explains Penny Martin. "With the

exclusion of Alexander McQueen, film tends to be screened at

London Fashion Week and made by designers who are younger

and more aware of the potential for new media. Also, producing

films is less expensive than even the most basic show, which

costs around £50-70,000."

While it seems unlikely that these small gestures will

overthrow the industry's traditions any time soon, they do suggest

that creativity and innovation continues to be alive and well within

the fashion world, despite the corporate juggernaut that has

threatened to suppress the wilder innovations to ensure

maximum financial gain. "The industry is quite conservative, in

that they expect fashion week to exist as it always did and most

journalists still want to see clothes close-up," acknowiedges

Martin,  "There are certainly moves to incorporate strands of

branding into the shows... but I don't think there is a singie

designer that would say the role of their show is not to present

cutting edge design first and foremost."

Despite this, Saville retains his bleak viewpoint. "Fashion is

not defining progress anymore, it's caught up in another place

and the workings behind it are pretty Machiavellian in my

opinion," he says despairingly. "I don't like seeing the secrecy

and outright lying of the industry, it used to be like LSD, in that it

was something you might find difficult but ultimately was

rewarding, but now it's like crack."  yanzic0508.

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http://fashionandbeauty412.blogspot.com/2013/05/everything-in-between-is-bog-standard.html

everything in between is bog-standard and totaily wearable

McQueen incorporated a

film, directed by Baiiiie

Waish and art directed by

the designer, of modei Kate

Moss dressed ethereaiiy in

organza ruffies into the

show, which was projected

as a hologram (9).

10, Production stiii for the

Alexander McQueen

Autumn/Winter 06/07

show, which shows the set

and hologram in itsfuil

glory. Production for all

McQueen shows shown

here is by Gainsbury and

Whiting.

pilot and going through a simulation of itself."

Creativity at least was back in evidence in the recent

Alexander McQueen ready-to-wear Autumn/Winter 06-07 show in

Paris, McQueen, while a trailblazer for conceptual shows early in

his career, has been producing disappointingly sober shows of

late. Yet this show suggested something of a return to form as a

strong collection of clothes that draw on his Scottish roots was

joined mid-performance by a hoiogram of an ethereal Kate Moss

in organza ruffles, in a video shot by director Baillie Walsh and art

directed by the designer.

So if McQueen can do it why can't other major brands? For

renowned set designer Simon Costin, who has collaborated with

designers Including McQueen and Givenchy, many of the

restrictions are financial. "Dozens of designers would love to do

shows like this but nobody's spending the money," he says. "It's

a shame as it's that stuff that gets watered down and that makes

a change within design. You tend to find it at the beginning of a

designer's career and then at the very end, but everything in

between is bog-standard and totaily wearable,"

One solution to the money problem is for the industry to

diversify, adding to the traditional ways of showcasing work and

finding new creative ways of displaying designs and reaching new

audiences. Top-end designers are now regularly collaborating with

high street brands in order to spread their designs to a wider

audience at a more reasonable budget.   yanzic0508.

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fashion fleece is picking up

Wrangler has not seen any lessening of interest in denim shorts. Phillip Dunn, vice president of the women's jeans division, commented: "We're very pleased with our results in what is for us a new program in jeans-related shorts. We've done exceptionally well with them and we're going to continue to be aggressive with them in 1995, and we think they'll still do as well then." Joyce Markwell, Wrangler's merchandise manager, said that "most of what we have sold has been in core finishes in heavy fabric. The missy customer likes something that has some body. But we have expanded the line with some 10-ounce midweights.

"We run several stonewash finishes as our core colors, light and medium to blue overdyed indigo, in the 14 3/4-ounce. In the midweights, we have our 'sunbleached indigos.' These are very light stone-bleached finishes and we also have a bleached ticking stripe. In twill, we have navy, white, and red, and we've added some sand colors in the khaki family. New earth-tone neutrals include seafoam, stone, and sea oats--sort of a light yellow or maize. Workwear looks are unique to our company--a loose-fitting short with a 7-inch inseam in a variety of fabrics: soft, vintage denim that resembles ringspun, and yarndyed engineers' stripes or herringbones. These can be shorter because they're aimed at a younger, junior customer. But our research has found that our mainstream customer prefers the 9-inch inseam that she can wear as is or roll up." Riders offers several shorts styles for both the missy and junior markets, reported Melanie Albert, director of advertising for the brand. "They are in the same relaxed silhouettes as the missy jeans, and we have added shorts in the London Riders style. The lighter indigo finish is key for missy sizes. Natural did very well in some Northeast markets, though white was not a huge business," she said. "Baggy Riders, in soft 10-ounce fabric, also did well, as did elastic waist styles in fashion colors. For juniors, the EZ Rider was key, in light blue and jet black. For that market, we also have a notched-fly model and short-shorts, in melon and other forward colors."

THE 'REAL' ACTIVEWEAR
But the core of the retailer's activewear business is still basic fleece. "We sell a lot of basic sweats at Kmart," said Gil de Marrais. "The business has softened somewhat in basics, but fashion fleece is picking up. If you have a little bit of fashion--a print or a texture--the item will do well, better than a basic. We've added hoods, of course, to the basic top and heavyweight fleece now does very well." yanzic0504
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five-pocket models that are really an offshoot of our Brittbaggy styles in jeans

George Wechsler, general manager, women's wear, for Gitano, called denim shorts "extremely hot sellers at retail. Right now, it's pure basics--derivatives of the five-pocket jean. But fashion basics are doing better--updated five-pocket styles with waistband trims, belts, and a little bit fuller cut. That looks like a trend for next year. Vintage stone wash is very strong and white has come on big. Bleach wash looks good for the future and we see yarndyes as becoming very important. We've done extremely well already with yarndyes in little checks, stripes, and patterns like that, all in blue.

"We have a sense that the Dirty Dancing look will be back. It never really died and we see that in yarndyes also. Shortalls and rompers should be a bigger piece of the inventory in spring '95 also. They all have blue denim shorts and they'll be looking for a change. For example, the fact that white has done so well recently shows they are ready for a change in color, finish, or cut," he explained.

But at the moment, especially among more mature missy customers, the standard five-pocket is still the big seller. Pattie Eakin, merchandise manager for Brittania women's wear, said that "generally speaking, since we usually aim at an older or more mature customer, our styles are rather basic, five-pocket models that are really an offshoot of our Brittbaggy styles in jeans. We're more classical--indigo sells best or what we call our 'bayside stripe,' a narrow indigo and white striping. We've also done very well with white. We've shown natural as well, and this past year, in the upper retail tiers, natural and beige stories have been very important. Going forward, we feel they'll be good in mass merchants as well. I don't see the shorts business as slowing up at all. The seasons seem to be stretching out in fact--we start shipping for January and there's still a lot of shipping in mid-summer, so you're talking about a six-month shipment window for shorts." yanzic0504

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