One of the most crucial factors affecting the world of luxury is the changing landscape of the fashion market and consumers

Europe is currently the biggest market for

luxury goods, capturing 40 per cent of the

market, but Japan alone accounts for 25 per

cent and China for 5 per cent. In the last five

years or so, many of the large fashion houses

have been fretting over their future. This is due

to a combination of a changing market

structure, a series of world-events and Japan’s

economic slow-down upon which the luxury

market is truly dependent. One of the most

crucial factors affecting the world of luxury is

the changing landscape of the fashion market

and consumers. The meaning of luxury is

changing as personal disposable income rises.

To illustrate the point better let us rewind to

the fashion landscape of the 1980s. The culture

of the decade was one associated with materialistic

pursuit. In the fashion industries this

meant emphasis on status symbols (eg wearing

designer labels). Although there was a variety of

styles and anti-styles, the dominant look took

its cue from Dynasty and Dallas; big logos, big

hair, gold, glamour and glitz. ‘Luxury now’ is

not a repeat of the mega-logo-mania of the

1980s when brands were bought solely for the

status that was attached to them.

Figure 1 shows that when consumers are

asked about which elements constituted their

best description of everyday luxury, only a

minority of Europeans (17 per cent) in nine

countries surveyed, said that everyday luxury to

them to is ‘wearing designer clothes’.

This is a reflection of mature Western

countries that have higher purchasing power,

whereas consumers in Eastern Europe aspire to

wealth, so ‘wearing designer clothing’ is more

important. In many senses, rising affluence,

social mobility, the diversification of retail

brands and consumer empowerment have all

helped to democratise luxury, making it a key

attribute of many brand propositions. Luxury,

both in concept and in brand, used to be the

preserve of so-called ‘high net worth individuals. yanzic0527.

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Expenditure on clothing and footwear has risen across all markets in Europe

Expenditure on clothing and footwear has risen

across all markets in Europe, but average

spending per head varies greatly geographically.

In 2005, the EU15 average spend per person

per year was just over 800 Euros, falling to 300

Euros in the new, much poorer, member states

such as Poland and Hungary. The cost of

clothing and footwear also varies significantly

in European countries, with price level differences

of up to a third between the most and the

least expensive countries. Prices in Eastern and

Southern Europe tend to be lower than in the

rest of the EU25 — this is a reflection on

the affluence in those countries and relative

purchasing power.

TODAY’S CONSUMER

Consumers today have more cash, more

choice, more education and are becoming

more savvy and demanding. People are less

tolerant and expect more. With the arrival of

mass-affluence, big-ticket consumption loses

some of its sophistication and novelty. The

desire to own a product is no longer the sole

aim of consumption but a complicated process

that calls for the need to understand not only

what the consumer needs, but also how they

want it delivered. Gone are the days when

reliability and quality created brand loyalty.

Consumers today want and expect so much

more. In a climate as intense and competitive as

the fashion industry, understanding how consumption

patterns evolve is paramount. Today’s

consumers are much harder to segment and

nowhere is this more exacerbated than in the

constantly changing fashion industry. yanzic0527.

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While most designer brands will do a greater or lesser degree of advertising and promotional work

While most designer brands will do a greater or lesser degree of advertising and promotional work, partnering with a large retail outfit allows them the opportunity to hook up to marketing machinery that's far mightier than what any boutique brand could hope to afford on its own. The three largest mass-market retailers currently carrying lower-tier designer collections--Kohl's, H&M and Target--boasted overall 2006 ad spends of $378 million, $17 million and $565 million, respectively, per Nielsen Monitor-Plus.
Accompanying the debut of Simply Vera in Kohl's on Sept. 9 was an all-out blitz of magazine and television ads (created by McCann Erickson, New York) based on a Wizard of Oz theme. Women clad in Wang's bridge collection appear in a series of phantasmagorical settings, including a path strewn with yellow leaves, suggestive of the Yellow Brick Road. In that spot, a girl with a little Toto-like dog exclaims, "There's no place like Kohl's!"
Meanwhile, H&M's recent partnership with designer Cavalli is widely expected to give the Italian label a similar shot of mass-marketing adrenaline. H&M will push Cavalli's goods is a series of print ads, produced in-house, that will stretch across a plethora of daily and monthly publications, in addition to a television ad that will also hit movie theaters in select countries worldwide. In addition, the collection will get marketing play through the retailer's Web site and instore displays.
Cavalli said he "welcomed" the partnership because he expected it to bring his name to a "new audience" and further allow him to "experiment in different directions."  yanzic0522.
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what upper body should wear to match with Black ruffled dress

Black lotus leaf edge... Very exaggerated... Layers of... Skirt length exactly...

Originally I have a black and yellow sports FEEL coat , it directly.. Now gone...

And I tried to wear strapless. But my arms and legs are too thick...

As for adopting a TEE that... But always can't find the clothes..

Personal advice; Can you wear a short sleeve or seven points and five points waist shirt. Hubble-bubble sleeve or vintage giant cuffs. The effect is absolutely very attractive.

Neckline with simple bow or simple but not complicated details of jacket.

Choose light fabrics as well. Fine cotton cloth, such as chiffon. Also try to compare to alternative lace dress, but it would be appear flirtatious dusty cixin collocation is not good.

Color choose water ash, white, red - will do. See the color of your skin.

Also can match the jacket that fine condole to take simple, the type that wipe a bosom. If feel arm is coarse, can with a short coat or cape.  yanzic0516.

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Chanel handbag with Italian beautiful long skirt like a fairy

Eni of Italy painter pinault DE works depicted in a series of female images is very elegant beautiful long skirt, in addition to soft romantic tone is more let a person remember those soft elegant, swaying skirt is placed in the calf. Floral, pleated, and ankle long, shallow soft hues, catch the key words, you can also wear like painting cents and free from vulgarity temperament. 

01 " how I can't see, that perfect face", in the pure lace as lotus bright the set off of you. Hide droop of long hair, gentle smile, smile was stroke a chord. Hollow out pattern visible under the hazy pale skin, blow play can be broken.

02 "green flag road, the separation space, has constantly miss for you" for me, dancing with wind fluttering, the dream is unreal. Different color piece free joining together of different sizes, free on the quadrature in the compasses, yet kept not messy unified feeling.

03 to rivalry with time only white skirt of beauty, a quiet pure appearance forever, twenty years old, 40, 60 years old or so. avenue to Jane's minimalist, the most able to bear or endure look really not fake, the changes of fashion and elegance of a white skirt, how do you also not far away from the fashion circle. yanzic0516.

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There she'll become the focus of fashion curator Beatrice Dupire's newest project

CHANNELING MARISA: Where in the world is Marisa Berenson? At the moment, she's working as an actress in Paris. Next spring, Berenson will be appearing in Tokyo. There she'll become the focus of fashion curator Beatrice Dupire's newest project, an exhibition on Berenson's contributions to pop culture. Dupire expects to mount the show in collaboration with the Tokyo National Museum and the city's Bunkamore Gallery. The idea, Dupire said, will be to give people a chance to walk around and share Berenson's past experiences as an actress, a social figure and a leading model in the Sixties, through the lenses of photographers, among other artists -- much as Yves Saint Laurent was portrayed in the 40-year retrospective Dupire helped stage in New York in 1999.
"We will feature past portrayals as well as some via up-and-coming artists," Dupire said of the exhibit she's planning on the 59-year-old granddaughter of Elsa Schiaparelli. "She is a muse and an inspiration; she is working to rediscover herself."
BURBERRY ON HOLIDAY: When the hustle and flow at Burberry allows, creative director Christopher Bailey still likes to escape to his cottage in Yorkshire, England. But his creations are bound for warmer climes, namely The Breakers in Palm Beach. In November, Burberry will open a 1,000-square-foot outpost at The Shops at The Breakers in the 140-acre seaside resort. Burberry Prorsum, as well as its signature line, will be sold in the new store, said John Zoller, The Breakers' vice president of retail operations. Like the 150-year-old Burberry, The Breakers is in its second century and has had a few incarnations. Built by Standard Oil co-founder Henry Flagler, the property was once a popular escape with such American heavyweight families as the Rockefellers, Vanderbilts, Carnegies and Morgans. Too soon to tell if Bailey will visit the towering Florida landmark.
TV LAND: While Kate Spade chief executive officer Andy Spade plans to stay with the accessories firm, no matter who eventually buys it, he now has a backup plan: television. "It's TV for people who don't like or watch TV," said Spade Monday night at the screening of "Jack Spade Presents: The Neistat Brothers Television Show," at the Core Club in New York. The event attracted Tom Sachs, Will Cotton, Ann Dexter-Jones and Cynthia Rowley, who sat through three 15-minute episodes conceived by Spade and up-and-coming filmmakers Casey and Van Neistat, who also created some short films for Kate Spade in February.yanzic0514.
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the customer doesn't wait for you, he/she doesn't identify with just one brand, buys where a new product arrives first

Tod's SpA was said to be considering a deal to produce a ready-to-wear collection under the Elsa Schiaparelli name, but sources say the plans have been put on hold due to the large investment of time and money it would take -- not to mention the Italian soccer scandal that has engulfed Tod's head, Diego Della Valle. A list of potential designers -- including Behnaz Sarafpour, Matthew Williamson and the newly free agent Olivier Theyskens -- has been circulating. But Tod's now is said to be looking to unload the rights to the Schiaparelli works because Della Valle and his brother, Andrea, are focusing on their fight against charges of match fixing, which resulted in their being stripped of their managerial powers at soccer team ACF Fiorentina.
BERTELLI VENTS: No one can deny that the demand for earlier deliveries grows each season. Prada chief Patrizio Bertelli proposes a new solution to the problem: moving up spring/summer women's fashion week to July to give fashion companies more time to produce and deliver in December and reduce the number of times buyers have to travel to Europe. Bertelli told Italian daily II Sole 24 Ore that such a dramatic shift of the show calendar would transform the global production cycle and boost competitiveness. "Today, the customer doesn't wait for you, he/she doesn't identify with just one brand, [but] buys where a new product arrives first," he said in a rare interview, in which he also criticized the Italian fashion industry for taking monthlong vacations in August and for sticking to outdated models that don't serve emerging markets like China, Russia and India. Bertelli was not available for further comment Thursday. "The world has changed since the late Nineties, and our business has to evolve as well," he told the newspaper.
BIRKIN BEAUTY: Jane Birkin, who inspired the music of her late husband Serge Gainsbourg and lent her name to an iconic Hermès bag, has most recently become an olfactive muse. U.K. perfumer Lyn Harris has just concocted a fragrant ode to the actress-cum-chanteuse-cum-director. It's called L'Air de Rien ("an air of nothing," in English), which is to be part of her Miller Harris fragrance line. The oriental fragrance, comprising notes of amber, vanilla, neroli, oak moss and musks, is meant to recall Birkin's life and passions. William Blake-style nymphs, sketched by Birkin, appear on the scent's flacon and packaging, alongside Miller Harris' traditional floral decorations. The 100-ml. eau de parfum will hit shelves starting in September, priced at 75 pounds, or $139 at current exchange.yanzic0514.
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she praised for his unique vision of classic dressing

Pressly, a native of Kinston, N.C., became a successful runway and magazine cover model at the age of 14. She had studied dance and gymnastics for 11 years. Her modeling career led to a contract in 2001 as the spokeswoman for Liz Claiborne cosmetics and its fragrance Lucky You.

All the while, Pressly's desire to design kept growing. She even sketches for collections between takes on television and movie sets.

"I got tired of feeling uncomfortable in so much of the clothing that's out there and knowing in my mind that I could design something better," she said. "And now I'm doing it. I own the company, and it is totally self-financed. We're definitely growing the brand. There will be more categories in the next 12 to 18 months."

She also wants to add accessories and possibly children's wear.

"My designs are designed to flatter women of all sizes, not just women with runway bodies," she said. "I think that's one thing that sets my line apart from other lines out there. Plus, it's comfortable, easy to care for and can be dressed up or down, which makes it extremely versatile for various lifestyles."

In recent years, many actresses and entertainers, including Hilary Duff, Gwen Stefani, Milla Jovovich and, of course, Jennifer Lopez and the Olsen twins, have launched fashion collections with ambitions to grow their brands.

J'aime by Jaime Pressly arrived last spring as a 14-piece capsule collection in only a handful of stores, and the group of pants, skirts and tops sold out. For spring 2007, there are more than 60 styles, to be rolled out in staggered deliveries for February, March and April.

The line is mostly made of versatile micro Modal, a body-flattering yet comfortable form of rayon that is soft, smooth and typically doesn't pill, shrink or fade. Modal can also be washed and ironed.

"For spring, we've continued to expand the line with more silhouettes that offer comfort, style and versatility with a classic sensibility," said Pressly, who designs the collection with in-house collaborator Jacqueline Dadon. "It's a seasonless approach to building a wardrobe."

With such a fashion mantra, it's hardly surprising that Pressly's favorite designer is Ralph Lauren, whom she praised for his unique vision of classic dressing. yanzic0510.

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the collection features sumptuous fabrics

Like beauty, inspiration is in the eye of the beholder. Isabel Toledo, for one, channels her own emotions, while others flock to the design library, a treasure trove of ideas.
Toledo State of Mind
SHOES FIRST. THAT'S HOW ISABEL TOLEDO GETS dressed every morning. "It's just easier that way," says the designer. "Just like clothes, shoes can really dictate your mood for the day." Unusual? Perhaps, but Toledo has never been one to take the conventional route.
In the 21 years she's been in business, Toledo, 45, has established a line with a cult following. Her collections are known to be shapely and neat, with discreet details that all make for an idiosyncratic take on chic. Never one to follow trends, Toledo determines her looks each season by assessing her current state of mind. "Sometimes I want wide pants, sometimes I want jodhpurs," says the designer, whose Toledo Studio is the most recent winner of the Cooper Hewitt National Design Award for Fashion.
For fall, Toledo is feeling moody. Inspired by paintings that were done in 1989 by her husband, famed illustrator Ruben Toledo ("imaginary Spanish Inquisition family portraits" is how he describes his works), the collection features sumptuous fabrics, many of them two-toned, worked into hit-every-curve shapes.
"This collection is all about dark shadows," says the designer. "But not 'spooky castle' dark. It's more like 'spooky forest.'" The "natural element," she adds, is what keeps the line humble and approachable. "It's very important to me that things be friendly. I like clothes that look like you've had them for a while."
Toledo also strives to create clothes that are comfortable to wear, regardless how fitted they are. The trick, she says, is to use the right fabric on each part of the body. "Form with flaws is how I would explain it," she explains. "There's a skirt in the fall line, for instance, that is made of a heavy tweed, but along the waist I used a lighter fabric in the same color combination. Not only does it make the skirt more comfortable, but it creates shape and dimension as well."
When picking her fabrics, Toledo gives little thought to silhouette or theme. Instead, "it's all emotion." As she "dissects" a textile header, Toledo cuts tiny shapes right into it; the shapes are later placed on a board and her husband then completes the "sketch." yanzic0510.

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a new wave of designers breaking through that want to reintroduce spectacle and performance into fashion

 "Catwalk shows are still an essential part of the business of

fashion and probably always will be in one form or another."

agrees Penny Martin, creative director of Nick Knight's

SHOWstudio website. "I think that when fashion gets constrained

and commercial, as it did in the early 80s, it means that what

creativity there is becomes even more precious. Over the past

year, we have witnessed a new wave of designers breaking

through that want to reintroduce spectacle and performance into

fashion. Obvious comparisons have been made between the

controversial designer Gareth Pugh's work and that of Leigh

Bowery because of Gareth's showmanship and incredible

imagination. More than anything though I think it points to the fact

that young people are bored with the commercialism of the major

brands, as they were at the end of the 70s, and want to create

their own fashion as Bowery and friends did in the 80s. This is

great news for the style press which hasn't had much of a

subculture to report on for some time."

This harking back to the 80s is not enough to impress Saville

however, who believes that fashion has reached the end of its

cultural significance. "In the last 50 years a process of cultural

democratisation has been going on, alongside democratisation in

its broader meaning. I choose to see fashion, pop music and

design as the significant vehicles of this process. In the 60s

fashion played this vital roie in the realisation of a sense of

personal identity amongst common people, which in the period

before that didn't matter.  empire one shoulder chiffon hign low prom dress There was the opportunity to be

yourself, to define yourself individually by fashion, I think that

process of empowerment had become mission accomplished by

the mid-90s. By the time you get to the recovery of our iast

recession, everyone suddenly got it. At the end of the 80s it still

had a bit of exclusivity, but by five years later it's gone. Who is

fashion offending anymore? What is it challenging? It's on autopionneer

of the conceptuai catwalk show.  yanzic0508.

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Does this mean that all couture fashion has therefore become part of a cynical branding exercise

 glamour and delicious danger, which will be picked

up by customers only able to afford Dior sunglasses - as it was

about actually flogging any of the £20K plus dresses.

"Most of the stuff that goes into the couture shows never gets

made, it's just a way of getting on the front page - it's got to be

entertaining/ says graphic designer Peter Saviiie, who has

previously worked with Yohji Yamamotc and Stella McCartney but

now declares himself tc have fallen out of love with the fashion

industry. "You will not sit at a fashion show and be outraged

anymore. And if someone tries to outrage you, you'll be bored by

it. Fashion doesn't matter anymore but there's an undeclared

conspiracy between the media and manufacturers. The media is

the window for fashion, it's committed to keeping the story alive,

because if fashion isn't important anymore, what does that mean

for a publisher like Conde Nast? For me, a fashion show these

days is not even as interesting as a motor show," The parallel

isn't quite as ridiculous as it might seem: as with couture fashion,

the concept models routinely displayed at car shows set

designers free to explore wild and futuristic ideas. They will never

go into production but they act as both a research lab and as a

statement, declaring a marque's creative credentials in the hope

that a iittle of this innovative gloss rubs off on those thinking

about buying a new hatchback. 

Does this mean that all couture fashion has therefore become

part of a cynical branding exercise? Hilary Aiexander, fashion

editor at The Telegraph and catwalk show veteran, begs to differ,

"Yes, they are there to bolster the fragrance." she acknowledges,

"but they do have customers and people wear the clothes. It's a

very specific market but there is a market. The shows are part art

form, part theatre. They must be entertaining, otherwise they're

boring, but they are a showcase that sets the scene for the

designer's creative intention."  asymmetrical hemline red lace 3 4 sleeves sparkly dresses  .yanzic0508.

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to be giving the same consideration to something temporary

The architects ran through questions and complications not addressed in Slimane's original sketches: for example, how to keep the structure from falling down, and how to get people from one floor to the next. Regarding the circulation problem, one of the architects ran through the options: a standard stairway, a spiral stairway ("No," Slimane said at once), or ladders.

"I don't like the ladders," Slimane said. "They create a tension within the space. I'd rather have the stages kept free."

The architects made a push for ladders, while Slimane, hands plunged into the pockets of his leather jacket, considered the maquettes. "It's a lot of constraints," he said. "Is this the right word? 'Constraints'? "

Someone presented another constraint. As currently imagined, the structure would be too heavy and would crush its foundation. One solution was to make it shorter.

"I'm always working with elongation," Slimane said. "It's a principle that's very important to me." After further discussion, he declared, "The height is something I would not like to change. If the staircase is an issue, with the weight, we can do the ladders."

One of the architects reached for the maquette with the spiral staircase.

Another said, "If Hedi's not happy with a spiral staircase, let's let it go."

That maquette was pushed away, like a plate of cold eggs. Still, the constraints kept coming.

"There are issues having to do with weather."

"At the moment, we'd advise that it's better to enclose it."

"You'd need some kind of guardrail or cage."

"We don't want to kill anyone."

The next day, they met again, to look at a new round of maquettes that the architects had stayed up into the night preparing. "This is a first for us," one of them told me. "One of the great pleasures in this business is building for longevity. It's fascinating, to be giving the same consideration to something temporary." I asked him how much the project would cost. He paused and said, "It's costing a lot more than we thought it was going to."

Another architect was talking about what material to use in order to enclose each platform. Half-seriously, he suggested chicken wire.

"What is chicken wire?" Slimane said. Something about hearing him say this, in his French accent, made everyone laugh, gently.yanzic0507.
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an old brick brewers' yard traversed by young Londoners in stovepipe trousers

Not long ago, the Architecture Foundation, in London, invited him to collaborate on a project--an installation outside its gallery, on Old Street. The gallery's curator had seen a Slimane installation at P.S. 1 and had thought that he might bring a fresh perspective to the task of building a building just for the sake of it. Slimane made sketches of a structure he had in mind, and a team of architects and engineers, from the firm Building Design Partnership (BDP), which typically designs large-scale projects such as hospitals and office buildings, set to work, pro bono, turning them into an edifice that would abide by the laws of physics.

With projects come meetings. One morning in January, the team received Slimane in a conference room on the ground floor of BDP's headquarters, in London's East End. The view through the window was of an old brick brewers' yard traversed by young Londoners in stovepipe trousers. Slimane came from Paris by train. He wore low-slung Dior jeans, high-heeled boots, a black leather jacket, a hooded sweatshirt, a silk scarf, and a serious expression. Slimane's idea was to render a stage vertically. He envisioned a black steel structure, four stories tall, each floor a platform with room for one member of a rock band, his instrument, and not much else--the drummer on the top floor, the bassist on three, and so forth. It would be fronted with glass, preferably seamless, so that you could see inside, and a giant speaker would hang off it, to amplify a performance for passersby.

The architects had made four cardboard maquettes, each about the size of a shoebox, and arrayed them at one end of a conference table. The maquettes brought to mind the tiny Stonehenge stage set from "This Is Spinal Tap," mistakenly built to the proportions of a sketch on a napkin. Slimane and the architects clustered around them. The atmosphere was solemn. Quickly it became clear that this was a complicated undertaking, that it would require hundreds of hours of work by dozens of people. The structure would stand for just twelve weeks.yanzic0507.

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acne facial, and back treatments. Marc Anderson Design

Chicago
star Brenda Braxton teams up
with her husband, fitness
expert Anthony Van Putten, to
open BBraxton. It's a classy,
luxurious gentleman's grooming
salon that adds a bit more
charm to this wonderful old
Harlem neighborhood. Located
at 1400 Fifth Avenue, NYC,
and occupying 200 sq. ft.,
BBraxton offers traditional
services such as haircuts,
straight-razor shaves, styling,
reflexology, shoe shining, and
skin care. Patrons can also
catch up on the new and playoff
games while relaxing in the
salon's gentlemen's club
atmosphere.
It is the ultimate gentleman's
grooming and pampering
experience, featuring the
most expert- grooming and barbering,
and therapeutic treatments,"
said Anthony Van Putten.
"While catering to all men,
BBraxton brings special
expertise in skin and hair care
for African American men, a
segment of the population that
appreciates quality services,
but has yet to be addressed in
this area."
Other services include
beard color, facials; deluxe
pedicures, express nail care,
deep (facial) cleansing, acne
facial, and back treatments.
Marc Anderson Design, Inc.
designed BBraxton's handsome
space. This firm has
designed spaces for Dr. Maya
Angelou and Kareem Abdul
Jabbar. To create a sophisticated
and relaxed atmosphere,
the salon is enhanced with fine
materials such as mahogany,
Italian marble, Jerusalem gold
tile and absolute granite.

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all the year round ball designer Jessica Mcclintock do a business

The Fifth Avenue in Sax, the contemporary clothing retail at $300 to $450, the girl to exposure 

profile, two long and short, according to the vice president and the women's fashion director Michael 

Fink. Shoulder and strapless dress is very popular, Fink said. [and] the shirt is too big. It is 

interesting, because it is not tolerant, but it has great possibility of insulation materials, and 

color is very good.According to Ken Downing, senior vice president of fashion director Neiman Marcus, 

ruffles and flounces with any female emotional blow. In fact, some of the richest party Notte 

participants deep by the Duchess, a low diffusion line, and a 3.1 Phillip Lim. This is a bumper 

harvest year refers to what is on the track, he said. Designers traditionally popular party, including 

Betsy Johnson, Nicole Miller, a b s Alan Schwartz and BCBG remained strong, Sax and blue that the 

seller, at the same time, Lord & Taylor, racing and lay back, and once again, the short evening dress, 

very popular, all the year round ball designer Jessica Mcclintock do a business, according to LaVelle 

Olexa, senior vice president of public relations.There was a pleasant surprise, however. We have sold 

many houses Dereon, Solomon said, referring to the evening dress design line, assembly, Beyonce and 

Tina Norris. Sexy shape, no abnormal popular large.Of course, not everyone to buy a dress for the ball 

in a large department store. 
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