Swedish fashion chain H&M sees Q3 profits edge up, to launch new fashion brand in 2013

Swedish fashion chain H&M sees Q3 profits edge up, to launch new fashion brand in 2013


Swedish fashion retailer Hennes and Mauritz on Thursday reported a tiny 1 percent rise in third-quarter net profits, saying that although its clothing lines sold well in the beginning of the summer, the European financial crisis and poor weather conditions in August restrained consumption more than expected at the end of the period.

It also said it plans to launch a new fashion brand, & Other Stories, in the first half of next year, which will be located in separate stores. The clothes will focus more on quality and will be higher priced than its normal fashion lines.

The Stockholm-headquartered group posted a net profit of 3.6 billion kronor ($549 million) in the three-month period, up slightly from 3.59 billion kronor in the year-ago period. Aside from lower-than-expected sales at the end of the summer, currency fluctuations also hurt its income.

Revenues came to 33.57 billion kronor, up from 31.51 billion kronor, but the gross margin shrank to 58.2 percent from 58.6 percent.

H&M said it will ramp up its expansion rate for the full year 2012, planning to open 300 new stores instead of the previously planned 275.

This Spring, Hemlines Go from High to Low

This Spring, Hemlines Go from High to Low


This season, hemlines are on the rise - and they're also taking a great big fall. Of course, it's not quite in the way you might think. Spring's high-low hemlines add a touch of charm to an otherwise no-fuss dress, and somehow manage to show off the practicality of a maxi with the sleekness of a shorter cut all in one perfect package.

Easy does it this season, with pieces that slip right on and look sensational without any effort. This KiwiLook Asymmetrical Hem Braided Dress ($29.95) shows off just a hint of skin at the waist - but isn't scandalous in the least. Wear it with flat, gilded sandals for a sultry warm weather look that's sure to turn heads.



Bold color? Check. Grecian-inspired single shoulder design? Check. Captivating hemline? Check! With all the bases covered, this Laundry by Shelli Segal One-Shoulder Jersey Dress ($131.99) should have no problem making the party circuit rounds all season long. And the material is practically T-shirt-soft, so you're assured comfort no matter how long the night may go.

A little sexy, a touch bohemian, a tad vintage-inspired...there's almost nothing this Jessica Simpson Sleeveless Asymmetrical Hem Dress ($95.99) can't accomplish thanks to its versatile design. Dramatically finished with a halter neckline and fringed waist belt, it's chic with everything from flip flops on an ultra-casual summer day to wedges for an afternoon tea.

If you're more of a maxi-style gal, feast your eyes on the glorious Trouve Asymmetrical Hem Dress ($88). This could well be the comfy maxi dress of the season, what with its relaxed modal fabric and simple drape. The cut and slim belt give it surprising versatility; dress it up with a bold statement necklace and wedges or keep it toned down with flat sandals.

Post-Olympic prints at London Fashion Week

Post-Olympic prints at London Fashion Week

It’s been a big year for London. There was that large sporting display, which could have taken the focus away from the capital post-event, but instead of rolling over in fatigue, the city prepared for another round of global attention with London Fashion Week.

Surprisingly, the two events had something in common. The Olympics closing ceremony paid homage to British fashion, past and present, while the giant park built in east London provided inspiration for designers.

Scottish fashion designer and man of the moment, Christopher Kane, who had noticed the wing nuts poking out of a bridge in Victoria Park near the stadium, used 3D to great effect in his collection, applying crystals and other embellishments to soft, floaty fabrics.

Each season, designers and organisers experiment further with the technology available to them. This time we saw lots of computer-generated graphic prints in shows by Peter Pilotto – whose colour palette was inspired by a trip to Nepal and India – and Mary Katrantzou, who blew up images of postage stamps and banknotes to show two things which, with technology, are starting to disappear.

There were plenty of stripes at Jonathan Saunders while the prints at Erdem, favoured by Kate Middleton, were feminine and multifarious – there was snakeskin, elegant dresses with high necks and long sleeves, and gorgeous pastel florals pierced with flowered and jewelled embellishments.

Prior to the five-day event, Natalie Massenet, founder of online retailer Net-A-Porter, was appointed chairwoman of the British Fashion Council. In a nod towards the change technology is instilling on the industry, Massenet says she will bring to the role her experience in “merging extraordinary creative content with innovative global commerce”.

Burberry – which has just opened a technology-filled flagship store on Regent Street – opted once again for bright, shiny fabrics, presenting a series of sexy hot pants and glossy skirts, dresses and handbags, to a line-up of Olympic medallists seated front row. The Prorsum collection of plastic, reflective and laminated surfaces triumphed in a finale where models swished down the catwalk like fembots.

Burberry’s new store has caused quite a stir. Some garments will be implanted with radio-frequency identification technology, which has the ability to project runway images of a garment onto fitting room mirrors as someone is trying it on. Despite its technological leadership, Burberry last week announced its worst financial performance since 2008. It’s a reminder that fashion is as much about sales as the wow factor.

With that in mind, London, always the most gregarious of the big four, showed restraint in revealing wearable fabrics beside more outlandish pieces.

But there was still room for the wacky. Milliner Philip Treacy made a memorable return to the runway with a collection, introduced by Lady Gaga, which paid tribute, in part, to Michael Jackson. There was the famous “Thriller” jacket, and a hat featuring a bejewelled white glove.

But the notable designs were in his head pieces: giant Mickey Mouse ears, a large smiley face, jewel-adorned helmets and lightning-like sculptural pieces. London also showed experimentation in make-up; models sporting tattooed chins at Fyodor Golan, purple monobrows at threeASFOUR, and sickly painted faces in green and yellow at Vivienne Westwood. The Aussies in town put on highly sophisticated offerings that drew much admiration: sass & bide’s architectural collection of black and white pieces was edgy and elegant; Kit Willow, who marks 10 years of the Willow label next year, presented an inimitable blend of beautiful and daring pieces.

London Fashion Week: The Early Days

London Fashion Week: The Early Days

There' s never an occasion that the Neoclassical building of Somerset House - or more precisely the vast central courtyard area of it - would welcome this large bunch of peculiar visitors like during the London Fashion Week. The historical building plays the role of the main show space, and as happend at all the main show space of all fashion events, fashion birds of all colourful feathers flock together.

London is second to none when it comes to personal style - and this shows in the show audience: the quirky sensibility and that out-of-this-world colour combination belonging to London is something even other great fashion capitals cannot easily claim to match. Sadly, London is still a struggling city when it comes to its significance as fashion capital. It can' t even put key shows on early days due to conflicting schedule with some main shows in last days of New York, and in case of two seasons ago when Gucci kicked off Milan Fashion Week with its anniversary, followed closely by Prada show, London was struggling with all its might just to keep the number of models adequate for its final days.

Last season, London saw her hope. After Burberry Prorsum returned to London stage a fee seasons earlier, bringing with it a stellar crowd and media magnates, the city welcomed the show by McQ and a mini-showcase by Stella McCartney, giving its autumn/winter 2012-2013 showcase one of the most vibrant seasons in years.

Although that sort of vibe does not seem to be the case for this ongoing Spring/Summer 2013 season, London still has much to offer. Taking a leave from the runway show, Alexander McQueen's sipecond line McQ is busy celebrating the opening of the new store on Dover Street this month. Like Burberry, McQ seems to be enamoured with a mixture of British heritage and a knack for technological advancement. (Burberry is one of the first luxury houses to incorporate interactive elements in store and runway live streaming). McQ's Dover street flagship store boasts hi-tech mirror that allows customers to have a full look of themselves and send their image to friends by email or share on Facebook. When not in use as interactive mirror, it functions as a screen showing looks from the runway.

Another fun technological glitz at the McQ store is an interactive table. To be used with special slide and video box/frames - the table acts like a projector-cum-screen on which you can draw images and videos you want, adjust their sizes and even project onto the large screen by a single swipe up the top of the table.

It's notable that the store is designed by interior design David Collins undqer fetinishitic theme of "boudoir meets brutalism and futuristic, interactive hi-techs." Some of the concrete walls remain part of the store, especially on the stairs leading down to the menswear section.

Heirtage meets hi-tech should likely be the keyword for London to fight back its fashion capital crown, indeed.

London Fashion Week: Lady Gaga, Westwood top day 3

London Fashion Week: Lady Gaga, Westwood top day 3

London Fashion Week kicked into high gear on Sunday, with a hectic day of shows that culminated in Lady Gaga taking a starring turn on celebrity milliner Philip Treacy’s catwalk.
Earlier in the day, punk queen Vivienne Westwood upstaged her own models in a finale that saw her strutting down the runway with a climate change slogan T-shirt.
Fashion doesn’t get more theatrical than this.
Day three of London’s twice-a-year style extravaganza was packed with runway previews by some of the capital’s most popular designers: Westwood, Paul Smith, Jonathan Saunders, Mary Katrantzou and Alice Temperley.
But Lady Gaga, in a hot pink, floor-length shroud, stole the show when she opened her friend Treacy’s Michael Jackson-themed comeback show. Treacy, who has designed fanciful hats for Gaga as well as countless royals and celebrities, has not shown at the fashion week for a decade.
Raising her arms and looking up, the pop icon announced: “Ladies and gentlemen, the greatest milliner in the world: Philip Treacy.”
She was joined by fellow celebrities Kim Cattrall, Grace Jones, and Nick Cave in the front row at the show, which featured Jackson’s legendary stage costumes paired with Treacy’s headgear.
The outfits, which included the original red ‘Thriller’ jacket — were lent from a collection held by the King of Pop’s costume designers. They are set to be auctioned in California in December.
The spectacle topped a long day of shows that featured onetime punk priestess Westwood, who championed her favourite cause — climate change — as she closed her runway preview.
The orange-haired designer used two models to unfurl a banner proclaiming a climate revolution, then strutted down the catwalk herself in a ‘Climate Revolution’ T-shirt, shorts and make-up that looked as if she had a giant black eye.
“I loved it,” former model Jo Wood said. “There was so much there that I wanted. And I love Vivienne as a person. She’s the one show I won’t miss.”
Some of Westwood’s severe outfits looked like they were from just before the ‘Mad Men’ era, when US first lady Mamie Eisenhower helped set conservative fashion trends.
Some outfits looked silly, others — evoking the Jackie Kennedy era that came a few years later — appeared wonderfully retro and chic.
Did the ensembles work? Westwood, ever the iconoclast, claimed she simply didn’t care, insisting she was only interested in using fashion as a way to air her views on the environment.
ALICE TEMPERLEY
Westwood wasn’t the only person looking to the 1950s and 60s for sizzle and spice. Sophia Loren was the inspiration behind Alice Temperley’s London catwalk show on Sunday, an elegant concoction of 1950s full skirts fit for a royal garden party.
Temperley, a favourite of Kate and Pippa Middleton, said she wanted to update the 1950s couture look and make it accessible.
The designer said the conical hats the models wore exemplified the classic couture feel of the spring collection, which was set in a grand chandeliered hall.
“I wanted to create something modern and sleek, something that gives the feeling of the dream of couture,” she said of the hats, which were similar to the style worn by Audrey Hepburn in ‘Breakfast at Tiffany’s.’
Working from a soft palette dominated by powder blue and ivory, Temperley showed off flirty, tea-length circle skirts and dresses that accentuated a tiny waist. A theme was skirts with semi-sheer horizontal organza stripes, which Temperley said was to show a bit of leg and make the retro look more fun.
Textures were luxurious and soft with lace, silk, brocade and tulle with flower appliques.
Temperley is best known for her romantic evening and bridal gowns, and is launching a more affordable line at British department store John Lewis.
On Friday, Kate Middleton, now known as the Duchess of Cambridge, wore a Temperley ice blue dress with white lace sleeves to a tea party in Malaysia.
JONATHAN SAUNDERS
Loud clashing colours, full-on sequins, holographic stripes — Jonathan Saunders’ catwalk show on Sunday had it all. These aren’t clothes for the shy woman.
Saunders, who chose to stage his spring collection in the industrial underbelly of the Tate Modern museum, opened with a series of silver and gold separates with a holographic sheen.
Skirts and dresses made of a plastic-like material with large circle discs came next, the discs glimmering like fish scales in the spotlight.
But the star of the show was stripes, stripes and more stripes. There were bright lime trouser suits and dresses in thick horizontal stripes, a black and white dress in a chevron stripe, and dresses with flowing stripes of a clashing colour that cleverly followed the bias cut of the garment.
To end, Saunders upped the ‘70s disco fever feel with a series of fully sequined dresses in bright stripes of colour: Black with blue and silver, and black with red and green. On another designer it could have looked tacky, but on Saunders, it somehow all worked.
MARIOS SCHWAB
While other designers work summery watercolour hues and bold prints, Marios Schwab’s catwalk show on Sunday was a darkly seductive affair of shredded leather, smouldering midnight tones and tribal detailing.
Drawing inspiration from an idea of the Amazon warrior, Schwab opened his show with a series of dresses in sheer layers of black and oxblood, decorated with leather tassels.
These tassels appeared throughout the show — adorning high heels or flat lace-up gladiator sandals, on lapels, in short parallel rows down the bodice, or strategically shielding the body on sheer gowns.
Schwab also created texture with pleating, which was used first on leather dresses in fuchsia and inky blue, then later on chiffon skirts paired with lace tops in the same hue.
Schwab’s designs always play on seduction and have a mysterious femme fatale element to them, and his spring collection was no exception. Models’ bare bodies were just visible under the layers of light material, and at times high slits on the pleated leather skirts revealed flesh-toned mesh layers beneath.
The final evening pieces — nude or sheer black high-collared column gowns embellished with tassels and beading — were dramatic showstoppers.
The Greco-Austrian designer’s show was packed, with front row guests including Japanese Vogue’s editor Anna Dello Russo.

Designer Diane von Furstenburg Turns Google Glass Into Fashion

Designer Diane von Furstenburg Turns Google Glass Into Fashion


Fashion designer Diane von Furstenburg and Google partnered to show us a behind-the-scenes look at New York Fashion Week, as seen through Google Glass, the search giant's augmented reality goggles.
The legendary designer brought technology to the runway last week, filming a four-minute video entirely with the Glass camera.
Narrated by von Furstenburg, the varied footage provides a behind-the-scenes look at what it means to be shoved through the crowds and adored by onlookers during the annual event. But, not to be trumped by the bright lights of the big city, Google Glass makes many appearances – on the models, on audience members, on random visitors, and, of course, on von Furstenburg herself.
"We live in such an amazing world," the designer said toward the end of the video. "Things that we thought would be science fiction exist."
Google described the short film by posting this explanation with the YouTube video: "Experience the DVF Spring 2013 show at New York Fashion Week through the eyes of the people who made it happen – the stylists, the models and Diane von Furstenberg herself. All the footage you see here was filmed using only Glass, Google's latest technology that lets you capture moments from a unique, new perspective. See what happens when fashion and technology come together like you've never seen before."
Project Glass first appeared in April, when Google unveiled its ambitious plan to harness smartphone-level power in a pair of voice-activated slim glasses that can shoot photos and serve up augmented reality overlays on the world around us.
Since then, Google took the prototype skydiving, and announced a $1,500 Explorer Edition of the glasses-camera, which is expected to be released for public consumption by the end of 2013.
Watch von Furstenburg's video below, and check out Google c-founder Brin Sergey's cameo at about three-and-a-half minutes in.

London Fashion Week runs last leg in Great British relay

London Fashion Week runs last leg in Great British relay


Just a few short weeks after a closing Olympic ceremony which put fashion at the heart of a glittering show celebrating the best of Britain in front of the world, buyers, journalists celebrities and models have begun to descend on London fresh from New York and on the way to collections in Milan and Paris.

"London is like the epicentre of the world for everything and I think it really showed in the closing ceremony of the Olympics how influential and important British fashion is," stylist and TV presenter Brix Smith-Start told Reuters.

Leading UK designers Christopher Kane, Vivienne Westwood, Paul Smith and Burberry's Christopher Bailey will present their spring/summer 2013 collections to fashion buyers from home and abroad in a year of continued austerity across Europe.

"I always love the diverse representation of collections showcased in London. It is great to see leading favourites such as Christopher Kane, Erdem and Burberry Prorsum alongside emerging designers and I am looking forward to seeing Rag & Bone in the lineup this season," said Harrods Head of Womenswear Helen David.

An estimated £100m of orders are expected to be placed during London Fashion Week, according to the British Fashion Council.

More than 80 designers are expected to show their latest collections in London, with cutting edge labels PPQ, Meadham Kirchoff, Louise Gray and Erdem touted as the hottest tickets.

"Meadham Kirchoff are just completely creative, you never know what they are going to do next, they stage some of the most theatrical, mesmerizing and moving shows. They're completely original, one-off, beyond. They're fabulous," Smith-Start said.

The stylist, who runs luxury boutique Start London in East London, also names Richard Nicoll and Fashion East among her favourite shows to watch.

SILKS, LACE AND GREAT GATSBY

The twice-a-year event runs from September 14 to September 18, for an expected audience of 5,000 buyers, journalists and celebrities.

David expects to see a more pared down aesthetic with clean lines and subtle details for Spring/Summer 2013.

"Summer is always great for mood lifting colours, so it will be interesting to see which brights stand out," David said.

"I think we'll see more attention placed on beautiful woven materials, silks and lace. With the new (Great) Gatsby movie, now set to be released next summer, designers are sure to take inspiration from the delicate feminine theme," she added.

New designers Vita Gottlieb, Teija Eilola and Haizhen Wang have been preparing their debut collections for their first showcase at London Fashion Week.

"I think they expect new ideas. A kind of vibrant creativity which London is so famous for and especially in the fashion industry, we do churn out the most fantastic designers in the world, I think," said Gottlieb.

With the stakes so high, designers could be forgiven for playing it safe in order to survive the tough economic times. But London's burgeoning fashion scene is not one to shy away from a challenge.

"London is really where groundbreaking stuff happens and people take risks. You're constantly surprised," said blogger Emily Johnston, who runs the successful fashion news blog, Fashion Foie Gras.

"There's a real buzz as you leaving the building because everybody is talking about what they've just seen." (Reporting by Li-mei Hoang, editing by Paul Casciato)

Katie Holmes is newest Fashion Week design star

Katie Holmes is newest Fashion Week design star


 Katie Holmes greeted well-wishers in a black leather blazer and gold beaded heels as she became the latest celebrity to take a serious stab at fashion with her Holmes & Yang preview at New York Fashion Week on Wednesday.

The celebrities who once lined the front rows of these seasonal previews in party dresses have increasingly made their way backstage into positions of power.

Celebrity names are commonplace on mass-market brands: The Kardashian sisters, Venus Williams, Jennifer Lopez, Jessica Simpson, Avril Lavigne, Daisy Fuentes, Heidi Klum and reality stars Whitney Port and Lauren Conrad each have department-store brands.

But a handful have also become serious fashion forces. Mary-Kate and Ashley Olsen are among the most imitated — or sincerely flattered — U.S. designers for their brand The Row, and this year were named top womenswear designers by the Council of Fashion Designers of America. Victoria Beckham's previews are among the week's most hotly anticipated, and paparazzi-free.

Gwen Stefani, Nicole Richie and celebrity stylist Rachel Zoe have also pulled away from the pack.

"The lines that are successful are very authentic," said Susan Kaufman, editor in chief of People StyleWatch. "The key is the celebrity being involved, being involved in the look and the concept, and to be proud to wear the clothes."

On that measure, Holmes seems ready to join the club. Showing at Mercedes-Benz Fashion Week seems a major commitment to the brand. "It was very clean but with a cool factor," Kaufman said. "I can easily see her (Holmes) wearing it."

MICHAEL KORS

Michael Kors' sunny disposition found a home in Southern California for the upcoming spring fashion season. He turned out an optimistic, cheerful and modernist collection that he said was inspired by the architecture, attitude and mostly the weather he enjoys every time he makes a trip to the West Coast.

"You could be sitting at the Beverly Hills Hotel, by the pool, and you could find this entire palette whether it's the palm green, the turquoise of the pool, the yellow of the sky — of the sun," he said in a backstage interview. "And I love all the architecture that we see whenever I go out to California. ... You're seeing a lot of that kind of geometry play into the collection here."

Stripes were strong, and he opened the show with a female model in a red-and-navy striped bodysuit with a zip-front navy skirt with a crisp white belt, while her male runway companion had on a green-and-navy striped pullover and striped pants. On later outfits Kors played with the proportion of the stripes, mixing thick and thin, and even horizontal and vertical.

Kors said he purposely included bright colors and fun details on clothes that, while technically for spring, get shipped in February.

OSCAR DE LA RENTA

Latex and leather: That's what keeps Oscar de la Renta modern while maintaining his position as the godfather of uptown style.

On his runway Tuesday evening, de la Renta equally paid homage to the decorative and frothy styles that have been his hallmark for more than four decades as well as the new technologies that keep fashion ahead of the pop culture curve.

One of the most remarkable looks was a two-piece dress made of ivory silk faille and with a feminine peplum around the hips that also featured a top layer of a latex flower appliques that could have been the icing on the most delicious cake.

Leather has been a staple of this round of previews for editors, stylists and retailers, but de la Renta took the risk with latex, which actually seemed even lighter and more supple than the buttery leathers the crowd has seen.

OSCAR DE LA RENTA CHILDRENSWEAR

Like a proud grandfather, de la Renta beamed Wednesday as bite-size models showed off his first full children's collection for spring, a garden party of floral and lace party dresses for girls and classic layered looks for boys.

One lucky little model hitched a ride in a wagon painted in a blue petal design to complement her red dress in the same print. Two boys toted skateboards for their strut down the runway and two others glided on scooters.

Some had their end-of-runway pause before the cameras down like the bigger pros — and all wore huge smiles.

De la Renta launched a small collection of kidswear for spring of this year. Generally, de la Renta children's party dresses last season didn't exceed $350 — far from the priciest in the lucrative toddler-with-bucks market.

BETSEY JOHNSON

Betsey Johnson threw herself a big, crazy 70th birthday party with pal Cyndi Lauper belting "Girls Just Wanna Have Fun" and confetti-slinging models prancing decade-by-decade down a runway in her wild clothes, including one clutching a not-happy-looking baby pig.

Johnson's grown daughter Lulu popped out of a huge faux birthday cake on stage and watched with her two young kids as grandma performed her signature cartwheel and splits.

If anybody deserves a night out, it's the flamboyant Johnson, a breast cancer survivor who lost control of her signature boutiques after Betsey Johnson LLC filed for Chapter 11 bankruptcy protection in April.

The brand will continue on a wholesale basis and online, with moderately priced clothing sold in department stores, along with accessories and other licenses.

So why not celebrate? Huge video displays offered glimpses of her rock roots in the swinging '60s, as models held up glitter-lettered signs marking the decades, culminating in new clothes for spring with a princess theme.

Johnson's actual birthday is Aug. 10, 1942, but who's counting.

HOLMES & YANG

Holmes might have just tipped off the paparazzi on how to find her: They should look for a woman a camel-colored suede capelet with red shorts, or, if it's later in the day, maybe a strapless jumpsuit with beaded fringe running down the side.

Holmes and her design partner and longtime stylist, Jeanne Yang, didn't have a runway, just 14 models on pedestals.

One wore a black leather lingerie-style camisole with an olive silk button-front maxi skirt, and another had on a black lace slouchy blazer with black lace short — an outfit right on trend with what tastemakers have been seeing this round of previews.

Many of the outfits hit on the menswear silhouettes and luxury fabrics Holmes favors.

NANETTE LEPORE

It's not uncommon for little gifts to be given out at Fashion Week shows, but the one that awaited guests at Nanette Lepore was not the usual fragrance or hair-care item: It was a big blue Obama-Biden button.

Backstage, Lepore said she'd been upset that nobody seemed to be talking about the election. "So I decided, even if you don't support who I'm supporting, at least pay attention to it!"

Lepore delivered a colorful and snappy Spring 2013 collection, dominated by a brilliant shade of green she calls clover. "Greens were just feeling so fresh to me this season," she said.

The clover shade appeared in everything from jackets to tops to trousers to dresses to swimsuits, in solids and in prints. It was often accompanied by black and white, either in stripes or in checks.

RACHEL ZOE

Rachel Zoe showed that the relaxed glam she is known for doesn't always have to mean a bohemian maxi dress. She presented a collection that was a bit more of a tailored take on "effortless cool."

The first look out was a white skirt suit. OK, it was a maxi, to-the-floor hemline, but it was the sharp styling that will linger with the audience.

Even the tunic and fluid pants, jumpsuit and romper that seem to fit with Zoe's core muse had more strength to them, thanks to graphic, mod, black-and-white contrasts.

The paillete-covered T-shirts and sweatshirts also added a new twist.

She said she had in mind 1960s fashion icons Brigitte Bardot, Jane Birkin and Charlotte Rampling. They are, she said, "glamorous all the time and that's who I design for."

BIBHU MOHAPATRA

Bibhu Mohapatra was working on costumes for an opera in upstate New York not long ago when he saw an insect that fascinated him: a luna moth.

That graceful insect inspired his Spring 2013 collection, in which he embellished both daywear and evening gowns alike with intricate cutouts, filigree-inspired prints, appliques and embroidery.

For daytime, a sleeveless white top had "drapes," an almost winglike effect. It was paired with a steel-colored pencil skirt. An onyx leather dress was enhanced by intricate laser cutouts. A sea green and sand-colored suede dress with silk inserts was one of the most wearable daytime looks.

Some of the embellished gowns seemed a bit too busy. But a chartreuse and sand organza gown with a hand-pleated skirt made a wonderfully striking impression: the effect was that of a swirling breeze enveloping the model as she glided down the runway.

VIVIENNE TAM

Vivienne Tam took on the Five Elements of Chinese cosmology in an East-meets-West spring collection of three-color geometric applique and hexagonal cut work that moved with her models.

Touches of black patent shined like metallic silver and gold printed on cotton denim for tops and wide-leg cropped pants. A trench was also done in the bright silver.

A geometric design of white, jade green and black stole the show, in loose cropped pants, a short organza column dress and another looser and waisted dress with black straps and matching cutouts at the chest.

The yang? Reverse pleats at the hip in a long column dress. Nobody but the very thin, and hipless, can wear those.

NARCISO RODRIGUEZ

From the triangular cleavage cutouts to the plunging V-necklines, Narciso Rodriguez made his point with pointed shapes.

"It's a very graphic collection. It's kind of a signature at this point after so many years: the splicing, the color, especially black and white," said Rodriguez before his show on Tuesday.

But while the designer known for modern and architectural silhouettes showed a handful of black and white looks, color dominated the minimalist collection with blood-orange sheath dresses, a loose-fitting fuchsia blazer and silky tops with intricate, emerald embroidery.

The easy-breezy collection ended with a stream of silky soft, paper thin, slip dresses colorblocked with geometric shades of pink.

JENNY PACKHAM

British restraint? Not here.

The Jenny Packham catwalk was a parade of one glitzy, glamorous look after another, and she wasn't one to shy away from a single — or thousands of — beads, sequins and sparkles.

Packham wouldn't be doing justice to 1960s Las Vegas without them, right?

London-based Packham said in her notes that she took a long look at Lauren Bacall, Shirley MacLaine and Angie Dickinson, aka "The Rat Pack Mascots," as inspiration. If these muses were to swing open the closet doors in spring 2013, they would find Packham's checkerboard-beaded gown, a swinging trapeze-beaded mini and the ultimate hostess dress, an orange T-shirt gown with embellished long-sleeve cuffs.

MARC BY MARC JACOBS

Marc Jacobs threw a hipster picnic with a mashup of neon checks, plaids and stripes — large, small, wide, narrow — loaded into outfits as many as five at a time for his more moderately priced Marc by Marc Jacobs line.

Other looks for men and women were less busy. There was an edgy chic to a roomy ladies' button coat in off-white with embroidered silver dots, and another in solid bright pink with large pockets, vents and heather gray sleeves with matching pink trim at the cuffs.

Another button coat was more fitted, in a fuchsia pattern of smaller dots against dark blue.

But the line's spring show shouted bold, fun prints in bright orange, pink, purple and red.

J. CREW

J. Crew is sending its customer packing. The retailer presented a collection of upcoming styles on Tuesday that picked up influences from vacation spots around the world.

It was only natural to tap into the retailer's growing international presence, explained Tom Mora, women's vice president of design, in a pre-show interview. "I always have her (the J. Crew customer) in my head, and she travels with me. I'm mostly taking her to warm places."

One print on a pajama-top dress featured the image of a hotel and its pool — probably Miami in the 1950s. And there was pink, lots of it.

WHITNEY EVE

Whitney Port turned to the crown jewels of London in prints that evoked precious stones, crystals and rock formations in gray, greens and a broad range of blues, from sky to, well, jewel.

Solid white blazers and loose shorts offset the show of color in dresses and lightweight cigarette pants for the spring collection of her Whitney Eve line. She used light black and gray that way as well, including her finale look, a long dress of shimmying fringe panels.

The actress who rose to prominence on MTV's reality show "The Hills," earning her own spinoff, "The City," launched the Whitney Port label in 2008, making use of masculine tailoring with a feminine aesthetic.

Olsen twins lead NY Fashion Week at The Row

Olsen twins lead NY Fashion Week at The Row

Here's how far Mary-Kate and Ashley Olsen have come with their fashion collection The Row: Sitting at the spring preview, it becomes clear that other designers at New York Fashion Week have been mimicking the layered-yet-airy refined look that is at the heart of this label.

This was the real deal, though, with the Olsens piling on the models long and fluid duster coats, tunics and dresses on Monday, sometimes paired with pajama pants and other times with slouchy skinny-leg silk ones.

The Row did hit on the emerging lingerie trend, although they don't get credit for starting that one. That seems to be a collective statement coming from fashion insiders as they put next season into focus.

Almost every outfit here was a single color, head to toe, allowing for barely noticeable lines, although the designers know what they're doing when it comes to tailoring. The palette was dominated by various shades of cream but there were bits of black and tan, and muted red and blue. There was no embellishment so the clothes had to speak for themselves.

"This season The Row takes us to a world of pure, soft and delicate lightness," the Olsens said in their notes. "Inspired by the 18th century scrolls of Ito Jakuchu, depicting the Japanese traditions of bird-and-flower paintings, the new collection celebrates a spirit of subtle colors and exquisite layering."

It was another example of the easy elegance that earned them the Council of Fashion Designers of America's award earlier this year as the top womenswear designers. It's unlikely you'd find a doubter in the crowd of top-tier editors, buyers and stylists who got up early for this show, held in the intimate restaurant of The Carlyle hotel on Madison Avenue.

The Olsens took in the show from one of the banquettes.

What clothes? Skin is ever in at NY Fashion Week

What clothes? Skin is ever in at NY Fashion Week

Bikini season may be over, but this is no time to tone down the workout. Many of the styles on the runway at New York Fashion Week flash a bit of skin here or there: bare midriffs, cutout backs, keyhole necklines.

The silhouettes in spring previews that entered a fourth day Sunday aren't necessarily skin tight, but it's not a season of full-on floaty frocks, either.

"We've gone so far away from overt sexiness, but the reality is, sex sells. At some point the shopper wants to be sexy," said Hal Rubenstein, fashion director of InStyle magazine. "Illusion fabric on a shoulder or a little skin showing on a midriff gives you a hint without giving it all away."

Victoria Beckham and DKNY continued the trend with bra-style tops, while many of Alexander Wang's looks were seemingly held together by fishing wire. Mercedes-Benz Fashion Week continues through Thursday before the fashion crowd heads to London, Milan and Paris.

ZAC POSEN

The audience had started griping about Zac Posen's delayed start, but as soon as Naomi Campbell took that first step on the runway, there was a collective "aha".

And then there was an "ooh".

The spring collection was being modeled on the terrace of Lincoln Center's Avery Fisher Hall by many of the models who helped put Posen on the map a decade ago. Campbell, Erin O'Connor, Karolina Kurkova and Alek Wek were among the catwalkers who'd strut for the newbie because they were such fans of his masterfully made clothes.

Fast-forward to the new season, and Posen put them in romantic, glamorous gowns with the intricate, detailed, show-stopping sort of details that first won them over. Campbell wore a corseted daytime dress with a swingy dance hemline, setting the tone. The best of the gowns had either tons of tiny tulle pintucks, mermaid silhouettes or candy-ribbon peplums.

DIANE VON FURSTENBERG

Diane von Furstenberg called her spring collection "Palazzo". "La Dolce Vita" also would have worked.

The muse has "the polish of a princess and the heart of a gypsy," von Furstenberg said, and she travels from Rome to Marrakesh and then off to Jaipur, India.

She takes with her on this journey tunics and skinny-leg pants - practically silk leggings - to wear during the day, and a blood-orange scarf gown attached to a silver choker and cuff bracelets for the night. She brings her kiwi-green gown with a cutout neckline just in case she'll need it for a last-minute, black-tie invitation.

The trip is definitely more play than work, a bit of a departure for von Furstenberg whose label often is the workhorse of a career woman. But these clothes fuel the fantasy she might be having at her desk.

Google co-founder Sergey Brin was on hand and Von Furstenberg and some of the models wore Google Glasses that were collecting video for a project to be released on Google-Plus and YouTube on Thursday.

VICTORIA BECKHAM

Victoria Beckham's show not only looks like her signature pulled-together, well-edited style, but it feels like her, too.

She's the thoughtful hostess with waiters offering morning juice to the crowd at the New York Public Library, but she keeps the guest list very tight. She's one of the biggest draws of the week, but there's no frenzy of paparazzi photographers. (Husband David Beckham, however, did take some photos from his seat.)

Beckham said she checks - or doublechecks - every look to make sure "it looks good from every angle".

The clothes for spring had a delicacy that she said was new for her this season, although the clothes remained substantial and structured. It was the touch of illusion lace, the lingerie bra top or hemline of pleated chiffon that took the edge off banded short skirts, zip-back sheaths and shirtdresses.

"I want to design what I want to wear," she said.

DKNY

What can stop traffic in always-bustling New York? Donna Karan in a taxicab-yellow raincoat.

Karan took her bow in the eye-catcher at Sunday's DKNY New York Fashion Week preview to the delight of the fashion insiders and to the passers-by on the street who could peek in the open doors to the Chelsea studio space.

She turned out a collection of mostly sporty looks featuring white perforated leather (think golf-glove material), camouflage prints, bathing suits-turned-bodysuits, bra tops and long neoprene dresses with mesh backs and sexy inserts. One of those dresses was in the same super-bright yellow that Karan wore.

DKNY is supposed to dress its customers every day and for every occasion, Karan said in a post-show interview: "When I can wear the same thing as the girls on the runway, I've done my job."

CHADO RALPH RUCCI

Color and contemporary details took the show for the luxury line Chado by Ralph Rucci.

Rucci and his team mixed old world glamour with new world touches like a swirl pattern of braiding on the sheer top of a chiffon-skirted dress. The same braiding in a riot of neon colors was used on one long sleeve of a basic black pantsuit.

Crystals sparkled on a coral blouse worn with a white wrap skirt that carried the pink along the hem, separated by a single black line. The minimalist line was also used in a wearable white tunic with bright pink at the waist and hem, paired with white cigarette pants.

A subtle quilting technique called trapunto lent elegance to silk faille suits and dresses made of the wetsuit material neoprene in white and bright pink.

THAKOON

You've got to have a sense of humor - and some guts - to send a birdcage-print dress down the runway as the opening look for a New York Fashion Week preview.

Thakoon Panichgul proved he has both.

The clothes mostly were more serious than silly (Panichgul dresses the first lady sometimes, after all), but, come on, a little gold chain dangling between the beaks of two embroidered birds is certainly a conversation starter.

"You have to have joy in fashion," Panichgul said in a pre-show interview. "I wanted to show classic cool with whimsy."

He got that with a few pieces covered in clear plastic paillettes that mirrored the flashes from photographers' cameras. Panichgul featured many layers of sometimes weighty fabrics, which gave the clothes their shape and structure while still allowing for a looser silhouette.

TRACY REESE

Tracy Reese rode her Michelle Obama bump from the Democratic National Convention to the runway, putting on a show of juxtapositions in color, textiles and embellishments.

"It's still such a big high," Reese smiled backstage after the show. "It reminded us how grateful we have to be to live in this country."

In a range of foliage greens, cool blues, warm ochre, tangerine and crimson, Reese put wide bands of flat industrial shingle sequins on airy loose trousers in yellows and reds.

She mixed a dainty, beaded floral pattern on top of one sleeveless shift dress with zigzags outlined in black sequins against bold blue on the bottom. Reese worked in phosphorescents to embroider bright pink flowers on the top of a tunic, using the same technique in yellow in a tribal pattern at the bottom.

DEREK LAM

Burgundy foil paillettes for cocktails or skinny madras plaid trousers with matching jacket in a military green for the office? You can take your pick from Derek Lam's spring collection.

Lam's edgy but wearable runway at a downtown venue included black lambskin halter tops and a fitted black leather dress with a pleated hem. Solid-color leather pieces, including a foldover bodice vest and matching skirt in bright blue, stood in contrast to lasercut foil accents on dresses and skirts and macrame and lace work in tweeds and basketweave patterns.

Lam went metallic gold for a skirt with macrame that stopped at the knee. Most hems landed just above or below the knee.

ALEXANDER WANG

The audience at Alexander Wang is trained to know the best is coming last.

The mostly inventive black-and-white, pieced-leather looks that filled the first part of Saturday's show would have held Wang's place as one of the princes of cool. There were sporty parkas, tops inspired by hockey jerseys and even some more refined halter dresses.

Wang could have called it a collection and be done with it.

However, the final parade of nine models - all wearing a cream color - had their embroidered tank tops, pencil skirts, crewneck dresses and Bermuda shorts turn into glow-in-the-dark lightsticks when they assumed a final pose on the runway and the lights went out.

Wang also created a stir by having model Liberty Ross - the wife of the director Kristen Stewart had an affair with - walk the runway, along with the likes of Erin Wasson. Jennifer Aniston's fiance actor Justin Theroux sat in the front row along with rapper A$AP Rocky.

MONIQUE LHUILLIER

The red carpet during the upcoming Hollywood awards season could be a sea of ocean-inspired gowns if Monique Lhuillier has anything to do with it.

Lhuillier, a favorite source for celebrity gowns, presented a bright aqua lace gown draped with a tulle overlay that gave the illusion of rippling waves - and so did a one-shoulder tiered gown in crepe. A sea-glass green gown was embroidered with sparkly beads and had a low, sheer illusion back, and a textured jacquard strapless gown with a trumpet hemline was an underwater kaleidoscope of colors, including blues, greens and purple.

"The Emmys are coming up and some of the looks have been selected so they're on hold," said Lhuillier. Bet the gold, coral-embellished sculpted gown that served as the finale is one them.

JOSEPH ALTUZARRA

On a rainy Saturday night in Manhattan, fashionistas lined up patiently under umbrellas, undeterred, to catch one of the most buzz-worthy spring previews of Fashion Week: that of rising star Joseph Altuzarra.

Actress Kate Bosworth, a big Altuzarra fan, kissed acquaintances and greeted Mamie Gummer, the actress daughter of Meryl Streep. The NBA's Tyson Chandler posed for photos not far from actress Jessica Chastain.

The looks that greeted them on the runway were a combination of the very casual - navy-and-white striped cotton jackets and overcoats, for example, evoking kids' overalls - and the glamorous, in the form of gold fringes on everything from skirts to tanks, and crystal-encrusted garments like dramatic scarves draped high around the neck. Workday looks of simple cotton graduated to looks that suddenly shimmered and glistened under the lights, occasionally perhaps a bit blindingly.

"He's going sky-high," said Nina Garcia, the "Project Runway" judge. "A real original."

HERVE LEGER

Designer Max Azria's bandage dresses for Herve Leger are seriously flattering - you can see that best not on the models, who frankly would look good in anything, but on the fashionistas in the audience at his shows.

But each show needs to have a new theme, and for Azria's Spring 2013 preview on Saturday, it was something unusual: Quilt-making. From Alabama.

One wouldn't ordinarily think of quilt-making from the American South as having much to do with the tight, figure-enhancing dresses that Azria does so well, but the patchwork designs made many of the dresses on display very pretty and colorful, if on a few occasions a bit busy.

Particularly appealing was a blue sapphire high-neck bandage dress with "passementerie" embroidery and applique. Another feature of Azria's on full display here were his leather harnesses, in black or tan, around the neck or in the form of a corset.

Fashion design no celebrity dalliance for Victoria Beckham

Fashion design no celebrity dalliance for Victoria Beckham


If you want to understand how a former Spice Girl and football wag became one of the most commercially and critically successful fashion designers on the planet, you needed only to look at her tweet before her New York Fashion Week show yesterday.
"After three hours sleep I feel like an old bag! x vb#NYFW" Beckham tweeted with a picture of herself with a large purple tote over her head.
Fact is, VB's bags are far from the brown paper grocery store variety. They all have four-digit price tags and are crafted from luxe leathers such as buffalo, calfskin and camel. The super-luxe Alligator Victoria bag had a price tag of £18,000, or around $A27,800, when it was released last year.
The path to celebrities-as-fashion designers is peppered with roadkill.

Lindsay Lohan's ill-fated design career ended after a single collection for Parisian label Emanuel Ungaro in 2009 and when Kanye West's unveiled his debut fashion range at Paris Fashion Week in 2011, one wag described it as "rap with a capital-C."
When Beckham made her NYFW debut as a designer in 2008, she appeared to be yet another celebrity cashing in on her profile with a collection she probably would pay someone else to design for her and perhaps half-heartedly promote a couple of times a year.
Fact is, Sunday's picture of Beckham with the bag over her head shows her working in her studio "after three hours sleep," albeit in six inch stilettos dripping with diamonds and a stonking great gold wristwatch as her manicured fingers tap over the computer keyboard.
You may be shocked to hear this, but Beckham actually does much of the grunt work herself. She has shed the French manicures and orange spray tans of her wag era incarnation and is now wholly focused on her career in fashion. Her earnings are not yet outstripping hubby's, but sales of Beckham's two ready-to-wear lines, sunglasses and denim totalled £60 million in 2011. That's hardly a designer dalliance.
Beckham's debut creations received rave reviews from hard-nosed fashion editors, even though they came with a little inspiration from Roland Mouret, whose figure-enhancing dresses were firm favourites of Beckham's before she began her own design career. But over time the former Posh Spice has honed her own design signature into unashamedly posh dressing, including elegant, calf length dresses and pencil skirts, figure-flattering peplum tops and of course, the rather pricey handbags. Her fashion show on Sunday at the New York Public Library also received an overwhelmingly positive response for its focus on more youthful and softer silhouettes, which for the first time included trousers, in addition to Beckham's ubiquitous dresses.
Unlike many other celebrity "designers", Beckham has been able to build such a credible profile in the fashion industry because she takes it seriously.
When she first showed at NYFW, Beckham personally talked editors in the front row through every single look on the runway, explaining her design process and the rationale for why each garment was a certain way.
Along with investing her own time in the brand, Beckham has recruited a strong sales team and design department and has been honest enough to admit repeatedly that she is still learning about the fashion business.
Another factor in her success is that she actually wears the clothes. While some other celebrities put their names to collections yet rarely - or never - wear them, Beckham is photographed in her own outfits on an almost daily basis, and in terms of her polished, classic style, is her own best ambassador for them.
"The bottom line is, if it's not right for my wardrobe, then it's not right for the brand," she told London's Guardian newspaper in February.
In this sense she is similar to American twins Ashley and Mary-Kate Olsen, who through a laser fashion focus and hard work have made the transition from child stars into the businesswomen behind several highly successful clothing lines, including luxury brand the row, which earlier this year snared them the Womenswear Designers of the Year award at the prestigious Council of Fashion Designers of America awards.
Beckham won the equivalent Designer of the Year gong at the annual British Fashion Awards last year, and the two labels also share a penchant for posh purses: The Row last released a $US34,000 alligator backpack that - gasp! - not only sold, but sold out almost overnight.
But despite Beckham and the Olsens professing their business growth is mostly due to hard work, of course it's also due in a big way to their celebrity, and they remain remarkably high maintenance despite their protestations their success is sustained by a strict diet of humble pie. For example, Beckham is rarely seen in anything but towering Louboutins - although that may change because she - shock alert! - showed flat gladiator sandals during her NYFW show - and glamorous gowns surrounded by a hefty security detail emerging from a blacked-out limousine.
It's just that these days she's wearing her own clothes when she does so, and many others are wearing them too.

Fashion's Night Out: Clash of the real housewives

Fashion's Night Out: Clash of the real housewives


Who is the real housewife: The one with the designer blowout and gold stilettos or the gal in jeans and a puke-stained T-shirt with her hair tied back in a rubber band?

Well, at least they can agree on one guilty pleasure: Shopping.

Both types crammed Christiana Mall on Thursday night for the mall’s second annual Fashion’s Night Out. The international event, hatched in 2009 to restore consumer confidence in a bleak climate, features fashion shows, in-store demos, makeup freebies, raffles and celebrity sightings. Christiana joined fashion meccas in more than 18 countries and 100 cities nationwide to celebrate. Mall officials estimated as many as 10,000 people attended the Newark event, an increase from last year.

“Last year, people just thought we were having a fashion show,” said Lori Anzivino, Christiana’s marketing manager. The event helps the mall compete with ritzier area malls, she said.

Forty-five stores stayed open until 11 p.m. and ran special events or promotions, including buy-one-get-one-free Auntie Anne’s pretzels, complimentary bra fittings at Victoria’s Secret, a Skinnygirl cocktail party at BRIO Tuscan Grille and beauty bars and pop-up shops exploring the hottest trends. A quartet of young women with painted-on blouses and leggings posed before a gaggle of male photographers. Meanwhile, “freeze models,” who were forced to stand still in five-inch heels to blaring techno music, looked visibly uncomfortable.

While the mall was abuzz with activity, some stores struggled for an audience.

“I don’t see the buying power,” said Maurice Allarey, district sales manager for the accessories chain Icing. “I think all the parents are at home biting their nails after what they spent for back to school.”

Christiana landed its own celeb this year with “Real Housewife of New Jersey” Melissa Gorga posing for snapshots and signing copies of her $10 CD.

Accompanied by her squat, beefcake husband Joe, Gorga chatted with a steady stream of mostly twentysomethings – some with children in tow – who waited for two hours in a line that backed up to California Pizza Kitchen. Some fans came from Maryland, New Jersey and Pennsylvania. Meanwhile, local celebs chef Dana Hebert, also known as Delaware’s “King of Cakes,” and 95.7 BEN FM’s Marilyn Russell attracted a not-so-critical mass.

Federer, Roddick fashion 2 different goodbyes

Federer, Roddick fashion 2 different goodbyes


On an emotion-filled afternoon that morphed into a shocker of an evening, Andy Roddick and Roger Federer both bid farewell to Flushing Meadows.
Roddick is leaving for good, a moment he knew would come this week.
Federer is presumably gone only until next year, though the timing of his 2012 U.S. Open exit was unexpected.
Roddick lost 6-7 (1), 7-6 (4), 6-2, 6-4 to No. 7 seed Juan Martin del Potro to bring down the curtain on his career Wednesday - an ending that came, fittingly, on the court where he won his only Grand Slam title, back in 2003.
Federer fell 7-6 (1), 6-4, 3-6, 6-3 to No. 6 Tomas Berdych, who improved to 4-3 in his last seven matches against the 17-time Grand Slam champion. Berdych ended Federer's string of U.S. Open semifinal appearances at eight, much the way he halted Federer's streak of seven straight trips to the Wimbledon final by beating him in the 2010 quarterfinals at the All England Club.
On Thursday, the U.S. Open crowned its first champions of 2012, when Ekaterina Makarova and Bruno Soares defeated Kveta Peschke and Marcin Matkowski, 6-7 (8), 6-1, 12-10 in a super-tiebreaker to win the mixed doubles crown.
Playing in an early men's quarterfinal were No. 4 David Ferrer and No. 8 Janko Tipsarevic, with defending champion Novak Djokovic set to face del Potro later.
On Wednesday night, the Federer and Roddick news conferences were where the post-match drama was. They couldn't have been any different in tone.
''Maybe it's a good matchup for him,'' top-seeded Federer said in one of his several short, clipped answers, when asked about Berdych's recent success against him. ''I don't see him play every match he plays on tour. That's why I can't really answer that question.''
Roddick, however, lingered over his final official session with the reporters. He said it was fun to be in Arthur Ashe Stadium, listening to the fans spur him on with cheers of ''Let's go Andy'' - and to play tennis simply for tennis' sake.
''It wasn't about ranking points or paychecks or anything else,'' Roddick said. ''This week I felt like I was 12 years old, playing in a park. It was extremely innocent. That was fun. I enjoyed it.''
Last week, Roddick used the occasion of his 30th birthday to announce the U.S. Open would be his last tournament as a pro. He did get one bonus day on the grounds, thanks to a rainstorm that delayed his match Tuesday with him leading 1-0 in the first-set tiebreaker. He hit the ground running, won six of seven points after the restart and won the tiebreaker.
That, however, was as good as things would get. He dropped the second set in a tiebreaker, fell behind by two early breaks in the third, then after getting broken early in the fourth set, he could feel the end was near. He appeared to be trying to avoid crying while serving in the next-to-last game. In the stands, both his mother, Blanche, and his wife, actress-model Brooklyn Decker, were wiping away tears.
After match point, del Potro met Roddick at the net for a quick handshake, then pointed at the American, acknowledging that this was his moment. Roddick covered his face with a towel and took the microphone to thank the fans.
''Since I was a kid, I've been coming to this tournament. I felt lucky just to sit where all of you are sitting today, to watch this game, to see the champions that have come and gone,'' Roddick said. ''I've loved every minute of it.''
Warming up for her match while watching Roddick on TV, Serena Williams said she was overcome with emotion. She was in the same situation - next up in Arthur Ashe Stadium - when Andre Agassi gave his equally poignant farewell speech to the fans back in 2006.
''It's the end of a great player, a legendary player,'' Williams said. ''Definitely, I was upstairs thinking, 'Gosh, last time this happened was Andre Agassi. How many more of these do I have to sit through?' It was great.''
If the moment bothered Williams, it didn't show. The No. 4 seed overpowered No. 12 Ana Ivanovic 6-1, 6-3 to set up a semifinal against 10th-seeded Sara Errani, who beat her Italian doubles partner, Roberta Vinci, 6-2, 6-4.
The other women's semifinal will pit top-seeded Victoria Azarenka against No. 3 Maria Sharapova, who returned to her rain-suspended match with a 4-0 deficit but defeated 2007 Wimbledon runner-up Marion Bartoli 3-6, 6-3, 6-4.
Berdych opened his lead over Federer by taking the first-set tiebreaker 7-1. From there, he kept a firm grip on the match, save his stumble in the third set.
''Probably there was not, well, not a bad spot,'' said Berdych, who has never won a Grand Slam tournament. ''Of course, I lost the third set. But, you know, I cannot count on beating Roger in straight sets and not getting in any trouble.''
Maybe the biggest trouble came in the fifth game of the fourth set when he took an awkward tumble to the court and fell on his right hand, the one he holds the racket with. But on a night when everything went well, there was nothing more than a scrape - nothing to prevent him from finishing up a win in which he played well and Federer couldn't harness his forehand, committing 24 unforced errors from that side.
He hadn't played since Saturday, thanks to a walkover he received when Mardy Fish withdrew with health problems. But this year's Wimbledon champion and silver medalist at the Olympics was not in the mood for excuses.
''Once, I had six and a half days off and I ended up winning Wimbledon,'' Federer said. ''I don't think this was the issue tonight.''
Meanwhile, Roddick simply found himself up against a better player. He had beaten men ranked 43rd and 59th since announcing his retirement, but del Potro, the 2009 champion, offered a completely different kind of challenge.
At 6-foot-6 with a flat forehand that he was angling off at will, the 2009 champion here turned things around in the second set. Gaining more traction on Roddick's once-all-powerful serve, that still maxed out at 135 mph Wednesday, del Potro whipped a cross-court forehand return right at Roddick's feet on set point.
Del Potro's momentum continued when he broke to begin the third set, and in the fourth, he broke early, then served out the match.
''No one really wants to be on the opposite side, to be the one who retires someone,'' del Potro said. ''Andy is that kind of player everyone wants to keep playing forever.''
But nothing lasts forever, and Roddick was very much in touch with that coming into this tournament.
He recalled his first trip to Flushing Meadows, back when he was 9. That was 1991. Jimmy Connors was making his memorable run to the semifinals at age 39.
Fifteen years later, Connors would coach Roddick for about two years, before they parted ways. Still, the five-time U.S. Open champion, who turned 60 over the weekend, was on hand Wednesday to watch Roddick fashion his own ending.
''He's a big boy. He's 30 years old and he's a U.S. Open champion,'' Connors said. ''I'm sure his aftereffect, when he gets away from the U.S. Open, will be a bit different. ... It's a life-changing experience.''

Fashion's New Order

Fashion's New Order

FOR much of the 20th century, the seating chart of a runway show gave a fairly accurate reading of power in the fashion industry. The press on one side, retailers on the other; editors and buyers prioritized neatly from front row to last.

But so much has changed in the new millennium — the great online migration, fashion’s ascension as a leading force of popular culture, a thriving new generation of young designers and the explosive growth of social media — that power can no longer be measured solely by where you sit.


In fact, the players have changed, sometimes in subtle ways. There are giants whose power is perennial, as when Anna Wintour, already at the top of the pyramid, sealed her legacy by creating an annual night out for shopping, all the while rebranding herself as a fashion philanthropist, not the devil who wears Prada.

There are others who have unexpectedly become forces. It is now possible that the junior accessories editor sitting in the third row has a bigger voice than the editor in chief; or that the teenage blogger outweighs the middle-aged veteran who spent decades clawing her way up, just to get to the middle. So much competing noise, from people and devices, has skewed the perception of who really takes precedence.

To have power in fashion today means to have real impact, the kind that demonstrably moves an industry, as opposed to merely moving merchandise. It was this criterion that The New York Times considered foremost when setting out to define a new power establishment: those pullers of strings who, reacting to seismic shifts in technology, communication and the economics of their industry, have reshaped the way the rest of the world sees, senses and consumes fashion.

More symbolic than scientific, the following list includes designers, retailers, editors and stylists, and people whose work is largely behind the scenes. There are some whose power was established long ago, and others whose ascent is recent, but each was selected because of his or her impact on fashion in the 21st century, rather than for a lifetime of achievement. Many critical darlings whose work is broadly celebrated, as well as beloved designers whose businesses are worth billions, do not appear here for a simple reason: power is not a popularity contest.

THE DESIGNERS

Oh what a difference a little rivalry makes. As the spring 2013 runway season begins today, there is a sense that everyone will be trying just a little harder, that the fashion flock came home from their vacations a little earlier, especially in Europe. The game is on, and the star players are taking their places.

In New York, there are young designers on the rise, each vying to become the next big thing. In Paris, the first ready-to-wear shows of Raf Simons at Dior and Hedi Slimane at Yves Saint Laurent will take place, showcasing two of the most important designers in fashion today. Which will be the definitive look of the season? The lush coloring of Mr. Simons at Dior? Or the as-yet-undefined vision of Mr. Slimane for Saint Laurent.

But the truth is, there is already a talented field of designers at work, most of whom have only recently risen to the level of establishment. There are, of course, perennials (Ralph, Giorgio, Karl, Donatella — if they don’t need a last name, they’re here to stay), but you have the feeling that a leadership change had been in order for some time.

Click through the thumbnails above to read more about the designers; models; go-betweens; eyes and ears; merchants; business people; wildcards and image-makers who are ruling the game today.

Kate Middleton boosts British fashion

Kate Middleton boosts British fashion

The wider economy is stuck in the doldrums, but the Duchess of Cambridge is helping the rag trade to defy the gloom-mongers.

"She's been brilliant for British fashion and great for the whole economy," says Alice Temperley, whose dresses have been worn by Kate and her sister, Pippa Middleton. "There is no one else who has an effect like her. It has really brought British fashion to the forefront again."
Speaking to Mandrake at the launch of her Somerset by Temperley collection at John Lewis, the designer says the secret of Kate's success is her mixing of price ranges.
"She is a breath of fresh air and has encouraged people to experiment and combine high fashion with high-street fashion. She is a really nice girl as well."
Edward's big night
Prince Harry represented the Queen at the closing ceremony of the Olympics, but it will be his uncle the Earl of Wessex who does the honours at the Paralympics.
Prince Edward is the patron of the British Paralympic Association. The Duchess of Cambridge, who has attended many of the events, will not be at the closing ceremony on Sunday, at which the rock band Coldplay are due to perform. She and the Duke of Cambridge are leaving for their DiamondJubilee tour of South East Asia and the South Pacific the next day.
Run into trouble
Dame Kelly Holmes was delighted when plans were announced to erect a life-size bronze statue of herself in her hometown of Tonbridge, in Kent. The double Olympics gold medallist was, however, less than thrilled when she saw the design by Guy Portelli.
"I have seen a picture of the statue and it's a shame it doesn't quite look like me."
Dave's big tent
David Cameron invited Claire Perry, the Tory MP, to meet him at 10 Downing Street to discuss family policy. On the day, however, her own childcare support broke down and she had to arrive with two children in tow.
"The Perry Two enjoyed seeing the Olympic kitbag cake in the hall, had a play in the garden, looked out for Larry the cat, and sat in the Cabinet room," she says.

Fashion Week mourns volunteer

Fashion Week mourns volunteer


A minute's silence was held at the opening of New Zealand Fashion Week in Auckland last night in memory of a volunteer killed in a car accident on her way to the event.

Felicity Wren, 20, was travelling from Wellington with her friend Millie McCutcheon when their car hit the rear of a truck-and-trailer unit on Friday.

The third-year Massey University student, who was studying photographic design, died at the scene, on State Highway 27 at Patetonga, north of Morrinsville.

Millie, a former Otago Girls' High School student and budding designer, is believed to have been driving. Firefighters cut her from the Alfa Romeo and she was taken to Waikato Hospital, where she was treated in the emergency department and discharged the same day.

"She was understandably very traumatised by what happened," said Sergeant Jared Thompson of Thames police.

Waikato District Road Policing Manager, Inspector Leo Tooman, said both the Alfa Romeo and the truck were travelling south at the time of the collision.

"The truck and trailer unit had slowed as it approached a school bus in its lane that was slowing to turn right on to Otane Rd," Mr Tooman said.

He said both drivers would be interviewed by police later in the week.

Last night in Auckland, the managing director of New Zealand Fashion Week, Dame Pieter Stewart, asked the opening-night audience to observe a moment's silence in honour of Felicity Wren.

Felicity attended St Hilda's Collegiate in Dunedin before moving to Wellington for university. She is understood to have worked part-time at the Country Road clothing store.

A Fashion Week spokesman said she and Millie were to have dressed the models ahead of shows this week.

"They were to work with show producers backstage, helping models change in and out of outfits. The position might have come as a result of industry experience."

Friends of Felicity's sister Jess Wren, who is believed to be in London, shared their condolences on her Facebook page yesterday.

Georgia Maguire wrote: "I am so sorry to hear about your sister Felicity :( much love to you and your family."

Jayne Evans said: "So sorry to hear, Jess, your sister has such a beautiful soul and will be missed."

The Massey at Wellington Students Association said on Twitter: "Mawsa has crossed fingers for a full recovery for Millie. If you need any help during this tragic time please come see us."

Mr Thompson said the police were "facing a number of challenges" in notifying Felicity's next of kin living around the world.

He said officers were working with Interpol and other family members to complete the notifications.

"Members of the serious crash and commercial vehicle investigation units are working to establish what caused the crash."

Joanna Hunkin: Fashion week off-trend

Joanna Hunkin: Fashion week off-trend


It's a harsh ultimatum but one Fashion Week organisers need to face up to.

As the event enters its 12th year, the gloss and mania that once surrounded it has dulled. As one designer pointed out to me - how glamorous can an event really be when the opening night party is a barbecue and cash bar?

Many of our biggest designers have now turned their backs on the event - opting to show overseas (Karen Walker), expand their retail business (Kate Sylvester) or stage their own fashion shows, on their own terms, ahead of Fashion Week (World and Nom D).

Despite the organisers' claims it's "around the same size", this year's designer line up is smaller than previous years - continuing the downward trend that began about four years ago.

Partly, it's been recession related - it costs a lot of money to put on a runway show at Fashion Week (about $50,000 all up - including models, hair, make up and lighting) and sponsorship is increasingly hard to come by.

There are fewer sponsorship dollars in the marketplace and it's harder than ever to convince big business to invest in fashion over other, worthier causes.

The Fashion Week brand has also struggled with sponsorship - losing their naming rights sponsor three years ago. With it, they also lost thousands of dollars of airfares provided by Air New Zealand to bring international delegates to the country.

Recent years have seen international media and buyers all but disappear from the front row, replaced by bloggers of questionable influence and local buyers.

It's not just the cost that stops international visitors attending - timing is also an issue. Last year, the event was brought forward to circumvent the Rugby World Cup. Now, it clashes with New York Fashion Week, which begins on Thursday.

Bringing the event forward places additional pressure on local designers to get their winter samples made - at the same time they're trying to produce their summer retail stock.

For some, it's more than they can handle, especially when the returns are so meagre.

Dunedin label Nom D pulled out of last year's event after being staunch supporters since its inception. Imagine their surprise, when they found their absence had no impact on their sales or brand.

This year, they've decided not to bother. After all, why spend $50,000 on something that isn't growing your business?

That's not to say the event doesn't benefit anyone. For young, emerging designers the event provides invaluable exposure to media and buyers that's essential to establishing them in the local market.

But much of the appeal for those media and buyers are the big names - the chance to see what our fashion leaders are putting forward. Without them, interest will quickly wane and models will be left strutting before an empty front row.

So what needs to change?

At its simplest level, organisers need to get real. The world is not the same place it was 12 years ago so it's only natural the same format isn't going to work.

Budgets around the globe - in all industries - are tighter than they used to be. People will not fly halfway around the world to see a couple of key designers' collections.

Kiwi designers who are serious about breaking into international markets need to take their product overseas and show directly to those markets (as many already do).

If Fashion Week is not going to be about international wholesale (which most people already accept) then you have to cater to the available market - namely local buyers.

How you do that is open to debate. Some believe showing in-season stock would better serve their brands than showcasing the following season's collection.

Others disagree. But speaking to designers this week - both those participating in Fashion Week and those who aren't - everyone agrees, it's time for a major shake-up.

Upending Fashion, Steve Jobs-Style: 10 Questions With Uniqlo’s Yasunobu Kyogoku

Upending Fashion, Steve Jobs-Style: 10 Questions With Uniqlo’s Yasunobu Kyogoku


The Japanese retailer Uniqlo is on a global-expansion tear, opening new stores in premier shopping districts in London, New York, Paris, and Seoul, and aiming to quadruple sales by 2020 to $50 billion, with $10 billion of that coming from North America. For a company that made its name selling fleece pullovers, ultra-thin thermal underwear, and ultra-light down jackets, it’s a big bet on the appeal of fusing fashion and technology.

Wired Business talked with Uniqlo USA COO Yasunobu Kyogoku in the retailer’s new pop-up shop near San Francisco’s Union Square, a taste of what’s to come in Uniqlo’s first full-blown West Coast store slated to open Oct. 5 a few blocks away.

Wired: Why a pop up store?

Kyogoku: You need to start somewhere in educating the customer that Uniqlo isn’t about putting three holes in a pair of jeans and saying ‘this is the latest trend.’ It’s about a philosophy; we’re made for all, whether you’re 6 or 60. It’s about great casual basics, but with a twist of fashion. Also, we tend to have innovative technology that we build into the products, and you have to try it to understand it.

Wired: Fashion is notoriously fickle and hard to predict. How does technology help you in this environment?

Kyogoku: We sold a hundred million pieces of our Heattech product last year. It doesn’t only help you retain heat, but it actually helps you to generate heat. This is patented technology, developed with our partners at Toray Industries, the world’s largest manufacturer of carbon fibers. [Holds up a charcoal-colored Heattech blouse] When we first did this, we started with thermal underwear, which is a lot thicker. But over the years, we’ve iterated and it’s thin.

Traditional down you would buy is kind of bulky, hence they call them “puffer jackets.” The reason is because down feathers have a pointy end, and the feathers come out of the fabric. So traditional retailers provide an inner shell to prevent the feathers from coming out. Our Ultralight Down doesn’t have that inner shell – this outer fabric serves a dual purpose. There’s a drawstring that, for women in particular, allows you to draw it together and creates this cinch around the waist hence making it very fashionable. It’s not bulky, or masculine.

Wired: How do you go about improving and iterating?

Kyogoku: Attention to detail. Things like teaching our staff to make sure there’s no dust on the floor. When you buy jeans at Uniqlo, we hem it for you here in the back room. In the fitting room, our sales associates will go on their knees, on both knees, and they will hem it. It’s a sign of respect to the customer in Japan; the customer is at a higher level. The customer is what keeps you in business.

Wired: How do you teach your staff to pay attention to detail, and to the customer?

Kyogoku: The term we use, Zenin Keiei (全員経営‬), translates to ”everyone management” or “management by everyone.”‬ The idea is for everyone to think and act like an entrepreneur, a store manager, an executive.‬ Even if you’re a part-time worker, you’re thinking about the customer. We ask our employees, for example, let’s say about a t-shirt, ‘How does it fit? Have you gotten customer feedback?’ By asking for their input our employees are able to say, “Here’s some of the products we should have.” We’ve had some great suggestions as result of that.

As a corporate culture, we believe very, very strongly that all the answers are in the store – for everyone. No one wants to work at a company where the senior guys are off on vacation.

Wired: Is it true Uniqlo orders from its suppliers a full year in advance? What’s the thinking behind that?

Kyogoku: Let’s say you happen to own your own factory, and someone says, ‘In September, I’d like to order 40% of your capacity; in October, 70%; in the rest of the year, zero.’ You’d say, ‘But there’s a gentleman who just came to me and said, ‘I will book 80% of your capacity for a year and in fact, let’s do a long term partnership. Why don’t we add an extra line?’ The more you produce, the more you help me reduce the cost. We pass that to the customer. The customer buys more. We have a positive cycle where everyone wins.

Wired: With a 12-month cycle, aren’t you worried customers will go to faster-moving competitors with trendier clothes?

Kyogoku: We don’t chase trends. People mistakenly say that Uniqlo is a fast-fashion brand. We’re not. We are about clothing that’s made for everyone.