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Ralph Lauren opens the garage doors at New York Fashion Week
A model walks the runway for the Ralph Lauren Collection in his garage. Picture: AFP
A garage might seem an incongruous location for a luxury fashion catwalk — unless that garage is owned by Ralph Lauren and filled with one of the world’s great collections of vintage cars.

On the penultimate day of New York Fashion Week, guests were transported 60km north of Manhattan to Lauren’s property in Bedford for dinner and a show for his Fall 2017-18 collection.

The designer is one of those ­adhering to the “see now, buy now” schedule, where clothes are available immediately to buy. Some others, including Tom Ford, had tried the new concept, but ­returned to the traditional six-month lead-time model.

“It’s wonderful if you can do it,” Lauren told Women’s Wear Da ily. “The scheduling is not easy. Wear-now is difficult. It’s proven difficult for many people, and it’s not easy for me, either. But I thought it was interesting and I’m trying it. But the clothes are the most important thing.”

In glossy racing-car shades of yellow, black, cobalt, red and silver, Lauren’s collection included sleek slip dresses, crystal-encrusted column dresses, and bright tulle-skirted ballgowns, some with patent leather bustier tops, others topped off with biker jackets.

In addition to the eveningwear looks, Lauren offered tailoring best suited to a Sunday drive — car coats and trenchcoats, belted jumpsuits and shirting for men and women in a multitude of greys and checks.

Coach designer Stuart Vevers continued his Americana-through-British-eyes take on the heritage American label’s Spring 2018 collection.

On a glitter-strewn runway, in addition to the designer’s now-signature varsity jackets and college jumpers, he added sparkling slip dresses with a touch of 1930s nostalgia. Western influences in cowboy jackets and shirting came through for both men and women.

Denim was a big addition this season, including patchworked jeans, shorts and jackets, again with nostalgic American flair.

Designs by the late artist Keith Haring were reimagined in glittery motifs on dresses and tops.

Also showing her Spring 2018 collection was Gabriela Hearst, the winner of this year’s International Woolmark Prize for women’s wear. Her upmarket minimalism played out in pared-back classics — trenchcoats, and high-sheen suiting in shades of champagne, navy and pale pink — and elegant asymmetric dresses.Read more at:www.queenieau.com/short-mini-formal-dresses | www.queenieau.com/plus-size-formal-dresses
[ 投稿者:yellowok at 14:53 | Shopping Centres | コメント(0) | トラックバック(0) ]

Australian Dion Lee showcases designs
Dion Lee has clearly settled into life in New York if the inspiration behind his new collection is any indication.

The Sydney designer, who has been based in the US for the past year, showed his Spring 2018 collection on day three of New York Fashion Week at the weekend, his ninth show on the calendar.

Other designers showing on day three included Tibi, Self Portrait, Alexander Wang and Christian Siriano, whose collection was modelled by a typically diverse range of models of different sizes, ages, races and for the first time, gender.

The New York show was also notable for the runway debut of emerging star Kaia Gerber, the daughter of former supermodel Cindy Crawford.

Last week Gerber turned 16 — making her eligible to appear on the New York runway — and is already being labelled one of the fashion industry’s “It” girls.

Lee spoke to The Australian from New York about his collection: “The starting point ... was ­really the contrast ­between living and working in ­really urban environments and leaving frequently on the weekends.

“Everyone works really hard in this city and looks forward to the weekend.

“You’re almost this dual person — who you are during your work life and where you’re escaping to.”

In terms of aesthetic, he continues, this translates as “a mixture between quite tailored silhouettes and this somewhat summery athleticism”.

He delivered formal styles in more casual fabrics and techniques and vice versa. This included something new to Lee’s work: denim.

“I’ve touched on it before, but not in a fully fledged way. It’s my take on the classics — the denim jacket, the pants, but more a trouser cut.”

Flipping this, he also took the language of denim, such as the classic denim jacket, and recreated it in other fabrics, including double-faced leather.

“I’m mixing those more casual elements in with what is usually a more formal language.”

Lee has long experimented with technical fabrications and complex pattern-cutting techniques; this season he used knotting, draping, twisting “and manipulating more traditional silhouettes to be a little more undone and have a sense of ease”.

Lee showed his first menswear collection alongside his women’s line on the runway in Sydney at Australian Fashion Week in May this year; this weekend he unveiled his second men’s range in New York.

“I think Sydney was a really good precursor for that, so we have some experience in putting it together. I think it’s a nice evolution of a collection. I’m continuing to take things that I’m most interested in and refining them and defining the character of the brand.”

Lee’s mother flew in from Sydney to sit front row at the show, taking pride of place with fashion industry insiders including Caroline Issa and Robin Givhan.Read more at:http://www.queenieau.com/formal-dresses-brisbane-trends | http://www.queenieau.com/formal-dresses-melbourne-au
[ 投稿者:yellowok at 19:55 | Shopping Centres | コメント(0) | トラックバック(0) ]

Alice Temperley spends 'six months' designing new collections
The 42-year-old fashion designer, who founded her eponymous brand in 2000, is set to showcase her upcoming capsule at London Fashion Week later this month, and the star has revealed her and her creative team "work really hard" for half of the year to perfect the garments before they showcase them.

Speaking to Claudia Winkleman on BBC Radio Two on Sunday, the creative mastermind said: "I think I have done probably my 26th [collection] and you probably get used to it, and the team is amazing and we work for six months, and we work really hard to put it together, and by the time show time comes it's finished, it's priced and then the production it's kind of over to the team."

Although the fashion mogul has released multiple fashion lines, she still feels nervous prior to the big unveil.

She added: "You do still get butterflies but it is over to them. You have to be organised there's so many clothes. You have to be organised."

But before the star puts pen to paper and comes up with her creations she takes some time out and "switches off" from the world because it helps her to feel inspired.

She said: "Really I get inspiration when I 'm not doing anything and I switch off and I'm off gadgets, I'm off everything and lie quietly. I have a big archive so I collect for that a lot.

I do markets, I do research places, travel and I go to New York, or LA, or different cities, I go to special textile fabric archive places, I go to lots of reclamation yards, and junk yards and I just love stuff and looking. So I am always collecting. Then we figure out who our muse is and how we want her to look for the season. And then we build."

Alice - who has eight-year-old son Fox - has hinted she is excited for the upcoming exhibition as it is her "favourite" time of the year.

She explained: "London has an edge, it definitely does.

"I showed in New York because we had shops over there and we needed to support our wholesale market. And then I had a son. Then I decided I want to be in London, I am a London designer, it's good to support London Fashion Week.

"Now there's so many good designers in England that it makes it a really exciting place to be. And it's my favourite fashion week out of all of them. "Read more at:www.queenieau.com/short-mini-formal-dresses | www.queenieau.com/long-formal-dresses
[ 投稿者:yellowok at 15:17 | Shopping Centres | コメント(0) | トラックバック(0) ]

Offshore, onshore success by design
Local fashion designers and clothing manufacturers are showing they can find opportunities on the global stage, amid tough competition from international production and retail chains.

Perth-based designers that have won contracts with international stockists in the past year, include three with major players in the Chinese retail space.

In May, Business News revealed three local brands had garnered interest in China, after Fashion Council WA signed a partnership with China Fashion Week and took local designers to the event.

Among them was North Fremantle-based Empire Rose, founded by Kathryn Cizeika in 1998, which signed on with Chinese high-end boutique Avectoi.

Fremantle-based Morrison, co-founded by Kylie Radford and her husband, Richard Poulson, and Claremont-based Ae'lkemi, founded by Alvin Fernandez, also secured deals in China.

Meanwhile, a fourth local designer recently signed an agreement with Austria-based crystal producer Swarovski.

Guildford-based brand Izabela Felinski, founded by Izabela Felinska, secured a partnership agreement under which her embroidered jewellery is sold through Swarovski’s website and displayed at the company’s Sydney store.

Ms Felinska said the agreement made her one of a handful of Australian designers on the platform.

“I combined two different techniques, traditional embroidery and the (use of) crystals,” Ms Felinska told Business News.

“It’s kind of new on the market in Australia.

“I think this is why I attracted Swarovski; because they’re not used to it.”

That contract was more recently followed by a sales agreement with website The Iconic for Ms Felinska’s range.

She said an angel investor has contributed a small sum to the business, and a further investment round was under consideration.

Her business has sourced workers to manufacture the jewellery in India, and trained them in Ms Felinska’s preferred style of embroidery.

Several other Western Australian designers have also taken their production to the subcontinent, with Belmont-based fashion industry advisory body TCF Australia hosting regular trade missions to Jaipur in India.

TCF founder Carol Hanlon told Business News a small group of designers would be heading to India later this year on a trip funded by that nation’s government.

She said Jaipur’s artisans specialised in embroidery and embellishments, which were not skills widely available in WA.

“Relationships in supply chains are vitally important; designers and fashion businesses today need global supply chains, in particular for raw materials,” Ms Hanlon said.

“We link WA designers into supply chains in Indonesia, Hong Kong, China, Vietnam and India.

“There is demand for locally made (products), but the designer still needs to access textiles, trims and labour sourced offshore.

“That needs transparent, accredited supply chains.”

She said TCF also ran missions to Hong Kong, connecting designers with potential distribution networks, and provided an online incubation service where fashion hopefuls could sharpen their business skills.

One successful WA designer has moved permanently overseas, with Sab Five Five founder Sabrina Wong now in Cambodia.

Ms Wong told Business News that was partly because she had friends there, and partly a business decision.

She said she had previously manufactured in Brunei.

“It’s easy to source fabric from here (Cambodia),” Ms Wong said.

“Manufacturing in Cambodia is way easier, because I had to import people into Brunei, there were no skilled workers there.

“(That meant) I had to pay more money for importation of labour.”

The brand’s flagship boutique in Claremont is now owned by a friend and operating under a new name, Shop Number Four, according to Ms Wong.

“I supply her clothes now, (although) her order has dropped, because I think the retail sector has turned down,” she said.

“My business is personal. I never felt the drop in sales. my (work) is tailored, custom made, I have a certain style.

“My customers like my style, they like the fabrics I choose, there is a niche market there.”

Emerging talent

Monster Alphabets founder Sarah Watanabe said her brand had attracted interest from department stores in Asia, with the business facing a decision whether to take the next big step or consolidate.

She said the brand had made a point of supporting local businesses, sourcing fabric locally, and manufacturing in small numbers.

Monster’s focus is something Ms Watanabe calls ‘slow fashion’, a counter to the recent trend of ‘fast fashion’ offered by retailers such as H&M and Zara.

Those global businesses seek to churn out multiple collections a year, with limited time between items appearing on the runway and in the shopping bags of consumers.

One such global player, Topshop, struggled in Australia, however, with the company’s stores, including in the Perth CBD, shut as the local arm went into administration.

A British-led rescue last month is expected to mean the reopening of five Topshop outlets across Australia.

Ms Watanabe said Monster’s model had support from consumers, although it was not necessarily as good for profitability.

“I try and work on the principle of garments that last more than one season,” she said.

“I think that has a positive effect on the environment as well, because we don’t process as much.

“My customers will look after the garment a bit better; the price point is a little bit higher, but they’re invested in it more.

“It has worked so far, and it’s definitely a principle that works against the bigger chains.”


Garment makers and manufacturers are also having success in local markets.

Osborne Park-based Desam makes uniforms for schools and the hospitality industry, and has just launched an evening wear range, owner Kerstin Otway told Business News.

Ms Otway said her business, which has eight full-time employees and a number of contractors, was aware of the competition from overseas manufacturing, but had worked on building its own niche with a high-end focus.

Schools provided a regular source of demand for Desam’s products, particularly given their tendency to ‘buy local’.

Local production also had advantages for schools, Ms Otway said, because orders were usually made in the hundreds, rather than the thousands.

“They appreciate the benefits of tying-up less financial resources and increasing their flexibility by having stock service, lower minimum order quantities, quicker turnaround of their order, high quality and better after sales service,” Ms Otway said.

One of Desam’s key competitors produces overseas, however, with Bayswater-based school uniform supplier Nell Gray using a highly automated factory in Vietnam.

Belmont-based clothing manufacturer Stewart & Heaton Clothing Company won a major domestic contract earlier this year when the state government selected it for a 10-year, $96.5 million uniform contract.

Co-owner Simon Stewart told Business News about 60 per cent of the company’s production was in Australia.

He said the latest contract was a full-service package for all clothing and apparel across a worker’s life cycle.

That approach meant clients hold less working capital and had a much simpler procurement process, which was the business’s edge against cheaper overseas players.

“The cost of Australian manufacturing has continued to escalate. We sell predominantly into the government sector and (they’ve) been subject to budgetary constraints,” Mr Stewart said.

“Garments in their simplest form are fabric and labour; labour is something that is transportable.

“We’re doing what we can to maximise local production but it's becoming increasingly difficult because the core critical mass manufacturing has essentially moved offshore.”

That led to problems in quality control and environmental compliance, he said, while local operations had focused on becoming specialised, dealing with lower quantities and with a higher speed to market.Read more at:www.queenieau.com/pink-formal-dresses | www.queenieau.com/green-formal-dresses
[ 投稿者:yellowok at 17:23 | Shopping Centres | コメント(0) | トラックバック(0) ]