The Venice-based Barena is one of those brands that wasn’t made for the internet. It doesn’t shout ‘look at me’ and it’s hard to get across, online, the quality and tactile nature of the garments. This is true made-in-Italy quality and design without paying extortionate prices for the name.
Faux fur, fun fur, sheepskins and and generally anything furry or shaggy is very fashionable in both men’s and womenswear at the moment. I noticed this jacket the other day in Liberty, but couldn’t find it on their website. It’s really cute and the perfect length of shagpile. This, being in a cropped jacket shape, feels different and is perfect for this transition period of cool mornings and evenings. Add a rollneck and it’ll take you all the way into winter.
Left & Below - Barena - Lightweight Teddy Jacket - £338 from Farfetch
Fendi taste, River Island budget?! Worry no more, as the logo trend needn’t pass you buy just because your pockets aren’t deep enough. Fendi is probably the strongest of the logo brands, right now, and River Island has a clever rift on their own RI initials that look strikingly like those of the famous Rome fur house. Get involved.
Far Left & Left - River Island - Brown Slim Fit RI Monogram T-Shirt - £20
Below - Fendi - Logo-Print Raincoat - £1550 from matchesfashion.com
Due to its size and location New Zealand is sadly often overlooked and forgotten about. It’s indigenous culture isn’t particularly well known, about from the rugby haka or Jane Campion’s The Piano, so it’s a pleasure to see a niche fragrance company coming from that part of the world and from somebody with that background.
Founded by Tiffany Jeans - I know, great name! - she was born into a family of strong, creative women and immersed in Maori culture. After a career in fashion and advertising she turned to craft. It was during her wedding to film director Andrew Morton she crafted a series of hand- cast skull candles for each guest, individually wrapped in tulle. From this grew a range of bespoke perfumes, candles and finely crafted curios.
Left - Curionoir - 'Cellar Feels' Parfum Extrait - 50ml - £150
Now, a collection of seven fragrances and matching candles, housed in handblown glass made by Monmouth Glass next to the Curionoir flagship store in Auckland.
I particularly liked ‘Cellar Feels’ which smells like Welch’s grape juice with a woody and leather base.
Called Curionoir, because Tiffany always worked at night, it feels like the fragrances are deeply personal and a mystical gift from the lush ferny undergrowth of New Zealand. I just wish more of this was reflected in the packaging and branding. I want to learn more.
Right - Feather My Tears Candle - £125.50
What do you get when you cross one of the nicest guys in fashion and a cult British cold water surf brand? The new designer collab. from Finisterre.
Left - CR X Finisterre Scarf - £45
Debuted at London Fashion Week in January 2018, the collection is based upon a shared ethos and rooted in sustainability. Finisterre and Christopher Raeburn have used performance fabrics, sealed seams and recycled insulation throughout the collection, from the Insulated Waterproof Coat to the Albatross Crew Sweater.
Right - CR X Finisterre Intarsia Albatross Jumper - £160
The 20-piece collection features outerwear, knitwear and accessories.
“The inspiration for the collection was the sea and, specifically, immersion in the harshest of conditions. On a more personal level, it’s also about my trip down to Cornwall and to Finisterre HQ where I got to meet Tom Kay and embrace cold water surfing with the team. It really allowed me to ‘immerse’ myself in the world of Finisterre, and the unity was born.” says Christopher.
I particularly like the made in Portugal knits with the albatross silhouettes. I think these are going to soar away very quickly! Soz.
Left - CR X Finisterre Insulated Cocoon Coat - £325
Opposite the Duke of Westminster’s magically misty plane trees, and, in, what is, the epicentre of moneyed fashion in London, 5 Carlos Place already feels established. The handsome red brick, late Victorian townhouse curves as it welcome you into its exclusive enclave and sits at the entrance of Mayfair’s most exclusive shopping area.
Left - The entrance to 5 Carlos Place
This is matchesfashion.com's all singing, all dancing townhouse. It’s part retail, part cafe, part personal shopping, part experiential, part showcase, part exhibition space, but totally the buzzy physical heart of the online phenomenon matchesfashion.com has become.
matchesfashion.com previously had a townhouse in Marylebone, but it was more an exclusive personal shopping concept with no retail. That has now closed. The majority of its stores were always in the periphery of London in wealthy neighbourhoods, while 5 Carlos Place is slap, bang in the middle of the middle and illustrates how far matchesfashion.com has come.
While the signage outside is discreet, it’s the amount of people coming and going that will draw your attention. Not exactly something this area is used to - high footfall - it will definitely ripple out to the adjacent retailers and give that energy these types of areas often lack.
Right - The third & fourth floor houses these bookable shopping suites
The five-story townhouse has been redesigned by architect Philip Joseph, partner of fashion designer Erdem Moralioglu, while retaining many original features like the plaster ceilings and fire places. The first two floors are retail. More a showroom than a traditional store, it is currently showcasing an exclusive partnership with Prada - bananas and all! But, it’s not all big budget names, the next designer to have the space is Marine Serre.
Left - The Regency like plaster ceilings
The items are displayed with QR codes next to them so you can simply link to the appropriate page and then order. Everything can be sent to the townhouse within 90 minutes or get sent to your home address. If matchesfashion.com prices are a little out of your league, they currently have a Prada X matchesfashion.com vending machine dispensing matches, coloured markers and the like. This space will change every two weeks, which is really the speed of online being reflected in physical retail.
The ground floor leads out to a garden at the back with a spacious patio surrounded with Australian tree ferns, lush planting and the higgledy-piggledy backs of this row of London townhouses and all the architectural quirks many years of alterations have produced.
Behind glossy, lipstick red doors and woodwork, two further floors house private shopping suites. These can be booked online and you can have items sent to be there waiting for you to try on when you arrive. The changing rooms - more like mini-suites - can be customised to the customers' Spotify accounts and look even more comfortable than the luxurious Connaught hotel opposite.
Upstairs in the attic is the café area and with its roof window feels like a nursery space Mary Poppins would be caring for the children. This is the most flexible floor and will host talks and different catering concepts plus the home of matchesfashion.com's new broadcasting suite and podcast centre.
The current café is Marchesi, the Prada-owned patisserie brand, to tie in with the retail downstairs. The next takeover is the Holiday Café followed by the vegan Maisie Café both from Paris.
Right - The first two floors are retail, currently showcasing an exclusive 120 piece collection from Prada
Highlights from the ‘What’s On’ event schedule for September and October - you can apply for the tickets online - include Theresa Wayman in an acoustic set, Mario Sorrenti book launch, Sarah Mower in conversation with Richard Quinn, a supper club with Australian chef Skye Gyngell and a Phillips preview of their ‘London Design’ auction.
The first impression of 5 Carlos Place is that it’s busy. Not just with people, but events and the energy of hosting so many talks, dining concepts and introducing new designers.
Left - The ground floor patio with garden
This is retail as inclusive members club and feels much livelier than their previous space. I’d be surprised if they can sustain this speed of turnover of retail spaces and events, but it’s exciting to see so much on the agenda.
This feels like online really spilling out into physical retail and understanding the reasons stylish people leave the house. They want to learn and experience as well as shop. London is the home of matchesfashion.com and it will be interesting to see whether this idea could be rolled out to other major centres like New York or Hong Kong.
This has been really well done, is in a great location and encapsulates the energy of a retailer really enjoying its standing in the luxury e-commerce sphere. I can’t wait to return and that’s exactly the point.
Mid-market department stores have become the punch bag for the state of modern retail. Often the largest, most visible and expensive stores to run, they are the cumbersome dinosaurs of the British high-street and, much like those, talk is about them dying out.
Two of Britain’s biggest department store chains, John Lewis and Debenhams, unveiled their rebrands on the same day, this week. Much like a first day at school, and a fresh seasonal start, this is their equivalent of a fresh text book and pencil case. But, will it be enough?
Left - John Lewis & Waitrose adds its Partners to their new logos
John Lewis is ramming home the fact it’s a big, fat cooperative by adding ‘Partners’ to everything. For the first time in the company’s history the names of both John Lewis and Waitrose have added ‘& Partners’.
At the same time, they also unveiled the largest own brand womenswear collection of 300 designs, which was created entirely in-house and carries the new name ‘John Lewis & Partners’. Plus its first own-brand gifting collection called ‘Find Keep Give’. The range is comprised of unique pieces, the majority of which were designed in-house by Partners.
This is John Lewis really putting its stake in the ground for point of difference. The future, they think, is something desirable you can’t get anywhere else. Never knowingly sold elsewhere!
Rob Collins, Waitrose & Partners Managing Director said: “This moment is far more significant than simply adding words and changing the design. It symbolises something bigger, expressing what’s different about our business and signalling our intent to make that difference count for even more: committed, knowledgeable Partners who care about the business they own, sharing their love of food and offering great customer service.”
Right - All about the D at Debenhams
John Lewis Partnership said in June that it would continue to invest in both businesses at a rate of £400m-£500m per year, to enable the two retail businesses to differentiate themselves from other retailers by innovating in products, customer service and services with the creation of ‘Customer Service Ambassadors’ who provide warm and personalised customer service front of store. As well as healthy eating specialists, they are training Partners to offer a concierge style service and equipping ‘Personal Stylists’ with the skills to deliver daily fashion talks; as well as investing in technology to improve customer service. This will be hard for other retailers to match.
But, John Lewis is feeling the pain too. They just announced the loss of back office jobs in IT, finance and store security from its 50 departments stores with 250 roles affected. This reflects the recent plunge in profits, and the announcement in June that profits in the first half of the year will be "close to zero”.
On the other hand, Debenhams was definitely due a refresh. Devised by new creative partner, Mother, Debenhams has unveiled a “modern, friendlier logo”. A new media tag line “do a bit of Debenhams” invites customers to “celebrate their discovery of the brands and products they love”.
Debenhams chief executive, Sergio Bucher, said, “Whilst we have made real improvements to our stores and continue to improve our product offering we also want to signify overtly to customers that Debenhams is changing and give them more reasons to come in store – our new brand identity is a way of signalling the change.”
As part of the ‘Debenhams Redesigned’ overhaul, the online shopper journeys have been reduced by half and conversion rate improved by 20%. The first new logo in 20 years, Debenhams’ new look reflects the investment and changes that Bucher, who was previously at Amazon, has made.
In June, Debenhams said full-year profits will be lower than expected - the third time it has issued a profit warning this year. The department store blamed "increased competitor discounting and weakness in key markets" for the profit shortfall. It said annual pre-tax profits would come in between £35m and £40m, below previous estimates of £50.3m.
Left - Debenhams new logo 2018
“Perhaps the rebrand for both these important retailers could be have been actioned earlier, but I am pleased to see that both Debenhams and John Lewis have now grasped the opportunity and wish them both well with the next steps. I am also encouraged to see that both businesses see the initiative as much more than signage and are taking the opportunity to look at every aspect of their businesses in terms of both the relevance and the importance of excellence in delivering goods and services to their customers.” says Michael Sheridan, CEO and founder of retail and brand design agency Sheridan&Co.
One department store chain that could possibly do with a makeover is the privately held Fenwick. The Newcastle-based department store chain is to shed 421 jobs as part of a cost-cutting plan following a slump in profits. The retailer reported, yesterday, it had not been immune from the struggles facing its competitors. It said management, support and shop floor staff would be affected by the job cuts - the result of a restructuring - taking its total workforce to 2,879 people.
Fenwick posted a 93% fall in pre-tax profits to £2m in the year to 26 January. They said a 3.6% fall in sales over the 12 months was a resilient result.
A spokesperson said: "Our annual results reflect the challenging market conditions all department store groups are facing, including increased competition from online retail, declining footfall on the high street, and increasingly competitive price discounting - factors that have been exacerbated by a rise in the cost of living that has led to a fall in consumers' disposable income.”
Fenwick is a small chain, with 9 branches, mostly in wealthy market towns. They have no e-commerce ATM, and, while they plan to, I think it could be too little, too late and they would be better off investing in their stores and “owning” the towns they are in. They need to remind us why we need to go to a Fenwick’s store. They should follow John Lewis’ lead and offer good customer service and product points of difference. It doesn’t have shareholders pushing for short-termism profits so should look longer term.
We’re still waiting to see what is happening with House of Fraser, but I’m sure we’ll see a new logo and branding there within the next 18 months.
These department stores are using new logos to draw a designed line under the past with the aim to looking forward. They’ve been surrounded by negativity for so long and this must be hitting the morale of the staff and this is a way of saying “new start” and they are investing.
There’s a lot of play for, but everybody needs to become leaner and faster, and many chains have no more meat left to cut. They, now, need shoppers returning and buying more. Only exclusive products or services they can’t get anywhere else will draw them back.
John Lewis has deep pockets and Debenhams’ survival could be at the expense of another chain. John Lewis’ classic branding didn’t feel tired, but maybe they thought it was important to change before it does, but I would have kept the original dark green colour. Debenhams’ new look looks fresh without trying too hard. It looks reliable and welcoming and does reflect the changes that have been going on in-store. Debenhams has come on massively over the last couple of years and it was a good idea to have a clear out of its “designers” - read more here. Now, it needs enticing, contemporary product to replace it.
The mid-market department store, as a concept, isn’t dead, but for the bad ones it’s the beginning of the end and no fancy new logo or slogan will fix that.
Read more expert ChicGeek Comments - here
Quite possibly the collab. of the season. One of the finest mills in Scotland, Johnstons of Elgin, has been trying to move into the ready-to-wear menswear market for a few seasons, now. They have the finest cloth and it makes sense to want to control the final product. Scotland’s answer to Zegna, maybe?
Finding the skills to manufacturers garments to the high standards these fabrics deserve isn’t easy in the UK, so it’s great to see they’ve teamed up with one of the best coat manufacturers, Private White V.C. in Manchester.
Left & Right - Black Single Breasted Ventile Men’s Trench Coat & Gilet - £1795
The new collection features two jackets: a single-breasted trench coat featuring a seam sealed waterproof external fabric with a detachable quilted gilet complete with a contrasting lambswool tartan lining and cashmere knit collar and the waxed country jacket using a 1402 Halley Stevenson premium wax fabric boasting weatherproof and thornproof qualities. Lined with Johnstons of Elgin 100% cashmere velour, it features details of punched leather elbow patches and trim on the collar. Both jackets feature Johnstons of Elgin’s 100% cashmere velour.
Alan Scott, Creative Director at Johnstons of Elgin said: “I am very proud to present these two key men's outerwear pieces from the Private White x JoE collaboration for AW18. We are very excited to showcase and celebrate the best of British quality garment manufacturing and specialist cashmere textiles all made entirely in the U.K. We value the unique expertise and authenticity that Private White embody and for helping to bring our cloth to life. Our parallel stories and family owned history create the perfect partnership.”
James Eden, Brand Director at Private White V.C said: “We’re delighted to be collaborating with one of the most esteemed cashmere manufacturers in the world; Johnstons of Elgin. Together we have struck the perfect blend of luxurious fabrics and quality craftsmanship- these are pieces of outerwear that have been made to last a lifetime and I believe they will be cherished by whoever is lucky enough to wear them for just as long.”
The only negative, these jackets are crazy expensive and I almost wish they were bursting with more Johnstons’ fabrics. If you do want a beautiful Johnstons of Elgin blanket type coat look at Gieves & Hawkes’ new AW18 collection.
Left & Right - Olive Country Style Men’s Wet Wax Jacket - Private White Collaboration - £1795
It’s September, which means new season, fresh ideas, shopping, putting more clothes on, having your eye on something and changing things up. Well, at the recent 75th Venice Film Festival, Radiohead’s Thom Yorke jumped forward all the way to next SS19.
At the premiere of Luca Guadagnino’s - the director of Call Me By Your Name - new horror film, Suspiria, he was wearing the latest collection from Dries van Noten. Inspired by the 60s designer, Verner Panton, the collection - see more here - is a beautifully kaleidoscope of wavy colour and was firmly on my must-have list for next season.
This inspired me to look at Thom’s other outfits during the festival to promote the film's soundtrack. From the natural tan sandals, which will change colour over time, to the nonchalant summer scarf to the honey coloured lensed sunglasses, you won't go far wrong by copying Thom for your next warm holiday wardrobe.
Left & Below - Radiohead's Thom Yorke in Dries van Noten SS19
Far Left - Style in Venice - Honey coloured lenses and matching frames and a double breasted jacket
Left - Move over Benedict, Thom is in town
You probably saw my obsession with Space Odyssey 2001 after the Undercover AW18 show at Pitti Uomo in January. See more here Well, I haven’t been able to get Z Zegna’s interpretation of those Kubrick space suits out of my head and this bright yellow one from Topman just jogged my memory.
So, this winter make like a bold Michelin Man in vibrant primary colours. Yellow is the colour of choice and the matching hat, trousers, gloves, boots, are all purely optional!
Left - Topman - Yellow Puffer Jacket - £70
Right - Z Zegna - £1090
Walk into Selfridges’ new eyewear department and you’ll see a noticeable change in the eyewear market. Amongst the acres of grey terrazzo and perfectly lit vanity mirrors, you’ll discover 2,200 eyewear styles from 50 brands, some costing nearly £8000.
This is eyewear placed in equal importance to the other accessories in Selfridges’ refreshed accessory department - the largest in the world at 60,000 sq ft and costing in excess of £300m. Sitting alongside the luxury handbags and designer boutiques, it illustrates the new focus from luxury goods companies on their eyewear product. It is no longer the rather side-lined licensing cash-cow it once was and as such, is no longer taken for granted.
Left - Selfridges' new eyewear department on the ground floor
Much like the perfume business, niche players have entered the eyewear market, offering difference and quality. The designer brands are sitting up and taking notice and while Selfridges’ new eyewear department is run by the Luxottica, owner of Ray-Ban and many other designer licenses, it hasn’t completely monopolised it with its own brands.
New brands to Selfridges include Fak by Fak and Project Produkt, while others, such as Grey Ant, Retrosuperfuture and Thiery Lasry, have created exclusive styles for the space.
The eyewear market is actually experiencing the reverse of what is happening in other categories. Luxury brands are putting more focus and input into their product and increasing the quality and workmanship in order to compete. At the same time, thanks to brands like Gucci, eyewear has become an integral part of a look or outfit and it’s the bolder, the better ethos, right now, that is making eyewear sales rocket.
“The industry's certainly going through a time of flux. At one end you've got the old guard consolidating - Luxottica and Essilor being the obvious, gargantuan example. Then at the other, you've got a whole bunch of new own-branded entrants. And then in the middle, you've got the high street multiples (who still collectively control over 70% of the market in the UK).” says Tom Broughton, Founder of Cubitts.
It wasn’t long ago the branded eyewear market was a duopoly dominated by the Italian giants of Safilo and Luxottica. In 2014, the luxury conglomerate, Kering, eyeing the potential of cutting out of the middle man in their eyewear business, terminated the licenses with Safilo for brands including Gucci, Alexander McQueen and Saint Laurent.
Right - Gucci has really lead the way in pushing mainstream experimental styles
“To maximise the development of its brand portfolio, Kering decided to internalise the value chain for its eyewear activities, from product creation and development to supply chain management, sales and marketing.” says its press release.
“Through this project, Kering is putting in place an innovative way of managing its eyewear operations, which will lead to significant value-creation opportunities and enable the group to fully capture the sheer growth potential of its houses in this category, in a global market which is sizeable and in which the high-end segment is enjoying substantial growth.” it says.
Today, ‘Kering Eyewear’ designs, develops and distributes eyewear for Gucci, Bottega Veneta, Saint Laurent, Alexander McQueen, Stella McCartney, McQ, Boucheron, Pomellato, Brioni, Christopher Kane and Puma.
Kering understand the profits and growth to be seen in eyewear and by taking it in-house, it cuts out a cost plus adds control. The results have seen more distinctive styles imbued with the individual brands’ DNAs. It is lead by Roberto Vedovotto who was previously CEO of the Safilo Group.
“For the last couple of decades, 'designer' eyewear has really meant branded eyewear. And so those who controlled access to those brands - big players like Luxottica and Safilo - controlled much of the market. But I think there's a general change in consumer appetite for more independent brands, particularly those mono-brands who just try do thing one thing exceptionally well. Our old friend the internet has meant that it's also possible for small start up brands to sell directly to end consumers, rather than be encumbered by the traditional wholesale model.” says Broughton.
Alistair Benson, Managing Director Eyesite Opticians, says “The big fashion houses are, now, more concerned with producing distinctive eyewear with better quality that adds to the success of their other product lines. We saw Céline remodel their already best selling ‘Shadow’ piece, introducing new and improved hinges and additional colours. An example of an already proven and successful formula being upgraded just to ensure it stays at the front of the pack.
“As competition grows, fashion houses inevitably need to ensure they are producing more innovative products to stand out. Another reason for this is the rise of niche/cult brands and start-ups; take the jazz inspired Black Eyewear for example. All-in-all, it makes for a much more stimulating market that benefits today’s highly engaged consumer, who now have more choice than ever before. From our own perspective, as a retailer, we have had to adapt to this change, responding quickly to shifts in certain trends and the overnight rise of new cult brands to ensure our own customers have everything they need and more.”
Left - One of the most famous eyewear wearers - Elton John inspiring the Gucci catwalk
Gordon Ritchie, MD of Kirk Originals, says “Recent years has seen the emergence of smaller niche eyewear labels appearing that offer handmade, up to bespoke quality, eyewear collections and a number of people like ourselves are making in England.
“It is driven by smaller niche players and I think this is a reaction against the handful of huge corporations that now dominate the global eyewear business and between them actually produce pretty much everything with a "big" brand name on it.” he says.
Niche brands are offering more artisan and limited product, but the big boys have recognised this and are moving into this area. The margins on eyewear are large and there’s everything to play for. Luxottica, reported a 2 percent rise in 2017’s sales to 9.16 billion euros and Safilo had full-year sales totalling 1.05 billion euros.
Designer fashion brands have made eyewear an integral part of their fashion collections. These flamboyant styles have resonated with consumers especially with its entry price points. But, smaller, niche players are offering individuality which attracts many consumers to well designed and made eyewear.
“I think this is a result of people growing in confidence in expressing themselves, probably helped along by them being exposed to so many images on a daily basis on Instagram. Instagram can be inspiring but also allows you to feel you’re not the only one pushing the boundaries a little bit by being bold in your choices in colours and styles.” says Ritchie.
“I think people will increasing see a pair of spectacles or sunglasses as a defining piece of their wardrobe, rather than merely a medical accoutrement to help them see.” says Broughton.
People are buying many more pairs to suit different outfits and moods. Add in the recent fashion of coloured lenses and it broadens the scope of choice. “We believe that people will continue to look for more individuality in their eyewear, too. Much like other countries in Europe, we expect increasing numbers of customers to buy 3–5 sets of frames each year in order to mix it up and achieve a different look whenever they want.” says Mary-Frances Kelly, Marketing Manager at Optical Express.
“Fashion in general has become more experimental, and people are realising that they can achieve a different look with a certain style or colour of frame. And it’s not just the under-30’s who are fashion conscious – across the generations, we’re more style-aware about everything, including glasses, than ever before.” says Kelly.
This is something really positive. It reflects a thriving market. The big brands have recognised the threat and, wanting to hold onto the many hundreds of million of dollars involved, are focussing on directional styles and quality. This leads to better product and choice for everybody. They have, thankfully, realised that simply putting different names on the same glasses just isn’t enough anymore. Add the maximalist mood in fashion and everybody wanting to be an Elton John or Iris Apfel, then you have a very bold, experimental and receptive market. Let’s hope this type of thinking enters other sectors of the luxury business.