What Is the Future of Fashion?
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O/274/21 TRADE MARKS ACT 1994 IN THE MATTER OF APPLICATION NO. UK00003406669 BY BERNARD MULHOLLAND LTD FOR THE FOLLOWING TRADE MARK: gucci.llc IN CLASSES 18 AND 25 AND IN THE MATTER OF OPPOSITION THERETO UNDER NO. 417895 BY GUCCIO GUCCI S.P.A. BACKGROUND AND PLEADINGS 1. On 13 June 2019, BERNARD MULHOLLAND LTD (“the applicant”) applied to register the trade mark shown on the cover page of this decision in the UK. The application was published for opposition purposes on 28 June 2019 and registration is sought for the goods set out in the Annex to this decision. 2. On 30 September 2019, Guccio Gucci S.p.A. (“the opponent”) opposed the application based upon sections 5(2)(b), 5(3), 5(4)(a) and 3(6) of the Trade Marks Act 1994 (“the Act”). Under sections 5(2)(b) and 5(3) of the Act, the opponent relies upon EUTM no. 121988 for the trade mark GUCCI.1 The opponent’s mark was filed on 1 April 1996 and was registered on 24 November 1998. For both sections, the opponent relies upon some of the goods for which the mark is registered, namely: Class 18 Leather and imitations of leather, and goods made of these materials and not included in other classes; handbags; purses; trunks and travelling bags; backpacks; briefcases; card cases [notecases]; pocket wallets; rucksacks; shopping bags. Class 25 Clothing, footwear, headgear. 3. Under section 5(2)(b), the opponent claims that there is a likelihood of confusion because the parties’ respective trade marks are similar and the goods are identical or similar. -
Grin and Bear It
AMERICAN ANTHEM MADE IN THE USA IS SEEING A RESURGENCE AND IT’S A KEY POLITICAL ISSUE. SECTION II MALE MAKEOVER BERGDORF GOODMAN UNVEILS A REMODELED MEN’S DEPARTMENT. PAGE 3 LUXURY LAWSUITS Hermès Sues LVMH, LVMH Sues Hermès By JOELLE DIDERICH PARIS — Let the hostilities resume. Hermès International and LVMH Moët Hennessy Louis Vuitton said Tuesday they were heading to court over their ongoing dispute regarding LVMH’s WEDNESDAY, SEPTEMBER 5, 2012 ■ $3.00 ■ WOMEN’S WEAR D acquisition of a 22.3 percent stake in the maker of Birkin bags and silk scarves. WWD Hermès confi rmed that on July 10, it lodged a com- plaint with a Paris court against LVMH, which sur- prised markets by revealing in October 2010 that it had amassed a 17.1 percent stake in Hermès via cash- settled equity swaps that allowed it to circumvent the usual market rules requiring fi rms to declare share Grin and purchases. The world’s biggest luxury group has since steadily increased its stake, a move seen by Hermès offi cials as an attempt at a creeping takeover, despite reassur- Bear It ances from LVMH chairman and chief executive offi - cer Bernard Arnault that he is not seeking full control. With more than 50 “This complaint concerns the terms of LVMH’s ac- quisition of stock in Hermès International,” Hermès collections under her low- said in a two-line statement. It is accusing LVMH of slung belt, Donna Karan, insider trading, collusion and manipulating stock shown here in her studio, prices, according to a source familiar with the issue, who declined to be named for confi dentiality reasons. -
Walking Away from the Runway
Walking Away from the Runway Thesis – One Year Master Textile Manage ment Christina Christodoulou Year: 2015. Thesis id number: 2015.11.06 Acknowledgements I would like to wholeheartedly thank my supervisor David Goldsmith for his guidance and knowledge and most of all for his positive spirit. Also, I would like to thank my parents who really supported me the whole year with their love under any circumstances. Thanks to the designers who accepted to participate in my group discussion and enlightened my thesis with their ideas. Lastly, the paper is dedicated to my favourite uncle that I lost during the master thesis. He was a smiley person who loved to be educated. English title: Walking Away from the Runway Year of publication: 2015 Author/s: Christina Christodoulou Supervisor: David Goldsmith Abstract Fashion shows in a common western context were focused on the garments that were presented. Albeit, the latest decades a shift has been observed from what is presented to how it is presented to the audiences. Particular designers are the leaders of this evolution. Does this phenomenon imply something long term for the fashion system and how fashion is displayed? The purpose of the research is to inquire into the metamorphosis of the runway presentations from the expected status quo to new forms. The compass of this exploration is an observation about fashion shows in retrospect and a focus group discussion with fashion designers master students from the Swedish School of Textiles. It contributes an insight into designers’ approach towards fashion presentations, yet it is used as tool to enable them illustrate their vision on their future presentations. -
London Fashion Week Men's Has Been As Surprising As It Has Been Exhausting
LONDON FASHION WEEK MEN’S CELEBRATES ITS 5TH ANNIVERSARY Today, 12th June, marks the close of the fifth anniversary of London Fashion Week Men’s. It has been a stellar week, further establishing London as the home of menswear and attracting designers, media, retailers and business leaders from 45 countries. Alongside a show schedule featuring the talent, innovation and heritage that London is known for, this season also saw a number of stand-out events. Things kicked off on Thursday with an intimate celebration at Mark’s Club, co-hosted by Caroline Rush CBE, Elizabeth Saltzman and Tracey Emin CBE, the event also saw Dylan Jones OBE launch his new book: London Sartorial: Men’s Style from Street to Bespoke. Shows, events and presentations took place across the capital, from the brands and partners that are part of London’s past and future menswear history, including 10 Magazine, Barbour International, Belstaff, British GQ & Tom Ford, Burberry, David Furnish x LqD, Dunhill, Hackett, Kent & Curwen, MAN, Mr Porter, Oliver Spencer, Rag&Bone, Stephen Webster, Stella McCartney, TOPMAN Design and Vivienne Westwood. Renowned artist Tracey Emin CBE RA designed a special 5th anniversary logo for LFWM in her signature handwriting; two unique neon works were on display at the home of LFWM, The Store Studios, 180 Strand and a third in a dedicated window at Selfridges, London. The British Fashion Council (BFC) also collaborated with i-D to produce the A-Z of London Menswear, a salute to the vibrant visionaries who make the capital the most exciting place in the world for menswear today. -
Info Pack Ethical Fashion Hackathon 6Th May 2020 Fashion Weeks
Fashion Weeks Info pack Ethical Fashion Hackathon 6th May 2020 Fashion Weeks Introduction Fashion weeks expose the enormous flaw at the heart of the fashion industry business model: the cost to people and the planet. In the last 12 months, the fashion show circuit (NY, London, Milan, Paris) emitted 241,000 tonnes of CO2. The equivalent of lighting up Times Square for 58 years. In 2020, is this still justifiable? Huge swathes of our industry flying across the world to view a 12 minute runaway show featuring collections that will mostly be displayed and sold online? These events are moments of both celebration of beauty and art as well as commercial platforms to feed a hungry business model, structured in an organisational form that pays no attention to sustainability. They run one after the other, forcing industry staff to travel frantically from here to there (via land, sea and air), while producers work in emergency-like conditions to have products ready for the shows, causing an imbalance in personal health and mental well being. In the meantime, consumers are bombarded by a mountain of images and faces of influencers, very few of whom acknowledge how these goods are made or their impact on people’s lives and on the natural world. All this while our planet risks extinction. Asks ● For editors and buyers being present in the physical space of a live show is “the experience”. The multisensory journey to see, touch and feel the collections and interacting with designers is paramount. Can digital, AR and VR replace this “experience”? Is it only a generational issue or does it go deeper? ● How could we recreate the “buzz” of fashion weeks --the exclusivity, celebrity, networking i.e. -
AN EXAMINATION of VANCOUVER FASHION WEEK by Vana Babic
AN EXAMINATION OF VANCOUVER FASHION WEEK by Vana Babic Bachelor of Arts in Political Science, European Studies, University of British Columbia, 2005 PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF BUSINESS ADMINISTRATION In the Faculty of Business Administration © Vana Babic 2009 SIMON FRASER UNIVERSITY Summer 2009 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for Fair Dealing. Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Vana Babic Degree: Master of Business Administration Title of Project: An Examination of Vancouver Fashion Week Supervisory Committee: ________________________________________ Dr. Michael Parent Senior Supervisor Associate Professor Faculty of Business Administration ________________________________________ Dr. Neil Abramson Second Reader Associate Professor of International Strategy Faculty of Business Administration Date Approved: ________________________________________ ii Abstract This study proposes a close examination of Vancouver Fashion Week, a biannual event held in Vancouver, showcasing local and international talent. It is one of the many Fashion Weeks held globally. Vancouver Fashion Week can be classified in the tertiary market in terms of coverage and designers showcased. The goal of these fashion shows is to connect buyers, including but not limited to boutiques, department stores and retail shops, with designers. Another goal is to bring media awareness to future trends in fashion. The paper will begin with an introduction to Fashion Weeks around the world and will be followed by an industry analysis. -
The Art of He’S One of Fashion’S Living Legends: a Designer, Hotelier and Restaurateur with a Billion-Pound Business to His Name
EMBROIDERED SILK BLOUSE, £7,700, Silk SKIRT, £1,550, and SATIN SHOES, £680, GIORGIO ARMANI ArmaniTHE ART OF He’s one of fashion’s living legends: a designer, hotelier and restaurateur with a billion-pound business to his name. But who is the real Mr Armani? Ahead of his outstanding achievement award at the UK’s ‘fashion Oscars’ tomorrow, Jane McFarland is granted a rare audience at home with the fiercely private man the Milanese call King Giorgio – while his friend the model Eva Herzigova wears his latest Resort collection Photographs Anton Corbijn Styling Margherita Moro 34 The Sunday Times Style The Sunday Times Style 35 THIS PAGE SILK VELVET Style Exclusive SHIRT, £860, maTCHING JACKET, £2,300, and TROUSERS, £860, GiorGIO ARMANI. NECKLACE, EVA’S OWN OPPOSITE WOVEN CLOAK, POA, AND SILK SHANTUNG TROUSERS, £860, GIORGIO ARMANI IT’S NOT WHOLLY EXAGGERATING to compare securing surfaces, from panthers to reptiles — perhaps unsurprising, an audience with Giorgio Armani (or Mr Armani as he is given his second home, an hour from Milan, has a zoo. known to his inner circle) to arranging a casual cuppa with Outside, there’s a parked Bentley, doormen and 24/7 the Queen. Or maybe the Duchess of Sussex. He rarely talks surveillance. Across the road are the Armani offices, and to journalists, even less so the British press, so when I’m nearby, his hotel, the Emporio Armani cafe and the Via finally granted a 15-minute conversation at home with the Manzoni concept store. Even the hangar at Milan Linate king of Italian fashion, solo owner of Giorgio Armani SpA, airport bears a giant Armani logo; make no mistake, Mr who Forbes estimates to have a personal fortune of £8.26bn, Armani wields the power in Milan. -
Council of Fashion Designers of America
Council of Fashion Designers of America ANNUAL REPORT 2017 The mission of the Council of Fashion Designers of America is to strengthen the impact of American fashion in the global economy. B 1 Letter from the Chairwoman, Diane von Furstenberg, and the President and Chief Executive Officer, Steven Kolb In fashion, we respond to the world we live in, a point that was powerfully driven home in 2017. We were excited to see talents with broad cultural backgrounds and political ideas begin to express their experiences and beliefs through their collections. Diversity moved into the spotlight in ways we have never seen before. Designers embraced new approaches to business, from varying show formats to disruptive delivery cycles. It was also the year to make your voices heard, and CFDA listened. We engaged in civic initiatives important to our industry and partnered with Planned Parenthood, the ACLU, and FWD.us. We also relaunched our CFDA Health Initiative with guidelines to help those impacted by sexual assault or other forms of abuse. There’s no going back. In 2018, CFDA is moving ahead at full speed with an increased focus on inclusivity and women in fashion, the latter through an exciting new study with Glamour magazine. We may be a reflection of the world we live in, but we also work hard to make that world a better place. Altruism, after all, never goes out of style. 3 CFDA STRENGTHENED PILLARS WITH MISSION-DRIVEN ACTIONS MEMBERSHIP Fashion Professional Fashion Civic+ Retail Partnership Week + Market Development Supply Chain Philanthropy Opportunities SUSTAINABILITY INDUSTRY ENGAGEMENT SOCIAL AND EDITORIAL MARKETING AND EVENTS KEY UNCHANGED MODIFIED NEW PROVIDED INITIATIVES RELEVANT TO DESIGNERS EMERITUS AT EVERY STAGE OF CAREER DESIGNERS • Board Engagement • Philanthropy and Civic ICONIC Responsibility DESIGNERS • Mentorship • Editorial Visibility • Board Engagement • Fashion Week • Philanthropy and Civic ESTABLISHED Responsibility DESIGNERS • Mentorship • Editorial Visibility • NETWORK. -
Australian Fashion Week's Trans-Sectoral Synergies
Beyond 'Global Production Networks': Australian Fashion Week's Trans-Sectoral Synergies This is the Published version of the following publication Weller, Sally Anne (2008) Beyond 'Global Production Networks': Australian Fashion Week's Trans-Sectoral Synergies. Growth and Change, 39 (1). pp. 104-122. ISSN 0017-4815 The publisher’s official version can be found at http://dx.doi.org/10.1111/j.1468-2257.2007.00407.x Note that access to this version may require subscription. Downloaded from VU Research Repository https://vuir.vu.edu.au/4041/ Citation: Weller, S.A. (2008). Beyond "Global Production Network" metaphors: Australian Fashion Week's trans-sectoral synergies. Growth and Change, 39(1):104-22. Beyond “Global Production Networks”: Australian Fashion Week’s Trans-sectoral Synergies Sally Weller Centre for Strategic Economic Studies Victoria University PO Box 12488 Melbourne, Australia Ph +613 9919 1125 [email protected] Beyond “Global Production Networks”: Australian Fashion Week’s Trans-sectoral Synergies Sally Weller* ABSTRACT When studies of industrial organisation are informed by commodity chain, actor network or global production network theories and focus on tracing commodity flows, social networks or a combination of the two, they can easily overlook the less routine trans-sectoral associations that are crucial to the creation and realisation of value. This paper shifts attention to identifying the sites at which diverse specialisations meet to concentrate and amplify mutually reinforcing circuits of value. These valorisation processes are demonstrated in the case of Australian Fashion Week, an event in which multiple interests converge to synchronize different expressions of fashion ideas, actively construct fashion markets and enhance the value of a diverse range of fashionable commodities. -
Rush Hour by Meenal Mistry NEW YORK — Among Civilians, It’S a Little-Known Fact, but Fashion Folk Are Actually a Hardy Bunch
FRANCES HITS FLA./2 WHAT THE LADIES ARE BUYING/4 Global Edition WWWomen’s Wear Daily • DTUESDAYThe Retailers’TUESDAY Daily Newspaper • September 7, 2004 • $2.00 Ready-to-Wear/Textiles Rush Hour By Meenal Mistry NEW YORK — Among civilians, it’s a little-known fact, but fashion folk are actually a hardy bunch. They are the practical sort who will let little stand in their way, especially when it comes to creating the potential 15- minute moment of glory that is the fashion show. That said, in preparing for this spring season, designers had two additional obstacles to accompany all the usual last-minute Carolina Herrera shares mayhem: an early start to fashion week, which will begin a a laugh with mere two days after Labor Day, and the Republican design director Herve Pierre National Convention, held right in the Garment District. Braillard. See Down, Page 6 PHOTO BY THOMASPHOTO BY IANNACCONE 2 WWD/GLOBAL, SEPTEMBER 2004 WWW.WWD.COM WWDTUESDAY Fla. Retail Endures Frances Ready-to-Wear/Textiles PLANTATION, Fla. — Retail sorting through the destruction Group’s 27 Florida malls had GENERAL stores in Florida, after losing caused by hurricane Charley closed by Friday afternoon, said Now that the Republicans have left town, Seventh Avenue designers spent more than three shopping days when Frances began. Punta Les Morris, corporate spokesman. 1 the weekend getting ready for fashion week, which begins on Wednesday. due to hurricane Frances during Gorda and Port Charlotte Hurricane warnings were Having been pounded by hurricane Frances, Florida retailers, many closed the traditionally important seemed to take the brunt of lifted in Miami-Dade county by Labor Day sales weekend, began Charley’s wrath. -
Matahari Department Store Meet & Greet Designer Indonesia Fashion
PRESS RELEASE 05 May 2018 Matahari Department Store Meet & Greet Designer Indonesia Fashion Forward 2018 Jakarta - PT Matahari Department Store Tbk (“Matahari” or “Company”; stock code: “LPPF”) as the biggest retailer in Indonesia, always supports fashion industry in the country, and develops the potentials of Indonesian young designers. One of the supports is by embracing Indonesian young designers through the collaboration with Indonesia Fashion Forward (IFF). IFF is an incubation and mentoring program since 2012 for the chosen Indonesian designers, which is an initiative from Jakarta Fashion Week, cooperating with British Council, and supported by Indonesian Creative Economic Institution (Badan Ekonomi Kreatif Indonesia (Bekraf)). “Matahari has chosen three IFF designers to complete Matahari’s modest wear collections with their designs, which are Restu Anggraini, Norma Hauri, and Rani Hatta. Matahari’s collaboration with Jakarta Fashion Week and Indonesia Fashion Forward is expected to give a wider chance, as well as provide a platform for the works of IFF designers and make it more widely known by the public,” said Imelda Like, Head of Marketing Communication and Fashion Director of Matahari. In welcoming Ramadan 2018, Matahari collaborates with IFF to present modest wear collections in Fashion Show series consists of 30 looks in 3 sequences at Atrium Lippo Mall Kemang (Kemang Village), Jakarta. This Fashion Show will present the new collections fron the three designers which are exclusively designed and available only at Matahari. Restu Anggraini in this fashion show presented modern and contemporary design with minimal details. She prefers to use pastel and nature colors. Restu also owns a fashion line namely Etu. -
PRESS RELEASE 4TH JANUARY 2019 LFWM JANUARY 2019 FACTS & FIGURES the 13Th Edition of London Fashion Week Men's (LFWM) Laun
PRESS RELEASE 4TH JANUARY 2019 LFWM JANUARY 2019 FACTS & FIGURES The 13th edition of London Fashion Week Men’s (LFWM) launches tomorrow as a celebration of discovery and the creative diversity that has made London an international hub for menswear. The bi-annual showcase of the most creative and innovative names in the fashion industry takes place throughout the city from Saturday 5 - Monday 7 January 2019 and features over 40 designer businesses showcasing their latest collections. Celebrating London’s diversity, LFWM is a three-day city-wide celebration of creative talent, welcoming guests from over 35 countries. Today, the British Fashion Council is delighted to announce new data for the menswear fashion industry: Mintel estimates that consumer spending menswear has grown 5.1% to reach £15.9 billion in 2018. Menswear now accounts for 26% of the total clothinG market, whilst womenswear accounts for 51% Consumer spending on clothing is forecast to rise 25% to £76 billion in the next five years to 2023 Mintel, 2018 During a time of uncertainty surrounding Brexit, the creative sector is growing faster than any other sector in the UK economy and provides one in six jobs in London (london.gov.uk 2018). In 2019, London continues to stay one of the most culturally rich cities in the world, with world-class institutions and globally renowned talent, LFWM celebrates the diversity of our capital through an industry that directly contributes £32.3billion to the UK in GDP and employs 890,000 people (Oxford Economics 2018). Over a quarter of our LFWM designers are non-British with representation from Europe 12.5% and rest of world at 15%, nationalities include Danish, Swedish, Italian, Japanese, Chinese and Emirati.