DOCSLIB.ORG

Legal Protection for Fashion Design Emily S

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

NORTH CAROLINA LAW REVIEW Volume 86 | Number 1 Article 5 12-1-2007 Double-Edged Scissor': Legal Protection for Fashion Design Emily S. Day Follow this and additional works at: http://scholarship.law.unc.edu/nclr Part of the Law Commons Recommended Citation Emily S. Day, Double-Edged Scissor': Legal Protection for Fashion Design, 86 N.C. L. Rev. 237 (2007). Available at: http://scholarship.law.unc.edu/nclr/vol86/iss1/5 This Comments is brought to you for free and open access by Carolina Law Scholarship Repository. It has been accepted for inclusion in North Carolina Law Review by an authorized administrator of Carolina Law Scholarship Repository. For more information, please contact [email protected]. Double-Edged Scissor': Legal Protection for Fashion Design* INTRO DUCTION .......................................................................................... 237 1. CURRENT PROTECTION FOR FASHION DESIGN ............................... 245 A. Copyright of Decorative Elements Separablefrom Their Useful Function ....................................................................... 245 B. Elements of Designs: Fabric Patternsand Dress Designs..... 247 C. Trademark ............................................................................... 248 D . Trade Dress ............................................................................. 249 E . Design Patents......................................................................... 250 II. DESERT-BASED THEORY ................................................................ 252 III. ECONOMIC-BASED THEORY ........................................................... 259 A. Recognizable Luxury Designers Limitation............................. 261 B. Potentialfor Lower-Priced Bridge Lines ................................ 262 C. Clearly Inferior Copies Limitation.......................................... 264 IV. FASHION DESIGN PROTECTION: E.U. DIRECTIVE 98/71/EC AND H .R . 5055 ........................................................................................265 A. E. U. Directive 98/71/EC.......................................................... 266 B . H.R . 5055 .................................................................................268 V. PRIVATE FASHION DESIGN RIGHT .................................................. 269 C O N CLU SIO N .............................................................................................. 272 INTRODUCTION This,"stuff?" Oh, ok. I see, you think this has nothing to do with you. You go to your closet and you select out, oh I don't know, that lumpy blue sweater, for instance, because you're trying to tell the world that you take yourself too seriously to care about what you put on your back. But what you don't know is that that sweater is not just blue, it's not turquoise, it's not lapis, it's actually cerulean. You're also blindly unaware of the fact that in 2002, Oscar De La Renta did a collection of cerulean gowns. And then I think it was Yves Saint Laurent, wasn't it, who showed cerulean military jackets? And then cerulean quickly showed up in the collections of eight different designers. And then it filtered down through the department stores and then trickled on down into some tragic Casual Corner where you, no doubt, fished it out of some clearance bin. However, that blue represents millions of dollars and countless jobs * Copyright © 2007 by Emily S. Day. 1. Olivera Medenica, Designers Seek To Prevent Cheaper Knockoffs, NAT'L L.J., Aug. 28, 2006, at S I. NORTH CAROLINA LAW REVIEW [Vol. 86 and it's sort of comical how you think that you've made a choice that exempts you from the fashion industry when, in fact, you're wearing the sweater that was selected for you by the people in this room. From a pile of "stuff."2 This memorable quote from the Academy Award-nominated film The Devil Wears Prada implies two major themes of the fashion design industry: the fashion design industry affects everyone, even if indirectly, and it exists in an environment of constant copying and counterfeiting.' Designers have long sought protection against copying, but it has been denied largely because fashion designs have been viewed as more closely related to useful articles-clothing 4-than to creative works and because copying was described as economically beneficial to designers. This Comment suggests that those arguments are flawed or can be weakened by appropriately tailored protection and proposes a solution that would both protect fashion designers as well as satisfy the opponents of protection. The numbers reinforce the theme illuminated by the quote from The Devil Wears Prada-thefashion industry affects everyone. The size of the international apparel industry is astonishing, producing more than $750 billion in sales annually.5 The U.S. fashion design industry alone is a $350 billion industry.6 According to the U.S. Chamber of Commerce, "[t]he production, distribution and sale of unauthorized goods has cost U.S. companies between $200 and $250 billion each year as well as 750,000 jobs to date."7 More pertinently, losses due to counterfeiting in the clothing and footwear industries combined have been approximately $12 billion annually.8 This counterfeiting translates into lost revenues for both designers and the government; New York alone estimates its losses due to 2. THE DEVIL WEARS PRADA (20th Century Fox 2006). 3. In this Comment, "counterfeit" means a copy that is already illegal under the existing limited protection scheme for fashion designs, such as a handbag with the Louis Vuitton "LV" logo or a dress with a Diane von Furstenburg fabric pattern printed on it. A "copy" or "knockoff' means a copy of an original design sold by another producer such as the A.B.S. dresses appearing infra pages 240-41. See Eric Wilson, The Knockoff Won't Be Knocked Off, N.Y. TIMES (Week in Review), Sept. 9, 2007, at 5 (defining "counterfeits" and "knockoffs" in the same way). 4. See infra notes 39-41 and accompanying text (discussing the refusal of copyright protection for functional articles, which are distinguished from artistic items). 5. See Safia A. Nurbhai, Comment, Style Piracy Revisited, 10 J.L. & POL'Y 489, 489 (2002) (estimating total apparel sales of $784.5 billion in 1999). 6. Jacqueline Palank, Congress Considers Fashion's Copyrights, WASH. TIMES, July 28, 2006, at C10. 7. Id. 8. A Bill To Provide Protection for Fashion Design: Hearing on H.R. 5055 Before the Subcomm. on Courts, the Internet, and Intellectual Property of the H. Commn. on the Judiciary, 109th Cong. 2 (2006) [hereinafter Hearing on H.R. 5055] (statement of Rep. Howard L. Berman, Ranking Member, Subcomm. on Courts, the Internet, and Intellectual Property). 20071 LEGAL PROTECTION FOR FASHION DESIGN counterfeiting total more than $1 billion in tax revenue annually.9 Without protection, copying in the fashion industry is so prevalent that "knocking off big-name designers is as intrinsic to the global fashion industry as the two Cs in its logo are to Chanel."' 10 The reason behind the unchecked copying in the U.S. fashion industry is the inability of fashion designers to seek legal protection for their creations. As a result, there are a number of American firms who generate a substantial part of their revenue from designs intentionally created to knock off the high-priced runway and red carpet fashions. For example, Allen B. Schwartz of A.B.S. has openly conceded that "he will watch fashion events such as the Academy Awards telecast, sketch the dresses that the stars parade down the red carpet, and 'the next day decide which of the gowns will be adapted or interpreted.' "" Several A.B.S. dresses are included below, alongside their red carpet original designs, to illustrate the 2 nearly identical nature of these entirely legal A.B.S. copies.' 9. Robin Givhan, Congress May Knock Out Knockoffs, NEWS & OBSERVER (Raleigh, N.C.), Aug. 13, 2007, at 3C. The statistics above likely do not include knockoffs since they are not illegal under current law and therefore do not represent the full economic harm felt by fashion designers under the current law. Id. (using "black market goods" in following sentence which seems to limit "counterfeiting" to its meaning in this Comment-already illegal copies-and therefore limiting the statistic in the same way). 10. Georgina Safe, Fraudsterswith Fabrics,WEEKEND AUSTRALIAN, Jan. 22, 2005, at 26. 1I. Samantha L. Hetherington, Fashion Runways Are No Longer the Public Domain: Applying the Common Law Right of Publicity to Haute Couture Fashion Design, 24 HASTINGS COMM. & ENT. L.J. 43,45 (2001). 12. Star Style: Golden Globes: Win a Look!, US WEEKLY, Feb. 5, 2007, at 76-77 (pages from Us weekly, February 5, 2007, © Us weekly LLC 2007, All Rights Reserved, Reprinted by Permission and individual photographs reprinted with permission of Abaca (Jolie), John Paschal International (Barrymore), Landov (Cruz), and Splash (Hatcher)). These A.B.S. copies are sold directly alongside the original in stores such as Nordstrom and Neiman Marcus. NORTH CAROLINA LAW REVIEW [Vol. 86 Want award--winning elegance? Enter to score one 20071 LEGAL PROTECTIONFOR FASHION DESIGN of these A-list ensembles that will leave you feeling red carpet ready PENELOPE TERI LCRUZA HATCHER Y- Stud u Ieathr I Cra us,Dasi p ptue e~atther Lad~s sanda~s$2, 7 57~eor NORTH CAROLINA LAW REVIEW [Vol. 86 Another knockoff example is the dress designed by Narcisco Rodriguez for Carolyn Bassette Kennedy. An estimated eight million copies were sold before Rodriguez could produce the dress for
Recommended publications
  • Oh for a New Risorgimento

    Oh for a New Risorgimento

    SPECIAL REPORT I TA LY June 11th 2011 Oh for a new risorgimento SRitaly.indd 1 31/05/2011 14:42 S PECIAL REPORT I TALY O h for a new risorgimento Italy needs to stop blaming the dead for its troubles and get on with life, says John Prideaux ON A WARM spring morning in Treviso, a town in Italy’s north•east, sev• eral hundred people have gathered in the main square, in the shadow of a13th•century bell tower, to listen to speeches. The crowd is so uniformly dressed, in casually smart clothes and expensive sunglasses, that an out• sider might assume invitations to this event had been sent out weeks ago. Most people are clutching plastic ags on white sticks. Some of them car• ry children wearing rosettes in red, white and green. On a temporary stage a succession of speakers talk about the country’s glori• ous history. Italy has taken the day o to celebrate its 150th anniversary as a nation. Treviso’s mayor, Gian Paolo Gobbo, is not celebrating. The desk in his oce faces a large painting of Venice in the style of Canaletto. This has some signicance for Mr Gobbo, who has spent his political career ghting to resus• citate the Republic of Venice, which nally expired in 1797 after a long illness. Below the painting stands a uorescent• green bear. It’s just like me! exclaims the mayor, a portly man in his 60s. Green is the colour of the Northern League, C ONTENTS a party which has sometimes toyed with the idea of break• 3 The economy ing up Italy and allowing the northern part of the country For ever espresso to go it alone.
  • The Fashion Runway Through a Critical Race Theory Lens

    The Fashion Runway Through a Critical Race Theory Lens

    THE FASHION RUNWAY THROUGH A CRITICAL RACE THEORY LENS A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Sophia Adodo March, 2016 Thesis written by Sophia Adodo B.A., Texas Woman’s University, 2011 M.A., Kent State University, 2016 Approved by ___________________________________________________________ Dr. Tameka Ellington, Thesis Supervisor ___________________________________________________________ Dr. Kim Hahn, Thesis Supervisor ___________________________________________________________ Dr. Amoaba Gooden, Committee Member ___________________________________________________________ Dr. Catherine Amoroso Leslie, Graduate Studies Coordinator, The Fashion School ___________________________________________________________ Dr. Linda Hoeptner Poling, Graduate Studies Coordinator, The School of Art ___________________________________________________________ Mr. J.R. Campbell, Director, The Fashion School ___________________________________________________________ Dr. Christine Havice, Director, The School of Art ___________________________________________________________ Dr. John Crawford-Spinelli, Dean, College of the Arts TABLE OF CONTENTS Page LIST OF FIGURES ....................................................................................................................... iv ACKNOWLEDGEMENTS ........................................................................................................... iii CHAPTER I. INTRODUCTION ..................................................................................................................
  • Annual Report 2018 Contents 1St 86,000 Cosmetics Group Employees Prospects Worldwide(1) 02 Prospects by Jean-Paul Agon, Chairman & CEO

    Annual Report 2018 Contents 1St 86,000 Cosmetics Group Employees Prospects Worldwide(1) 02 Prospects by Jean-Paul Agon, Chairman & CEO

    Annual Report 2018 Contents 1st 86,000 cosmetics group employees Prospects worldwide(1) 02 Prospects by Jean-Paul Agon, Chairman & CEO Strategy 36 150 brands countries 06 Governance · The Board of Directors · The Executive Committee 10 Quality 12 Ethics 26.9 505 14 Responsibility · “Sharing Beauty With All” billion euros patents registered · Citizen Day of sales(2) in 2018 · The L’Oréal Corporate Foundation 18 Human Relations Performance Commitments for 2 4.92 1 Cosmetics Market 24 L’Oréal in figures billion euros in 2020 28 Worldwide advances operating profit “Sharing Beauty With All” 31 Strategic themes Brands 33 Brands overview (1) Source: WWD, Beauty Top 100,May 2018. (2) At 31 December 2018. 34 Consumer Products 38 L’Oréal Luxe 42 Professional Products More exclusive content 46 Active Cosmetics on the digital version Expertise lorealannualreport2018.com 52 Research & Innovation 54 Operations Discover and filter 56 Digital the Annual Report content 58 Administration and Finance Discover the strategic themes of the Annual Report. Use them to filter content and personalise your navigation to find content that matches your interests. The digital version also features more exclusive content, articles, infographics and many videos. Our mission Beauty for All Offering all women and men worldwide the best of cosmetics in terms of quality, efficacy and safety to satisfy all their beauty needs and desires, in their infinite diversity. Our strategy Universalisation L’Oréal has chosen a unique strategy: Universalisation. It means globalisation that captures, understands and respects differences. Differences in desires, needs and traditions. To offer tailor-made beauty, and meet the aspirations of consumers in every part of the world.
  • 2020 Presentation 0316

    2020 Presentation 0316

    20202020 CATALOG BY Alles Brands Inc. [email protected] DP-7456 / 12pcs FOREVER YOURS / INSPIRED BY CALVIN KLEIN ETERNITY NOW MS-7910 LOVE ANGELS / INSPIRED BY VICTORIA’S SECRET LOVE PINK MS-7967 DIVA SCENT SUGAR / INSPIRED BY JUICY COUTUREVIVA LA JUICY GLACE MS-7968 SWEET DIVINE / INSPIRED BY ARIAHA GRANDE SWEET LIKE CANDY MS-7916 01 DP-7458 / 12pcs STEEL / INSPIRED BY ABERCROMBIE AND FITCH FIERCE MS-7932 SPORT RED EXTREME / INSPIRED BY RALPH LAUREN POLO SPORTS MS-7933 BROSS PRIVATE / INSPIRED BY HUGO BOSS THE SCENT MS-7934 DARK NOIR RED / INSPIRED BY DRAKKAR NOIR RED MS-7935 02 DP-7457 / 12pcs PINK DIAMOND / INSPIRED BY ELIZABETH TAYLOR WHITE DIAMOND MS-7983 DIVA SCENT SUGAR / INSPIRED BY JUICY COUTUREVIVA LA JUICY GLACE MS-7988 LOVING U / INSPIRED BY VICTORIA’S SECRET LOVE ME MORE MS-7987 ENHANCE / INSPIRED BY RALPH LAUREN ROMANCE MS-7984 03 DP7459 GB-4031 GB-4030 GB-4032 MAGIC PARADISE CHARMING EQUISITE INSPIRED BY INSPIRED BY INSPIRED BY BATH&BODY WORKS VICTORIA’S SECRET BATH&BODY WORKS DP7460 GB-4042 GB-4041 GB-4040 EXTREME INTENSE COLLECTION BLUE OCEAN INSPIRED BY INSPIRED BY INSPIRED BY GIORGIO ARMANI ACQUA DI GIO RALPH LAUREN DAVIDOFF COOL WATER 04 GB-2083 GB-2082 GB-2080 GO FOR IT KISS CRUSH LOVING U FOREVER GB-2079 INSPIRED BY INSPIRED BY INSPIRED BY RIHANNA RIRI VICTORIA’S SECRET BODY BY VICTORIA VICTORIA’S SECRET LOVE ME MORE MAGIC LOVE SEXY NIGHT INSPIRED BY MICHAEL KORS MIDNIGHT GB-2186 GB-2185 GB-2180 GB-2181 BLACK INTENSE SAY YES GREAT MAN EXTREME INSPIRED BY INSPIRED BY INSPIRED BY INSPIRED BY RALPH LAUREN POLO YSL
  • Kalemie L'oubliee Kalemie the Forgotten Mwiba Lodge, Le Safari Version Luxe Mexico Insolite Not a Stranger in a Familiar La

    Kalemie L'oubliee Kalemie the Forgotten Mwiba Lodge, Le Safari Version Luxe Mexico Insolite Not a Stranger in a Familiar La

    JUILLET-AOUT-SEPTEMBRE 2018 N° 20 TRIMESTRIEL N° 20 5 YEARS ANNIVERSARY 5 ANS DÉJÀ LE VOYAGE EN AFRIQUE TRAVEL in AFRICA LE VOYAGE EN AFRIQUE HAMAJI MAGAZINE N°20 • JUILLET-AOUT-SEPTEMBRE 2018 N°20 • JUILLET-AOUT-SEPTEMBRE HAMAJI MAGAZINE MEXICO INSOLITE Secret Mexico GRAND ANGLE MWIBA LODGE, LE SAFARI VERSION LUXE Mwiba Lodge, luxury safari at its most sumptuous VOYAGE NOT A STRANGER KALEMIE L’OUBLIEE IN A FAMILIAR LAND KALEMIE THE FORGOTTEN Par Sarah Waiswa Sur une plage du Tanganyika, l’ancienne Albertville — On the beach of Tanganyika, the old Albertville 1 | HAMAJI JUILLET N°20AOÛT SEPTEMBRE 2018 EDITOR’S NEWS 6 EDITO 7 CONTRIBUTEURS 8 CONTRIBUTORS OUR WORLD 12 ICONIC SPOT BY THE TRUST MERCHANT BANK OUT OF AFRICA 14 MWIBA LODGE : LE SAFARI DE LUXE À SON SUMMUM LUXURY SAFARI AT ITS MOST SUMPTUOUS ZOOM ECO ÉCONOMIE / ECONOMY TAUX D’INTÉRÊTS / INTEREST RATES AFRICA RDC 24 Taux d’intérêt moyen des prêts — Average loan interest rates, % KALEMIE L'OUBLIÉE — THE FORGOTTEN Taux d’intérêt moyen des dépôts d’épargne — Average interest TANZANIE - 428,8 30 % rates on saving deposits, % TANZANIA AT A GLANCE BALANCE DU COMPTE COURANT EN MILLION US$ 20 % CURRENT ACCOUNT AFRICA 34 A CHAQUE NUMERO HAMAJI MAGAZINE VOUS PROPOSE UN COUP D’OEIL BALANCE, MILLION US$ SUR L’ECONOMIE D’UN PAYS EN AFRIQUE — IN EVERY ISSUE HAMAJI MAGAZINE OFFERS 250 YOU A GLANCE AT AN AFRICAN COUNTRY’S ECONOMY 10 % TRENDY ACCRA, LA CAPITALE DU GHANA 0 SOURCE SOCIAL ECONOMICS OF TANZANIE 2016 -250 -500 0 DENSITÉ DE POPULATION PAR RÉGION / POPULATION DENSITY PER REGION 1996
  • The Coat Check

    The Coat Check

    styleBOOK BY KATHY REZNY For the world traveler, cooler clime trekker, work commuter, or suburban mom on the go, this is a The Coat Check perfectly practical wardrobe must-have! Don’t let the light weight and slim cut fool you; this mi- HIS SEASON IT’S A FUR FOR ALL! The Bottom left: Norman Ambrose Natural Russian cro down jacket offers a hardy durability and the fur frenzy launched last spring during the Barguzin Sable Trimmed Brocade Evening Coat, means to efficiently utilize your own body heat fall fashion shows. That’s when the luxe Handcarved Rosewood and Brass Handbag. to ensure warmth on a cold day. When rainy or Tpuff stuff received complete head-to-toe coverage slushy, the patterned outer shell and baffled con- Make the Grand Entrance (or exit) in this exqui- both here and abroad. From New York to London, struction keeps you nice and dry and prevents site piece created by Norman Ambrose. While he’s then in Milan and on to Paris, five hundred plus the down from absorbing water (which means no San Francisco born and now New York based, designers prominently placed fur in the spotlight feather clumping or odor). Best of all, this field Ambrose does boast a Chicago connection as the while presenting their runway collections. jacket conveniently compresses to a packable 2008 Gold Coast Fashion Award winner. Known Along with iconic Karl Lagerfeld and his size that easily fits into your Modalu backpack. for his use of extraordinary materials and couture “Haute Fourrure” all fur fashion presentation for Choose from arctic white, denim, tangerine, mid- statement style, Ambrose’s creations elevate an oc- Fendi during the Paris Couture Shows, key fur in- night, or chocolate for heading across town, the casion to very special indeed.
  • How Dress Styles Express Identities Authors Courtney Nicole Chrimes

    How Dress Styles Express Identities Authors Courtney Nicole Chrimes

    164 The dress and the self: how dress styles express identities Authors Courtney Nicole Chrimes, Rosy Boardman, Helen McCormick, Gianpaolo Vignali The University of Manchester, UK Corresponding author [email protected] Keywords Clothing preference, self-concept, dress and identity, consumption and identity Abstract Clothing one’s body denotes a clear intentional behaviour. Literature highlights that females purchase certain products and clothing styles to achieve their desired body shape or to hide or flatter areas of their body. Additionally, it has been found that clothing is a tool that assists consumers in achieving an ideal appearance and has the ability to alter one’s mood, enabling them to either camouflage or bolster their self-confidence. This suggests that there is a link between an individual’s body perception and their clothing preferences, and that clothing choice reflects the individual. Building on previous studies, this paper investigates how women express their identity through different styles of dresses, exploring what a specific type of dress can say about an individual’s perception of self. A mixed methods study was conducted involving: 1. A quantitative online questionnaire, which established females’ preferred style of dress and 2. Qualitative semi-structured interviews which explored how different styles of dresses create different identities. A convenience sample of 263 (phase 1) and 15 (phase 2) UK females aged 18-34 was obtained. The questionnaire data was analysed through descriptive statistics and the qualitative interviews were analysed through a process of coding. Findings indicate that different styles of dresses are used to express different types of identity.
  • MAISON MARGIELA: at Paris Couture, Digital Decadence And

    MAISON MARGIELA: at Paris Couture, Digital Decadence And

    25/1/2019 At Paris Couture, Digital Decadence and Tradition | Fashion Show Review, Multiple, Haute Couture - Spring 2019 | BoF HAUTE COUTURE - SPRING 2019 At Paris Couture, Digital Decadence and Tradition BY ANGELO FLACCAVENTO JANUARY 24, 2019 12:43 Valentino’s Pierpaolo Piccioli and Margiela’s John Galliano were the undisputed winners of the season, one classic, the other hyper-modern, reports Angelo Flaccavento. PARIS, France — Can couture be modern? The question arises each season and the answers are almost as many as the designers and houses that are part of the calendar. Couture is both an anachronism, completely at odds with the present time, and yet probably the only place left in the modern luxury business where fashion can still produce radically progressive, soulful fantasies. This tension makes for fascinating results. And there was lots of dream-making in the couture week which closed in Paris on Thursday: a crescendo that started with the Dior circus on Monday, passed through Chanel's jolly villa affair on Tuesday and took off on Wednesday with the equally extreme, but almost diametrically opposed visions of Valentino’s Pierpaolo Piccioli and Maison Margiela’s John Galliano, who were the undisputed winners of the season. In brief, the offering was festive, indulgent and at times escapist; full of decadence of every sort. It is not surprising: dire, divisive times like ours call for outbursts of joy and excess, for a frenzied dance on the edge of the abyss. If the world as we know it is rotting, why not front the debacle with shimmer and glamour instead of gloom and doom? If even a master of luxurious restraint such as Giorgio Armani embraces out-there, assertive opulence you have to take notice.
  • Nordstrom to Open Brand New Store at Westfield Topanga in Canoga Park, Calif

    Nordstrom to Open Brand New Store at Westfield Topanga in Canoga Park, Calif

    Nordstrom to Open Brand New Store at Westfield Topanga in Canoga Park, Calif. September 26, 2006 The newly relocated store to carry the company's most comprehensive designer offering in the country SEATTLE, Sept. 26 /PRNewswire-FirstCall/ -- Nordstrom, Inc. (NYSE: JWN) will open its newly relocated store at Westfield Topanga Mall in Canoga Park, Calif., on Friday, October 6 at 10:00 a.m. The 200,000 square foot, three- level store will feature the company's most comprehensive designer offering in the country along with brand new design concepts, amenities and services. Nordstrom at Topanga will feature four designer ready-to-wear boutiques from Chanel, Valentino, Dolce & Gabbana, along with the company's first Gucci ready-to-wear boutique. The store will also feature collections from Azzaro, Badgley Mischka, Blumarine, Chloe, Calvin Klein, Derek Lam, Lanvin, Marni, Proenza Schouler, Roberto Cavalli, Vera Wang and Zac Posen. (Logo: http://www.newscom.com/cgi-bin/prnh/20001011/NORDLOGO ) "Our customers have responded exceptionally well to the best product the market has to offer," said Pete Nordstrom, president of merchandising. "We've increased our designer offering in many stores across the country and, in the last year, we've made designer collections available online. We are eager to unveil our strongest comprehensive collection of designer merchandise across women's, footwear and accessories at Nordstrom Topanga." Among the designer departments on the store's second floor is a redesigned and expanded 'via C' department which includes some of the most cutting edge names in fashion including Doo.ri, Dsquared2, Jovovich-Hawk, McQ, Phillip Lim, Prada Denim and more.
  • How Susie Crippen Brought XX and XX to Denim

    How Susie Crippen Brought XX and XX to Denim

    Thought Leaders MUSE » THOUGHT LEADERS How a Trip to Uganda Transformed Fashion Designer Susie Crippen’s Career The J Brand co-founder is empowering the women of Uganda via her latest venture. By Kathryn Romeyn On October 29, 2019 Photography by Rachel Ambrose Susie Crippen is on a mission. Striding through a color-soaked textile market in Uganda’s capital city of Kampala, she makes for a strange blip among the bundles of batik and kitenge (traditional batik-dyed fabric worn by African women) fabrics that stretch from wall to wall and floor to ceiling. Her cropped brown hair and casual Western look—jeans and a loose cotton tee with a miniature cross-body bag slung across her torso— couldn’t be more out of place in this hyper-color scene, and yet the 55-year-old entrepreneur proceeds with laser focus, weaving through a crowd of young boys tying hefty bundles and women draped in the same vibrant patterns they stock in their stalls. She is on the hunt for the perfect pattern—1,900 yards of it. “I woke up at 3:30 a.m. thinking about the fabric I bought yesterday and worrying about if it was the right one,” Crippen says as she holds up a stiff swatch bearing a Moroccan-style zellige pattern. In this sea of fabric, she’s searching for the one—and eventually finds it. The design looks straight out of Dries Van Noten’s sketchbook. She decides it’s the perfect look for an obi-belted wrap dress and wades back into the rainbow-bright stacks for more.
  • Calm Down NEW YORK — East Met West at Tiffany on Sunday Morning in a Smart, Chic Collection by Behnaz Sarafpour

    Calm Down NEW YORK — East Met West at Tiffany on Sunday Morning in a Smart, Chic Collection by Behnaz Sarafpour

    WINSTON MINES GROWTH/10 GUCCI’S GIANNINI TALKS TEAM/22 WWDWomen’s Wear Daily • The Retailers’MONDAY Daily Newspaper • September 13, 2004 • $2.00 Accessories/Innerwear/Legwear Calm Down NEW YORK — East met West at Tiffany on Sunday morning in a smart, chic collection by Behnaz Sarafpour. And in the midst of the cross-cultural current inspired by the designer’s recent trip to Japan, she gave ample play to the new calm percolating through fashion, one likely to gain momentum as the season progresses. Here, Sarafpour’s sleek dress secured with an obi sash. For more on the season, see pages 12 to 18. Hip-Hop’s Rising Heat: As Firms Chase Deals, Is Rocawear in Play? By Lauren DeCarlo NEW YORK — The bling-bling world of hip- hop is clearly more than a flash in the pan, with more conglomerates than ever eager to get a piece of it. The latest brand J.Lo Plans Show for Sweetface, Sells $15,000 Of Fragrance at Macy’s Appearance. Page 2. said to be entertaining suitors is none other than one that helped pioneer the sector: Rocawear. Sources said Rocawear may be ready to consider offers for a sale of the company, which is said to generate more than $125 million in wholesale volume. See Rocawear, Page4 PHOTO BY GEORGE CHINSEE PHOTO BY 2 WWD, MONDAY, SEPTEMBER 13, 2004 WWW.WWD.COM WWDMONDAY J.Lo Talks Scents, Shows at Macy’s Accessories/Innerwear/Legwear By Julie Naughton and Pete Born FASHION The spring collections kicked into high gear over the weekend with shows Jennifer Lopez in Jennifer Lopez in from Behnaz Sarafpour, DKNY, Baby Phat and Zac Posen.
  • Elle Decor June 2020 the A-List 10Th Anniversary

    Elle Decor June 2020 the A-List 10Th Anniversary

    10TH ANNIVERSARY EDITION THE LIST ELLE DECOR TOASTS 10 YEARS OF THE A-LIST, OUR ANNUAL ROSTER OF THE TOP TALENTS THAT SHINE BRIGHTEST. TO CELEBRATE, WE ASKED ARTIST JANIE KORN TO CREATE PORTRAIT CANDLES FOR ALL OF THOSE ON THE LIST —NOW 125 FIRMS STRONG. TOGETHER, THEY ARE LIGHTING THE DESIGN WORLD ON FIRE. EDITED BY INGRID ABRAMOVITCH AND THE EDITORS OF ELLE DECOR ADDITIONAL REPORTING BY KATE BOLICK CANDLE PHOTOGRAPHS BY PHILIP FRIEDMAN TOP ROW, FROM LEFT: Young Huh, Kathryn M. Ireland, Joy Moyler, Jamie Bush, Kelly Behun, Darryl Carter. SECOND ROW: Tom Scheerer, Mark D. Sikes, Jeffrey Bilhuber, Nina Campbell, Anishka Clarke, Niya Bascom, Linda Pinto.THIRD ROW: Amy Lau, Pamela Shamshiri, Ramin Shamshiri, Celerie Kemble, Martin Brudnizki. BOTTOM ROW: Leyden Lewis, Charlotte Moss, Ryan Korban, Kelly Wearstler, Mary McDonald. CANDLES: JANIEKORN.COM CANDLES: ELLE DECOR 21 A-LIST 2020 n the 10 years since ELLE DECOR inaugurated the A-List, our annual roster of the best design talents has grown from 25 to 125 global firms. We even created an A-List devoted to archi- tects, allowing us to focus here on spotlight- Iing the decorators who bring joy and great style to our homes. If 2020 has taught us anything, it’s that a safe and welcoming home is essential to our well-being, and that talent is everywhere. We continually seek out diverse designers creat- ing A-List-worthy interiors, and that effort is 2 010 reflected in this class of 2020 and will continue The living room in Michael S. to be central to ELLE DECOR’s mission.