Bernhard Willhelm’s Fall ’09 collection was inspired by alpine skiers. The ski outfits these men were wearing fit snug and showed ample amounts of skin, which is something you would not expect to see on the slops. -Oriana DiNella
Bernhard Willhelm’s Fall ’09 collection was inspired by alpine skiers. The ski outfits these men were wearing fit snug and showed ample amounts of skin, which is something you would not expect to see on the slops. 
An extravagant mix of silk, sequins and elaborate embroidery comprised the Guido Maria Kretschmer collection. No expense was spared with the fabric choice or construction. -Oriana DiNella
Mixing elaborate materials is the name of Scherer Gonzalez’s game. Satin, cashmere, velvet, ostrich feathers, snakeskin and goat leather all made an appearance on the runway. -Oriana DiNella
There is nothing cohesive about the Sisi Wasabi collection except for possibly the color choices. -Oriana DiNella
The hard edge of the Lala Berlin show was brought to life with her color choice. All looks were in the power colors red or black. Black sheer jumpers were layered under black jackets.-Oriana DiNella
After attending enough shows to start to sense a theme, it is clear that Milan Fashion Week is turning towards romantic femininity andLuisa Beccaria’s Spring 2010 collection did not stray from the trend.Models in pert little headbands a la the 1950’s dressing room topped each models head and accompanied eyelet and lace. When color did emerge it calmly seeped into the designs with tones of lavender and blue and pink. Ruffles, satin and curvy full length gowns finished off what could only be described as heaven.
-Lynn Furge
-Lynn Furge
Fair Trade by Definition Fair Trade: contributes to sustainable development by offering better trading conditions to, and securing the rights of, marginalized producers and workers.
For the Fashion Industry that means:
• Work with marginalized producers and workers in order to help them move from a position of vulnerability to security and economic self-sufficiency
• Empower producers and workers as stakeholders in their own organizations
• Actively play a wider role in the global arena to achieve greater equity in international trade.
• Pay workers a living wage
• Do not hold or force the workers into overtime
• Subject the workers to a safe and healty working environment
• Do not employ child labor.
• Work with marginalized producers and workers in order to help them move from a position of vulnerability to security and economic self-sufficiency
• Empower producers and workers as stakeholders in their own organizations
• Actively play a wider role in the global arena to achieve greater equity in international trade.
• Pay workers a living wage
• Do not hold or force the workers into overtime
• Subject the workers to a safe and healty working environment
• Do not employ child labor.
With many fair trade organizations out there to monitor production, it is important for both designers and consumers to understand both the meaning and certification. Most agricultural items can be certified by the Transfair. For Cotton (as in Edun, American Apparel and many others) certification can come from Fairtrade Labeling Organization.
Certified Organic is an entirely different label. There are no real rules and regulations for clothing. There are USDA standards for certifying cotton plants and the cotton fibers that they produce as being organic because cotton seeds and cotton oils are also important food products. So your favorite cotton shirt can be made from 100% certified organic cotton even though the cotton fabric might be full of chemical finishes and heavy metal dyes. Please look to the following organizations when trying to get organic textile certification in your country of origin: the Organic Trade Association (OTA) in the U.S., the Soil Association in the U.K., the International Association Natural Textile Industry (IVN) in Germany, Demeter in Europe and internationally, KRAV in Sweden and the Scandinavian countries, and the Japan Organic Cotton Association (JOCA). Each of these organic trade associations has developed standards for defining and regulating what constitutes organic and sustainable fabrics, textiles and garments.
Sustainable textiles might just be materials made from an old diner banquet.
Please log onto Certified Organic to register in terms of cotton
In order to get your collection certified for either fair trade of certified organic, you need to research and appeal to these organizations, otherwise you will become just another person on the sustainable bandwagon.
Online deals offer perks that stores sometimes cannot. With the convenience of shopping from your home, office or even mobile device comes other costs, such as those for shipping, but to draw consumers in, companies frequently offer online sales and special deals, including minimal or free shipping costs, and buyer friendly policies, like free returns, and satisfaction guarantee policies.
Another reason online shopping may be so popular is that online versions of stores are known to target their consumer audience on social networking sites such as Facebook and MySpace. People who have accounts on these sites are likely to be the ones shopping at certain retail stores, like American Apparel who, according to comScore report is said to have had 483 million online advertisement views in April, by 49 million Internet users, roughly 9.9 times during the month.
Perhaps this is the reason, according to Business Wire, that American Apparel’s online consumer sales increased 72% from last year’s third quarter profits to this year’s third quarter profits, from $6.4 million in 2007 to $11.0 million in 2008. American Apparel is popular for many reasons, for example, there are no visible logos on their clothes, virtually all pieces are comfortable and stretchy, any style comes in a multitude of colors, and it is becoming increasingly trendy worldwide. American Apparel is also well known for their racy, soft-core campaign advertisements that attract people of all ages, but the age group of those in the ads, and those targeted by the ads are the same, and this connection could be another point of success.
The Internet’s early wild success is largely attributed to online porn availability, and so perhaps it is not too far fetched to attribute American Apparel’s online success to the concept that ‘sex sells’. After all, it worked for Abercrombie & Fitch. Though the company is appreciated for the lack of sweatshops, and their environmentally friendly stance, their selling point appears to be appealing advertisements thrown in the faces of receptive consumers.
Internet targeting really does work, but the secret seems to be the connection between retail and social networking site demographics.
-Eliza Goodman
The innovative spirit and entrepreneurial attitude is what makes fashion not only creative, but a business. With countless accolades and accomplishments Nolcha found Norma Kamali to be an inspiration to both fashion students as well as up-and-coming designers around the world.
Being the first on many levels of the fashion industry is always an interesting journey. Nolcha sat down with Ms. Kamali to time-line her career and link them to their fashion influences to prove that Kamali is the reigning Queen of the Design Entrepreneurs. 1964 – Graduated from FIT with a degree in Fashion Illustration
Nolcha: Did you always know you wanted to have your own line, or originally did you feel you wanted to sketch for other designers, magazines?
Norma Kamali: No, I never wanted to be in Fashion. I wanted to paint but I was looking for a commercial venue for my drawing and painting skills. In FAT at FIT at the time everyone was dressed very Jackie O with matching bags, shoes, etc., even gloves. I was never that well put together, so I decided to leave fashion and try travel. I ended up at an airline job in the office and went to London every weekend for 29 dollars round trip for four years straight. I was in the right place for my destiny. I knew this type of fashion expression was much more like me.
1968 – First shop on 229 E 53rd Street.
N: How did you get buzz around the opening of your store as a young designer?
NK: While at the airlines, I brought back styles from BIBA and Bus Stop and carried them through and sold them in my basement shop. Rent was 285 dollars per month! Soon enough I started designing and making clothes. And I was literally discovered in that basement. The shop was in a row of coloured brownstones with other new designers like Betsy Johnson and her store Betsy Bunky and Nini Three Partners… so I was in a cluster of stores that were of interest to people to see. Kind of like the East Village or the Lower East Side is to people today.
1975 – First Sleeping Bag Coat
N: For an item that has been around for over 3 decades, how to you promote the timelessness of the piece, while keeping with today’s society’s desires for newness?
NK: Timeless style, I have learned and really continue to learn really is fashion. When a trend evolves to timeless style, you have truly achieved something as a designer.
1977 – Swimwear worn by Christie Brinkley shot by Francesco Scavullo for Sports Illustrated.
N: How did you have to change the direction of your business plan or collection focus due to the industry’s and commercial excitement over your swimwear?
NK: Carefully expand with caution to still be strong in swimwear. Believe in your convictions and stay with them.
1980 – Fashion at a Price Collection
N: With everything being more is more in the over-indulgent 80’s how did you find a need for fashion at a more reasonable price? What effects did it have on your business and the industry?
NK: It turned me from a cult designer to being much better known.
1984 – Fall Fantasy video directed and produced by Norma Kamali
N: This video pushed forward an important trend in fashion merchandising… please explain.
NK: It was my answer to runway… See the clothes on real women with humor. Sex and the City is the evolution of that theme and it is a huge success. And way more accessible to women than fashion shows which can be elitist. But in fashion it seems, “elite” is not such a dirty word so the film is the best of both worlds.
1986 – Design for Twyla Tharp
N: How do you approach designing for dance, film or auxiliary projects that aren’t specifically a new season’s Norma Kamali collection?
NK: I studied anatomy, Michelangelo was my idol and Rudolph Nureyev was too so designing for dance is easy…
1986 Cont. – Win the Architecture Award for your Flagship store on 511 W. 56th Street
N: How do you branch out with designing when dealing with architecture and not fabric? What elements did you want your space to embody? What kind of non-fashion projects inspire you?
NK: I love them all. Design is design and one label is crippling to me. As I venture out to new projects I become ever more inspired to design clothes and concepts for dressing.
1987 – Licensing deal between Norma Kamali and Bloomingdales for a specific line exclusive to that department store
N: How do you feel you paved the way for other designers to link up with retail corporations and create exclusivity? Were you inspired to create an exclusive line, or did Bloomingdales approach you?
NK: It was unique and the first of its kind. I loved it… lots of opportunity to think of the image of the store. I totally believe in this especially if a store feels a designer has the pulse of their customer.
1988 – Public Education Association Award for Outstanding Graduate
N: Why do you find working with the youth of our culture is so important? What one lesson can you teach them through your own experience?
NK: I am a public school graduate and the opportunities for inner city schools and the students is limited. I was fortunate to have outside businesses come to the school I was in and present me with grants and scholarships that allowed me the opportunity to go on with my education. Now is my chance to do the same for others. I truly get back more in the process of doing this than I give…
1993 - OMO launched because of the active lifestyles of the 1990’s
N: What about active wear inspires you? What design elements need to be taken into account when designing for that specific market of busy women?
NK: OMO was established in 1976 when I left my partner and ex-husband to open my own business on my own. The active line was based on the new awareness of fitness health and beauty which I am still committed to in my business. I love doing technical design for the body, its movement and the feel of support when working out or the function of the construction and the cloth in active sportswear. It is the most modern of all design for women
1994 – Beauty line Launched
N: With beauty, eyewear, home, etc. please explain to me the idea behind the beginnings of a “lifestyle brand” and not just a fashion label? Was that your initial intention?
NK: I do what I believe in and beauty was in a transition and still is… The belief that to look beautiful the more make up you wore to look airbrushed was the look then. I believe that fresh, healthy skin of any age is more beautiful and the less you cover it and the more you do to improve its health, the more beautiful you look and the more youthful.
1995 – Poly Jersey Collection
N: Many of the new designers pride themselves on separates that are multi-functional for that busy lifestyle and I feel you are the queen of that entire movement in fashion. Can you please explain why you chose the specific textiles you did when initially launching the Poly Jersey Collection?
NK: Any designs that function and are easy to care for, are portable and packable is modern and what I do best because that is how I live. 1996 – World Wide Virtual Reality of the Kamali Collection omo-norma-kamali.com
N: Who attended, how did you get people to participate when the idea of virtual collections was so new?
NK: The internet was new for streaming and selling and we actually set up our website and the launch of our collection on line.
1998 – Shop Like a Celebrity Service
N: In a current world, where everyone wants special treatment, and nothing comes fast or easy enough you really pioneered the convenience of on-line shopping. I feel simple things like Zappos.com (for shoes) would not even exist if it weren’t for your original idea, please explain the evolution of Shop Like a Celebrity and if that helped you gain a larger clientele, how it changed you internet business etc.?
NK: It is what everyone should do. Allow clients 48 hours to try before they buy and they only pay for what they keep… so what better way is there to buy a swimsuit. Then it is a final sale!
1999 – Living Rubber Collection
N: Please describe the technology involved to create this product?
NK: Body heat changes the color of the fabric like the mood ring type principle.
N: How do you feel the internet has changed fashion for both the customer and the designer?
NK: It made fashion accessible to the masses…therefore the mass stores are now acceptable places to shop for everyone!! It also made for smarter shoppers who can find what they want at a price they feel comfortable with.
2002 – Entrepreneur Award by the Fashion Group
N: What one piece of advice would you give a person starting out in the fashion industry?
NK: You have to accept hard work. No money and no recognition for a while, maybe a long while. It took me 14 years before I earned a real living. The recognition is nice but there is always tomorrow and another collection and challenge. You must love it above all and decide what your commitment will be early on.
2003 – Launch of wellness.com, Bar XV space
N: As the lives and practices of your clients evolve, Norma Kamali evolves with that change. Please explain your intuitive process and where you see lifestyle boutiques going in the future?
NK: Basically I continue to do what is true to my interest. This is and was fitness health and beauty in the early 80’s and 90’s so wellness is very much in my sensibility.
2005 – Everlast Sweats Deal
N: The idea of sportswear is as American as apple pie and baseball. How do you keep the designs current and fun while still creating functional basics that the public needs?
NK: This is timeless style… what I did in the 80’s at a time when no one wore sweats to travel of out of the gym. And now casual is the lifestyle of all Americans. It goes to say that the sweats are timeless and good timeless style is the challenge to design. It is hard not to over trend the style.
2006 – Spiegel Deal launching the jersey pieces in an exclusive collection
N: What can you teach designers about creating detailed simplicity (by this I mean a succinct collection in basic colors and fabrics that need to fit many different types of women and be flattering to many ages)?
NK: Here is another look at timeless styles I have done through the years made at a price with no compromise to fabric construction or design for an online and catalogue business. The ability to appeal to many women was the success of this collection, and still is.
2008 and beyond –
N: What role do you feel technology plays with each of your collections? How do you mix vintage sensibilities with futuristic textiles and create a harmonious balance?
NK: My next project is to design for Wal-Mart, the largest store in the world. I can reach and affect more lives through this venue than any other. I can help women with self esteem issues and I have the opportunity to design into many categories. I continue the high end lines for my store and Barneys and Bergdorf type stores but this is the thrill of my career. Where my work through Wal-Mart will affect more lives than my vote as an American citizen!
Nolcha popped into the fittings for Custo’s show in New York this February, to see why he is on top of our list for Jet Set chic.
Nolcha: How many people work on your design team?
Custo Dalmau: Two Core and three more full time designers. So five in total!
N: You are known for patterns and mixing textures. How do you create a wearable pattern?
CD: Our DNA is colour, graphics, materials and the fusion of all three. It is like a DJ that has to select the right mix to make a beautiful song. We have more than twenty five years experience to get the right doses of what mixes perfectly together.
N: Your ideal muse is getting on a plane/train/car to go on mini-break for the weekend. Where is she going? What is she riding in and which pieces of your current collection does she bring with her?
CD: She is a woman that loves her individuality, has a sense of humor and a young spirit. She will go anywhere she wants. Riding in whatever gets her there the fastest to enjoy her time and will bring one of the dresses, comfortable pants and one of my cocoon over-sized coats.
N: What three things do you feel are synonymous between your women’s and men’s lines?
CD: Color, graphics and a sense of humor. Sense of humor is crucial in life… really in anything your do!
N: How do you decide what to sell from the runway to the store? How do the store versions of the runway looks evolve?
CD: I decide in a rational way, there are parts of the line that are more commercial and they go to the stores. Sixty percent of what you see on the runway will be sold commercially. Those that are done by hand will be custom couture and not mass-produced but there are no changes made in the way that a couture garment is “dummed down” to sell in the store.
N: What is the most inspirational location you have ever traveled in?
CD: In terms of color, Guatemala and Western Africa.
N: What about Custo Barcelona makes it quintessentially Spanish?
CD: I do not think the project is just Spanish. There are always people behind the project that have influence so I feel it is a collaborative global effort.
N: Which makes my next question now, more appropriate… what about Custo Barcelona makes it quintessentially global?
CD: My lifestyle. I have traveled since I was ten.
N: If you travel so often, what are the five essentials you bring on every flight?
CD: I only need three. 1) A good book 2) my backpack 3) sneakers.
N: What is your favorite type of music to listen to while you design?
CD: Any kind, from rock and roll to electronic. It depends on the moment, but something always alive.
N: What one thing do you want your peers to understand and recognize/remember about Custo Barcelona?
CD: I do not know if they think about it, but if they do I would like to be known for the enthusiasm I have for my job.
Her clothes have timeless femininity, and with that comes overall image. Catherine Malandrino has created a haven in each boutique for regulars to seek refuge and newcomers to experience life a la vie en rose.
With the launching of her jewelry line this fall and a new store in Los Angeles, we sat down with Ms. Malandrino to find out that indeed there is nothing like building an entire look from start to finish.
Name: Catherine Malandrino Corporation: Malandrino & Catherine Malandrino Designs Location: 468 Broome Street, NYC
Nolcha: Fall 2008: Each piece was so unique; please tell me a little about the detail work done to create a cohesive collection?
Catherine Malandrino: Everything starts with an emotion, a color palette and an image. I was inspired by the symbol of freedom in the American Flag from the movie Easy Rider, the spirit of Harlem in the show Hallelujah, the dance energy and the boyish spirit of Zizi Jeanmarie and the art in the peaceful village of Saint Paul de Vence in Provence for my La Colombe show. Inspiration starts anywhere, any day, at anytime. I consider myself to be a citizen of the world and tend to draw inspiration from wherever I am.
N: How do you feel the balance of smooth silky draped fabrics vs. chunkier knits, and leather etc. echo a woman’s personality?
N: How do you feel the balance of smooth silky draped fabrics vs. chunkier knits, and leather etc. echo a woman’s personality?
CM: A woman can express her feelings and personality through the way she dresses. When she is feeling romantic she can wear a pleated silk chiffon dress with high heels to evoke sleek sophistication. When she is feeling adventurous she can wear a high-waisted belted pencil skirt paired with a top of cascading ruffles and a leather motorcycle jacket as a statement of cool femininity. I love the craftsmanship of couture, such as the draping, the bias skirt and the creation of three-dimensional textures. For fabrics, I like to contrast the lightness of silk chiffon with crispy poplin, and the vibrant colors of the taffeta with soft printed knitwear and rough leather. The way I think about my dresses is very detail oriented and ultra feminine in the choice of fabrics, using satin silk, organza, cashmere with a velvety touch. I like to contrast it by using rough and raw cut stones that give an idea of a primitive talisman bringing strengths and positive energy.
N: In creating a collection, do you keep all of your retail buyers in mind, or do you create an entire vision and then help each store provider work the current inspiration into their seasonal collection?
CM: When creating a collection I have every woman in mind. I design two lines of clothing, Malandrino and Catherine Malandrino, and accessories. I am my own model. I drape the clothes on myself. I handle scissors and sticking pins to create a personal relationship with the clothing. I always try on my dresses to validate my ideas.
N: You create iconic pieces for iconic people (Madonna, Demi, Mary J to name a few). How do you pay attention to your non-celebrity clients to give them the sense that they have purchased their own iconic piece?
CM: I always have a woman in mind. She is an individual, a lover and a mother. She travels the world and dares to use all the code of femininity to assert her personality. She uses her femininity as strength not as a weakness. I am very interested by the sensuality and suggestions that are offered through clothes. The clothes express and whisper your feelings; it is the language of emotion. It is when you discover a women’s character, when you go deeper and deeper to learn and appreciate her full personality and the soul. Every item of clothing has its truth and every client interrupts that truth for herself.
N: The new store is going up in Los Angeles and Las Vegas soon…when does it officially open and how do you decide what new markets you are going to enter?
CM: Each market that I enter as well as each store I have designed has its own individual inspirations. For LA, I feel it is important to open a concept store at this time, instead of another more traditional retail space. I wanted a home destination where you spend time, a place full of poetry and curiosity. The boutique will create a full living experience and allow me to express my creativity beyond clothes, a destination that will speak to all senses…the touch, the vision, the taste, the sound, the fragrance. I want to invite my clients to a unique destination. Catherine Malandrino’s new destination will include a Malandrino cafè and library creating a poetic living experience. It will house my two lines of clothing, Malandrino and Catherine Malandrino, and accessories, including the first collection of costume jewelry and the signature “Summer Rain” chandelier. I want my client to have a warm living experience versus another shopping stop where she can spend time exploring!!
The Las Vegas boutique will continue the tradition of all the worldwide Catherine Malandrino boutiques. This newest addition will also be designed in collaboration with French architect Christophe Pillet. The color palette reflects Catherine Malandrino’s aesthetic with shades of a warm citrus yellow. The boutique will also feature the signature “Summer Rain” chandelier; an oversized sofa with a seating area installation and the patchwork of curved amber glass wall will capture the energy of Las Vegas.
N: When opening the store in Paris, what parts of New York did you bring back with you to start a new venture in your own country?
CM: I have a love story with Paris and New York and I could not live without both in my heart. Over the last ten years, I have mixed both my New York and French identities by infusing the casual cool of the New York streets with the craftsmanship and refinement of French couture.
N: What would you love to add to the Catherine Malandrino Collection?
CM: Anything that can be integrated into a Catherine Malandrino lifestyle!! My mind is always curious and awake!
The Independent Handbag Designer Awards...Now with Matching Shoes
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Handbag Designer 101 invites you to compete in the Third Annual Independent Handbag Designer Awards™, the only handbag competition of its kind in the world.
The deadline for entry is Friday, April 15, 2009.
To participate in the open call, you are required to upload one digital jpeg image any one or more of the following categories:
- Best Student Made Handbag
- Most Socially Responsible Handbag
- Best Handmade Handbag
- Best Green Handbag
- Best Handbag in Overall Style & Design
- Best Shoe in Overall Style and Design
- Best Use of CRYSTALLIZED (™) - Swarovski Elements
All finalists will be invited to participate in the Third Annual Independent Handbag Designer Awards™ that will take place on June 19, 2009, at the New York Historical Society in New York City. Over 500 members of the fashion industry, including press and retailers, will attend the Independent Handbag Designer Awards™.
Win the opportunity to:
- Receive a CRYSTALLIZED (™) - Swarovski Elements sponsorship with free access to crystals and Swarovski know how, to produce a limited edition of the winner bag as well as being featured in a CRYSTALLIZED (™) - Swarovski Elements media campaign
- Win the chance to have a ‘designer feature’ on Singer Sewing Company’s website, as well as creating a downloadable pattern for the Singer audience and a new SINGER CURVY™ sewing machine
- Win a prestigious apprenticeship with Devi Kroell
- Win the chance to have a ‘designer feature’ on Singer Sewing Company’s website, as well as creating a downloadable pattern for the Singer audience and a new SINGER CURVY™ sewing machine
- To be showcased at WWDMAGIC with a free booth and display as well as develop a capsule collection for well-known retailer
- To develop capsule shoe collection in collaboration with Foot Petals display as well as being showcased at WWDMAGIC with a free booth
- Be the BEST in its category and more great prizes to come
Woolmark presented an overjoyed duo with a $10,000 check and commemorative award. Anna and Luke will be flown to either Pitti Filati in Florence or Premiere Vision in Paris as a guest of Woolmark, who will host and introduce them to their network of contacts including mills and fabric suppliers. In an era where networks and contacts are vital for growth, this is an amazing experience.
-Lynn Furge
Reiss is a global clothing brand and the vision of designer David Reiss. Starting as a menswear brand in London, the goal was to bring aspirational and affordable clothing in a lifestyle environment. Launching their first US store in March of 2005 on West Broadway in Manhattan made them an international name.
Nolcha spoke with Laurie Marco, Vice President of Retail Development to find out their methods for selecting successful retail locations, never wavering from their original inspiration and growing their business globally as a true independent retailer. Nolcha: What store was your first launch outside of the UK? Why?
Laurie Marco: West Broadway in Manhattan. The location was phenomenal. We were ready to tackle the US market and New York was always going to be our opening city. We looked for a few years for the perfect location.
N: How does Reiss select the locations when opening new boutiques (for instance San Francisco before Los Angeles and Boca vs. Miami)?
N: How does Reiss select the locations when opening new boutiques (for instance San Francisco before Los Angeles and Boca vs. Miami)?
LM: We are a privately owned business and David Reiss is very influential. He travels the world constantly. He is very familiar with the markets. Boca, for instance has a lot of traffic, you get a lot of New Yorkers that are already familiar with the brand etc. We are looking to go into Miami in May. David desires the right location and the right real estate deal; it is never one or the other. There was so much energy around the location in San Francisco and it was right at the edge of the mall so it was noticeable, therefore we decided to make that our first California store. In LA we held out for the right location.
N: How do you build brand awareness when launching into a new marketplace?
LM: We partner with local business. For instance in New York we partnered with Soho House. Plus it is the training of our managers. They have a lot of ownership for driving the brand.
N: What is David Reiss' design inspiration?
N: What is David Reiss' design inspiration?
LM: His vision is to have products designed for normal people. We bridge from that High Street Level to luxury. We create beautiful clothes at affordable prices. We have clients that we build their entire wardrobe for them. They can buy the dress and then add on the bag the coat the shoes.
N: How as a brand, have you built from the original concept of Reiss to what it is today?
LM: The brand has changed a lot. People in fashion retail move very quickly. When we introduced women’s wear in 2000 the entire brand changed. We had to adjust the staff in the stores to introduce womenswear into the collection. In the past 7 years we have really been building the brand globally. We assess every fine detail. The music, the windows etc. All specifics are really focused and every store has the same vibe.
N: How has Reiss become a global brand?
N: How has Reiss become a global brand?
LM: In 2005, once we opened in the US we basically had a brand and vision that could be anywhere globally. Then we opened our First Franchise store in Stockholm later that same year and the rest just kept growing based on success.
N: What signature things make a Reiss garment recognizable anywhere in the world?
N: What signature things make a Reiss garment recognizable anywhere in the world?
LM: The individuality of the garments and the longevity they get from it. You can really be creative with the garments each season.
N: How much of an increase profit-wise came when you added accessories to the line?
LM: Up until spring summer 08 we have kind have been driveling accessories in. Add-ons are a big focus, but this season is the first season that we are 100% focused on accessories. We took on a new team of designers just to create and help launch the new accessories stores.
N: How important is brand imaging (logo, location and advertisement) when launching a retail fashion line?
LM: Up until spring summer 08 we have kind have been driveling accessories in. Add-ons are a big focus, but this season is the first season that we are 100% focused on accessories. We took on a new team of designers just to create and help launch the new accessories stores.
N: How important is brand imaging (logo, location and advertisement) when launching a retail fashion line?
LM: As paramount as it could possibly be! The locals, the art work… it needs to be as perfect as possible. First impression is the last impression. We have someone in the UK that approves every single piece of artwork. We do not advertise.
N: Customer service and knowledge of products is very important in retail. How do you keep the "Reiss experience" consistent in each location?
N: Customer service and knowledge of products is very important in retail. How do you keep the "Reiss experience" consistent in each location?
LM: Managers have a meeting with their team every Saturday for one hour before opening. It is always different but it gives people updates. They are not commissioned base but they are recognized for their positive work. Our staff members are very driven people.
N: What is the goal globally for Reiss in the next 5 years?
N: What is the goal globally for Reiss in the next 5 years?
LM: The expansion in the US. We will look for another 40 stores in the next 5 years. The Middle East is a big emerging market for us and David is considering an Australian market as well.
The retail landscape has become a combat zone filled with sale merchandise. In order to survive these trying times and pull through, retailers must make sure their stores are correctly merchandised. It is too often one goes into a store to find a sale and they also discover the stores merchandise is in disarray.
When sale merchandise is strewn all over the place, it’s perceived value goes down, thus meaning less money in the pocket of retailers. Staff should make organization a top priority. It is even more important for presentations of stores’ merchandise to be put together.
One way to preserve the integrity of sale merchandise is to integrate it in with the regularly priced items. This not only will make “old” items look new again and not stale; it can also be used to manage the changing of seasons in order to sell through merchandise. One can style the mannequins in this manner, creating a different dynamic with the sale merchandise. Consumers look to the stores image and mannequins as to how they want to style themselves. Innovative and creative ways to mix and match pieces must be taken by stores in order to guide the consumer. The same goes for the window displays. Special attention should be paid to how often these are changed. It is recommended that they be changed quite frequently, again, to inspire the consumer.
Mannequins are not the only visuals consumers look to in stores. The sales staff plays an important role by how they are dressed. Again, if they are styled well and are knowledgeable on the products, the consumer is more likely to make a purchase.
Unique, creative displays add flavor to a store. It also differentiates it from other stores while solidifying the brand image. Merchandise that stores wish to push on consumers the most heavily should be at eye level. These will be the products a consumer will first turn to. Other merchandise must be accessible to the consumer. Nothing is more annoying than going into a store and seeing something you like and then not being able to reach it.
Frustration does not lead to sales. As for ideas on a creative way to merchandise a store, one can look for inspiration to current events. Our last election was a huge inspiration for many store fronts to speak their political minds while displaying their merchandise.
Above all else, the “KISS” factor plays an important role. K.I.S.S., or keep it simple stupid, allows one to have a revolutionary take on merchandising without going to far off the deep end and alienating consumers. When the sale merchandise is kept updated with styling and constant attention is paid to it, both the consumers and the retailers win.
-Oriana DiNella
