Burberry has opened its new flagship store at the exclusive Ginza Marronnier building in Tokyo, designed by Riccardo Tisci.
The store, which is the 4th Burberry has opened in Japan in the last 6 months, is the first in the country to reflect the new store concept by chief creative officer Riccardo Tisci and features exclusive items from the S/S 2020 pre-collection, as well as a limited-edition Thomas’s Burberry Monogram print silk scarf in pistachio.
HOT:SECOND is a world first circular economy concept store trading physical products for digital experiences. Open from 10am-10pm from Tuesday 19th-Thursday 21st November, founder Karinna Nobbs has collaborated with innovation studio Holition and 3D artist Emily Switzer to allow you to immersively experience digital fashion garments from pioneering brands including The Fabricant, Carlings and Christopher Raeburn.
The purpose of the beta pop up store is to challenge the notion of clothing ownership, to explore a potentially more sustainable and conscious cycle of production and consumption and to introduce as many people as possible to try digital fashion garments for the first time.
The “currency” of the store is the donation or customisation of an unloved physical garment (the target of which is to “save” 500 pieces of clothing from landfill during the 4 days) because there is no planet B.
This launch event will feature a debate between the partners about the potential future of digital fashion and of course there will be free drinks, good music, clever people and some surprises.
The brand CORDURA and DuPont Tate & Lyle Bio Products present durable, eco-friendly textiles for outer layers
INVISTA’s CORDURA brand introduces its innovative and environmentally friendly solutions developed in partnership with DuPont Tate & Lyle Bio Products. The new innovative, lightweight stretch solution combines the legendary, long-lasting durability of CORDURA fabrics with the biobased performance of Susterra membranes and coatings.
“CORDURA fabrics are constantly seeking out options that help us achieve sustainable environmental benefits through our innovation continuity, and CORDURA fabrics can do just that by helping to extend product usability and lifecycle,” explains Cindy McNaull , Global CORDURA Business Development Director.
“The textile industry wants innovative solutions that help reduce its environmental footprint, and our goal is to provide long-lasting products that are less frequently replaced. Through our ongoing collaboration with DuPont Tate & Lyle’s Susterra brand, apparel designers are getting access to a wide range of durable fabric technologies that include plant-based high-performance coatings and membranes.”
Everest, the primary fabric manufacturer involved in the project, has integrated bio-based membranes and coatings based on Susterra propane diol from DuPont Tate & Lyle into a series of CORDURA® Naturalle Active endurance fabrics. These Everest fabrics feature a CORDURA Outer Layer coated with a bio-based polyurethane membrane, which accounts for more than 25% of its weight in renewable resources. In addition, the fabrics are engineered to help keep the body dry and comfortable, even in extreme weather conditions. The Susterra propanediol-based membrane has good resistance to hydrolysis, is flexible and elastic even at very low temperatures, and allows integration of membranes into stretch fabrics for added mobility.
Stone Island has selected the city of Toronto and its renowned Yorkville Avenue to open its first store in Canada, expanding its presence in the North American market. This opening marks the brand’s third store in North America after opening in New York and Los Angeles.
The store features large corner windows and covers an area of over 190 sqm across two levels, creating ample exhibition space for the Stone Island and Shadow Project collections.
The interior design follows the concept used for Stone Island stores created by Marc Buhre, industrial designer from Heidelberg (Germany) and founder of Zeichenweg TM architectural firm. Each element of the system has been created to work together in a highly functional design.
The bush-hammered stone flooring is also used on the walls, interspersed with parts in through-colour MDF and metallic mesh on a steel substructure. Furnishings are in black-stained natural oak, hangers are composed of carbon bars and anodized aluminium and shelves are in shades of anthracite.
Italian footwear appeals to foreign markets: in the first six months of 2019 Italian exports for the sector increased significantly by +7.1% in value (the average price is now 47.55 Euro/pair, +8.2%). This figure comes from the report on the Italian Footwear Industry, First half of 2019 – that was prepared by the Confindustria Moda Research Centre for Assocalzaturifici. The snapshot to emerge from the sectoral report reveals that, despite the performance of exports, certain difficulties still remain due primarily to chronically weak domestic consumption – after a decade of slow decline, in the first half of this year the reduction in household spending intensified (-3.7% in quantity, with much more negative trends for traditional retail). To this we must add the climate of uncertainty at an international level: from the probable continuation of trade tensions and protectionist approaches, to the slowdown of major economies (foremostly China and Germany), through to the lack of a recovery in key markets for certain footwear manufacturing districts. These include Russia where, after a trend reversal in 2018, we are once again seeing reductions of over 15%, and then we have the uncertainties over the timing and mechanics of Brexit, with the danger of a “no deal” still looming large.
“To get through this difficult period we need to invest in ourselves and in our skills – states Siro Badon, Chair of Assocalzaturifici –. It is essential to train new professionals that are able to innovate Italian footwear manufacturing companies and fully espouse our tradition and the standards of excellence that characterise our production. Training, combined with targeted internationalisation strategies and important trade fair events like Micam, is the concrete response through which we can kick-start the process of relaunching Italian footwear and confirm our global leadership. The sector is crucial for our economy and can be a driver for Italian industry as a whole”.
The evolution of foreign sales, that was positive overall and led to a significant consolidation in the trade surplus for the first 6 months of the year (+10.7%), actually conceals acute differences in company performances. Indeed, alongside outstanding results for many international luxury brands, which a large number of companies operate for as subcontractors (as demonstrated by the significant
increases in trade flows towards Switzerland – a traditional logistics and distribution hub for major brands – and France), there is also a fairly significant number of companies still struggling to get back on track and experience positive trends. There is no shortage of expanding markets (with double-figure increases in value for North America and the Far East), but these increases are often accompanied by reductions in volume (of almost -4% for the US and Canada; more limited decreases, -1.1%, for countries in the Far East, with Japan faring poorly).
Italian luxury label Moncler has launched a series of ‘House of Genius’ pop-ups in Milan, Paris and Tokyo, as part of its ongoing strategy to push the boundaries of innovative customer retail experience by merging “offline and online, unity and multiplicity”.
The temporary concept pop-ups will be open until the end of January 2020 and each city will feature a series of live events and creative sessions in store starring international headliners.
The stores will sell all Moncler Genius lines from the year, starting with exclusive pieces from the Moncler House of Genius, and then will add newly launched Moncler collections as they drop throughout the next couple of months.
Each of the Moncler House of Genius will also feature items specially developed products for the chosen city, selling limited-edition merchandise including apparel and tech accessories highlighted with a dedicated city crest.
The Moncler House of Genius falls under the artistic direction of Francesco Ragazzi, who has imagined the retail spaces as art galleries where artworks are continuously installed and updated. The idea is to create a “space that is shaped shapelessly, designed to provide an ever-changing, immersive experience with unlimited potential,” added the Italian brand. “They are spaces to meet thinkers, artists, designers and to connect with Moncler through a unique live programme.”
The film part of the “Truth or Dare” campaign showcases a night in Paris with Cara Delevingne and Olivier Rousteing as they go around the City of Lights to play TRUTH or DARE, featuring the new #BALMAINBCORD bag.
Tommy Hilfiger announces integration of 3D design technology into all design teams at its Amsterdam HQ
Tommy Hilfiger has announced that 3D design technology will be integrated into all design teams at its headquarters in Amsterdam. Spring 2022 fashion collections will be the first to be fully designed with Tommy Hilfigers innovative 3D design platform. This plan builds on the company’s ambitious goal of digitizing the entire production chain.
Daniel Grieder, CEO of Tommy Hilfiger Global and PVH Europe, said, “The potential of 3D design is limitless, enabling us to meet consumer needs faster and more sustainably.” Technology has become a fundamental tool in our collection design the potential to significantly shorten our time-to-market and completely replace traditional product photography For our autumn season of 2020, our men’s shirts will be 100% 3D, with no pattern production, unlike traditional processes, and that’s the future. ”
To realize his goal of 3D design, Tommy Hilfiger has founded a technology lab called STITCH dedicated to digitizing the company’s design practices. Since 2017, a team of software engineers, 3D design experts and transformation specialists has developed tools that enable a fully digital design workflow.
The implementation of 3D design technology in the TOMMY HILFIGER collections follows a two-year pilot phase in which the 3D design platform has been successfully integrated into Tommy Hilfigers state-of-the-art digital showroom. While Digital Showroom technology has revolutionized the company’s sales methods, the bottom-up approach to ongoing 3D design transformations will continue to expand the digitization of Tommy Hilfiger’s end-to-end value chain.
VERSACE Fall 2019 RTW collection is a celebration of versace iconography, a contrast of styling elements, fabric innovation and an ode to photography.
“With this collection, i wanted to show that side of a woman that isn’t afraid to step outside of her comfort zone because she knows that imperfection is the new perfection,” said Donatella Versace.
The golden Greek Key and newly embellished Safety Pins are juxtaposed with tweeds, bondage straps, lace and knitwear. An explosion of color celebrates the essence of Versace.
Featured on key looks in the Fall 2019 collection, the iconic portraits of Donatella Versace were photographed by Richard Avedon in 1995 for the launch of the fragrance blonde.
The collection is now available to shop via interactive tools on the website!
The Metropolitan Museum of Art will host “About Time: Fashion and Duration” for its annual spring Costume Institute exhibition. Taking place from May 7, 2020 until September 7, 2020, the show will also aid in the museum’s ongoing celebration of its 150th anniversary, as it illustrates 150 years of fashion history.
The Costume Institute’s spring 2020 exhibition will trace more than a century and a half of fashion—from 1870 to the present—along a disruptive timeline, as part of The Met’s 150th anniversary celebration. Employing Henri Bergson’s concept of la durée (duration), it will explore how clothes generate temporal associations that conflate past, present, and future. Virginia Woolf will serve as the “ghost narrator” of the exhibition.
A linear chronology of fashion comprised of black ensembles will run through the exhibition reflecting the progressive timescale of modernity, and bringing into focus the fast, fleeting rhythm of fashion. Interrupting this timeline will be a series of counter-chronologies composed of white ensembles that predate or postdate those in black, but relate to one another through shape, motif, material, pattern, technique, or decoration. For example, a black princess-line dress from the late 1870s will be paired with an Alexander McQueen “Bumster” skirt from 1995, and a black bustle ensemble from the mid-1880s will be juxtaposed with a Comme des Garçons “Body Meets Dress—Dress Meets Body” dress from 1997.
The exhibition will conclude with a section on the future of fashion, linking the concept of duration to debates about longevity and sustainability.