pale pink taffeta dress with sewn-in bloomers and a belted stretch sateen coat

For someone who has only been part of the New York design scene for two years, Frank Tell has certainly made some headway. And now with a little help from a few connected friends, the 20-year-old is ready to launch his signature collection.

The Barcelona native relocated to Manhattan in 2005 and was first hired by As Four. A year later, he joined Sue Stemp. After exiting the latter four months ago, Tell has been engulfed in sketching and draping in his Lower East Side apartment. The flowing shapes and vibrant colors seen in Georgia O'Keefe's floral paintings provided a major source of inspiration for his "Apple Blossom" style, a reference to the vast body of work she completed in the Twenties. While cutting the 10 yards of chiffon for a magenta dress, the material splayed out on his apartment floor like a flower in full bloom. Tell said of O'Keefe, "She is known to have once said, 'A flower was cheaper than a model, and better since it never moved or talked.'"

Another artist, Ross Bleckner, whose painting class at New York University the designer once took, has a more literal tie to Tell's work. Bleckner has agreed to let his former student use one of his paintings as a dress pattern. Bleckner is among the guests expected at Tell's Sept. 6 presentation at Pure Project. Daryl K, Victoria Bartlett, Stemp and Bruce Weber are also on the list.

Tell said he is most eager to hear what his peers think about his debut. The 16-piece line features a silver stretch charmeuse sailor dress, a white chiffon long-sleeve dress, a pale pink taffeta dress with sewn-in bloomers and a belted stretch sateen coat. First-year projected wholesale volume is $175,000 to $250,000. Wholesale prices range from $175 for the Saint-Tropez top to $405 for the magenta Flowy dress. His aim is to update ideas and shapes from the Twenties, Thirties and Forties "to make them modern and chic - never looking retro or vintage," he said.

Even his name, which is actually his middle name, is a throwback. His mother, a huge opera fan, named him after composer Gioachino Rossini's "William Tell" opera. Like his mother, Tell is detail-minded. In keeping with the ultragirly theme of his first collection, the designer and Meza will serve pink truffles and Champagne at the Pure Project event. The Colorado-made Wen chocolates have crystallized violets, a nod to O'Keefe's fondness for flowers.

Even though he never went to design school, Tell said he started designing at the age of eight. "I knew it was what I always wanted to do," he said.

Given that, he is counting the days until his New York debut. "This has been the most outrageous month of my life. The thing is, it's really happening - I can feel it," he said. "It's what I've always wanted."yanzic0611.

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a waist cinched with a sporty belt and an appealing rumpled skirt

Simons' spring is all about precision: clinical cuts and bold strokes of color - various pinks and blues, sometimes with white or black - for a body-lengthening line, often measuring the obvious geometry against veilings either spare and angular or in wildly spun clouds of tulle. He opened strong, with a sheer poncho over a two-toned tailored tube in blue and gray and skinny, bright orange pants. Simons also showed numerous jackets cut high over hourglass knit tops and pants, setting up a three-part geometry that approached body-conscious tailoring from a whole new direction. He worked different fabrics - wool suiting and organza - in the same piece. He countered the linear shapes with volume in full pants, casual, billowing dresses and more demonstrative little sylph frocks crafted from what looked like multiple squares of tulle or organza taken in a bunch and fastened strategically.
Throughout, the transparency ebbed and flowed, at times revealing nothing more than a shock of bright orange or blue beneath, while at others, displaying the curve of the model's back or her body naked but for bright white briefs. Either way, Simons maintained decorum along with sexiness, ultimately offering definitive proof that elegance is not a retro concept.

Bottega Veneta: When a designer himself describes his collection as being "of pronounced subtlety and quiet," can one avoid the thought, "Uh-oh"? Luckily, however, Tomas Maier's self-assessment was on target in the loveliest sense and not as code for dull. The Bottega Veneta lineup he showed on Tuesday drifted by with an engaging retro feel of the archetypal back-when Italian movie-star sort. At its core was the dress - sheath, sack, bustier, bubble and especially the shirtdress. Maier projected a smoldering earthiness in natural-toned gabardines and linens, a waist cinched with a sporty belt and an appealing rumpled skirt. yanzic0608.
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a few black dresses were practically perfect

Stark minimalism, nonchalant layers and a soupon of shine - designers served it all up on the New York runways.
Yeohlee: Yeohlee Teng stuck with her signature architectural vein, citing Antoni Gaud as a major influence. However, the famed architect's fantastical designs had little resonance in Teng's tailored, minimalist collection rendered in a stark palette of gray, black and white. Her slim-cut, high-waisted wool trousers looked great with simple white cotton shirts, and a few black dresses - one in particular with a low-cut back - were practically perfect. But Teng got carried away with an avant-garde bustle theme that ran throughout. While it gave an interesting volume to her stretch wool coats, it just didn't work in the taffeta and satin numbers.
Yigal Azroul: Continuing his winning streak for fall, Yigal Azroul honed his skills with layering and proportion in a collection that had a cool, intentionally disheveled sophistication. His muted palette came alive when he mixed textures and lengths: Short leather jackets topped long, chunky sweaters, which in turn were worn over thin henleys and loose pants. Of course, he showed his signature draped jersey dresses too, but what really worked were the piled looks that all had a throw-it-on-and-go ease.
BCBG Max Azria: Max Azria hinted in his show notes that fall would emphasize details and textures. Boy, he wasn't kidding. While the requisite pretty, salable dresses came out, so too did a parade of frocks, skirts and jackets that suffered from too many ideas, sometimes all in one garment. Some were good notions, like the black appliqu yoke on a brown, swingy jersey shift. But overall, the feathers, ribbons, ruching and chain mail were a recipe for clutter.
Miss Sixty: The "Dreamgirls" hoopla isn't reserved for the red carpet. It also made its way onto Miss Sixty's runway, where creative director Wichy Hassan went slightly overboard on the lams and metallics, as in that bronze jumpsuit. However, when used in moderation, the shine worked nicely in the cropped gold leggings and the teal kimono-style sweater dress. As usual, denim was the strength - especially the high-waisted wide-leg trousers. And a short-sleeved puffer coat bedecked with kitschy prints of faces was a perfect example of the Italian brand's fun personality. yanzic0608.
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complex and relational spatialities involved in global brands

In Milan there is a variety of districts that function

principally as consumption districts tailored to different

types of consumers.celebrity red carpet dresses .

customers, and revenue, but they also help create a

vast set of shop windows that display Milan’s fashion

complexity and content. The sheer scale and scope of

shops and retailers from Italy and the rest of the world

means the city often feels like one gigantic dressed

window on the world of fashion: a window to be

looked at, but also one designed to project a multiplicity

of images outwards.

CONCLUSION

Understanding sectoral brandings of cities and howcities

can function as brand platforms for cultural industries is

important. In particular, investigating such processes can

tell one more about how the place of origin is itself often

part of commercial constructions cultural industries

weave to support their competitiveness. In the case of

Milan’s status as a fashion and design capital, four key

brand channels were identified: channels through

which the city’s brand is negotiated and communicated.

Each of these channels has its own particular form and

involves particular actors and negotiations. Thus, each

works according to a mess of countervailing organizational,

individual, and collective motivations. This

begs the question of how these four contested channels

hang together. Firstly, they hang together because

Fig. 3. Quadrilatero d’Oro

Global City Brand Channels in the Fashion and Design Industries 901

individual actors may be involved in many or all of them

simultaneously. For example, at the same time as being a

spokesman for the city,flower petal dress ,

 Armani’s firm organizes promotional

events and builds flagship stores. Secondly,

the channels are interconnected because what happens

in one channel may affect another. For example, the

effects of high-profile fashion shows may fail to convince

consumers faced by a brand that appears in shabby retail

environments. Thirdly, they hang together on a collective

level because what one actor does in a brand

channel can positively or negatively affect another. On

the positive side, there are definite advantages to channels

populated with many investors. For example, a

fashion week with fifty well-orchestrated shows is

better for everyone involved than a fashion week with

only five; or new entrants can benefit from the longterm

investments established firms have made in the

status of a particular retail milieu. On the negative

side, there is the danger that what some do in the

brand channels might not suit everyone.

These channels also share a local anchoring and a

degree of embeddedness through their grounding in

the use and appropriation of particular elements of

urban space, for example, billboards, shops on particular

streets, trade shows. Actors invest in these types of local

spatial stratagems even though their audience might be

co-present for only a short time (for example, shoppers,

trade visitors, tourists) or never even visit Milan (magazine

readers, bloggers, television viewers). Whilst many

of the brand channels are deeply rooted in the spaces of

the city, their reception, interpretation, and negotiation

may therefore happen far from the local. It is important

then to understand the complex and relational spatialities

involved in global brands such as ‘Milan Fashion and

Design’.

it turned out to be very influential and powerful and gave an enormous impact to the French

In 1978, Yamamoto sent one of his staff members, Atsuro Tayama, also

a graduate of Bunka, to prepare for his show in Paris. He first set up a

company, Yohji Yamamoto Europe S. A., and a store in Les Halles, a

shopping mall in the center of Paris. sheath bridal gown , All merchandise was imported from

Japan. Through a mutual friend, Tayama found a Japanese businessman

in Paris, Osamu Saito, who was hired as an executive to prepare for the

Paris collection. Yamamoto explains that it was his strategy to organize

his first show with Kawakubo in 1981 during the official Prêt-à-Porter

season so that the impact would be greater (in Tajima 1996: 587):

I convinced Ms. Kawakubo to do the show with me in Paris. She

was reluctant, but I finally managed to convince her.  Japanese school uniforms . As a result,

the fact that we did it together in April 1981 made a big difference,

and it turned out to be very influential and powerful and gave an

enormous impact to the French.

In Kawakubo’s biography, Sudjic (1990: 53) explains that going to

Paris was a long-term investment, and Kawakubo knew it would cost her

a lot of money in the short term, but she was aware that if she was to be

regarded as a truly international designer she would have to go to Paris

as Western buyers and press were reluctant to make the trek to Tokyo to

see Japanese designers’ collections. Kawakubo brought five people with

her from Japan and hired five models for the first show in Paris in April

1981, at the Intercontinental Hotel. Neither Kawakubo nor Yamamoto

expected their shows to be that successful and to receive such wide

attention. Yamamoto’s former executive says:

His first show wasn’t all that successful, I don’t think. About a

hundred people showed up for the show. It was not an overnight

success as some people thought. After the first show, we were

approached by a famous French publicist. He was impressed with

Yohji’s collection and offered to handle Yohji’s public relations in

Paris. After that, his success was phenomenal.

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other eco-friendly fashion practices are also picking up steam for the upcoming spring-summer season

Children's wear makers focus on clothing that protects kids and the world around them.
STYLES AND SILHOUETTES FOR GIRLS' APPAREL DURING spring-summer 2008 reference such wide-ranging themes as a night at the ballet, crocodile wrestling and black-and-white Max Fleischer cartoons.
But while kids' fashion designers are following their muse, they are also heavily into the latest high-tech textiles with metallic prints, sun protection and nontoxic dyes.
The combination is translating into more fashionable ways to dress kids, observed Jamie Ross of the trend-forecasting Doneger Group. "It might be this whole mini-me thing that's driving it," said Ross, referring to morns wanting their daughters to dress like them.
One trend for the first half of next year that's receding in importance is camouflage, unless it's got a twist, like being transformed into exaggerated abstract prints or animal shapes. "Camouflage is now more of a classic staple item, especially for boys," Ross said.
ECO-CHIC
Aside from the growing use of organic cotton in kids' clothing, other eco-friendly fashion practices are also picking up steam for the upcoming spring-summer season.
Bindi Irwin, the nine-year-old daughter of the late Australian naturalist Steve Irwin, is working hard to tie fashion to environmental stewardship. As charismatic as her father, Bindi will launch her own apparel line internationally at WWDMAGIC.
Each outfit evokes a wild animal, and a portion of sales is given to conservation programs so children "can feel they are making a difference in the world," according to Australia Zoo, the Irwin family's conservation and merchandising arm. Wholesale prices for girls' and boys' pieces are $12.50 to $30.
The spring-summer 2008 Bindi line has four themes: Green is the New Black, inspired by koala bears; Jungle Safari, in crocodile camouflage; Baby Warrior, featuring various animal prints; Punk Warrior, with a conservation theme, and Industrial Cowgirl and Cowboy, which highlights how technology can help nature.
Eco-consciousness at Heir Apparel in Los Angeles means, "We're recycling scraps into our bib collection," said owner Zna Houston. Leftover fabric comes from local contractors producing Heir's line of baby-to-tween fashions and also finds its way into yoga pants and sleeveless tees.
Featured for spring-summer 2008 at Heir are dresses in whimsical prints, like chocolate cupcakes iced in pink and blue, for $35 to $38 wholesale. "For our skirts we went retro, sort of a Fifties A-line with slanted pockets on the front and just above the knee," Houston said. The skirts cost $19 to $23 wholesale.  yanzic0605.
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accessories and shoes with styles that of a sixties' French pop star

Evoking the style of Sixties' French pop stars, these showstopping accessories are perfect for latter-day divas
A.V. MAX's silver-plated metal cuff at Susan & Co., CYNTHIA H's patent leather belt at Yvette Fry, BEVERLY FELDMAN's metallic leather with chain mesh bag at Pure Accessories and STUART WEITZMAN's patent leather shoes. Julie Haus shirt and Siwy jeans.
BETSEY JOHNSON's leather and sequin bag, DEEPA GURNANI's sequined silk charmeuse scarf (worn on head) at Susan & Co., RACHEL MORENO's 24-karat gold-plated metal and enamel earrings at Apropo Showroom, M. HASKELL's metal with epoxy bangles at Haskell Jewels and CAPELLI NEW YORK's leather gloves. Rachel Pally dress.
MAXX NEW YORK's patent leather bag, KOOL KONNECTION's Lucite and metal necklaces at Orion Fashions and CHARLES DAVID's suede and leather shoes. Samantha Treacy top and Betsey Johnson leggings.
Acrylic and wool scarf from WOODEN SHIPS BY PAOLA BUENDIA, TAI's silver-plated metal and crystal necklace at Yvette Fry, KIPLING's nylon bag and NINA DOLL's patent leather shoe. Binetti sweater and Emilio Cavallini tights.
MZ WALLACE's leather and polyester handbag, JOE'S JEANS' patent leather bag at The Betesh Group, BOLZANO's leather and brass handbag and NINA's patent leather boots. Yoana Baracshi dress and Look From London tights.
COLETTE MALOUF's silk headband, SANTI's metallic leather bangles at Yvette Fry and NINA DOLL's patent leather shoes. Yoana Baraschi dress and Betsey Johnson leggings.
RAY-BAN's acetate sunglasses at Luxottica Group, RAFE's patent leather handbag, A.V. MAX's 22-karat gold-plated metal and Lucite bracelet at Susan & Co. and STUART WEITZMAN's patent leather shoes. L.A.M.B. top and Nobody jeans.
TARINA TARANTINO's Lucite and Swarovski crystal necklaces and bracelets. BELOW THE BELT's mirrored leather belt at Pure Accessories, VIA REPUBBLICA's patent calf bag at Zanotti Pelle and SERGIO ROSSI's patent leather pumps. Binetti jacket, White + Warren top, Rock & Republic skirt and Look From London tights. yanzic0605.
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