15% INCREASE SEEN Monday Still Cyber Day, But …dence of a wholesale decline whatsoever,” said...

WWD

PHOTO BY PAOLA PANSINI SEE PAGE XX

By DAVID MOIN

JUST WHAT the industry needed — another contro-versy in an already unusual and challenging season.

On Monday, the National Retail Federation stood by its estimate the day before that total sales for the Thanksgiving stretch plummeted 11 percent, a dire forecast that sparked industry reaction.

The NRF was busy fi elding calls Monday from some top retail executives disputing the fi ndings, which came from a consumer survey. Among those disagreeing was Stephen Sadove, the former Saks Fifth Avenue chairman and chief executive offi cer, who just happens to be the chairman of the NRF.

“I don’t believe consumption was minus 11 per-cent,” Sadove told WWD. “It’s not consistent with what I have been hearing talking to a number of peo-ple in the industry.

“The survey is a survey. It’s not like anybody is making up the numbers,” Sadove added. “But it’s poll-ing data, not actual purchasing data.”

Sources said Macy’s chairman and ceo Terry Lundgren was also disputing the fi ndings, but Macy’s would not confi rm.

“From our own data set, we didn’t see any evi-dence of a wholesale decline whatsoever,” said Craig Johnson, president of Customer Growth Partners. “One or two teen apparel retailers may have been down a lot but all the big guys — Wal-Mart, Target, Costco, Best Buy, Macy’s — were modestly up. Nobody was near down 11 percent, and at worst, it could have been kind

By RACHEL STRUGATZ

CYBER MONDAY might break sales records this year — but the shopping holiday lost some of its mo-mentum amid the influx of promotions that started last week.

That isn’t to say that e-commerce isn’t performing well so far this holiday season — Black Friday’s on-line sales reached a record $2.4 billion for the sin-gle day. It is simply that online deals are no longer relegated to the Monday after Thanksgiving. While Cyber Monday’s overall sales take is expected to be 15 percent higher than last year, that is still markedly slower growth than the 25 percent gain seen on Black Friday, according to early data from Adobe Digital Index. (Last year, the fi rm recorded Cyber Monday sales grew 16 percent to $2.29 billion.)

Adobe Digital tracked 27 million visits to 4,500 re-tail Web sites between midnight and 10 a.m. Monday, indicating that the day started off strong with 17 percent year-over-year growth. In the fi rst 10 hours, $719 million was spent online, with total sales for the day projected to surpass $2.6 billion. Mobile sales via smartphones and tablets — responsible for $190 million of the take — were fueling 26 percent of total sales online, up from 18 percent last year. By day’s end, Adobe projected that sales growth would even out to about 15 percent as mobile shopping tapers off later in the evening.

According to the National Retail Federation’s Cyber Monday Expectations Survey, 126.9 million shoppers planned to shop online on Monday, down al-most 3.6 percent from the 131.6 million who said they would participate last year.

Online users are still shopping in droves — lured by the same types of aggressive promotions seen at brick-and-mortar stores for Black Friday. Amazon unveiled new deals every 10 minutes during Cyber

SEE PAGE 9

15% INCREASE SEEN

Monday Still Cyber Day,But Growth Pace Slows

Retail Execs QuestionNRF’s Black Friday Data

SEE PAGE 9

Fusing sartorial chic and technical mastery is nothing new for Fendi and Karl Lagerfeld. For pre-fall, the designer works the house’s signature geometric patterns, colorblocking and fur into a fanciful fest: a cashmere zippered coat embroidered with delicately dyed mink blocks and jewel-faceted mirrors. For more pre-fall reviews, see page 4.

TUESDAY, DECEMBER 2, 2014 ■ $3.00 ■ WOMEN’S WEAR DAILY

PRE-FALL2015

COLLECTIONS

Block Party

ERDEM MORALIOGLU SCOOPED THE TOP PRIZE AT THE BRITISH FASHION AWARDS. PAGE 10

AWARDS NIGHT

THE ARTFUL FLOCK LOUIS VUITTON, CHROME HEARTS AND PETER MARINO ARE ALL PART OF THE ACTION AT MIAMI ART BASEL. PAGES 6 AND 7

WWD.COM2 WWD TUESDAY, DECEMBER 2, 2014

Mulli Said Succeeding Surridge at Z Zegna

Bangladesh Cited Over Child Labor

Bangladesh Cited Over Child Labor

L Capital Asia Taking Control of Seafolly

By KRISTI ELLIS

WASHINGTON — Bangladesh and Cambodia, al-ready plagued by concerns over safety and workers’ rights, now have another cause for concern: new child labor allegations.

The U.S. Department of Labor’s Bureau of International Labor Affairs said Monday it has added garments from Bangladesh and textiles from Cambodia to its new “List of Goods Produced by Child Labor or Forced Labor.”

A separate DOL report released in October that provided country assessments on the worst forms of child labor did not include garments from Bangladesh or textiles from Cambodia. For coun-tries and industries that land on the U.S. govern-ment watch list detailing alleged use of child and forced labor, the consequences can range from public perception problems to potential economic fallout. But there are no punitive actions or trade remedies associated with being named on the list that was mandated by the Traffi cking Victims Protection Reauthorization Act of 2005.

Bangladesh has been at the center of a maelstrom in the wake of two factory tragedies that claimed the lives of more than 1,240 workers and the DOL’s ac-tion on Monday adds another concern to the long list of problems retailers and brands are facing there.

Eric Biel, associate deputy undersecretary of labor for international affairs, said on a conference call with reporters that the DOL has been “spending a lot of time and attention on” researching the infor-mal sector and subcontracting in Bangladesh’s gar-ment industry. Biel noted that the DOL only has evi-dence of child labor in Bangladesh’s informal sector.

“That is key, but the other part of the equation is because of the challenge of identifying the full sup-

ply chain, which is something we are all working quite hard to do more suffi ciently,” Biel said. “It is diffi cult to know what links there are between the informal sector production and where goods ulti-mately end up, including potentially some of those exported to this or other countries.”

Marcia Eugenio, director of the DOL’s Offi ce of Child Labor, Forced Labor and Human Traffi cking, said: “Back in the 1990s, there were a lot of children that were working in those big factories and there was a push to actually clean up factories in more ways than one. A lot of those children were pushed out and into the more in-formal or unregulated work situation both in gar-ment and other types of settings. We are hoping that with the listing of the product we will actu-ally be able to engage in conversation with both the government of Bangladesh and also with the garment industry as to efforts that are currently being made and additional efforts that could be made to address the problem.”

Several other countries previously cited for child or forced labor remained on the DOL list in several industries. In garment production, they included Argentina, Brazil, China, India, Jordan, Malaysia, Thailand and Vietnam. In textile man-ufacturing, countries named were Bangladesh, China, India, Nepal and North Korea. In the area of diamond and gem mining, countries cited are Angola, Central African Republic, Democratic Republic of the Congo, Guinea, India, Liberia, Sierra Leone and Zambia.

In cotton growing and cultivating, countries named for using child or forced labor or both are Argentina, Azerbaijan, Benin, Brazil, Burkina Faso, China, Egypt, India, Kazakhstan, Pakistan, Paraguay, Tajikistan, Turkey, Turkmenistan, Uzbekistan and Zambia.

By LUISA ZARGANI

MILAN — What’s in the cards for Z Zegna? A new designer, Francesco Mulli, is said to be

joining the Ermenegildo Zegna Group, following the exit of Paul Surridge, as reported by Italy’s Corriere della Sera on Monday. It is understood Mulli’s fi rst designs for Z Zegna will bow for spring 2016. Only a few months ago, in June, the group celebrated the relaunch of its Z Zegna line with a major perfor-mance show at men’s trade exhibition Pitti Uomo. Starting with the spring 2015 season, the Z Zegna brand incorporated the Zegna Sport leisurewear label and the creative development of the brand was assigned to a team guided by two of the compa-ny’s key people: Surridge, former creative director of Z Zegna, and Murray Scallon, previously Zegna Sport’s head designer.

The stakes are high for Zegna as Z Zegna is a leading brand for the Italian men’s wear giant. “In some markets, such as China, for example, the brand’s modern yet luxurious designs are business drivers, a hit with the young, affl uent managers,” said a market source. “Even more so now that it

adds the urban casual style from Z Sport.” Milan-based marketing and strategic consultant

Armando Mammina concurred, saying the Z Zegna brand “is an important business and is not merely an extension of the Ermenegildo Zegna label. It’s a fascinating brand with an excellent fi t that works for daily wear as well as on weekends. Accessories are also strong.” Mammina said an added draw is that the brand “also has entry-price items while remaining in the luxury segment.”

Z Zegna is Zegna’s more fashion-oriented brand and was launched in 2003.

Group chief executive offi cer Gildo Zegna said upon the launch of the new course of Z Zegna earlier this year that the company was “developing a new business tool to target the evolving and specifi c needs of the men’s wear market,” with the goal “to gain a solid position in the accessible luxury segment.”

A former head designer of Jil Sander men’s wear, Surridge joined Z Zegna in 2011, succeed-ing Alessandro Sartori, who left for Berluti, con-trolled by LVMH Moët Hennessy Louis Vuitton. His fi rst collection was for fall 2012. Surridge honed his men’s wear skills at Burberry and Calvin Klein.

ON WWD.COM

THE BRIEFING BOXIN TODAY’S WWD

Cyber Monday might break sales records this year — but the shopping holiday lost some of its momentum amid the infl ux of promotions that kicked off last week. PAGE 1

Laurie Lynn Stark and her husband Richard have christened a new Chrome Hearts retail store in Miami’s Design District devoted to art and art-inspired fashion. PAGE 6

Pierre Paulin’s groovy furniture is now the subject of a satellite exhibition scheduled to open during the Design Miami and Art Basel Miami Beach fairs. PAGE 6

China still leads the sourcing pack, but executives from sourcing agents and Western apparel and accessories companies say they are being forced to look elsewhere. PAGE 8

Amazon said in a regulatory fi ling that it plans to borrow an indeterminate amount of money to keep pushing its business forward. PAGE 9

Karl Lagerfeld debuted his mini-fi lm, “Reincarnation,” featuring Pharrell Williams and Cara Delevingne Monday, on the eve of Chanel’s Paris-Salzburg show. PAGE 10

British fashion fi gures were feeling the love at the annual British Fashion Awards, offering up more than the usual thanks to mothers, fathers, siblings and children. PAGE 10

Phoebe Dahl, the 26-year-old, Los Angeles-born granddaughter of Roald Dahl and cousin of Sophie Dahl, is charting her own fashion course in her native city. PAGE 11

The Fab Lane is back in service. Kimora Lee Simmons is launching her new designer women’s collection with pre-fall next week in New York. PAGE 11

Former Neiman Marcus Beverly Hills executive Erin Shaffer has launched a line of leather handbags called Shaffer, meant to epitomize the “best fi ve handbags that won’t go out of style.” PAGE 11

Heather Kemesky is the subject of Model Call. For more, see WWD.com.

MODEL CALL: Heather Kemesky has recently graced the pages of i-D Magazine and has nabbed campaigns for Lucky Jeans, Benetton and Kate Spade. For more, see WWD.com.

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TO E-MAIL REPORTERS AND EDITORS AT WWD, THE ADDRESS IS [email protected], USING THE INDIVIDUAL’S NAME. WWD IS A REGISTERED TRADEMARK OF FAIRCHILD PUBLISHING, LLC. COPYRIGHT ©2014 FAIRCHILD PUBLISHING, LLC. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 208, NO. 112. TUESDAY, DECEMBER 2, 2014. WWD (ISSN 0149-5380) is published daily (except Saturdays, Sundays and holidays, with one additional issue in March, April, May, June, August, October, November and December, and two additional issues in February and September) by Fairchild Media, LLC, which is a division of Penske Business Media, LLC. PRINCIPAL OFFICE: 11175 Santa Monica Blvd., 9th Fl, Los Angeles, CA 90025. Periodicals postage paid at Los Angeles, CA, and at additional mailing offi ces. Canada Post: return undeliverable Canadian addresses to P.O. Box 503, RPO West Beaver Cre, Rich-Hill, ON L4B 4R6. POSTMASTER: SEND ADDRESS CHANGES TO WOMEN’S WEAR DAILY, P.O. Box 6356, Harlan, IA, 51593. FOR SUBSCRIPTIONS, ADDRESS CHANGES, ADJUSTMENTS, OR BACK ISSUE INQUIRIES: Please write to WWD, P.O. Box 6356, Harlan, IA, 51593, call 866-401-7801, or e-mail customer service at wwdPrint@cdsfulfi llment.com. Please include both new and old addresses as printed on most recent label. For New York Hand Delivery Service address changes or inquiries, please contact Mitchell’s NY at 1-800-662-2275, option 7. Subscribers: If the Post Offi ce alerts us that your magazine is undeliverable, we have no further obligation unless we receive a corrected address within one year. If during your subscription term or up to one year after the magazine becomes undeliverable, you are ever dissatisfi ed with your subscription, let us know. You will receive a full refund on all unmailed issues. First copy of new subscription will be mailed within four weeks after receipt of order. We reserve the right to change the number of issues contained in a subscription term and/or the way the product is delivered. Address all editorial, business, and production correspondence to WOMEN’S WEAR DAILY, 750 Third Avenue, New York, NY 10017. For permissions requests, please call 212-630-5656 or fax request to 212-630-5883. For reprints, please e-mail [email protected] or call Wright’s Media 877-652-5295. For reuse permissions, please e-mail [email protected] or call 800-897-8666. Visit us online at www.wwd.com. To subscribe to other Fairchild Media, LLC magazines on the World Wide Web, visit www.wwd.com/subscriptions. WOMEN’S WEAR DAILY IS NOT RESPONSIBLE FOR THE RETURN OR LOSS OF, OR FOR DAMAGE OR ANY OTHER INJURY TO, UNSOLICITED MANUSCRIPTS, UNSOLICITED ART WORK (INCLUDING, BUT NOT LIMITED TO, DRAWINGS, PHOTOGRAPHS, AND TRANSPARENCIES), OR ANY OTHER UNSOLICITED MATERIALS. THOSE SUBMITTING MANUSCRIPTS, PHOTOGRAPHS, ART WORK, OR OTHER MATERIALS FOR CONSIDERATION SHOULD NOT SEND ORIGINALS, UNLESS SPECIFICALLY REQUESTED TO DO SO BY WOMEN’S WEAR DAILY IN WRITING. MANUSCRIPTS, PHOTOGRAPHS, AND OTHER MATERIALS SUBMITTED MUST BE ACCOMPANIED BY A SELF-ADDRESSED STAMPED ENVELOPE.

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By PATTY HUNTINGTON

SYDNEY — LVMH Moët Hennessy Louis Vuitton’s private equity arm is investing in the Aussie beach lifestyle.

L Capital Asia confi rmed Tuesday it is taking a controlling interest in Australian swimwear com-pany Seafolly for an undisclosed amount. Seafolly will retain a more than 20 percent stake, according to Seafolly chief executive offi cer Anthony Halas.

Some analyst estimates put Seafolly’s total asset value as high as 400 million Australian dollars, or $340 million at current exchange.

Founded by Halas’ parents Peter and Yvonne Halas in 1975, Seafolly is Australia’s largest swim-wear manufacturer with a more than 30 percent local market share and 110 million Australian dol-lars in group sales for fi scal 2014 — or $104 million at average fi scal 2014 exchange — up 17 percent on 2013, Halas told WWD.

Seafolly sells to 400 stockists in Australia and New Zealand and to 1,211 stockists in 42 markets globally and operates 14 Seafolly concept stores within Australia, three in Singapore and one in the U.S., with two more U.S. freestanding stores slated to open in 2015.

Seafolly also owns the 23-unit multibrand Australian swimwear chain Sunburn and the celeb-rity swimwear line Isola by Megan Gale, which is exclusive to David Jones department stores.

L Capital Asia plans to develop Seafolly into a full lifestyle brand and expand into other cat-egories, including fashion and quadruple sales within fi ve years, according to Halas, who be-lieves Seafolly could be a $1 billion brand within a decade.

“What Billabong and Rip Curl and Quiksilver were to the surf market, Seafolly can be in its own space,” said Halas, who claims to have been courted “almost daily” by trade and private equity suitors prior to a call from L Capital Asia about 12 months ago.

“When they approached me, they said, ‘We want to get into this swimwear space and we think there’s no second option,’” he added. “What is so unique about Seafolly is we cut through such a huge market sector — from teenage girls to young mums through to women in their 40s. Most brands are much more niche than that. We also have 30-percent-plus market share in Australia. There is no other swimwear brand that has that kind of market share in any market.”

WWD TUESDAY, DECEMBER 2, 20144

FOR MORE PRE-FALL 2015, SEE

WWD.com/runway.

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Pre-Fall 2015Missoni: Angela Missoni interrupted the brand’s signature graphics to introduce artier motifs for pre-fall. Flowers, which appeared to be created by soft brush strokes, were a major motif, as were irregular multicolor spots that formed the leopardlike

patterns of head-to-toe animalier looks.Unmistakably Missoni textures and patterns were present in the offerings as

well, among them an exploded zigzag boiled-wool coat.

— ALESSANDRA TURRA

Fendi: Karl Lagerfeld reworked some of the Fendi house’s most recognizable elements — geometrics, colorblocking, fur, among them — for a pre-fall collection with high visual intensity.

In the wake of incredible in-store success, the brand’s furry Bag Bugs, launched as bag charms last year, took a starring role on clothing as well as accessories. Case in point: They added a playful twist to a cropped biker jacket worn with a wool jacquard skirt featuring heat-sealed leather details in one of the collection’s signature motifs — symmetric stripes recalling piano keys.

Geometry also played a role in Fendi’s upscale fur offerings, which included an exquisite cashmere zippered coat embroidered with mink fur blocks and mirrored embellishments. — A.T.

Sonia by Sonia Rykiel: Sonia Rykiel’s claim on the Left Bank Parisian and her je ne sais quoi extends to this contemporary range, whose pre-fall lineup takes on a less thrown-together, more sophisticated style.

The design team turned out three broadly interpreted groupings: abstracted tuxedo dressing, pepped-up army fatigues and playful takes on what’s considered “bad taste” — as in loud jewelry prints and gaudy embroideries. Unifying it all were defi ned waists and an offhand approach to luxury, as in a striped leather perfecto propped on the shoulders.

—MILES SOCHA

Sonia Rykiel’s claim on the Left Bank Parisian and Sonia Rykiel’s claim on the Left Bank Parisian and

WWD.COM5WWD TUESDAY, DECEMBER 2, 2014

By MARC KARIMZADEH

NEW YORK — For Fendi, the new Madison Avenue store rep-resents more than just a relo-cation from Fifth Avenue. The move is considered the culmina-tion of chairman and chief ex-ecutive officer Pietro Beccari’s vision since joining the Roman brand nearly three years ago. This centered around elevating the brand and its overall per-ception, touching on everything from store design to the range of accessories — think less logo, more playful and fur.

The new, Peter Marino-designed flagship, which quietly opened its doors on Saturday afternoon, plays into such no-tions, which Beccari, on a walk-through on Monday morning, called “a very unique position-ing” of luxury, workmanship and touches of fun, all at once.

“That’s what we want to stand for and we are working to give this image to the public,” he said. “We are elevating the image and the ranges, so being positioned on Madison Avenue and 57th Street brings us at the heart of the type of client that we are trying to address.

“The U.S. market is doing very well,” the executive added. “The American public is very well-educated about fashion. If you make it here, you are on the right track. It has potential and is also a fantastic challenge for us to be successful here.”

The 4,100-square-foot store, located at 598 Madison Avenue at 57th Street, was previously

home to Montblanc. The new store concept is smaller than the 6,500-square-foot one on Fifth, resulting in the loss of dedicated space for men’s wear. “Now we have to find a loca-tion in New York for men be-cause we have no space here for men’s wear,” Beccari noted, adding that he is consider-ing both Madison Avenue and SoHo, where the brand recently opened a pop-up shop, as poten-tial areas for such a store. That said, a men’s-specific boutique is unlikely to open before 2016.

The store on Fifth Avenue, meanwhile, will remain open through the holiday season and close at the end of the day on Dec. 24.

On Madison Avenue, the decor nods at Italian minimal-ism and Fendi’s fur roots, from the Indonesian wood used for the floor that reads marble to hand-applied plaster and lac-quered walls.

“We tried to express the world of Fendi with materials and ma-teriality,” Marino noted. “If you look at it quickly and photo-graph it, it looks like fur. That’s how Fendi started out, those are their roots. I wanted to reference them in the materials.”

Columns and arches add to the Roman feel of the space. It was deliberately planned that way by Marino.

“If you just go by and open your eyes, and there is no sign yet, and I said to you, ‘What brand does this remind you of?’ You won’t say it’s Dior, you’re not going to say it’s Chanel and you’re not going to say it’s Vuitton,” Marino said. “You go, ‘It must be something Italian, it must be something Roman, it must be Fendi.’ We worked a long time to get that concept.”

The main floor focuses on women’s accessories, including handbags and shoes, eyewear and small leather goods. There

is, for example, a wall installa-tion of Baguette bags, as well as displays of mini versions of it alongside miniature mink coats fit for a toddler.

The second floor is devoted to the brand’s ready-to-wear and innovative furs in an open-plan space that creates a seamless transition between the areas.

“With the open communication between fur and rtw, everything becomes easier to read, and the categories are upgraded in terms of perception,” Beccari noted.

In a nod to the artisanal work of the house’s atelier, a wall by the staircase between the two floors features a display of fur tablets, which the artisans cre-ate to test the fur designs.

The facade is unique. Marino conceived an arch-and-column Travertine storefront that nods at the principal architectural feature of the Palazzo della Civiltà Italiana, the house’s new Rome headquarters.

“I am trying to give to the pub-lic what I call a beautifully ab-stracted version of Rome,” Marino said of the facade. “The facade is a very soft Travertine, and like a Gio Ponti structure, there are ar-cades in Rome everywhere, from the Coliseum up to the 1960s. These arcades have circles on top. I did complex curves and cut them unevenly to give a modern twist to Fendi — there is the Fendi attitude that is always classic but with something cut off.”

“It’s kind of what we want to say about Fendi, the workmanship is superb, the design is always a fun, off-beat version of something clas-sic, and it is a really quintessential Roman brand,” Marino said.

The Roman point is also made in the boxes and bags in-troduced at the Madison Avenue location. They come in a new textural yellow that reflects the patina of walls commonly found in the Italian capital.

Beccari declined to disclose the percentage of sales the U.S. market represents and the projec-tions for the unit, but noted, “The U.S. market is one of our three top-priority markets right now.”

There are currently 18 free-standing stores in North America. As for growth here, Fendi plans

to open a store in Miami’s Design District next year. Miami is an important market with much ac-tivity for the brand. For Design Miami, Fendi has teamed with Dimore Studio to create a Roman Lounge, recreating an ideal Fendi apartment in Rome with some of the brand’s most representative details, such as Selleria leather and fine stitching or color-blocking. Fendi also re-cently entered a partnership with Château Group to develop Fendi Château Residences, a 12-story waterfront condo in Miami slated for completion in June 2016.

Retailwise, the lion’s share of investment is earmarked for renovating and updating existing stores in the brand’s new elevat-ed image. Madison Avenue is a key indicator of it. “It’s an impor-tant store not only for New York and the American public but it’s a window to the world,” Beccari noted. “Everybody comes to New York, and this is a window of the range of Fendi that highly speaks to our brand and its positioning.”

As Marino put it, “It’s a whole new concept in the interior and exterior. I am hoping people will leave with a feeling of old-fashion luxury and something Roman with a twist, a Roman holiday.”

Beccari’s Fendi Vision Takes Form on Madison

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Views of the new Fendi boutique on Madison Avenue.

For more images, see

WWD.com/retail-news.

IN 1970, WHEN French First Lady Claude Pompidou chose to decorate the Élysée Palace’s 18th-century living quarters with the groovy furniture of Pierre Paulin, it was as audacious a design statement as I.M. Pei’s pyramid at the Louvre a decade or so later.

Michael Burke, chief executive offi cer of Louis Vuitton, used that analogy to emphasize the enduring modernity and purity of Paulin’s furnishings, still prized by cognoscenti and now the subject of a satellite exhibition scheduled to open today during the Design Miami and Art Basel Miami Beach fairs.

Vuitton is to display a modular living concept Paulin had envisioned with Herman Miller, the American furniture manufacturer, in 1972, but never realized.

“It just seems right,” Burke shrugs when asked to account for the recent resurgence of all things early Seventies, including chez Vuitton, where artistic director of women’s collections Nicolas Ghesquière has referenced the period in his fashions, store concepts and even the seating at runway shows, employing Paulin’s sinuous Osaka sofas for his resort show in Monaco earlier this year.

Burke enthuses that the project “combines everything we like: craftsmanship, design, modernity and audacity.” Indeed, functional and surprising design are part of the French company’s legacy, with Burke noting that Gaston Vuitton dreamed up foldable cots and chairs, contributing to a fecund period of design that would later be hailed as mid-century modern.

The Paulin/Miller residential concept — a multistory living arrangement whose furnishings can be

modifi ed to suit changing needs — should be received well in Miami, a hotbed of architectural innovation, Burke notes.

“It was all about open spaces, for one simple reason: There was no air-conditioning at that time,” he says. “It required a different set of furniture.”

It was the 1973 oil crisis and its economic aftermath that kept La Maquette on the drawing boards. To bring it to life, Burke says Vuitton tapped its extensive supplier network in Italy to realize 18 fi rst-edition armchairs, sofas, bookshelves, tatami mats and tables from Paulin’s reproduced, much grander design schemes.

Bulbous curves, soft padding and convenient details — for instance, on a round cocktail table or a Space-Age picnic table in white lacquered fi berglass — invite people to touch, sit and stay. Curved, fi rm seating upholstered in candy apple red and aubergine wool

jump out among neutrals and muted blues.

“I would love to have an Ensemble Fauteuil B or the big Sofa, but my Parisian apartment is not actually big enough,” Paulin’s son Benjamin says. “My father wanted to create a space where you can feel protected.”

“Making furniture is a very long process,” explains Burke. “It’s midway between making a dress and a car; that’s what furniture is. It’s very technical; it has a function that is more technical than a garment.”

Vuitton produces some limited-edition design objects — hammocks, stools, hanging cabinets — as part of its Objets Nomades series. Burke notes that such collaborations with top industrial designers, including the Campana Brothers and Atelier Oï, can yield unforeseen results and new ideas.

“It’s a creative process, a meeting of minds, and that’s very good for both

participants,” he says. “We do get inspired by other métiers, and this is a fundamental part of being a luxury house — continually challenging yourself and innovating.

“It’s about doing something relevant with who we are, and like-minded people, be they designers, architects or musicians,” he adds.

Burke noted that the prototypes on display in Miami will be sold as one-off, while noting that Paulin’s widow, Maïa, the keeper of his legacy, may choose to reedit some of the designs.

“We think these are great French designs,” Burke says. “There’s a niche of people that really collect Paulin. He’s not yet a household name, but he deserves to be known.”

A retrospective exhibition at the Pompidou, scheduled for next year, should also help popularize his oeuvre, including his Ribbon, Orange Slice and Tongue chairs, many freed of their traditional legs.

OF ALL THE ROLES that Laurie Lynn Stark fulfills — mother, photographer, BFF to movie stars and a creative force behind Chrome Hearts’ bold accessories and fashion — she revels in one that converges her interests: a patron of emerging artists and young fashion designers.

To highlight this, Stark and her husband Richard have christened a new retail store in Miami’s Design District that devotes nearly every inch of its 5,000 square feet to art and art-inspired fashion. It will open on Wednesday with a performance by Zoë Kravitz.

At the gallery-cum-boutique, the second fl oor will be occupied by Fahey/Klein Gallery’s fi rst local exhibition of 20th-century photographs, which Stark co-curated. She also approved a brightly colored yarn cave spun by the Haas Brothers to house The Elder Statesman’s cashmere knits, invited hair stylist Oribe to create one-of-a-kind wigs and handpicked a display of comics-inspired works by Los Angeles-based illustrator Matt DiGiacomo. Visitors also can take in Mother Nature’s art in a garden wall dotted with more than 1,100 indigenous plants and stretching 15 feet high and 80 feet long, as well as a feng shui-blessed arrangement of rose quartz, black tourmaline, pyrite and clear quartz in the courtyard. After all, Stark says, feng shui is an art in itself.

“People think it’s weird and hippie. It’s an ancient art,” she says. “We’re into nurturing the arts. To me, [the store] just blends all art.”

While all the artwork in the shop is for sale, commercialism ranks low on Stark’s list of priorities. If she had aspired to be commercial, she would have sold the

6 WWD TUESDAY, DECEMBER 2, 2014

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Miami Heat

An armchair covered in foam with a table in white lacquered wood. The Ensemble Fauteuil B lounge area.

The Tapis siège 1970 seating ensemble.

A table and chairs before the module rectangle shelving system.

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IT’S NOT JUST ARTISTS AND COLLECTORS FLOCKING TO MIAMI FOR THE ANNUAL ART BASEL FAIR. FASHION WILL BE WELL REPRESENTED, WITH LOUIS VUITTON, CHROME HEARTS AND PETER MARINO ALL MAKING BOLD PLAYS FOR THE ART WORLD’S ATTENTION.

Views of Chrome Hearts’ new Miami store.

Laurie Lynn, Richard and Jesse Jo Stark.

IN 1970, WHEN French First Lady Claude Pompidou chose to decorate the Élysée Palace’s 18th-century living quarters with the groovy furniture of Pierre Paulin, it was as audacious a design statement as I.M. Pei’s pyramid at the Louvre a decade or so later.

Michael Burke, chief executive offi cer of Louis Vuitton, used that analogy to emphasize the enduring modernity and purity of Paulin’s furnishings, still prized by cognoscenti and now the subject of a satellite exhibition scheduled to open today during the Design Miami and Art Basel Miami Beach fairs.

Vuitton is to display a modular living concept Paulin had envisioned with Herman Miller, the American furniture manufacturer, in 1972, but never realized.

“It just seems right,” Burke shrugs when asked to account for the recent resurgence of all things early Seventies, including chez Vuitton, where artistic director of women’s collections Nicolas Ghesquière has referenced the period in his fashions, store concepts and even the seating at runway shows, employing Paulin’s sinuous Osaka sofas for his resort show in Monaco earlier this year.

Burke enthuses that the project “combines everything we like: craftsmanship, design, modernity and audacity.” Indeed, functional and surprising design are part of the French company’s legacy, with Burke noting that Gaston Vuitton dreamed up foldable cots and chairs, contributing to a fecund period of design that would later be hailed as mid-century modern.

The Paulin/Miller residential concept — a multistory living arrangement whose furnishings can be

modifi ed to suit changing needs — should be received well in Miami, a hotbed of architectural innovation, Burke notes.

“It was all about open spaces, for one simple reason: There was no air-conditioning at that time,” he says. “It required a different set of furniture.”

It was the 1973 oil crisis and its economic aftermath that kept La Maquette on the drawing boards. To bring it to life, Burke says Vuitton tapped its extensive supplier network in Italy to realize 18 fi rst-edition armchairs, sofas, bookshelves, tatami mats and tables from Paulin’s reproduced, much grander design schemes.

Bulbous curves, soft padding and convenient details — for instance, on a round cocktail table or a Space-Age picnic table in white lacquered fi berglass — invite people to touch, sit and stay. Curved, fi rm seating upholstered in candy apple red and aubergine wool

jump out among neutrals and muted blues.

“I would love to have an Ensemble Fauteuil B or the big Sofa, but my Parisian apartment is not actually big enough,” Paulin’s son Benjamin says. “My father wanted to create a space where you can feel protected.”

“Making furniture is a very long process,” explains Burke. “It’s midway between making a dress and a car; that’s what furniture is. It’s very technical; it has a function that is more technical than a garment.”

Vuitton produces some limited-edition design objects — hammocks, stools, hanging cabinets — as part of its Objets Nomades series. Burke notes that such collaborations with top industrial designers, including the Campana Brothers and Atelier Oï, can yield unforeseen results and new ideas.

“It’s a creative process, a meeting of minds, and that’s very good for both

participants,” he says. “We do get inspired by other métiers, and this is a fundamental part of being a luxury house — continually challenging yourself and innovating.

“It’s about doing something relevant with who we are, and like-minded people, be they designers, architects or musicians,” he adds.

Burke noted that the prototypes on display in Miami will be sold as one-off, while noting that Paulin’s widow, Maïa, the keeper of his legacy, may choose to reedit some of the designs.

“We think these are great French designs,” Burke says. “There’s a niche of people that really collect Paulin. He’s not yet a household name, but he deserves to be known.”

A retrospective exhibition at the Pompidou, scheduled for next year, should also help popularize his oeuvre, including his Ribbon, Orange Slice and Tongue chairs, many freed of their traditional legs.

OF ALL THE ROLES that Laurie Lynn Stark fulfills — mother, photographer, BFF to movie stars and a creative force behind Chrome Hearts’ bold accessories and fashion — she revels in one that converges her interests: a patron of emerging artists and young fashion designers.

To highlight this, Stark and her husband Richard have christened a new retail store in Miami’s Design District that devotes nearly every inch of its 5,000 square feet to art and art-inspired fashion. It will open on Wednesday with a performance by Zoë Kravitz.

At the gallery-cum-boutique, the second fl oor will be occupied by Fahey/Klein Gallery’s fi rst local exhibition of 20th-century photographs, which Stark co-curated. She also approved a brightly colored yarn cave spun by the Haas Brothers to house The Elder Statesman’s cashmere knits, invited hair stylist Oribe to create one-of-a-kind wigs and handpicked a display of comics-inspired works by Los Angeles-based illustrator Matt DiGiacomo. Visitors also can take in Mother Nature’s art in a garden wall dotted with more than 1,100 indigenous plants and stretching 15 feet high and 80 feet long, as well as a feng shui-blessed arrangement of rose quartz, black tourmaline, pyrite and clear quartz in the courtyard. After all, Stark says, feng shui is an art in itself.

“People think it’s weird and hippie. It’s an ancient art,” she says. “We’re into nurturing the arts. To me, [the store] just blends all art.”

While all the artwork in the shop is for sale, commercialism ranks low on Stark’s list of priorities. If she had aspired to be commercial, she would have sold the


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Views of Chrome Hearts’ new Miami store.

Laurie Lynn, Richard and Jesse Jo Stark.

THERE ARE LOTS of sharp edges in “One Way: Peter Marino,” the exhibition opening Thursday at the Bass Museum of Art and coinciding with Art Basel Miami Beach. Marino, who is as well known for his black leather biker outfi ts as he is for the posh environments he creates for clients, reveals in the show his voracity as a collector and his fascination with knives, surgical instruments and hard objects made from brass, copper, plated nickel, gold and stainless steel.

The week holds another tribute to Marino, since on Wednesday Design Miami will bestow him with its inaugural Visionary Award.

Curated by Jerome Sans, “One Way: Peter Marino” features 136 works from his personal collection, architectural projects that were never completed — and many that were — his own bronze boxes and commissioned works. The show closes on March 29.

The architect, who purchases fi ve to 10 works a month for himself and on behalf of his clients, buys deep; he says he likes to own seven or eight works by an artist. On Sundays, he visits museums and galleries, hunting for new talent. “It’s kind of sweet and old-fashioned,” he says of his routine. “I fl y to see exhibits in London, Paris, Berlin, Munich and Rome. I loan a lot of art now and I like to see it in the shows.” Marino’s collection of Baroque and Renaissance bronze sculptures is renowned, and he’s the largest private collector of Claude and François-Xavier LaLanne sculptures.

“As I’ve become more successful, my collection has gotten quantitatively larger,” Marino says. “I now buy massive amounts of art. People ask, ‘Are you ever going to run out of money?’ It’s not my intention to run out of money in the bank. I want to live with art.”

That he does. In addition to his home, Marino’s art is generously displayed in his offi ces in New York. “The art is everywhere,” he says, “squished between my sketches and in between are my leather vests.”

Visitors to the Bass will see works by artists such as Keith Haring, Andy Warhol, Richard Serra, Rudolf Stingel, Damien Hirst, Robert Mapplethorpe, Vik Muniz and Yan Pei-Ming. Marino’s own bronze boxes will be presented within leather-clad walls with photographs by Mapplethorpe hanging above. “I call this the inner me,” Marino says. The word “egotist” may come to mind upon entering a room devoted to portraits and photographs of Marino by other artists such as Francesco Clemente and David LaChapelle.

Marino says he balked at the idea of the exhibition at fi rst. “‘[You’re] the most art-involved architect we know,” he recalls Bass executive director and chief curator Silvia Karman Cubiñá saying. “In every job, you commission art and work with artists.’” She

then asked Marino if several of his artist pals could do site-specifi c works for the exhibition — gratis.

“When I commission something for Chanel, um, Chanel pays for it, and when I commission something for Dior, um, Dior pays for it,” he says. “Silvia being the original Dr. Pangloss, said, ‘I’m sure they’ll all be thrilled to work with you.’ ‘For free?’ I said. ‘That’s calling in a lot of favors, Silvia.’”

Marino didn’t have to twist many arms — Gregor Hildebrandt, Guy Limone, Farhad Moshiri, Jean-Michel Othoniel and Erwin Wurm participated. “They’re rock stars,” he says. “The show was a massive amount of work. I had four architects working on the project for over a year and it involved the diplomacy of getting fi ve people to do commissioned works for free.”

A commissioned Hildebrandt work with an image of Marino wraps the museum’s exterior. By now, it should be obvious that Marino is an exhibitionist. An image of him is splayed on the cover of the exhibition catalogue, whose pages are held together by strips of leather battened down with screws. Meanwhile, inside, Hildebrandt created “Orphische Schatten” (“Orphic Shadows”), inspired by “Orfeo ed Euridice,” the Christoph Willibald Gluck opera Marino produced and staged in his Manhattan apartment last year. “When Gregor heard that, he took hundreds of videotape strips from copies of the classic Jean Cocteau fi lm ‘Orpheus,’ which is my favorite, and lined the museum walls with them,” Marino says.

Marino’s lavish re-creation of “Orfeo ed Euridice” is projected on to four screens in the opera

room, highlighting his sets — black leather represents Hades and a woven mesh curtain blasted with light symoblizes heaven — as well as those by Michal Rovner and Clemente. Raf Simons designed dresses for the opera singers and Jane Trapnell, Marino’s wife, created costumes for the corps de ballet and chorus.

Limone used 2,200 images from Marino’s archives to create “this gi-normous collage of all of my work on an arch.” Through the arch, Warhol’s “Human Heart” is visible. “That’s where I began,” Marino says, referring to the artist, who was an early mentor.

Moshiri, who creates installations by throwing knives at gallery walls, spelled out “Paradise” for the Bass exhibition. Othoniel contributed a giant rosary made of glass beads. Marino’s fascination with skulls commands its own section in the show, including pigment prints by Adam Fuss, a bronze and enamel skull by Tom Sachs and Zhang Huan’s “Skull No. 29,” culminating in Wurm’s portrait of Marino 100 years from now. “He took an X-ray of my skeleton and made a sculpture of it,” the architect says. The skeletal Marino, is wearing a black leather motorcycle jacket and hat — natch.

— SHARON EDELSON

family-owned company years ago and watched the designs be produced in China rather than in one of the four buildings comprising Chrome Hearts’ factory in Los Angeles, where the company is based. Along with Richard, who started as an apprentice to a woodworker and a craftsman in a leather tannery before launching Chrome Hearts in 1988, she says she funnels at least half of what they make back to the arts.

In a way, the Starks are kind of rock ’n’ roll mini Medicis. Recently invited to join the board of the Institute of Contemporary Art Miami, Laurie Lynn loved the graffi ti-scrawled Design District so much that they bought an iron-and-brick building there four years ago and left it alone until now. Since picking up the property, Louis Vuitton, Cartier and Hermès have all moved into the neighborhood.

In fact, the Stark clan — which includes their eldest daughter, Jesse Jo, who is also a musician and helps guide the creative direction at Chrome Hearts; and tween twins Frankie Belle and Kristian Jack — initiates collaborations with a wide range of people, all of whom share some kind of special connection with them.

The striped button-up shirts by Comme des Garçons that they tweaked with sterling silver fl eur-de-lis buttons came about after Richard modeled on the runway for Rei Kawakubo. Actress Kate Hudson, who happens to be Laurie Lynn’s close friend, is offering stackable

square-shaped rings, dainty bracelets and other fi ne jewelry she designed with Chrome Hearts at the store. While sitting on opposite ends of the style spectrum, vintage-loving Lily Ashwell and luxe Goth Gareth Pugh entered the Chrome Hearts world, respectively, through a childhood friendship with Jesse Jo and introduction by Rick Owens. Indulged tots can cuddle the cashmere teddy bears with silver stars for eyes courtesy of The Elder Statesman, which also counts the Starks as investors.

“Somebody can fi nd something for every age,” Stark says. “It’s not like any store we’ve done. I want [customers] to see the diversity and that we can do anything.”

To help broaden Chrome Hearts’ reach further, Stark is also funding fi ve young artists who are dabbling in everything from documentary fi lmmaking to social media. “I pay for everything if they don’t have money,” she says. “They’re put in a position where they can excel.”

It’s too early to tell whether the Millennials who are supported by the Starks will become the next Botticelli, da Vinci or Michelangelo. What they do have for certain is a venue in which to show their works, namely, Chrome Hearts’ global network of 25 stores, including its new fl agship in New York that will be unveiled next year with a gallery and other features similar to those in the Miami store.

— KHANH T.L. TRAN


MARINO’S MOMENT


A structural sofa covered in foam and woolen textile.

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Born in 1927, Paulin retired to the South of France in 1994 and died in 2009, yet his mantra resonates still: “One expects from a designer a practical object with, if possible, a touch of poetry and elegance.”

This is the second year Vuitton has mounted an exhibition during Basel to exalt France’s pioneering fi gures in architecture and design. Last December, it unveiled Charlotte Perriand’s “La maison au bord de l’eau,” or “The house by the shore,” a U-shaped beach house conceived in 1934 yet never realized until then. That showcase welcomed an estimated 10,000 visitors.

“Playing With Shapes: Pierre Paulin, 1972” will inaugurate a new third-fl oor exhibition space at The Palm Court in Miami’s Design District and runs through Dec. 7.

— MILES SOCHA, WITH CONTRIBUTIONS

FROM REBECCA KLEINMAN


Leather biker jackets by Ronnie Cutrone, Lee Quinones and Nate Lowman.

Thomas Houseago’s “Moon Mask” (Two Plane), 2011.

A pair of bronze boxes.

Peter Marino

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By KRISTI ELLIS

WASHINGTON — The American Apparel & Footwear Association has named Cynthia Rowley as Designer of the Year, and Kelly Osbourne, a cohost of E’s “Fashion Police,” as Fashion Maverick honoree as part of its American Image Awards, which are being revamped to better reflect the entire global industry and popular culture that it promotes.

The move to reshape the annual awards comes as Juanita Duggan, AAFA’s president and chief executive officer, is putting her mark on the trade asso-ciation, moving its offi ces closer to the power brokers in Washington and re-branding the group’s image.

Duggan told WWD that the fi rst pillar of AAFA’s re-branding initiative will be the makeover of the Image Awards set for April 27 at 583 Park Avenue in New York. Holt Renfrew will receive the Retailer of the Year, an award that will be accepted by Mark Derbyshire, president of the company. Brown Shoe Co. will receive Company of the Year, which will be ac-cepted by Diane Sullivan, ceo, president and chairman. The fi fth category, Person of the Year, will be revealed shortly.

“One thing that I am trying to do with this is to upgrade it to make it a more

global-oriented event and to really har-ness the popular culture aspects of the industry so that we can use that as a plat-form for everything we do,” Duggan said. There will now be fi ve permanent cate-gories for the awards, as opposed to the ever-changing categories of the past, as well as one permanent charity, she noted.

AAFA’s new permanent charity part-ner will be Mercy Ships, a global orga-nization dedicated to providing basic health care and life-changing medical services to impoverished people world-wide. In addition, Ruben Toledo has been tapped to redesign the American Image Awards statuette, set to be un-veiled at the gala.

“All of this together gives us more consistency,” she said. “It gives us better branding and it makes us more competi-tive. It’s just a serious upgrade.”

Duggan, who took over the helm of AAFA in June, has more than 25 years of experience on Capitol Hill and in the White House.

Her longer-term strategy includes in-creasing AAFA’s brand awareness, which begins with moving its offi ce from “across the river” in Arlington, Va., closer to the action in Washington. The current build-ing that houses AAFA is being torn down and Duggan has her sights set on the power center in Washington.

“I was hired to increase the brand

and to increase the visibility and grow our voice on Capitol Hill,” Duggan said. “We’re going to move downtown, some-where in the District, and we’re going to create a very iconic, very brand-oriented environment for our offi ces.”

She said the new space will be “mu-seum quality” for exhibiting important aspects of the industry.

“I think that aspects of the industry that we really want to communicate here is that this is a $350 billion industry,” Duggan said. “We are not projecting a $350 billion infl uence here. The industry is bigger than cars, bigger than telecoms and bigger than tech. Everybody needs it. So it should have a brand awareness here in Washington that matches it.”

By LARA FARRAR

BEIJING — China still leads the sourc-ing pack — but mass-market and fast-fashion players are being forced to look elsewhere.

Executives from sourcing agents and Western apparel and accessories com-panies said while firms are increas-ingly looking to source from other Asian nations such as Myanmar, Vietnam, Bangladesh and Cambodia, China still bests the competition due to its well-es-tablished supply chain and increasingly higher-quality production. But they also noted that China mostly works now only for the production of brands that are more expensive. For mass market or fast fashion, sourcing from lower-cost coun-tries is increasingly becoming a must.

“China would still have to be the country of choice [to produce higher-quality goods],” said Munir Mashooqullah, president of sourcing fi rm Synergies Worldwide. “The cost of work-ing in China is still affordable and the advantages of working in China are more conducive if you have better margins in Europe and America on branded goods.”

Textile and apparel imports from China to the U.S. rose 5.9 percent to 28 billion SME, valued at $41.7 billion, for the year ending Sept. 30.

Mashooqullah said if brands are look-ing for “prices that were available four years ago” in China, they will have to search further inland where more fac-tories are being constructed as part of a government effort to build up economies beyond coastal areas. Yet there are draw-backs, he said. Infrastructure is not com-pletely in place yet, quality is hard to come by and freight costs squeeze margins.

“You have to do more work, more due diligence,” Mashooqullah said. “You have to have people on the ground to work with those factories.”

Henry Tan, president and chief execu-tive offi cer of sourcing giant Luen Thai, said the company is continuing to expand production across Southeast Asia.

“It is our belief that it is far more eco-nomic to produce basic orders outside of China,” said Tan, who is based in Hong Kong. “For things with a short lead time

or things that are complicated to make, probably production will remain in China for a while.”

However, Tan said the factory trag-edies and labor strikes in Bangladesh spurred some brands to move production to other countries, but not necessarily back to China.

Prices are going up in China for a number of reasons. Several years ago, the government outlined a plan for the textile industry to undergo a major technologi-cal upgrade so that manufacturers could produce higher-quality products to com-pete with those made in Europe or other developed markets, and also for Chinese brands to sell better products that would, in turn, fuel domestic consumption.

Rising labor costs are also putting pressure on factories to find ways to widen their margins. China’s monthly wage rate in 2012 was $561, compared to $217 in Vietnam, $123 in Bangladesh and $123 in Cambodia.

According to industry experts, a num-ber of factories, especially in coastal areas, have shuttered their doors be-cause they can no longer afford to oper-ate due to rising costs, the inability to pay back loans and labor shortages.

“For many factories, the cash fl ow has gotten tight and they are looking to pro-duce better goods,” said Abe Chehebar,

ceo of New York-based AHQ-Accessories Headquarters LLC, adding that a number of their Chinese suppliers have opened factories in Cambodia and Vietnam to take advantage of lower costs. This has resulted in longer production times.

“We like to pre-sell what we buy,” Chehebar said, adding that he sees Cambodia coming on as a strong sourcing market behind China. “But retailers are not so open to buying 120 days out. They want to buy 60 days out. It is a little bit of a challenge, but the price difference is defi nitely an incentive to work in a differ-ent way to adapt to this new playing fi eld.”

Chehebar said the biggest incentive for continuing to produce in China is all of the components are vertical, so the

speed of design to the production and shipping is an asset, as well as makers’ overall knowledge.

“They have been doing it for a long time,” he said. “The higher-end designer brands can be produced in China without a problem because they sell at a higher price point, but when sourcing for Wal-Mart or Target, you have to be creative in terms of how you source those products.”

Arthur Grayer, senior vice president of sales and merchandise for Bijoux International, which makes the Eastsport backpack line, said while the company still has all of its production in China, it is facing “challenges” there, especially during peak seasons. Factories struggle to produce higher quantities mainly due to labor shortages, Grayer said.

“We have to get more creative. Try to plan ahead,” he said, adding that the company is beginning to test factories elsewhere in the region.

While labor issues have been more prominent in other sectors, such as elec-tronics production, the apparel indus-try has not been immune. Laborers are increasingly demanding more rights, in-cluding retirement and other benefi ts. Earlier this year, thousands of workers at one of the world’s largest shoe-mak-ing factories in the southern province of Guangdong went on strike over ben-efi ts, impacting production schedules for major brands, such as Adidas and Nike.

“Labor unrest is definitely a con-cern,” Chehebar of AHQ-Accessories Headquarters, said. “The relationship between factory and employee has dra-matically changed.

“Sourcing is a nonstop puzzle,” he added. “It is a never-ending road. There is always something you are learning. Something you are finding out about something you see as an opportunity. It will never be that once you reach a cer-tain destination, you are done.”

Tan of Luen Thai said labor unrest is not a primary concern; rather, it’s labor avail-ability. He projected that by 2016, China will have negative growth in the workforce as more people retire, fewer young people opt to work in factories and China’s overall population growth starts to slow.

“The availability of the Chinese work-force will be an important issue,” he added.

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Amid Shifts, China Still Leads Supply Chain

AAFA Names Award Honorees, Sets Fresh Agenda

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visibility and grow our voice on Capitol Hill.

— JUANITA DUGGAN, AAFA


Monday, with discounts on Fire TVs, Kindle Fire HD 7s and Fire Phones as well as 50 to 70 percent off cold-weather outerwear and accessories for kids and puffer jackets for women.

For the fi rst time, Wal-Mart’s Cyber Monday deals extended to its brick-and-mortar stores. More than 100 items priced at special Cyber Monday prices could be ordered online and picked up that same day from any Wal-Mart door.

The retailer started its Cyber Week sale at walmart.com on Saturday, and same-day pickup in store more than doubled year over year in the fi rst day. A special “Evening Edition” of sales was added this year to cater to working con-sumers who might not be able to do their shopping until the later hours.

More than 70 percent of the traffi c to walmart.com came from a mobile device during the holiday weekend, a record for the site.

Further underscoring the importance of shopping on the go, J.C. Penney Co. Inc. reported that more than 50 per-cent of its Cyber Monday transactions at jcpenney.com came from mobile users.

“Cyber Monday has been a tremen-dous momentum day for the last few years and e-commerce continues to grow by strong numbers, so why wouldn’t Cyber Monday also grow,” said Sucharita Mulpuru, vice president and principal analyst at Forrester Research. She pre-dicted Cyber Monday sales would at least match Black Friday’s online take of $2.4 billion and might even make it to the $3 billion mark. “It’s been great for the past several years and it’s usually the biggest day of the year without retail-ers signifi cantly trying.”

She contended that sales are pretty consistent on and offl ine, with similar discounts offered on both channels. The biggest differentiator online is that there are just so many more items available than in-store.

Clement Kwan, president of Yoox Corp., said that Thanksgiving Day and Black Friday saw two consecutive daily sales records, with Friday breaking an all-time daily record with 1.5 million visitors and an order placed every three-

and-a-half seconds. Shoes were the best-selling category (15,000 pairs were sold), and high-heel ankle boots were the most popular style.

While North America contributed the majority of the sales, Yoox contends that Black Friday is becoming more of a glob-al event, with Moscow and Tokyo being second- and third-most-shopped cities. London came in fourth place saleswise, but the U.K. had the highest percentage of mobile shoppers.

Kwan said Yoox would tweak its mar-keting messages based on data collected from Nov. 26 through Nov. 30 to help drive more sales Monday.

“We use these trends to adjust our overall proposition to customers and recommendation algorithms for targeted communication of content and merchan-dising. This basically amounts to blend-ing content and commerce to meet the expectations of the customer today, both on desktop and mobile,” Kwan said, add-ing “results so far look good” for Monday.

Forty-six percent of traffi c came from mobile, resulting in a mobile sales in-crease of 107 percent year over year for Yoox.com, Thecorner.com, Shoescribe.com and more than 30 monobrand online stores including armani.com, alexan-derwang.com, missoni.com and valen-tino.com that all operate under the Yoox Group umbrella.

PayPal is also seeing significant mobile growth this season, accord-ing to Pablo Rodriguez, PayPal global head of consumer initiatives. As of 2:30 p.m. on Monday, the payment so-lution was experiencing a 39 percent lift in mobile payment volume com-pared with a year earlier.

“The mobile piece is signifi cant just given the data on Thanksgiving, Black Friday and even today,” Rodriguez said. Over the weekend, he told WWD that Thanksgiving and Black Friday saw 47 percent and 62 percent jumps in global mobile payment volume, respectively.

Rodriguez acknowledged that Cyber Monday’s mobile payments are grow-ing at a slower rate than those of Thanksgiving and Black Friday — but this is likely due to merchants launch-ing sales earlier and earlier. “The fact that many retailers pushed sales be-fore last Friday signifi ed that’s its more of a Cyber Month than Cyber Monday,” Rodriguez said.

of fl atish. You have to question the methodological accuracy of a self-re-porting consumer survey. Consumers are notoriously poor estimators of what they are going to spend.”

“I believe that sales were stronger” than what the NRF estimated, said retail analyst Walter Loeb. “Business Thursday night was pretty good. Friday was OK. On Saturday, traffi c was poor and Sunday was not much to write about. It wasn’t a great period but it was better than what they are saying.”

“I don’t see it,” said one department store ceo, who requested anonymity.

According to NRF’s Thanksgiving Weekend Spending Survey conducted by Prosper Insights & Analytics, spend-ing in the U.S. over the holiday week-end, online and in stores, dropped 11 percent to $50.9 billion, from last year’s estimated $57.4 billion. NRF also said 55.1 percent of holiday shop-pers were or would be in stores and online over Thanksgiving weekend, down from 58.7 percent last year. From Thanksgiving Day through Sunday, there were 133.7 million unique holi-day shoppers, versus 141.1 million in 2013. It was the 11th survey NRF has released in partnership with Prosper.

On Monday, the NRF stood by its provocative fi ndings. “This isn’t the fi rst time we had to put out negative data. We are not cheerleaders. We exist to paint a picture of the retail industry, even if it’s negative,” said Kathy Grannis, NRF’s senior direc-tor of media relations. Grannis also said that the NRF was sticking to its forecast for a 4.1 percent total sales gain for the holiday season.

Dissecting the survey findings, Grannis said they indicate consum-ers would spend $28 less over the Thanksgiving period. “That’s basi-cally a sweater...the survey is a snap-

shot of a population at a moment in time in the middle of the weekend. One Thanksgiving does not equal a holiday season.”

“A strengthening economy that changes consumers’ reliance on deep discounts, a highly competi-tive environment, early promotions and the ability to shop 24/7 online all contributed to the shift witnessed this weekend,” NRF president and ceo Matthew Shay said Sunday when the numbers were released.

Other research also showed brick-and-mortar declines. RetailNext’s pre-liminary numbers showed net sales

on Thanksgiving and Black Friday were down 11 percent. ShopperTrak estimated that sales for the two days would be down 0.5 percent.

This week retailers will less fever-ishly promote in anticipation of a lull in business and some post-Thanks-giving shopper fatigue. They’ve al-ready bombarded consumers with markdowns ranging from 40 to 60 percent off, but are retrenching 10 to 20 points on average as they review sales data and inventory positions. “Promotions will be pulled back a bit from what we saw last week, the 50 and 40 percent offs will probably be 25 and 30, and closer to Christmas, they pull up the big guns again,” said Carla White, senior equity analyst, Jennifer Black & Associates.

This week retailers “gird” for the proverbial last-minute Christmas rush for gifts later in the month, said Arnold Aronson, managing director of retail strategies at Kurt Salmon. He predicted “a low-single-digit holiday season” with retailers experiencing “a little more pain on the margin side than anticipated...All of the strengths are in lower-margin categories —elec-tronics, big-ticket TVs, small applianc-es and housewares. Areas producing the biggest revenues have not been high-margin categories.”

Janney Capital Markets in its November preview predicted sharp

Black Friday declines at some spe-cialty retailers, including Aéropostale down 12 percent; Abercrombie & Fitch, 10 percent; Francesca’s Holdings, 6 percent; American Eagle Outfi tters, 5 percent; Gap and Express, both down 3 percent. But Michael Kors is seen up 12 percent, and Lululemon, PacSun and Zumiez, up 2 percent.

“Those companies better positioned to play in an omnichannel environment were the ones that did well. Those com-panies relying on just traffi c in the malls probably had a diffi cult time,” Sadove said, about Black Friday. “When the dust settles, we will probably be in the range” of the NRF 4.1 percent forecast.

Sadove remains NRF chairman until January. Kip Tindell of The Container Store has been named his successor.

Cyber Monday Still Growing, but Losing Steam{Continued from page one}

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By EVAN CLARK

SOME MINOR CHINKS in Amazon.com’s formi-dable armor are showing themselves.

The Web merchant — which has been gobbling up market share and raked up revenues of more than $85 billion over the past 12 months — said in a regulatory fi ling that it plans to borrow an inde-terminate amount of money to keep pushing its business forward.

Moody’s Investors Service in turn cut its outlook on the company’s “Baa1” credit rating to negative from stable.

The rating is still well in investment-grade ter-ritory and the Jeff Bezos-led e-commerce giant has long focused on heavy investments that would grow its business, rather than drive profi tability.

For instance, the company just unveiled its eighth-generation fulfi llment center, of which it already has 10 in the U.S. The centers feature an extensive use of robotics and vision systems that allow a trailer of inventory to be unloaded in as little as 30 minutes.

Moody’s analyst Charlie O’Shea said, “Proceeds [from the debt offering] are to be used for general corporate purposes in support of Amazon’s myriad growth initiatives, and it is Moody’s expectation that the funds will not be utilized for any form of shareholder returns.”

The rating agency described Amazon’s liquidity as “excellent,” a factor that helps it “overcome a presently weak overall quantitative credit profi le re-sulting from prodigious growth-oriented spending.”

As of Sept. 30, Amazon had long-term debts of $3.1 billion and cash and cash equivalents of $5.26 billion on its books. The company’s losses for the fi rst nine months of the year tallied $455 million.

While Amazon rules the e-commerce roost now, it has good reason to keep ahead of the competition, particularly Wal-Mart and Target, which are gunning to take back market share they lost to the company.

Moody’s noted that Amazon “is facing increased competition from brick-and-mortar retailers as they morph their successful businesses online.”

Execs Question NRF Black Friday Data{Continued from page one}

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I don’t believe consumption was minus 11 percent. It’s not consistent with what

I have been hearing.— STEPHEN I. SADOVE, NATIONAL RETAIL FEDERATION


Lagerfeld Preps for ShowWith ‘Reincarnation’ Debut

By MILES SOCHA

SALZBURG, Austria — Mugs of mulled wine awaited guests ar-riving at a dinner Karl Lagerfeld hosted Monday on the eve of Chanel’s Paris-Salzburg show in this picturesque Alpine city. And with good reason. It was an open-air affair on a damp, chilly night for the debut of the designer’s mini-film, “Reincarnation,” fea-turing Pharrell Williams and Cara Delevingne waltzing and singing their way through an episode in the life of Gabrielle Chanel.

Lagerfeld donned a traditional Austrian jacket for the occasion, and wound a scarf around his neck as he negotiated the crowd.

Rooney Mara wore a gray Chanel couture dress with con-crete buttons, and seemed imper-vious to the chill. “Actually, I’m freezing,” she confessed.

Asked about the unusual but-

tons, she replied: “The dress I’m wearing tomorrow [for the show] is all concrete. I’m going to weigh myself.”

The actress is on a break from filming until January, when she starts Jim Sheridan’s adaptation of “The Secret Scripture,” set during the World War II.

After the screening, guests shuf-fl ed into cozy St. Peter Stiftskeller, billed as one of Europe’s oldest restaurants. Alice Dellal arrived with a camera slung around her neck, and said she’s been taking photos since she was 15. She re-cently set up a darkroom at home and “I’m going to archive it all and make books. I might also eventual-ly be making some leather jackets. That’s my latest design project.”

The seven-course dinner — stretching from roasted saddle of venison and pumpkin cream soup to a melt-in-your-mouth Salzburger Nockerl dessert — was comfort food extraordinaire.

By SAMANTHA CONTI

LONDON — Group hug!British fashion fi gures were

feeling the love — the famil-ial love — on Monday night at the annual British Fashion Awards, offering up more than the usual thanks to mothers, fathers, siblings and children. What is traditionally a cel-ebration of industry, creative achievement, and one’s hard-working colleagues became a big thank you to relatives — and old friends. John Galliano, who handed Anna Wintour her Outstanding Achievement Award at the London Coliseum on Monday night, said the vet-eran editor “reached out to me when I had become an outcast. No words can express my grati-tude to her.”

Wintour, who took the stage a few minutes later, ended her speech — in a tearful, wobbly voice — with a tribute to her two children, “by far my most outstanding achievement.” On a lighter note, the Canadian-born Erdem Moralioglu — who won the top award, Women’s Wear Designer of the Year — thanked his sister for letting him dress her Barbies and his father for accepting the fact that he was never, ever going to be a hockey player. Victoria Beckham, who walked away with Brand of the Year, thanked her parents — who were in the audience — for their unconditional love. No easy task, she quickly added, “because I am a pain in the bottom.”

Then there was Men’s Wear Designer winner Jonathan Anderson, whose father con-vinced him to write a speech sim-ply for the sake of exercising his brain, and New Establishment winner Simone Rocha, whose few words of thanks were dedicated to her “beautiful parents Odette and John.”

Arguably, though, it was Poppy Delevingne who gave the most tear-jerking tribute of the evening — to her little sis-

ter Cara, who won Model of the Year. She recalled the four-year-old Cara, in the bathtub, ex-pressing a desire to be Claudia Schiffer. “You are the brightest star in my galaxy,” she said. “My beautiful sister.”

Other award winners in-cluded Nicolas Ghesquière for International Designer of the Year; Alexander McQueen for

Red Carpet, and Preen, which received the Establishment award, given to designers or labels that have built solid, sus-tainable businesses.

The late Louise Wilson was honored during the ceremony with a lineup of models wear-ing looks by designers she had taught — and nurtured — as course director for the M.A.

fashion program at Central Saint Martins College of Art and Design. Models wore looks by designers including Christopher Kane and Mary Katrantzou, while the soundtrack featured “Remember Me” by Diana Ross, and words from Samuel L. Jackson. Wilson died last May at age 52.

The emerging women’s wear de-signer prize went to Marques’Almeida, while Craig Green won the men’s version of the prize. Prism won for emerging accessory designer.

Emma Watson scooped the prize for British Style, while Louis Vuitton won for Creative Campaign. Photographer Chris

Moore received a special rec-ognition, and Edward Enninful walked home with the Isabella Blow Award for Fashion Creator.

Other award presenters in-cluded Kate Moss, who gave the Red Carpet prize; Naomi Campbell; Charlotte Gainsbourg; Kylie Minogue; Harry Styles;

Michelle Dockery, and Lewis Hamilton.

More than 400 members of the global fashion in-dustry vote on the awards, which took place in partnership

with Swarovski, and more than 2,000 people attended the event, including Valentino, British First Lady Samantha Cameron, Lana del Rey and Courtney Love.

Coming Together at the British Fashion Awards

FOR MORE IMAGES, SEE

WWD.com/retail-news.

Sarah Burton and Kate Moss

Erdem and Michelle Dockery

Christopher Bailey and Cara Delevingne

Victoria Beckham

Tom Ford

RihannaAnna Wintour Emma Watson

Victoria Beckham - Pascal Le Segretain/Getty Images

Emma Watson - Pascal Le Segretain/Getty Images

Rihanna - Pascal Le Segretain/Getty Images

Sarah Burton and Kate Moss - Mike Marsland/WireImage

Erdem and Michelle Dockery - Mike Marsland/WireImage

ALL OTHER IMAGES BY TIM JENKINS

St. Peter Stiftskeller, where the dinner was held.

Karl Lagerfeld Rooney Mara Nina HossGeraldine Chaplin

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EIGHT IS ENOUGH: Lily Allen has joined the jury of the annual H&M Design Award, the Swedish high-street retailer said. Students from 37 fashion schools worldwide submitted their entries for the fourth edition of the prize, to be revealed in January.

The eight fi nalists are Magdalena Brozda from the Geneva University of Art and Design; Andreas Eklöf from the Swedish School of Textiles; Graham Fan and Fiona O’Neill from Central Saint Martins in London; Andrea Jiapei Li and Ximon Lee from Parsons in New York City; James Kelly from the Royal College of Art in London, and Leonard Kocic from Beckmans College of Design in Stockholm.

One look from each student’s qualifying collection was chosen and shot by French photographer Cécile Bortoletti on Paula Goldstein di Principe, creative director and founder of travel site Voyage

D’Etudes. The latter will also sit on the jury of the awards headed by Ann-Sofi e Johansson, H&M’s creative head of design, alongside Allen, Luella Bartley, Lucinda Chambers, Tommy Ton, Angelo Flaccavento, Justin O’Shea and Margareta van den Bosch.

The winner will walk away with a collaboration with the fast-fashion giant, a show at Stockholm Fashion Week, a cash prize of 50,000 euros, or $63,200 at current exchange, and a mentorship.

— JOELLE DIDERICH

KIMORA’S KOMEBACK: The Fab Lane is back in service. After focusing on her online, mass fashion venture JustFab for the last few years, Kimora Lee Simmons resurfaced in fashion’s inner circle in October, appearing at FIT with the news of the $1 million Kimora Lee Simmons Scholarship Fund in partnership with the Rush Philanthropic Arts

Foundation, which was founded by her ex-husband Russell Simmons and his brothers Danny and Joseph “Rev. Run”. The scholarship will be distributed to the Fashion Institute of Technology (FIT), the Fashion Institute of Design & Merchandising (FIDM) and Rush Teens. Now comes more fashion news from the former creative director of Baby Phat: She’s launching a new brand KLS Kimora Lee Simmons, a designer women’s collection that will launch with pre-fall next week in New York.

— JESSICA IREDALE

NEW MODEL: While Kendall Jenner seemed to be the talk of the beauty industry with her newly signed gig for Estée Lauder, Elizabeth Arden Inc. has signed 20-year-old model Karlina Caune as its brand ambassador, which could be a strategic move to attract a younger consumer. Caune will appear in the brand’s advertising campaigns and marketing programs beginning in spring 2015. Also, she will be active on Elizabeth Arden’s digital and social platforms.

— JAYME CYK

LIVING DAHL: Phoebe Dahl, the 26-year-old, Los Angeles-born granddaughter of Roald Dahl and cousin of Sophie Dahl, is charting her own fashion course in her native city. The third collection from her socially conscious clothing company Faircloth & Supply is the first to branch out from the linen pieces she launched with a year-and-a-half ago. Made from deadstock woven cotton, the 25-piece collection takes her streetwear-inspired looks a step further with new silhouettes such as a bomber jacket, asymmetrical dresses and overalls.

“I started out trying to break the stigma of linen clothing being crunchy

granola-style stuff, but even linen has limitations as to what you can design,” said the former Fashion Institute of Design & Merchandising (FIDM) and London College of Fashion student, who runs her company out of her home in Silver Lake. The pieces will sell exclusively on the company’s e-commerce site beginning Thursday and range from $150 to $350. For each garment sold, the company outfi ts one girl in Nepal with a school uniform, school supplies and a scholarship to attend school for one year through a partnership with the General Welfare Pratisthan (GWP). Famous friends including Lily Aldridge, Olivia Munn, Evan Rachel Wood and Kristen Bell are set to

appear in a social media campaign timed to the collection’s launch.

— MARCY MEDINA

L.A.’S GOT ANOTHER NEW BAG: Former Neiman Marcus

Beverly Hills executive Erin Shaffer has launched a line of Made in L.A. leather handbags called Shaffer, meant to epitomize the “best five handbags that won’t go out of style,” according to the founder and designer. The classic totes, clutches and bucket bag are crafted from Italian calf leather with pig suede linings and minimal details like rose gold-plated rivets. Shaffer, a novice polo player, also included some equestrian touches such as a slip knot on the bucket bag that allows it to be worn at different lengths. “I learned to play polo after I met Nacho Figueras while I was developing programs for St. Regis hotels,” she said. Available at Ron Robinson at Fred Segal beginning Dec. 11, the bags, which wholesale from $135 to $350, are also available in custom color ways on the company’s e-commerce site. — M.M.

MEMO PAD

FASHION SCOOPS

THE GUILDED ERA: It’s looking like a bleak Christmas for journalists at The New York Times and Time Inc.

At The Times, which is facing 100 newsroom job cuts, journalists, who are members of the Newspaper Guild were asked to fi le for severance packages by close of business Monday.

According to the Guild, it will be diffi cult to determine how many journalists take the package — even after the deadline passes.

“Within 24 hours or so, the company will let the participants know if they have been accepted [to receive a buyout],” said Anthony Napoli, the Guild representative for The Times. “But they can change their minds.”

Napoli put that time frame at about 10 business days, or by Dec. 15 or 16. Even then, it will be hard to determine if The Times has hit the 100 mark, as the company has its own list of upper management to whom it has offered buyout packages. Because those managers are not Guild members, the paper does not have to disclose how many have opted for the buyout unless it falls short of the grand total of 100.

A spokeswoman for The Times declined to comment.

Needless to say, the mood within the Times isn’t spirited, but instead feels more like “waiting for the anvil to drop,” according to an insider.

Meanwhile, at Time Inc., Guild members have fi led charges with the National Labor Relations Board against their employer.

The Guild said that Time Inc. violated labor law by implementing new working conditions, even though the two sides had not yet reached a legal impasse. Had negotiations reached an impasse, Time Inc. would be able to implement its proposals.

The action comes after the two sides were unable to reach an agreement, following months of fruitless contract negotiations that could impact more than

200 Time Inc. employees, who are Guild members. In the contract, Time Inc. offered Guild members buyout packages in exchange for the ability to outsource some of their jobs. Last month, the Guild struck down what Time Inc. said was its “last, best and fi nal offer.”

The Guild, which represents more than 2,800 journalists and other employees in the New York area, said Time Inc. has “imposed conditions to enable” it to “replace much of the company’s home-grown journalism with outsourced content, including stories that could be written or edited by subcontractors in low-wage countries.”

“Time Inc. management seems to be willing to degrade the high quality of its magazines by implementing its contract proposals, even though it has no legal right to do so and even though Guild members overwhelmingly voted against them. We hope the NLRB moves quickly on our charges,” New York Guild president Bill O’Meara said.

— ALEXANDRA STEIGRAD

BING’S TOP 10: Michael Kors was back in the top spot as the most searched for fashion designer of 2014, according to Microsoft’s search engine Bing.

Kors had slipped into second place last year after Victoria Beckham, who took the number-one spot in 2013. This year, the former Spice Girl didn’t make the top-10 list at all.

Louis Vuitton made a huge leap to number two this year, having taken 10th place a year ago. In third place was Ralph Lauren, who held the same ranking a year ago. Tory Burch moved up to fourth place, from seventh place a year ago, while Gucci crept up to fi fth place, from sixth place last year.

Rounding out the top 10 were Kate Spade at number six (up from number eight last year), Burberry at number seven (it didn’t make the list last year); Chanel at number eight (from number four last year); Versace at number nine (didn’t make the list last year), and BCBG Max Azria at number 10 (didn’t make the list last year).

— LISA LOCKWOOD

FOR MORE SCOOPS, SEE

WWD.com.

The jury of the H&M Design Award.

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15% INCREASE SEEN Monday Still Cyber Day, But …dence of a wholesale decline whatsoever,” said...

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