Tag Archives: Tom Ford

Digital snippets: Oculus, Luxottica, Wren, Asos, Nike, Birchbox, Tom Ford, Kenzo

28 Mar

The big tech story this week has of course been about Facebook’s purchase of virtual reality headset company Oculus VR. But there were lots of others to know about too. Read on for an edit…

oculus-rift-dk2

  • Google deal with Luxottica will bring Glass to Ray-Ban, Oakley [WSJ]
  • How Wren made a viral video of strangers kissing and increased sales by nearly 14,000% [Business Insider]
  • Asos and Nike celebrate 27 years of Air Max with first Google+ shoppable hangout [Marketing Magazine]
  • Birchbox, seller of beauty products, steps out from web to open New York store [NY Times]
  • Tom Ford joins the world of e-commerce with sexy new web store [Fashionista]
  • Kenzo’s virtual aquarium highlights the danger of overfishing [PSFK]
  • Chanel releases new Coco Mademoiselle Keira Knightley ad – She’s Not There [The Inspiration Room]
  • Lancôme ramping up digital initiatives [WWD]
  • How Yoox became the Amazon of the fashion world [Telegraph]
  • Why in-store tracking might not be as bad as it sounds [CNNMoney]
  • The Shazam of fashion is here, introducing ‘ASAP54′ [Styleite]
  • Silicon Valley never talks about the real reason you don’t own a smart watch or ‘wearable tech’ [Business Insider]

 

Digital snippets: Burberry, Marc Jacobs, Tom Ford, Nicolas Ghesquière, Hunter, G-Star, Dita von Teese

15 Jan Burberry_romeobeckham

Some more great stories from around the web surrounding all things fashion and digital over the past week or so:

 

  • Watch Romeo Beckham run circles around his fellow Burberry models in SS13 campaign video (as above) [Telegraph Fashion]
  • How Marc Jacobs is amping up the luxury e-commerce experience [PSFK]
  • Tom Ford will even be inviting bloggers to his first ‘real’ runway show [Styleite]
  • Nicolas Ghesquière’s first-ever tweet: an analysis [The Cut]
  • Hunter takes control of British weather in global Facebook campaign [Campaign]
  • G-Star Raw launches animated video campaign [WWD]
  • Dita von Teese sews QR codes directly into her clothing [PSFK]
  • Op-ed: Fashion’s unsung internet forums [BoF]
  • Do people actually shop on phones? The answer is decidedly yes [NY Times]
  • Shoedazzle taps Rachel Zoe as new celebrity spokesperson [AllThingsD]

Digital snippets: Tom Ford, Net-a-Porter, Apple, Gilt Groupe, Anna Wintour

17 Jun

Some more great stories from around the web surrounding all things fashion and digital this week:

 

  • Tom Ford releases video lookbook of his autumn/winter 2011/12 collection (as above) [YouTube]
  • Net-a-Porter launches “live” app, lets you see what others are buying around the world [Daily Telegraph]
  • Gilt Groupe to launch upscale, full-price men’s fashion website called Park & Bond [JustLuxe]
  • P& G opens Facebook stores for Tide, Gillette, Olay, Gain, CoverGirl, Luvs and Febreze [Social Commerce Today]
  • LA boutique American Rag installs rearview cameras in fitting rooms [The Cut]
  • And in case you missed it (how could you), Anna Wintour’s five word acceptance speech at the Webbys: “Sometimes… geeks can be chic” [Fashionista]

In other news – this blog will be on a bit of a mini hiatus while I hit up Cannes Lions next week. Hopefully lots of exciting things to report back thereafter…

BoF – top 10 fashion films of the season

4 Apr

The Business of Fashion has revealed its top 10 fashion films of the season, with Prada’s spring/summer 2011 campaign leading the charge.

Also featured is Tom Ford’s spring 2011 show; Chanel’s robots in Here Comes The Beauty Pack; Gareth Pugh’s film from Pitti Immagine created by Ruth Hogben; and Seven Henrietta Street by Kate Spade New York.

Anatomy of Change for House of Mugler Menswear takes the number six spot – featuring tattooed “zombie” Rick Genest, with a soundtrack by Lady Gaga.

And rounding off the top 10 is Vanessa Bruno’s Miracle; Spying on Kate Moss, a film from on the set of the autumn/winter 2010/11 Balmain campaign featured on NOWNESS; Miu Miu’s The Powder Room; and Net-a-Porter’s Bag Guide.

Check them all out alongside the BoF’s full write up, here.

1. Prada S/S 201

Carine Roitfeld on the future of fashion

23 Feb

There’s a great interview with Carine Roitfeld, post her departure as editor-in-chief of Paris Vogue, by Dirk Standen as part of the Future of Fashion series over at Style.com,

“A lot of things have changed, and when you’re working you don’t see all these things changing. But when you stop, you can see it. You have to understand the new way of working with fashion,” she said.

Inevitably, she referred to the internet…

“Everything is going so quick now with the Internet, with the blogs. It’s very important. There are two possibilities; either you go very quick to the Internet or you go to magazines and you make it like a collector’s item. [I still think] it’s very normal to have all these fashion weeks and to go to all these shows. Can you show them through movies? I don’t think this is possible. It’s very exciting to be at the runway, to hear the music, to feel the atmosphere, to feel what people like or don’t like. Even if there are too many shows—I would love if there were less shows—I think we have to live with the shows. But after, maybe there is another way to make fashion stories.”

Having said that, she was fairly pro Tom Ford’s exclusivity strategy:

“I think it was very smart of him, just 100 journalists in his shop, and he was talking about each model and he had a sense of humor, so you see a lot of people laughing, which is fun… He did totally the contrary of everyone else and he made a big buzz, a big excitement. I think it was good not to see the [clothes] afterwards immediately on the blogs. For the editors, you feel more VIP, and it makes the buzz bigger and everyone knows about the Tom Ford collection. And really nothing came out. It was very controlled.”

Read the full interview, here.

London Fashion Week: young designers must embrace technology or risk shutting the door

21 Feb

London Fashion Week’s young designers must use the power of technology to promote themselves, rather than taking a leaf out of Tom Ford’s book and shutting the door completely.

For a city known for emerging fashion creative talent, the news that American heavyweight designer Tom Ford was intending to show his womenswear line during London Fashion Week (LFW) this season, instead of New York where he first launched it last September, was quite a surprising one.

Before a flurry of brands returned to the UK’s capital around LFW’s 25th anniversary in 2009, there were few big designer names that chose to show their latest collections here. Even now, those that do – Pringle of Scotland, Burberry Prorsum, Matthew Williamson – are predominantly, and quite understandably, British.

Tom Ford’s presence therefore, makes a statement. Quite simply it says that London is truly back on the international scene, holding its own against its European counterparts as a go-to destination for fashion. This is in stark contrast to a mere few seasons ago, where LFW was skipped by many press and buyers entirely.

The former Gucci designer and Hollywood film director broke the mould in New York last season when he opted for an intimate fashion show event for just 100 guests.

In an age where the catwalk is live streamed online around the world, enabling consumers to feel like they themselves are on the front row, he also only invited one photographer (his own), turned away all the bloggers, and set a strict embargo on information about the collection so as to relate it more closely to the date the garments hit store.

“[Today] you see the clothes on the runway, and within an hour or so, they’re online,” Ford said at the time. “They’re overexposed… I wanted to pull everything back.”

It was a daring move, but it worked for him. Accordingly, he’s opted for the same strategy with his autumn/winter 2011/12 collection in London. Today, Ford will present his latest designs to a handful of monthly magazine editors only.

But I question whether his method is really suited to this city at all.

Given the current dire financial state of the country, this alternative to the lavish and extravagant productions fashion shows have become, is certainly no bad thing; it’s more Ford’s strict restrictions around any detail being released in real-time that doesn’t quite fit.

Turn to the strategy currently being employed by the British Fashion Council (BFC) for instance, and the complete opposite approach can be seen.

Aiming to reach a wider audience than ever before, the council’s dedicated digital policy will see a total of 37 shows live streamed by the end of the week as well as a series of fashion films.

And it’s not just online – an LED screen currently dominates the wall of the tent at the official home of LFW at Somerset House, which, when it’s not showing the live streams, displays daily video highlights as well as tweets from the @londonfashionwk feed.

The same is happening on various screens on the London underground – in Oxford Circus, Holborn and Charing Cross stations to name a few.

Meanwhile, later today Burberry will become the first ever brand to stream live on the Landmark 32m digital screen at Piccadilly Circus.

In doing all of this, both Burberry and the BFC are helping to pioneer a new fashion landscape where democratisation, or put more simply, fashion for the masses, is key.

“It’s about reaching out to broader audiences,” says the BFC’s CEO Caroline Rush. “Showcasing digitally is a fantastic opportunity for our designers to reach global audiences without obviously having to have those big advertising budgets.”

At a time when convincing consumers back into shops is crucial, she’s hoping the outdoor initiative will also help generate a sense of excitement about LFW with the public and eventually lead to sales too.

Ford’s argument however, as many of his counterparts would still agree, is that it goes against the notion of luxury to make yourself so accessible.

It’s for that very reason many designer brands have been slow on the uptake of digital in the first place – in some instances still not having their own websites, let alone pushing forward through social media.

But then Ford is now a big established brand, and the bulk of those on the LFW schedule are not.

“The luxury Tom has is that he’s had the opportunity to develop his name, reputation and audience through the likes of Gucci… most of the designers we have in London haven’t got that grounding and so [digital] gives them the means to reach much further,” says Rush.

Save for its hero returnees, the city remains largely a home for emerging talent. Putting a collection together, let alone producing a show, is expensive business, and having any cash left over for marketing is fairly unlikely for these small companies. In utilising technology, the very best of London Fashion Week can be catapulted around the world no matter what financial backing it has.

Only by taking advantage of the true power of technology will these new fashion designers build their future. By shutting the door to the digerati, these rising stars will jeopardise their careers before they have even taken off. Therefore I encourage them to follow more in the footsteps of digitally enlightened fashion houses like Burberry, and not, though it’s wonderful to have him here, Tom Ford.

This piece originally appeared on fashion.telegraph.co.uk

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