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The Renaissance Issue - February 7, 2008

We're embarking on a new era at JC Report. After 5½ years of being published by Flavorpill Productions, this edition signals our first independently produced issue and the first iteration of the design changes we have planned for 2008. Our new direction will be further cemented later this month with a relaunched website, teeming with daily intel from across the globe. Aptly then, we call this our Renaissance Issue, wherein we source the trends, brands, and locales that are undergoing a rebirth of their own. Let's start with the basics: In our Maximum Length feature, the state of the economy is matched by the return of the maxi skirt, while T-shirts Take on Art History profiles a slew of designers interpreting art into clothing. Fashionably Chic at Fasano looks at a brand new Rio de Janeiro hotel built on a spot with major provenance. Luxury Briefing breaks down the state of luxe brand revivals, and our Denim DNA interview spotlights a strategic return to the marketplace by Marithé + François Girbaud.

- Jason Campbell, Editor-in-Chief
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Maximum Length
Hemlines plunge as conservative chic makes a sexed-up comeback

GLOBAL — Hemlines are like the economy, so much so that the correlation between the two has been coined "the hemline theory." Dresses and skirts rose to thigh-high proportions in the '20s and the '60s, just as the stock market took a turn for the better. And now, with the economy on shaky ground, the Spring/Summer '08 runways saw the comeback of the maxi skirt. More than just a signal of a conservative market, however, this influx of long skirts seems to be a declaration that showing less leg might actually have more of an impact.

Perhaps no other item of clothing has a more directional history than the skirt. The most accurate use of the garment in taking society's temperature was in the '60s when the mini became the icon not just of fashion but also of freedom. Supposedly created on King's Road by designer Mary Quant, the short hemline was popularized by Courrèges and reached rage status on the likes of Jean Shrimpton and Twiggy. So does the proliferation of floor-sweeping styles this season mean that feminism is passé? Or rather, have we reached a point where conservative is synonymous with chic?

The latest adaptations of the prairie skirt are anything but staid.



When Kris Van Assche showed voluminous prairie skirts with button-down shirts and vests, one couldn't help but be reminded of Nicolette Grant, our favorite sister wife from HBO's Big Love, played by Chloë Sevigny. On the one hand, her wardrobe of long skirts and high-necked shirts is the epitome of restraint, but when she lets her French braid down, the manipulative Nicki knows how to get what she wants—and the show itself pushes the limits of appropriate societal behavior.

Fittingly, the latest adaptations of the prairie skirt are anything but staid. Gone are the lace-trimmed petticoats and excessive ruffling, circa 1970s Ralph Lauren, and in their place are sleek, single, or multi-tiered designs like Veronique Branquinho's—slender silhouettes punctuated with a single flounce at the bottom. The style was an integral element of some collections (like the aforementioned Branquinho and Van Assche), while other designers used it as a dramatic accent: Zac Posen's prairie was a couture-esque version that ended in a modern, almost architectural ruffle.

The maxi wasn't the only option out on the range though. The spring runways also introduced another iteration in the form of the midi—a full, mid-to-lower calf length design. Prada's checkered versions, fit for a modern square dance, recalled the garment's Western American history, as did Donna Karan's midi done in the traditional denim, but updated with oversized pockets. And there were more formal varieties at Marni and Roksanda Ilincic, both designers who have the ability to take less-than-sexy shapes and make them feminine. But it was Karl Lagerfeld at Chanel who proved that long does not equal conservative, showing just as much leg as a mini with his sheer skirts.

Whether it indicates a shift in the economy or simply a change in style, the maxi skirt most certainly heralds the return of separates for spring and signals a downturn in the dress market. Vera Wang, traditionally known for her evening dresses, pared things down this season, by pairing up big, patterned skirts with silk shirts, fit for a formal. But as with any economic cycle what goes down must come up, and vice versa, so this shift in the skirt could signal a boom, or a bust.

—Meredith Fisher

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T-shirts Take on Art History
From Calvin Klein to Claire Tough, designers are re-inventing the T-shirt with art-world attitude

GLOBAL — When spring rounds the bend, expect the T-shirt to shed its ordinariness. No longer just a functional wardrobe for the warmer months, the T-shirt is being reclaimed by serious designers who are taking cues from influential artists of decades past.

A favored fashion reference of many designers, Ellsworth Kelly's color-blocking technique is always in vogue. Calvin Klein referred to it last season with those noteworthy jersey gowns, and this season the always chroma-centric Eley Kishimoto couldn't ignore Kelly's geometric precision. Australian Josh Goot, whose lascivious dresses have mined a minimal vein in the past, chose to abstract Claude Monet's painterly strokes (à la The Path through the Irises) for spring in a multi-hued printed top. Veronique Branquinho, a curator of the hyper-creative A Magazine #6 (an arty bimonthly Belgian publication guest edited by designers), patterned an accommodating shirt with stripes in the spirit of Frank Stella.

This angular exactness was also seen in Limi Feu. The new line designed by Limi, the daughter of Yohji Yamamoto, debuted with an ode to asymmetry and deconstruction not unlike her father's work. Her careful study of form produced a transparent oversized shirt with undertones of Le Corbusier's lines—but worn with slouchy black pants and a jacket, the look became an exuberant Franz Kline painting. At Balmain, Christophe Decarnin's drapey grey shirt encrusted with silver embroidery recalled Erte's art deco flourishes in his gouache illustrations.

Cropped early '90s-style tops with neon zebra prints recall Andy Warhol's pop art.



In London, Claire Tough illustrated an oversized blouse with a charcoal rendering of fires, and knitted Basquiat-like figures in a black tank. Henry Holland of House of Holland has become fashion's cheeky equivalent of Barbara Kruger with irreverent sloganeering like "Flick Yer Bean for Agyness Deyn" and "Do Me Daily Christopher Bailey." In his catwalk show this season, Holland's cropped early '90s-style tops with neon zebra prints recalled Andy Warhol's pop art, namely Endangered Species: Grevy's Zebra.

Young upstart Christopher Kane covered up a sheer chiffon dress in a giant blue embroidered shirt, not aesthetically distant from feminist Miriam Schapiro's large-scale collages with quilts, found fabrics, and buttons sewn onto them. On another note, Noki—the perpetually masked, enigmatic stylist/designer—re-worked the T-shirt with random cuts and proportions, surreally recontextualizing the garment with models wearing cartoon-printed surgical masks, bright plaits, and ridiculous layers of different colored fake hair. They came off like disgruntled versions of Leigh Bowery and a Richard Prince nurse.

For some, instead of referencing specific masterpieces, obliging their own artistic inclinations was the path to creative enlightenment. Forward-thinking Spaniard Miriam Ponsa's cotton tanks appeared as if a gooey substance were spilled on them—an effect also seen in Piazza Sempione's cashmere tank. Nicole and Michael Colovos at Helmut Lang used a charcoal smudging effect on a lightweight, white tee worn underneath a crumpled suit, while a silk shirt was a background for an ink-blot effect. Lastly, Martin Margiela took a high-concept approach to the T-shirt, adding exaggerated shoulders and infusing it with a lowbrow mysticism.

—Robert Cordero


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Fashionably Chic at Fasano
A Rio hotel heralds a renewed age of hospitality

RIO DE JANEIRO, BRAZIL — Until we saw the sun set over the Morro Dois Irmãos from the rooftop of the recently opened Fasano, a chic new hotel that anchors one end of the beach at Vieira Souto Avenue, Ipanema Beach never felt complete.

Fasano is the brainchild of mogul Rogério Fasano, who operates a string of boutique hotels (including another Fasano in São Paulo) and several eateries across the country. Fasano in Rio opened in August of '07, and it already holds cultural significance within the neighborhood and as part of the Ipanema panorama—it evokes the feeling of having always been there. "It has the nostalgic spirit of Rio in the '60s, the beginning of the Bossa Nova era, when Ipanema blossomed into the most beautiful and lively beach in Rio. We only play Bossa Nova songs in the lounge and terrace," explained Paula de Mello, Fasano's head of PR, who we sought out for a tour of the hotel during our visit to Fashion Rio (reviewed in the upcoming issue 135) earlier this month.

Fasano embodies the best of old and new world luxury.



As it turns out, Fasano's prime location holds major significance for De Mello beyond the requirements of her job description. "This was my grandfather's house," she told us as we sipped caipirhinas on the hotel's rooftop. "It was a beautiful English house, all white, one of the very last houses on Ipanema Beach. I have very fond memories of my childhood, fetching caterpillars and ladybugs in the garden, sliding down the long staircase with my siblings and playing the piano," she continued while using her mobile phone to show us an image of the house, which conjures the opulence and beauty of a mansion sitting prime time at one of Brazil's most iconic addresses.

Often, a renaissance does not come easy, but Fasano's emergence has the rare distinction of being welcomed—perhaps because it embodies the best of old and new world luxury. De Mello, the most qualified person to speak on the site's transformation, says, "I can't even imagine the house becoming anything but the Fasano. I remember the traditional lavish meals, the beautiful view from the dining room, the family get-togethers on weekends. Now the restaurant Fasano Al Mare provides these same precious moments to many families of Rio and all over the world. My grandfather Arthur was also a very bohemian, charismatic, and entertaining host. He loved having his friends over for drinks and making a night out of it, much like Rogério Fasano does at the Londra Bar."

Fasano is indeed ushering in a new age of hospitality—Londra Bar has already been the setting for private gatherings for the likes of Hamish Bowles and other fashion luminaries. Oskar Metsavaht, who threw the fête for Bowles, considers this his "local home away from home," he told us at an exclusive shindig hosted for the international press to celebrate his brand expansion. Mario Testino, who was holed up at the hotel for several days during our visit, confessed to us that Fasano is his new hotel of choice for private trips to Rio.

De Mello summed up the draw quite well when we asked about the low-key luxury of the establishment, "This is to me one of Rogério Fasano's most coveted characteristics: understated luxury. It's what makes the Fasano São Paulo so great, and what makes the Rio hotel perhaps one of the most sober and classic of the [Philippe] Starck hotels. The décor in the rooms is sophisticated yet refreshingly simple, not overly conceptual. It does not try to compete with the extraordinary view of the beach, but rather it welcomes it into the room."

—Jason Campbell


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Fasano, all photos by Lora Appleton




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Luxury Briefing: A Brand New Era
As major brands struggle with reinvention, upstarts are nipping at their heels

GLOBAL — Brand revivals have defined the luxury industry for the past 15+ years. In the '90s, Tom Ford famously resuscitated Gucci practically overnight by amping up the brand's sexual image and courting die-hard customers. Through various means, John Galliano performed the same fiscal magic at Christian Dior, Marc Jacobs at Louis Vuitton, Christopher Bailey at Burberry, and Stella McCartney at Chloé. With a star designer in charge of creative decisions, brands with fabled pasts were able to regain their old glory.

Recent events suggest, however, that this model for reviving brands—and perhaps even the very idea that brands can be endlessly reincarnated—has become a shaky prospect. In 2006, Rochas closed while under Olivier Theyskens' creative direction. Certainly, Procter & Gamble, who owned Rochas, could have been more patient in nurturing Theyskens' undeniable talent and in developing the brand. But, in the current bottom-line-driven luxury landscape, it's hard to question P&G's decision to let go of a money-losing venture.

Theyskens is now at Nina Ricci, which is owned by the Barcelona-based Puig Group, the fashion and beauty conglomerate that also initiated Paco Rabanne's relaunch. Despite having industry darling Patrick Robinson at the helm, Rabanne's reinvention failed—an outcome that now casts a long shadow on Puig's plans to reinvigorate Nina Ricci.

As the fabled brands continue to encounter roadblocks in rehashing their old glory, new brands have been able to break through and position themselves.



A similar failure to (re)launch has played out over at Vionnet. After much fanfare, Sophia Kokosalaki left the house within a year of her appointment, choosing instead to grow her eponymous line (backed by the Diesel Group). And her successor, Marc Audibet, recently quit. The ex-Prada designer was forthcoming about the reasons for his departure, indicating that Vionnet lacked the resources to properly re-ignite the brand's fire.

Spooked by these unsuccessful relaunch attempts, industry players have been searching for years, and to little avail, for the new formula for hitting brand pay dirt. The Gucci Group hired a collective to make creative decisions after Ford left, as did Emanuel Ungaro when Giambattista Valli departed that house—valiant efforts each, but neither succeeded. And Ungaro's current hire, the young Colombian Esteban Cortazar, is also a doubtful proposition. Although his age makes him malleable to management's direction, his own collections have failed to wow over the years.

What about a famous stylist who can cast a keen eye on the whole market—can she accomplish the job? Bob and Harvey Weinstein seem to think so. The movie industry moguls purchased Halston and tapped Jimmy Choo exec Tamara Mellon and uber stylist Rachel Zoe—credited with building the looks of many young actresses—to breathe new life into the iconic American brand. The duo's lack of experience with running a successful ready-to-wear company has been cited as their Achilles' heel, but their strong ties to the world of glamour (an integral part of Halston's aura) keep this revival on our one-to-watch list.

Talented editor/stylist Katie Grand's tenure at Mulberry, which ended before it even started, may signify that the ship has sailed on the old formulas for brand reinvention. After Stuart Vevers left for Loewe, Mulberry planned to tap Grand as creative director, a decision that triggered waves of excitement throughout the industry. However, before her first day on the job (which was to begin this past January), Grand opted to decline the top spot.

As the fabled brands continue to encounter roadblocks in rehashing their old glory, new brands have been able to break through and position themselves to become the next industry heavyweights. In the few years since he left Emanuel Ungaro, Giambattista Valli, and his eponymous line, has become a global success, Stella McCartney is en route to becoming a profitable label, Proenza Schouler is electrifying New York, and 6267 is upping the ante on luxury goods' craftsmanship. Brand revivals are reaching their obsolescence. It's time to nurture new brands who are creating their own histories, instead of re-writing existing ones. This is the new chapter of luxury.

—Robert Cordero


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Interview: Denim DNA
We talk to François Girbaud about the future of denim

PARIS, FRANCE — If your lasting impression of Marithé + François Girbaud includes Denise Huxtable strutting the denim pioneer's baggy jeans in prime time on The Cosby Show, then get ready for an update. 2008 signals a whole new chapter for MFG with the launch of Legend, a beyond premium group of jeanswear that the label hopes will give their stateside image a shot in the arm.

Although the brand has not been associated with the recent denim movement in America, MFG never went away—the label has maintained robust business in Europe and Asia and remained a staple on the Paris Fashion Week calendar. Girbaud is banking on it not being too late for a re-entry by raising the stakes in his designs, and gearing up for a major market push of the most well-executed denim we've seen to date. We caught up with the designer in New York to uncover what happened to Girbaud over the last decade, the brash design departure for the label, and where he sees denim going in the future.

JC Report: How does your Legend collection signal a new stateside chapter for MFG?

François Girbaud: We decided to launch this brand not only to give a Marithé + François' answer to the premium market but also to bring craftsmanship back into the denim market. We have always been driven more by creation and innovation, and now we're reinforcing our position in the designer segment. In the US, we are bringing these French roots back to the brand—it's stronger than ever.

JCR: Is the name Legend a nod to your veteran status in the denim market?

FG: As the people who invented the industrialization of stonewash and other innovations, it's completely in line for us to create a brand named "Legend." We are recognized worldwide by the trade as the only true jean designer alive. It was time to write this into the future by interpreting the brand as a lifetime tribute!

JCR: During the explosive denim craze over the last five years or so, where was MFG?

FG: In the US, since the end of the '80s, we've been strong into the urban market even before other brands started to go in that direction. We were here but just catering to a specific clientele. Now we are bringing back the Girbaud roots, the Marithé + François supreme design so that customers from every walk of life can enjoy it, not just one specific group.

JCR: Is there still significant brand awareness stateside for MFG, or do you envision an initiative to start the brand building from scratch?

FG: There is still a very strong brand awareness of Girbaud. People think about the past and their love of Girbaud years ago. Today, there is such an opportunity to tell the public about the artistry behind the brand that has never faltered, but just been hidden. This is the time to focus on communicating to people that Marithé + François really are supreme designers of denim.

JCR: Tell us about your highly unusual metal hardware in the Legend collection.

FG: The metal and leather work in this collection are a tribute to Marithé + François' innovation. The symbols that are used on the metal rivets revolve around four constructions which have marked the past 30 years of the "Jeanovation" established by Marithé + François Girbaud. This jean is the "Legend" of the future and the details of this collection tell that story.

JCR: Who do you see as the audience for the line?

FG: It is a sophisticated customer that loves great fit and innovative attention to details.

JCR: What kinds of stores will sell it?

FG: We are selling to high-end stores and boutiques. We are just launching the brand today so nothing has been set but the target is Barneys and Bergdorf. Legend is a high-design jean for distinguished customers.

JCR: How do you see the future for the denim market?

FG: To us, it is about workmanship. There is a whole sea of premium denim out there, but we wanted to rock the boat a bit and take it to another luxury level—that's why we introduced the accessories that are placed specifically on each design. We are focusing on the craftsmanship and showcasing that in each piece. This kind of care and precision is rarely seen in the denim market of today.

This interview was conducted by Jason Campbell.


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Trendsetter: Nathan Ellis
Founder and Creative Director, Syndicate
New York

What's hot right now?

I spent a bit of time in Malibu this past summer and was very inspired by the place—the scenery, the architecture, and how in tune the locals are with their community and the environment. It's exclusive but unpretentious at the same time. During one visit I came across a local brand called Clout that is an outgrowth of the Malibu spirit and active lifestyle (surfing, kite boarding, paddle boarding, etc). It turns out a major player who happens to live in Malibu has purchased the label and has plans to expand the brand significantly from a charming little surf shop on Zuma Beach. Imagine a more luxe take on the coastal lifestyle with high-quality materials and superior design.

I am crazy about the 2008 Audi S5 coupe, which is being offered in limited edition in the United States in a very stylish color palette—my favorite shade is a phantom black with a pearly texture to it. The silhouette of the car is just beautiful, and it has amazing technology like satellite radio, push-button ignition, and a rearview camera that projects the car's path as you turn the steering wheel, which is great for those who are not so graceful with the parallel parking. Also it is very, very fast which will probably not be good for my car insurance bill!

I think we are seeing a redefinition of luxury, or in a sense, a return to the former definition of luxury, which referred more to the craftsmanship and quality of materials, but updated with new techniques and technologies. As the category becomes more commodified, there are brands that will succeed by catering to a niche of the market that wants luxury items that are unique, not too easily accessible, and crafted with painstaking attention to detail rather than mass-produced. A good example of this is Lapo Elkann's Italia Independent concept—incredibly precise attention to detail combined with the latest technology to create a line of items that are both functional and works of art. I'm very interested to see what he'll do next.


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Fashion Wire

Swiss luxury goods still sparkle thanks to Eastern promise
For Swiss luxury products, Asia's strong markets will make up for the US and European economic slowdown reports AFP.

Fashion designer makes bid to save NY garment workers
Nanette Lepore takes up the cause to preserve the garment industry's workers reports AFP.

London out of fashion as leading US buyers begin to feel the pinch
Because of the weak dollar, US retailers are bypassing London Fashion Week reports the Financial Times.

Luxury gap: how Japan turned into a nation of haves and have-nots
In Japan, the divide between people who can afford luxuries to those who can't is growing reports the Independent.

Naomi Campbell cries racism
Naomi Campbell believes that racism is still pervasive in the fashion industry reports the Sydney Morning Herald.


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Calendar
What:
 London Fashion Week
When:
 February 10-15
Where:
 London, England
What:
 Madrid Fashion Week
When:
 February 15-17
Where:
 Madrid, Spain
What:
 Milan Fashion Week
When:
 February 16-23
Where:
 Milan. Italy
What:
 Tokyo Fashion Week
When:
 March 10-16
Where:
 Tokyo, Japan
What:
 India Fashion Week
When:
 March 12-16
Where:
 New Delhi, India

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MASTHEAD
EDITOR-IN-CHIEF
Jason Campbell
MANAGING EDITOR
J.K. Glei

STYLE EDITOR
Robert Cordero
CONTRIBUTING EDITORS
Alex Butt
Meredith Fisher
Flavia Mendonça
Martin Webb
WRITERS
Natalia Allen
Imran Amed
Emily Basenberg
Andrew Belonsky
Meghan Cleary
Justin Conner
Jessica Dang
M. Noel Falken
Angelo Flaccavento
Fiona Harkin
Emma Holmqvist
Misha Janette
Karina Jeffrey
Roger Joseph
Marie Le Fort
Madelaine Levy
Erin Magner
Cathrin Schaer
Cator Sparks
Jennifer Smith Tapp
Romy Uebel


INFORMATION
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