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1 AUTRES SOURCES DE TENDANCES POUR APPROFONDIR VOS RECHERCHES
2
LES BU REAU X
DE S T Y L E
LES DÉBUTS
Les bureaux de style S’il s’agissait initialement
apparaissent à Paris dans les d’apporter un point de vue
années soixante. Ils sont destinés extérieur à la marque pour
dans un premier temps à optimiser le processus de
accompagner les marques dans création en anticipant les
leur processus de création. aspirations esthétiques des
Maïmé Arnodin et Denise consommateurs et en les
Fayolle créent l’agence Mafia en transformant en
1968 et la très influente Nelly recommandations de style,
Rodi ouvre son bureau de l’étude financière de la
conseil en innovation en 1985. rentabilité et l’approche
marketing font désormais
également partie des missions
confiées aux agences de style.
Source : Nelly RodI
3
LE DÉVELOPPEMENT
DE S BU R E A U X
LA SUITE
En effet, avec l'apparition des désormais et surtout d'analyse
grands groupes et l'entrée des prospective et de stratégie de
maisons en bourse, les bureaux marque.
de tendances doivent aussi Les bureaux de tendances
travailler sur l'enjeu que collectent donc de multiples
représentent le bon ciblage de informations qui seront
la clientèle potentielle et la forte analysées et décodées afin d’y
désirabilité du produit concerné repérer les signes précurseurs de
afin de limiter les risques et les nouvelles évolutions, pour
coûts de leurs clients. On parle ensuite, grâce à ces étapes,
non seulement d'inspiration, de développer les tendances du
tendances et de concepts marché.
créatifs, on parle également
Source : Brabu
4
M É T HOD OL O G I E D ’ U N
BU R EA U DE T ENDANCES
COMMENT CA MARCHE ?
Dans les années soixante, les prévisions de tendances étaient le fruit d’un processus de recherche plutôt intuitif qu’analytique. De nos
jours, l'industrie pesant plusieurs milliards d'euros, des analyses et des recherches pointues deviennent cruciales.
Dans un premier temps, il est primordial de faire une vaste collecte de données et d'informations. Nelly Rodi a ainsi un réseau de
correspondants à l'internationale dont la mission est de détecter les « signaux faibles » qui englobent toutes les nouveautés dans les
secteurs les plus divers tels que l'art, la culture, la consommation, etc. Il s’agit ensuite d’extraire de cette masse d’informations partielles et
fragmentaires les éléments pertinents pour en déduire quels seront les évènements-clefs qui détermineront les notions et les valeurs
importantes aux yeux de la société du moment. Les données collectées ayant été exploitées, elles sont envoyées aux bureaux de style et
des comités de tendance se réunissent. Deux fois par an, stylistes, coloristes et sociologues se retrouvent pour échanger leurs idées, les
mettre en regard, les structurer et créer quatre thématiques par saison sur la base des précieux paramètres décryptés auparavant par les
correspondants.
C’est alors qu’intervient la réalisation des Les stylistes ne reprennent pas
5
cahiers de tendance. Véritable mine d’idées aveuglément les recommandations
LES CAH IERS DE et de concepts tendances sous forme de stylistiques des cahiers de tendances, bien
T E N DANCES croquis, de photos, de collages et de textes, au contraire. Ils les utilisent avant tout pour
ces cahiers constituent un outil de travail et structurer leurs envies, et approfondir et
de réflexion d'une richesse inestimable pour affiner leurs intuitions initiales. Le cahier de
les stylistes qui y découvrent dix-huit à tendances sera consulté avec attention, on
vingt-quatre mois à l'avance les tendances retiendra certaines choses, d’autres seront
saisonnières. Chaque thématique rejetées, toujours en fonction de l’identité
développée lors des comités de tendance de la marque, et des besoins et attentes de
se trouve associée à une ambiance, des la clientèle en question.
matières, des coloris, puis elle est déclinée Les défilés de janvier et mars ont
dans de multiples domaines tels que le également une grande influence sur ce qui
vestimentaire, la cosmétique, le design, l'art sera vendu quelques mois plus tard en
de la table ou encore le maquillage. Le prix boutique. L'industrie de la mode étant dans
d’un cahier de tendances fait entre 900 et 5 un renouvellement continuel, on produit
000 euros, le cahier de tendances et la dans un laps de temps bien plus court
mission de consulting coûtent de 2 000 à 5 qu'autrefois, ce qui n’implique pas pour
000 euros la journée, le suivi à l’année peut autant qu'il faille repartir à zéro à chaque
aller de 30 000 à 200 000 euros. lancement. Il faut au contraire renouveler
ce qui a eu du succès et a plu sans pour
autant donner au client l'impression
d'acheter du déjà-vu.
6
Du temps des premiers cahiers de Du temps des premiers cahiers de
tendances, chaque marque recevait les tendances, chaque marque recevait les
LE BU REAU DE mêmes recommandations. De nos jours, en mêmes recommandations. De nos jours, en
raison précisément du renouvellement raison précisément du renouvellement
S TYLE , PLU S constant qui caractérise l’industrie de la constant qui caractérise l’industrie de la
QU 'U N CAH IER mode, il peut s’avérer judicieux d’actualiser mode, il peut s’avérer judicieux d’actualiser
plus souvent le diagnostic et surtout de le
DE T E N DANC E S
plus souvent le diagnostic et surtout de le
personnaliser. Les marques souhaitent un personnaliser. Les marques souhaitent un
service qui aille au-delà des cahiers de service qui aille au-delà des cahiers de
tendances, excellents au demeurant, mais tendances, excellents au demeurant, mais
qui ne seront jamais aussi efficaces qu'un qui ne seront jamais aussi efficaces qu'un
accompagnement personnalisé qui accompagnement personnalisé qui
permette aux marques de mieux permette aux marques de mieux
comprendre leurs consommateurs. comprendre leurs consommateurs.
Le bureau de tendance Promostyl propose Le bureau de tendance Promostyl propose
ainsi des cahiers de style au format ainsi des cahiers de style au format
numérique qui suivent les évolutions du numérique qui suivent les évolutions du
marché et changent de ce fait tous les marché et changent de ce fait tous les
quinze jours. quinze jours.
7 En effet, les réseaux sociaux sont une
Les bureaux de style ont dû s'adapter au
rythme toujours plus soutenu de l'industrie précieuse source de supports publicitaires
de la mode, ils ont dû également tenir pour les marques. Selon les besoins et les
campagnes, les bureaux de style pourront
LES BU REAU DE
compte de l'importance grandissante des
réseaux sociaux et de la blogosphère. Les sélectionner des personnalités du réseau,
S T YLE ET LES bureaux de tendance se spécialisent donc souvent recrutées sur Instagram de part son
RESEAU X dans l’analyse des données fournies par les fort impact visuel, des influenceurs avec des
communautés importantes et dont les
réseaux telles que la portée des billets, le
S O CI AU X nombre de followers et de likes et valeurs seront en lien avec le message du
s’attachent à correctement identifier les produit à lancer. Il est essentiel que ce
communautés sur les réseaux sociaux. produit soit présenté par des personnalités
suivies par des abonnés réellement
susceptibles d'être intéressés et passionnés
par le produit. Il s'agit donc ici de mettre en
lien une marque avec la communauté la
plus adaptée et d'ainsi correctement la
positionner sur le marché.
Le “focus group marketing” s’est ainsi
spécialisé dans l’élaboration de réelles
stratégies de marque basées sur les
réactions et les avis personnels d’un
nombre précis d’individus types.
8
U RBAN OU TF ITTERS,
FA S H ION V ICT I M
Bloomberg Businessweek,
17.07.2007
Heather Fauland is your typical Urban Outfitters (URBN ) shopper. Usually clad in jeans and a witty T-shirt, the 21-year-old Tucson college
student turns to Urban for the fashion flair that sets her apart from Gap-ified mainstream teens: a flowing skirt, a blue-and-green striped
wallet, and, in reference to the month she spent as a vegan in high school, a red tee with a pig that says: "Please Don't Eat Me, I Love You."
But since Christmas, she says, Urban has gone from reliably edgy to simply outré. When passing by the Urban Outfitters near the
University of Arizona's Tucson campus, she sniffs at the mannequins sporting tight leggings, a tank top worn over a button-down shirt
over a sweater with odd cuts and capped sleeves. "I just don't seem to like their kind of edgy right now," says Fauland. "It looks kind of
funny."
In the language of hipster retailing, that is a devastating critique. Urban Outfitters' success lies in its ability to pinpoint exactly what kind
of edge its hip -- but not too hip -- customers want. And judging by the past few months, the chain badly misjudged its shoppers'
sensibilities. Last fall, in its 95 stores worldwide, Urban's buyers proved too quick to embrace new styles. The fashion avant-garde may have
been willing to part with distressed jeans and peasant shirts in favor of '80s-style peg-legged pants and baggy V-shaped tops, but Urban's
customers balked.
9 LES TENDANCES ET LES INFLUENCEURS UNE NOUVELLE CATÉGORIE
LES NOUVEAUX
GATEKEEPERS
AVEC UN GRAND IMPACT
Pour le meilleur ou pour le pire, les blogueurs mode et les it-girls sur
Instagrammeuses on rejoint les rangs des acteurs, musiciens et autres
trend-setters qui déterminent ce que portent les gens et de quelle
manière, et, par extension, ce que les marques vont proposer à leurs clients.
Pour quelle raison ? Parce que les influenceurs touchent les millenials, qui
veulent interagir et s’inspirer de “gens comme eux”.
Dans le marché actuel des millenials, il est devenu aussi important pour les
équipes créatives de rester en permanence informé de ce que portent et
partagent les influenceurs, mesurer les nombres de followers, de reposts,
de likes, les niveaux d’engagement ou les commentaires, est devenu aussi
indispensable que de suivre les analyses de tendances.
N’importe quel bloggueur mode peut aujourd’hui avoir une influence sur
les DA les plus importants à travers les réseaux sociaux, un phénomène qui
n’existait pas il y a à peine 15 ans ; et les marques se bousculent pour créer
le produit suffisamment original et innovant pour plaire à ces nouveaux
Source : Vogue Australia
gatekeepers.11
DÉMOCRATISATION
DE LA MODE
À GRANDE ÉCHELLE
Néanmoins, l’effet “influenceurs” va au-delà de l’émergence du street
style, de l’appétit ur l’individualisation du style, et l’invention de
l’écosystème de leur sponsoring par les marques. Leur présence
croissante aux événements mode comme les fashion weeks brouille
les lignes entre le petit cercle historique de l’élite du monde de la
mode et le grand public. Leur impact se traduit également par une
accélération du processus créatif lui-même.
L’époque où les fashionistas attendaient frénétiquement le numéro
de septembre du Harper’s Bazaar pour avoir un aperçu des looks
présentés sur les podiums est révolue. Grâce à Snapchat et Instagram,
toutes les images sont immédiatement disponibles, et une fois mises
en circulation sur les réseaux sociaux, le compte à rebours se met à
tourner. Les marques qui mettront des semaines pour mettre en
rayon pièces qui s’en inspirent risquent de rater le coche. C’est l’ère du
Source : Burberry
numérique qui a engendré le “See now, buy now”.12
BU R BER RY ANNOU NCES
SE E NOW BU Y NOW
NEW YORK TIMES,
By Vanessa Friedman Feb. 5, 2016
In perhaps the biggest shake-up of the fashion show system since ready-to-wear took to the catwalk, Burberry announced on Friday that
after the women’s wear season that begins in New York next week, it would move to a see-now/buy-now collection model.
It will no longer unveil clothes six months before they are available in stores.
It will no longer separate its men’s wear and women’s wear shows.
And it will no longer bother with traditional seasonal denominations; twice-yearly collections will be called, rather, September and
February, “reflecting the time they are in-store/online,” in the words of an email from Christopher Bailey, the brand’s chief executive and
chief creative officer.
In addition, the ad campaigns will reflect the runway offering immediately.
In a statement, Mr. Bailey said: “The changes we are making will allow us to build a closer connection between the experience that we
create with our runway shows and the moment when people can physically explore the collections for themselves. Our shows have been
evolving to close this gap for some time. From livestreams to ordering straight from the runway to live social media campaigns, this is the
latest step in a creative process that will continue to evolve.”
In other words: The show will become a big marketing and selling tool, not for department stores or glossy magazines, but for direct
communication between the brand and the men and women who want to buy it.CONTINU ED That’s kind of a big deal. It is the second major consumer-facing move by Mr. Bailey as chief executive, following his decision last November to fold Burberry’s three separate lines — the high-end Prorsum, Burberry Brit and Burberry London — into a single offering. Then, as now, Mr. Bailey said the decision was made to be more responsive to customer needs. A spokesman called the move one of “creative pragmatism,” responsive to the fact that as Mr. Bailey is known to say, “it’s always summer somewhere in the world.” As an acknowledgment of the consumer demand for immediate gratification, the change is bound to send seismic shudders through the rest of the fashion world, which has been under increasing pressure to be more responsive to buyers’ desires, and flexible in its scheduling. Other brands have been testing the idea with small capsule collections: Moschino also offers select pieces to buy straight from the runway, as does Versace. This season, Rebecca Minkoff is showing her spring line on the New York catwalk, as opposed to fall, which goes into stores in July and August, and which she will reveal by appointment only separately. But Burberry’s global presence and reach — its more than 200 fully owned retail stores and similar number of department store concessions, its 5.9 million Instagram followers and over 17 million Facebook likes, its position as the only high-fashion member of London’s FTSE 100 — have the power to transform consumer expectations, creating a knock-on imperative for other brands. According to Caroline Rush, chief executive of the British Fashion Council, which instituted a consumer-facing London Fashion Weekendof shows after the regular round of shows: “The B.F.C. board has been talking for some time about fashion shows better connecting to consumers and being a direct driver for sales. Burberry are true innovators, and this strategic move shows brilliant leadership from Christopher Bailey and his team in driving this agenda forward.” Indeed, hours after Burberry’s announcement, Tom Ford, who had been planning to hold a series of small presentations during New York Fashion Week, said all appointments were cancelled, and he would now show both his men’s and women’s Fall collections together next September, at the same time as the clothes were available to buy.
14 CONTINU ED
“Showing the collection as it arrives in stores will allow the excitement that is created by a show or event to drive sales and satisfy our
customers’ increasing desire to have their clothes as they are ready to wear them,” Mr. Ford said in a statement.
Meanwhile, Vetements, the buzziest new brand in Paris, told American Vogue that they were planning to move their show next year from
the February collections to January, and would deliver the clothes on the catwalk the following month.
Still, the move may not be so easy for every fashion house, especially in London.
Though Burberry has the financial muscle and vertical integration to make this kind of switch (it owns many of its factories, and 70
percent of sales comes from its own retail network), smaller independent designers are dependent on wholesale partners for distribution,
and such a relationship involves a six-month lead time between showing, placing orders and production. How they will adapt remains to
be seen.
Even Burberry does not appear to know exactly how it will solve all the issues created by being the sharp end of the spear of show
change. If the company wants to be part of glossy magazine spreads featuring spring clothes, for example, but it doesn’t show the spring
clothes until the magazine is on newsstands, what happens then?
Executives are banking on a buy-in from multiple stakeholders that will have a domino effect on the industry. The risk is they end up the
odd man out in a system that is simply too entrenched to change.
The new look show will be unveiled in September. There’s a season to try to figure it out.UN IMPACT DIRECT SUR LA CRÉATION Le potentiel d’interactivité des médias sociaux a permis aux influenceurs - et au public en général - d’entrer directement en relation avec les créateurs, et donc d’intervenir dans le processus créatif. Le NY Times a relaté comment la collection printemps/été 2015 de Zac Posen a été en partie inspirée par les commentaires et suggestions de ses plus de 640.000 followers, qui demandaient des imprimés qui reprendraient les teintes d’une photo de coucher de soleil que le designer avait prise en vacances et posté Instagram. Avec son équipe, il avait transformé l’image en un motif qui avait été utilisé pour une impression sur soie, à partir de laquelle il avait conçu une robe maxi pour sa collection. “Nous arrivons à un point où le marketing et le design doivent travailler main dans la main, en particulier aux USA où les créateurs doivent être super-commerciaux” note Rachel Arthur, une spécialiste des tendances chez WSGN à New York. Source : Zac Posen
16 INSPI RATION M EET S
SO CIAL MEDIA
By Libby Banks,
The New York Times 02.12.2014
While vacationing in the Bahamas earlier this year, Zac Posen posted a couple of sunset snaps to his Instagram account — and each one drew more
than 6,000 “likes.”
“Immediately my followers were asking to see a print in those hues,” the designer said. “So I worked with my team to digitalize the print and blow it
up on a crepe de Chine.” The resulting cerulean and pink silk became a maxi dress in the ZAC Zac Posen spring 2015 collection.
Mr. Posen, who has more than 640,000 Instagram followers, describes the online feedback from fans and customers as essential to his design
process. “Through the comments and pictures, we get a new perspective about our creations,” he said.
There was a time when a fashion designer’s inspiration came from a journey to Rajasthan, the Serengeti or perhaps the Russian steppes, along with
feedback from buyers and the occasional client. Now, it’s more likely to be a speedy trip through some online sites, with followers as traveling
companions. As Clare Waight Keller of Chloé observed: “A mood board that would have taken a few weeks of solid research now can be assembled
in an afternoon on Instagram.”
The fashion industry’s pace today has made it hard to find time for travel beyond the virtual kind, Ms. Waight Keller said, with exploratory trips and
gallery visits increasingly difficult to squeeze into the dizzying demand for collections. For example, as creative director at Chloé and See By Chloé,
she oversees the creation of eight collections a year, including resort and prefall.“When I started out, being a great researcher was part of your arsenal as a designer. You had to be resourceful and to have knowledge, you had to visit libraries, meet with textile dealers and actually discover stuff,” said Ms. Waight Keller, who describes her own method as a mix of “digital and pre-Internet approaches.” And while she admits that Instagram can be “mesmerizing,” she worries that reflection and research skills are being bypassed in favor of quick but superficial browsing online. “Often when I’m asked to judge projects at art schools, it’s clear that everything comes from a Google search and too often the results lack any depth,” she said. Erdem Moralioglu has seen his business grow alongside the rise of digital technology and social media: Twitter debuted in 2006, the same year Erdem did during London Fashion Week. The London-based designer says he routinely scours Tumblr, and checks Instagram obsessively. “Instagram has definitely filtered into my approach to design; I love the idea of curated images, the idea of juxtaposing images that don’t connect — it’s a way of finding obscure things,” he said, citing Xavier Dolan, a Montreal film director; Michel Gaubert, the Paris-based D.J. and producer; Grace Coddington; and Sotheby’s as his current Instagram favorites. But Mr. Moralioglu said such social media rambles remained a “secondary resource” for inspiration. “The thing with social media is that it can become a bit of a vortex that sucks you in and suddenly the afternoon is gone,” he said. “I still find looking at something ‘real’ sharpens my creative focus.” So the initial sparks for his spring 2015 ready-to-wear collection came from a trip to Kew Gardens to see the paintings of the Victorian botanist Marianne North and a “back to front” silk gazar fabric that he spotted at Première Vision, the textile trade show in Paris. For designers, the distinction between social media’s function as a communication tool and as a creative resource has become blurry, said Rachel Arthur, a fashion trend forecaster at WGSN in New York who specializes in digital developments. “We’re getting to a point where marketing and design go hand-in-hand, especially in the U.S. where designers have to be super-commercial,” she said. “Yes, creativity is paramount, but the vision of the designer has to marry with where you see your customer. It’s about listening.” For example, the Proenza Schouler designers Jack McCollough and Lazaro Hernandez claimed Tumblr as a point of reference for their spring 2013 collection, citing the social media platform’s unexpected juxtapositions of imagery and all-but-infinite content.
Erdem Moralioglu’s spring 2015 gown had a traditional inspiration: a ‘‘back-to-front’’ silk gazar fabric that he spotted at Première Vision, a textile trade show in Paris. The technological change also challenges old ideas about the designer as lone artist. “Fashion needs to start listening and start sharing,” said Julie Anne Quay, founder of the fashion social network VFiles, which has 60,000 users. “If you look at our news feed there are images by Meisel and Testino, but there are also images by a 16-year-old style blogger in Ukraine and a new designer from Korea. They are all in the same place, no one has any hierarchy over each other. That’s what fashion looks like now.” Rebecca Minkoff, a New York designer who has been quick to embrace digital developments, said she feels there still is a distinction between crowdsourcing — creation through online collaboration — and using social media as a sounding board. “For me, it’s about understanding a trend,” she said, “so if my Instagram followers are really into wide-leg pants, that definitely feeds into the design process.” Actually, she added, presenting her creations on social media also has become a design consideration. “People are manipulating photos to show their best self,” Ms. Minkoff said. “That’s influenced me to think about how a piece will photograph, whether the colors are saturated enough to withstand filters, and how print will translate.” Rebecca Arnold, a lecturer in fashion history at the Courtauld Institute of Art in London, believes that the job of a fashion designer is at a pivotal moment: “Right now you have designers who are adapting, rather than people who have grown up with this technology; it will be interesting to see what happens with the next generation.” And part of the shift will be designing for a millennial customer who also has grown up with social media, she added. Considering recent collections, Dr. Arnold said that the “visual collage of cultural references” used by the Marc by Marc Jacobs designers Luella Bartley and Katie Hillier were a “savvy digital response” to the Instagram generation. The pair’s debut collection, for fall 2014, collated visual cues from skate, BMX and manga culture. “They’ve looked at what’s popular online and then filtered that into a new idea of the Marc by Marc Jacobs customer,” Dr. Arnold said. “They are designing with an awareness of the media that their customer is looking at.”
19
CRÉER POUR L’ÉCRAN
L’ARRIVÉE DES IMPRIMÉS
Autre conséquence de l’apparition des influenceurs : il existe une probabilité
importante que l’écran (probablement un smartphone) devienne majoritaire
comme premier point de contact des clients avec les nouvelles pièces.
Cela a engendré tout un ensemble de problématiques nouvelles pour les designers.
Rebecca Minkoff, designer New Yorkaise explique : “je réfléchis à la manière dont
une pièce va ressortir en photo, si les couleurs sont suffisamment saturées pour
résister aux filtres, et comment les imprimés vont apparaître.”
Tiziana Cardini, qui écrit dans le Vogue Italia, observe : “La mode est devenue bi-
dimensionnelle, juste plate. Je vois que les designers, en particulier les jeunes,
appréhendent les formes et les volumes d’une toute nouvelle manière. (…) Je pense
qu’ils sont beaucoup plus attentifs au potentiel photogénique d’une tenue. I think
they pay much more attention to the photogenic value of an outfit.(…) Le web (…) a
totalement modifié le langage.” Certains considères que l’écran 2D dessert leurs
créations, en ne rendant pas justice aux nuances subtiles des couleurs ou au travail
Source : Beyoncé dressed in Mary Katrantzou
méticuleux que l’on trouve dans la couture. Pour d’autres c’est un atout : la créatrice
londonienne Mary Katrantzou considère qu’elle doit sa visibilité sur le web à ses
imprimés bigarrés et à sa palette contrastée, ce qui lui donne un avantage
compétitif par rapport à des designers moins sensibilisés qu’elle à la perception des
images de leurs produits sur les écrans.20
LES INFLUENCEURS
DEVIENNENT ACTEURS
CRÉATEUR DE LEUR PROPRE MARQUE
Une fois que les influenceurs eurent transformé la nature et le tempo du
processus créatif, l’étape suivante inévitable était qu’ils deviennent
designers eux-mêmes. La bloggueuse italienne Chiara Ferragni a lancé
en 2013 une ligne de chaussures qui est désormais vendue dans plus de
300 boutiques dans le monde. Lauren Conrad, une star des médias
sociaux outre Atlantique, vient de sortir sa troisième collection (la
première en plus-size) sous la griffe Lauren LC Conrad for Kohl’s.
Parallèlement, l’instagrammeuse Jeanne Damas a fondé sa marque de
prêt-à-porter Rouje en 2016. Grâce à la visibilité conférée par leurs
followers et une image soigneusement entretenue, les influenceurs n’ont
plus besoin des marques pour créer les produits qu’ils désirent - ils ont à
leur disposition tous les moyens pour créer, développer et vendre les
leurs. Eux qui étaient à l’origine des ambassadeurs, de simples véhicules
marketing, pour les grandes marques, ils sont maintenant en position de
monétiser eux-même leur notoriété et la relation influenceur-designer
est devenue totalement circulaire.
Source : Forbes21 CH IARA F ERRAGNI COLLECTION
OPENS PARISIAN F LAGSH IP
By Sandra Salibian
WWD, 31st of October 2018
The namesake label of the influencer and entrepreneur behind The Blonde Salad digital platform has opened its first French flagship in the Parisian Marais district, on the left bank
of the Seine.
Located on the corner between Rue de Debelleyme and Rue de Turenne, the 560-square-foot space stands out for its walls in the brand’s signature light blue color and the banners
bearing the stylized blue eye logo.
Inside, the interior concept reflects one of the label’s Milan outposts, decked out in Ferragni’s signature glitter motif and playing up the concept of “airport life.” Wooden panels
covering the store perimeter contrast with the bright shades of the marble flooring, the central blue carpet, the golden displays and mirrors and the glittered fitting room.
Launched in 2013 as a footwear line, Chiara Ferragni Collection quickly expanded to additional categories, such as backpacks, bomber jackets, sweatshirts and T-shirts, among others.
Currently available at the store, the fall 2018 “Stardust” lineup features statement pieces in Lurex, sequins and PVC, including silver down jackets, fluffy fur bomber jackets and
colorful tracksuits, all emblazoned with the brand’s eye motif.
In addition, the “Mini Me” range dedicated to little girls is also displayed in the unit.
The Parisian venue marks the brand’s fourth flagship after the openings in Milan, Shanghai and Chengdu, China, last year. As reported, in 2017, Chiara Ferragni Collection inked a deal
with Riqing Group to fast-track growth in China, where the companies plan to open 14 flagships by 2019 and overall 35 stores there in the next few years.
During the past several seasons, Chiara Ferragni Collection has launched pop-ups and exclusive styles with key retailers including Level Shoes in Dubai, LuisaViaRoma in Florence, IT
Hong Kong, Le Bon Marché in Paris, Saks Fifth Avenue in New York and others.
In addition to the flagships, the range is currently available in over 300 doors globally.22 FA S H ION I N T H E AG E
OF INSTAGRAM
By Matthew Schneier,
The New York Times 09.04.2014
In the Dries Van Noten exhibition at the Musée des Arts Décoratifs in Paris is a video that stitches together sequences from 20 years of his runway
shows — a “supercut,” in online argot. On a tour of the show not long ago, Mr. Van Noten nodded along as memorable moments flashed: male
models pedaling bicycles, women stalking the length of an enormous dinner table. But what stood out most were the ghostly points of light
illuminating the audience’s faces in the recent shows.
It was, Mr. Van Noten said, their smartphones.
The professional photographers on the risers facing the runways now represent only a fraction of those furiously jockeying to document each outfit,
accessory and bit of set dressing. Nearly every show attendee, from the front row to the standing section, now arrives with phone in hand and
Instagram account primed.
So unremarkable is a smartphone camera in every hand, said Danielle Sherman, the creative director of Edun, that when she commissioned a
director and a fleet of 20 borrowed iPhone 5s to create a video of her fall 2014 show, hardly an eyebrow was raised. “No one said anything or
questioned it, or even noticed it,” she said.
This is fashion in the age of Instagram, a heady era in which digital media is changing the way clothes are presented and even the way they are
designed. As shows are calibrated to be socially shared experiences, and fashion itself is rejiggered to catch eyes on a two-dimensional screen, some
skeptics wonder what is being lost or sacrificed as fashion becomes grist for the digital mill.Beyond question, the advent of digital media has fundamentally altered fashion, the designer Alexander Wang said: “The way that we shoot it, the way that we showcase it and the way that we make the clothes and design them changed.” Digital media has also changed the way fashion is reported, consumed and shared. Trade papers and websites that once held court as the home of collection coverage have had their turf invaded by individuals. “I see the shows on Instagram now,” said Eva Chen, the editor in chief of Lucky. “In some sense, every single person in the audience is their own media outlet,” said Keith Baptista, the managing partner of Prodject, the creative agency that produces runway shows for clients like Mr. Wang, Giorgio Armani and Ralph Lauren. “They’re all capturing these moments in this live experience to tell their own stories.” (Consider that Ms. Chen, for instance, currently has more followers on Instagram than her magazine does.) Creating a unique — and, by extension, shareable — experience for jaded showgoers has become part of a designer’s mandate. Shows are designed to wow not only those in attendance, but also all of their followers. (That could be considered a necessary return on investment because, according to Julie Mannion, the president for creative services at the public relations and production firm KCD, a major show can cost $2 million to $8 million, in some cases reaching as much as $10 million, and last fewer than 10 minutes.) Few shows can compete with Chanel’s for over-the-top theatrics. But the company set a higher bar for itself in February, when it erected a Costco-size supermarket stocked with some 100,000 Chanel-customized faux products. (The hams in the meat case, for example, had labels printed Jambon Cambon, a nod to the street on which Chanel maintains offices and a store.) Before the show, spectators goggled through the aisles, taking supermarket selfies before the models, pushing shopping carts down the runway, filled their baskets. It was the show that launched 1,000 Instagrams, with “likes” in similar proportion: a photo from Susanna Lau, a.k.a. the blogger Susie Bubble, received more than 2,670, more than double that of many of the other shows she snapped; one by Ms. Chen had 2,330, several hundred more than the several others in close Insta-proximity. The fervor was such that the collection itself was somewhat eclipsed. (Perhaps aware of the attention the mise-en-scène garnered at the expense of its fashion, Chanel declined to speak about its sets.)
It is not only the richest labels that think big. Mr. Wang has earned a reputation for social-media-friendly spectacles. In February, his show closed with robotic- looking models rotating on a platform as blasts of heat changed the color of their thermo-sensitive garments, a moment tailor-made for Instagram. “We try to think of the pictures that are going to come out online,” he said, “what the photographer pit takes versus what the audience sees.” The picture, Mr. Wang added, is “something we always take into deep consideration, even developing a collection. Sometimes, I have to admit, as a designer, you get into this trap of thinking about clothes for a picture rather than what’s going to go into the market or showroom.” The attention now paid to digital extends beyond scenography and staging. It has crept in, say designers and critics, to the design of many collections. Tiziana Cardini, the fashion director of the Milanese department store chain La Rinascente and a contributing editor at Italian Vogue, has noticed the change. “Fashion has become bi-dimensional,” she said. “It’s just flat. I see that designers, especially young designers, are considering the shapes and volumes in a totally different way; the colors, also. I think they pay much more attention to the photogenic value of an outfit.” Asked why, she replied, “It’s the web, definitely, that has changed the language.” Young editors, too, have been conditioned to think of fashion in the flat plane of the digital screen. “What concerns me is the generational shift,” said Ed Filipowski, the president for media relations at KCD. “So much of the younger generation does not look at the clothes for the first time with their eyes. They’re trained to see clothes for the first time through photographs, two-dimensional as opposed to three-dimensional.” (Was it this tendency that Rei Kawakubo, the Delphic savant of Comme des Garçons, was satirizing — or celebrating — in her fall 2012 collection, which consisted of felt garments flattened like paper dolls’ clothes? “The future is two dimensions,” was her explanation of the show.) Both Mr. Filipowski and Ms. Cardini noted that the shift they have described is not necessarily a negative one. KCD, in fact, has implemented video “digital fashion shows” that exist only online, though Mr. Filipowski said that these are not meant to replace the traditional show.
The changes wrought by the flat screen do come with potential downsides. Though several designers mentioned the ability of Instagrammers to capture a garment at more angles than before, intricacies of cut and construction can vanish when reduced to two dimensions. Shows that may be gripping live may be done little justice on-screen. Junya Watanabe’s fall collection, all in black (notoriously hard to photograph), was composed of pieces of many fabrics sewn together to create a patchwork. On-screen, the nuances often failed to come through. Couture, relying as it does on minute handwork, may suffer even more. “People can’t see what couture is very well on a computer screen,” Raf Simons of Dior complained to Interview. Online ubiquity can also result in overexposure and copycatting. Phoebe Philo of Céline restricts photography, refusing to allow attendees to shoot smartphone pictures at some of her presentations and supplying news media outlets with her own photos only when the collections arrive in stores. In 2010, Tom Ford took a similar tack by barring photographers and cellphones — the news media protested — when he showed his first runway collection in years. Tellingly, Mr. Ford eventually gave in. His recent shows during London Fashion Week were seen online as most shows are — which is to say, in their entirety, nearly instantaneously. While some labels still attempt to curb access — “There are brands that actually will block cellphone and data signals during shows,” said Mr. Baptista, the producer, declining to name names — most willingly accept that the genie is out of the bottle, digitally speaking. There are, after all, positive gains as well as potential drawbacks. The London designer Mary Katrantzou has been aware of the possibilities of showing work online since her student days at Central Saint Martins. After she made a collection that included several bustles, she recalled Louise Wilson, the outspoken director of the school’s master’s program, bellowing: “The front, Mary! You only see the front on Style.com!” Her brilliant prints and color palette, like that of many in her generation, may have been affected by the digital space, as Ms. Cardini suggests, but Ms. Katrantzou credits it for making her work stand out from the crowd on the web, effectively giving her an advantage over those designers who aren’t attuned to the online palatability of their wares.
The digital world can also open a more direct line of communication between designers and their fans than was previously possible. “I want to share with people,” said the dedicated Instagrammer Riccardo Tisci, the creative director of Givenchy, during a recent visit to New York. Mr. Tisci prefers to use the medium to share not necessarily his clothes, but the inspirations behind them, like the Giò Ponti architecture and design that influenced a recent pre-fall collection. “In Ukraine, a girl who doesn’t know who is Giò Ponti” likes the collection “and doesn’t know how I get to that,” he said. “To see the beginning of the story is quite beautiful. I think Instagram, if you use it in the right way, it’s a positive.” Designers are not the only ones embracing the freedom offered digitally. The stylist Carlyne Cerf de Dudzeele, a fixture in the industry, now hosts a YouTube show and is Instagramming merrily. Though she has worked with photographers like Peter Lindbergh and Steven Meisel, she recently took matters into her own hands for a fashion story in System magazine. Every photo was, as the opening page made clear, “Shot with my iPhone.” Her prefatory note enthused: “New World / No Retouching, No Assistant / No Budget, No Brainstorming, No Moodboard / Heaven!!!” And crucially for designers, in the new world, any phone can be an instant till. When Ms. Katrantzou introduced e-commerce on her website, she Instagrammed a photo of an embellished minidress called the Midnight Chrysa to her followers. It is “an imposing dress,” she said, which costs $8,680. She sold three that day.
27
UN AVENIR INCERTAIN
LES NOUVELLES LOIS D’INSTAGRAM
L’avenir des influenceurs - dont la légitimité repose sur leur sincérité
supposée - est néanmoins remis en cause par l’arrivée des hashtags
#ad ou #sponsored et les nouvelles règles de transparence sur les
posts rémunérés.
Les consommateurs deviennent de plus en plus informés et on trouve
chez les jeunes un talent aigu pour détecter tous les signes d’une
influence commerciale et financière dans les contenus internet.
Les influenceurs ont profondément contribué à la démocratisation de
la mode et sur les processus créatif, et cela ne changera pas. Quant à
l’avenir et à leur capacité à transformer le secteur encore plus, seul
l’avenir pourra le dire. Il demeure qu’il faut continuer à observer
attentivement cette population pour rester à la page.
Source : Later28 PETITE OUVERTURE POUR FAIRE RÉFLÉCHIR
29
La mode crée-t-elle la tendance ou
la tendance créé-t-elle la mode ?30
P ou r c e rta i ns prof e s s ionne l s de l a mode , l e s
tendances naissent d'elles-mêmes et il suffit de
les détecter. En 1954, Pierre Balmain expliquait
qu’il suffit de suivre tout simplement la tendance
telle qu’elle s’impose à nous, car nulle mode ne
na î t d e l’a b s o l u. L a m o d e d é c o u l e t o u j o u r s d ’ u n e
évolution normale, elle est le produit d’une
évolution normale, et tout normalement, chacun
de s r e pr é s e n ta n t s de l a c ou t u r e s u i v r a c e t t e m ê m e
é v o l u t i o n av e c s o n i n t e r p r é tat i o n p e r s o n n e l l e , e t
c’est cette même évolution que tous les
couturiers proposent au public.31
OU VERTU RE
D'un point de vue plus sociologique, les professionnels sont d’avis que c'est l'industrie qui, en focalisant l'attention de toute une société
sur telle forme ou telle couleur, crée la tendance et la mode qui par la suite sera adoptée par les consommateurs.
On ne peut toutefois affirmer que ce soient les agences de tendances qui fassent la mode. Comme Vincent Grégoire, responsable du
département art de vivre chez Nelly Rodi le fait remarquer, « les créateurs mettent nos recommandations à leur sauce, en fonction de
leurs spécificités. Certaines marques prennent même le contre-pied de ce qu'on leur suggère pour se singulariser ! » De fait, les agences
de style sont avant tout des détecteurs de tendances qui s’efforcent en amont, pour les besoins de l’industrie, de prédire et d’anticiper de
quoi sera fait demain, avec un succès souvent avéré. En effet, les tendances sont des phénomènes à long terme, présents à l’état de
germe dans nos sociétés et susceptibles d’évolution. Une tendance peut donc être particulièrement longue à s’imposer, elle peut
également se développer très rapidement sous l’action d’un élément déclencheur imprévu.32
Les tendances sont donc là, présentes,
autour de nous, à l’état de germe,
on peut les pressentir, très en amont à l’instar des
agences de style, on peut les capter dans l’air du
temps quand elles sont déjà plus perceptibles ou le
créateur peut attendre qu’elles s’imposent à lui.
Qu’on les anticipe ou non, les tendances ont leur
logique propre, elles finissent toujours par surgir
et tracer leur trajectoire de sorte qu’on ne peut
que leur emboîter le pas et les suivre qu’on le
veuille ou non.33 QUELQUES GRANDES TENDANCES En ce moment et dans l’avenir
34
QU ELQU ES
GRANDES TENDANCES
QUI AURONT UN GRAND IMPACT
Source : Datamation Source : Vogue US Source : Pokegostat
DATA MINING DÉVELOPPEMENT DURABLE CHANGEMENT SOCIAL
Une approche encore plus Un secteur qui va changer dans les A travers l’exemple de la tendance du
professionnelle et analytique, utile pour années à venir…. home office et les conséquences
la mode ?35
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