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DAILY EDITION 30 JUNE 2016 1 Fashion. Beauty. Business. More Than Yeezy Adidas and Kanye West have signed a new deal that broadens their partnership to performance wear. PAGE 3 Nike Tech Nike unveiled more uniforms for the U.S. Olympic team, and they utilize lots of high- tech fabrics. PAGE 8 Calvin Klein and Coty Inc. are out to build a new pillar in the Euphoria family with the launch of Deep Euphoria, the first major addition to the franchise since the original was unveiled in 2005. And, of course, it has a new celebrity face to go with it. For more, see page 6. BEAUTY Going Deeper CONTINUED ON PG. 10 CONTINUED ON PG. 9 Tim Belk, the grandson of the founder of Belk, has been ceo since 2004. BY DAVID MOIN There’s a change in command in motion at Belk Inc., though not necessarily a major shift in strategy at the Charlotte, N.C.-based department store chain. “My feeling is that we are in the early innings of building out Belk’s position- ing,” said Tim Belk, the retailer’s chief executive officer, who on Wednesday revealed he will be succeeded by Lisa Harper, who was ceo of Hot Topic. Harper takes over her new role on Tuesday. Belk, the grandson of founder William Henry Belk and ceo of the chain since 2004, fostered a culture of innovation and calculated risk-taking. Not long after the 2008 Great Recession set in, he triggered a battery of strategies to re-brand and modernize the business and its image, and move past a reputa- tion for being industry followers, not leaders. A four-year-old marketing man- tra, “Modern. Southern. Style” contin- ues to serve as the underlying guide for RETAIL Steady as She Goes: Harper Seen Staying Belk’s Course The company said it would appeal the decision, which follows the designer’s departure from Yves Saint Laurent in April. BY JOELLE DIDERICH PARIS — A French commercial court has ordered Kering to pay $13 million to Hedi Slimane in application of a non-compete clause following his departure from Yves Saint Laurent earlier this year, one of his lawyers said on Wednesday. “It’s a sum that is written into the con- tract,” said Léon del Forno, speaking on behalf of Hervé Temime, whose law firm represents Slimane. “We simply asked for the application of the clear and strict terms of the contract.” Kering said it plans to appeal what it BUSINESS French Court Orders Kering To Pay Slimane $13 Million Fun In the Sun PacSun has signed Lottie Moss, Kate’s half-sister, and Luka Sabbat as the faces of its latest ad campaign. PAGE 9

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DAILY EDITION 30 JUNE 2016 1

Fashion. Beauty. Business.

More Than YeezyAdidas and Kanye West have signed a new deal that broadens their partnership to performance wear. PAGE 3

Nike TechNike unveiled more uniforms for the U.S. Olympic team, and they utilize lots of high-tech fabrics. PAGE 8

Calvin Klein and Coty Inc. are out to build a new pillar in the Euphoria family with the launch of Deep Euphoria, the first major addition to the franchise since the original was unveiled in 2005. And, of course, it has a new celebrity face to go with it. For more, see page 6.

BEAUTY

Going Deeper

CONTINUED ON PG. 10

CONTINUED ON PG. 9

● Tim Belk, the grandson of the founder of Belk, has been ceo since 2004.

BY DAVID MOIN

There’s a change in command in motion at Belk Inc., though not necessarily a major shift in strategy at the Charlotte, N.C.-based department store chain.

“My feeling is that we are in the early innings of building out Belk’s position-ing,” said Tim Belk, the retailer’s chief executive officer, who on Wednesday revealed he will be succeeded by Lisa Harper, who was ceo of Hot Topic. Harper takes over her new role on Tuesday.

Belk, the grandson of founder William Henry Belk and ceo of the chain since 2004, fostered a culture of innovation and calculated risk-taking. Not long after the 2008 Great Recession set in, he triggered a battery of strategies to re-brand and modernize the business and its image, and move past a reputa-tion for being industry followers, not leaders. A four-year-old marketing man-tra, “Modern. Southern. Style” contin-ues to serve as the underlying guide for

RETAIL

Steady as She Goes: Harper Seen Staying Belk’s Course

● The company said it would appeal the decision, which follows the designer’s departure from Yves Saint Laurent in April.

BY JOELLE DIDERICH

PARIS — A French commercial court has ordered Kering to pay $13 million to Hedi Slimane in application of a non-compete clause following his departure from Yves Saint Laurent earlier this year, one of his lawyers said on Wednesday.

“It’s a sum that is written into the con-tract,” said Léon del Forno, speaking on behalf of Hervé Temime, whose law firm represents Slimane. “We simply asked for the application of the clear and strict terms of the contract.”

Kering said it plans to appeal what it

BUSINESS

French Court Orders Kering To Pay Slimane $13 Million

Fun In the SunPacSun has signed Lottie Moss, Kate’s half-sister, and Luka Sabbat as the faces of its latest ad campaign. PAGE 9

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30 JUNE 2016 3

● The sporting goods giant and the artist are launching an entity creating footwear, apparel and accessories, including performance.

BY PAULINA SZMYDKE

PARIS — Adidas and Kanye West are taking it to the next level.

The German sporting goods giant and the musician said they were launching Adidas + Kanye West, “a Yeezy-branded entity creating footwear, apparel and accessories for all genders across street and sport.”

Under the new partnership, the West-designed Yeezy products for Adidas Originals, which have been selling out within hours of release, are to extend beyond the current lifestyle focus to include performance, thus “offering options for both sport and street,” the

Herzogenaurach-based company noted on Wednesday.

Adidas called the new alliance unprec-edented and referred to it as “the most significant partnership ever created between a nonathlete and an athletic brand.”

No timeline has been set for the launch of the first performance items from the extended collaboration, but Adidas said it plans to give them its own retail units, which are to “serve as distinct hubs for Adidas- and West-devel-oped Yeezy products.”

The sporting goods maker and the artist started partnering in late 2013, when West switched from Nike to Adidas in a wide-ranging deal that eventually produced Yeezy Season 1. Presented in February 2015, the apparel and footwear collection drew, if not unanimous praise, respectful approval and by far the starri-est front row seen throughout New York fashion week, including Beyoncé, Jay Z and Rihanna.

The Yeezy Boost 350, meanwhile,

which combines Adidas’ Boost and Primeknit technologies with West’s singular aesthetic, scooped the Footwear News “Shoe of the Year” award 2015.

“Kanye is a true creator who has the ability to see things others don’t. We are excited and honored to build on this partnership and eagerly look forward to defining the future together,” said Eric Liedtke, Adidas group executive board member, responsible for global brands. “With Adidas + Kanye West we are exploring new territories by opening up the sports world to Kanye’s creativ-ity. This is what Adidas has always been about, empowering creators to create the new,” he added.

West noted: “These past two years, Adidas and Yeezy have given a glimpse into our future. This partnership illus-trates that anyone with a dream can dream without limitations.”

The new business unit will be run out of the company’s U.S. headquarters in Portland and overseen by West along with a separate Adidas team.

THE MARKETS

Kanye West and Adidas Step Up Collaboration

● The move signals a growing trend for department stores trying to bolster their online offerings.

BY JOELLE DIDERICH

PARIS — Galeries Lafayette Group said on Wednesday it has acquired luxury goods reseller Instantluxe.com for an undisclosed sum. The move follows the acquisition by rival French department store chain Printemps of French fashion e-commerce site Place des Tendances in 2013 and signals a growing trend

for department stores trying to bolster their online offerings.

“As consumption habits evolve, the acquisition of InstantLuxe.com allows the Galeries Lafayette Group to accel-erate the unfolding of its multichannel strategy and to offer its customers new shopping experiences in this fast-grow-ing sector,” the group said in a state-ment. Yann Le Floc’h, who founded Instantluxe.com in 2009, will remain chief executive officer of the company, it added.

The site sells certified secondhand luxury products, specializing in leather goods, jewelry, watches and accessories to its community of 700,000 members. Last winter, it launched a pop-up store at BHV Marais, another department store within the Galeries Lafayette Group.

RETAIL

Galeries Lafayette Group Buys Luxury Reseller Instantluxe.com

Eric Liedtke and Kanye West

They Are Wearing: Paris Men’s Fashion Week Spring 2017 ● They Are Wearing: Paris Men’s Fashion Week Spring 2017.

● Kim Kardashian Celebrates Her GQ Cover With L.A. Party

● Margiela Resort 2017

● Demna Gvasalia’s First Advertising Campaign for Balenciaga

● Jimmy Choo Marks 20th Anniversary With a Fall Campaign and a Top Model Lineup

Global Stock TrackerAs of close June 29, 2016

ADVANCERS

DECLINERS

Ted Baker plc +14.53%

Tailored Brands Inc. +6.65%

Safilo Group Spa +6.13%

Under Armour Inc. +5.94%

Burberry Group plc +5.90%

Salvatore Ferragamo Italia SpA -2.93%

Samsonite International SA -1.15%

Isetan Mitsukoshi Holdings Ltd. -1.10%

Inter Parfums Inc. -1.08%

Luxottica Group SpA -1.04%

TOP 5TRENDINGON WWD.COM

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4 30 JUNE 2016

Max MaraCreative director Ian Griffiths tapped into Grace Jones’ inimitable style, albeit her conservative side, for his resort collection. Inspired by Jones’ 2015 memoir “I’ll Never Write My Memoirs,” which named David Bowie, Marlene Dietrich, Klaus Nomi and Lauren Bacall as influences, Griffiths worked up a mannish, retro-tinged glamour that easily incorporated Max Mara’s signature tailoring and coats while allowing for some bold Jonesian flourishes. These included a tomato red suit with a tie-neck blouse, a pinstripe jumpsuit over a sheer tribal printed tattoo T-shirt, and a fuzzy, shag rug of a mint green sweater over aqua blue pants with a fuchsia and green belt. Graphic accessories — bangles, shoes and belts — amped up the Jones statement, while a chic tonal white ensemble brought the collection back to the brand’s polished, tasteful reality. — JESSICA IREDALE

Resort Now

Creatures of the WindDesigners Shane Gabier and Christopher Peters picked London’s Spencer House — the 18th-century mansion that belongs to Princess Diana’s family — for their first resort runway show, and the venue was a fitting choice for this rich, romantic collection with an eerie edge.

They called it Harmonium, in reference to the foot pump organ that often supplied the scary background music for vintage horror movies (and a host of far less menacing songs for the Indian cinema). “There is a slightly witchy ele-ment to the collection,” said Peters before the show, adding that the instrument was also meant to reflect the “cultural and global smudging” of the lineup, which referenced old England, pre- and post-revolutionary Russia and the supernat-ural fright film of Dario Argento with their moody, chiaroscuro sets. The dark oil paintings, vast crystal chandeliers and gilding around Spencer House only added to the brooding, old-world mood, enhanced by Christopher Owens singing melancholy tunes on acoustic guitar during the show.

Ribbons, black grosgrain and otherwise, wove and fluttered their way through the collection, as did ties at the bottom of wide-leg jeans and denim jumpsuits or on the sculpted sleeves of dark, Victorian-style blouses. Star-shaped brooches — reproductions of 19th-century English paste jewelry — flashed from around the neck of a pale blue dress or from the shoulders of a sleeveless cotton velvet one with a red and black bird pattern. Starburst jewels also adorned a sleek lineup of ankle boots. The richness didn’t end there: There were furs galore, as in a multicolored and pieced shaved mink coat, and hand-crocheted pieces, including a silver metallic top and silk ribbon scarf, both with a Twenties feel.

A delicate wheat flower pattern bloomed through the collection, too, balanc-ing all that antique richness with a proletarian flavor. It covered a blouse with ribbon ties on the arm, a short nylon jacket with a fur collar and a cream-col-ored dress. Meanwhile, geometric patterns for knits, scarves, sweaters and mile-high gloves were based on vintage Russian wallpaper. The homey element also came through with a lineup of olive-green parkas blooming with hand-em-broidered flowers based on antique botanical designs; they will be available to buy immediately on Farfetch.com, which partnered on the runway show and streamed the event live. — SAMANTHA CONTI AND LORELEI MARFIL

Tracy ReeseResort? “What resort?” said Tracy Reese with a laugh when asked to describe her approach to her latest lineup. “Nobody knows what they want, nobody knows what the customer’s gonna do. We wanted to make clothes that make sense [when the collection drops] in De-cember — with the hope that you might get to go away somewhere, but with the reality check that you might not go much further than home,” she said.

To that end, Reese’s offerings hit the mark with fun, flirty, par-ty-ready looks (“something to brighten up the palette”) and matching two-piece sets: think cropped-tops paired with skirts or flared, high-waisted trousers. A few sportier pieces — including an oversize khaki anorak and a pair of exaggerated flares with a side-stripe — tempered the girly lineup with a little street edge. A studded black leather-and-lace dress felt right for any season, as did a white floral lace button-down with a deconstructed hem — “a 12-month blouse,” the designer called it. A quality that, in fact, characterized most of her collection. — KRISTI GARCED

Max Mara

Creatures of the Wind

Tracy Reese

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30 JUNE 2016 5

YeohleeYeohlee Teng imagined her resort collection for a trio of creative women: painters Agnes Martin and Georgia O’Keeffe and author Carson McCullers. “I thought about Martin for her art, McCullers for her writing and O’Keeffe for her personal style. If only I had the luxury of dressing those three women,” Teng said. “But that’s just a little romance around the collection to tell the story. Beyond that, it’s really clothes for us,” the ever-practical designer added.

Teng’s tight lineup offered plenty of versatile looks, such as a revers-ible, geometric-printed blazer and

a long black trench that could also be worn as a dress. Cut in oversize proportions, her boyish Bermuda shorts and oversize cotton shirt-dresses conveyed an easygoing attitude. She also offered a few sum-mer suits, including a navy jacket and skirt set embroidered with a metallic “Triscuit” pattern (named for its resemblance to the Nabisco cracker). A relaxed navy-and-blue tuxedo featured a side-striped pant and a billowing suit jacket that hit be-low the hip, rendered in Teng’s signa-ture, machine-washable microfiber. Simple, elegant, a touch masculine, it was the kind of thing O’Keeffe might wear. — KRISTI GARCED

AlbinoWallpaper from the hotels and restaurants of Miami’s Art Deco Dis-trict was the driving force for Albino D’Amato this season. It appeared in the jacquard brocades he designed and crafted into elegant dresses and coats cut in clean silhouettes. Sometimes the rich patterns were combined with solid and striped

inserts for cool outerwear pieces, such as a front-pocketed jacket with an Americana feel.

Pin-striped and other mannish tailored fabrics were worked into feminine deconstructed dresses, as well as suits with short pants. Long, crepe de chine dresses were jazzed up with colorblocking and jaunty knots at the shoulders. — A.T.

KriziaFollowing a few seasons that focused on quite stiff, overly intricate silhouettes, Krizia creative director Zhu Chongyun delivered a more approachable collection for resort: an urban look (think graffiti-like prints) infused with Japanese influences (especially kimono robes and obi sashes).

With generous, voluminous cuts at the core, the lineup ranged from androgynous pieces inspired by men’s tailoring, such as a tuxedo-like vest and wide-leg pants with satin

side bands, to more feminine cotton and long denim dresses with spa-ghetti straps. Fringes spilling out of embroidered circles gave a dynamic appeal to coats and blouses, while Krizia’s signature animal motifs were rendered in more subdued or graphic versions on jacquard skirts and jackets.

The collection also included lightweight, extra fine knitted sweaters and cardigans presented in vivacious colors, contrasting with the neutral tones of the elegant attire. — ALESSANDRA TURRA

Resort Now

Yeohlee

Krizia

Albino

SportmaxThe Sportmax design team made quick work of an African aesthetic for resort, appropriating just enough from the motherland (tribal prints, raw seam details, marled striped knits) to infuse the collection’s otherwise smart, citi-fied daywear with earthiness. The main point of reference: Seydou Keïta’s photos of Fifties and Sixties

Mali — specifically, men in pin-striped suits pictured with women in traditional, tribal-checked and -striped dresses — with the looks modernized, as in a loose, striped zip-up jumpsuit cut with plenty of breathing room. Other standouts included a great indigo trench with a raw texture, hourglass shaped jackets and an easy, dotty tribal print dress. — JESSICA IREDALE

Sportmax

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David KomaDavid Koma played with contrasts for this year’s resort collection.

Drawn to the elegance of Fifties fashions, the designer offered an array of flared hems, midi skirts and dresses that were tough-ened up and made to look more contemporary with the addition of zips, cutouts and geometric metallic embellishments, inspired by German artist Heinz Mack. The rigid lines and graphics that characterize Mack’s work were apparent through the diagonal cuts of miniskirts, the graphic patterns featured on stretch-knit crop tops and the zigzag embroidery on a mesh fabric. Among the highlights:

a white flared skirt whose soft, calf-length curves were juxtaposed with diagonal black macramé lace panels, and a midi dress with a contrasting cutout, leather top.

The collection’s eveningwear offer blended the same references to Mack’s graphic work with the high glamour Koma is known for. A combination of Swarovski crystals and plexiglass was sewn onto bodycon dresses in rhombus and argyle patterns, creating dazzling optical illusions as the colors grad-uated from a soft peach to silver and purple. “When I explore a new theme, it’s always within the David Koma girl’s universe,” the designer said. — NATALIE THEODOSI

David Koma

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6 30 JUNE 2016

● The brand is adding to its Euphoria franchise, and it’s tapped Margot Robbie as the face of the fragrance.

BY RACHEL STRUGATZ

Calvin Klein turned to “It” actress Margot Robbie when it needed a face for Deep Euphoria, the latest addition to its $200 million Euphoria fragrance franchise.

The original, 11-year-old Euphoria is a blockbuster for Calvin Klein, joining the ranks of the company’s three leading pillars — Obsession, Eternity and CK One — and constituting about a quarter of an $800 million fragrance business. Deep Euphoria Calvin Klein could do $70 million in retail sales during its first year. The fragrance, which retails for $52 to $92 and includes a $24 rollerball, a $30 body wash and $46 lotion, will go on sale globally in August and in the U.S. in September.

This will be Calvin Klein’s first major addition to the fragrance since unveiling the original scent in 2005 with Russian model Natalia Vodianova as the face of the campaign. Forbidden Euphoria came out in 2011 and Endless Euphoria in 2014 — both were created as one-offs — but Coty Inc., which holds the Calvin Klein fragrance license, has bigger plans for Deep Euphoria. The company is billing the scent as the next fragrance pillar “that can stand on its own next to the original” Euphoria. This means that consumers can expect launches in the coming months, such as a more intense or “fresher” version.

Vincent Brun, senior vice president of global marketing of Calvin Klein Fragrances, Coty Inc., said that the company worked to differentiate itself from the original Eupho-ria that came out in 2005 — also the last fragrance launch designer Calvin Klein had a hand in before departing his namesake brand.

While talking to an “elevated, sophisti-cated” woman was the idea behind the orig-inal Euphoria and still holds true with the new scent, Brun pointed out that the goal was to bring another side to the story. The Deep Euphoria customer is still elevated and sophisticated, but she’s also empow-ered — and younger.

“That’s why we went for Margot Rob-bie. She embodies a young generation of empowered independent women. She’s very Calvin Klein. She’s very sensual but at the same time, she’s sophisticated,” Brun said.

Robbie, whose first memory of Calvin Klein fragrance was of her mother wear-ing Eternity, told WWD that the brand’s advertising campaigns “really stand the test of time.” To her, Calvin Klein is one of a handful of brands that remains as relevant today as it was over two decades ago.

“I loved the campaigns featuring Mark Wahlberg and Kate Moss in the early Nine-ties. Yeah, they were provocative, but the simplicity made them so cool,” said Robbie,

who plays Jane in “The Legend of Tarzan” that hits theaters Friday. “Calvin Klein has always felt so effortless. Effortlessly cool, effortlessly sexy, effortlessly sophisticated. Never trying too hard. I think that’s what I love about it so much.”

In addition to a new face, Deep Euphoria brings an updated bottle and an entirely different scent to the franchise, according to Brun. The signature aubergine color and shape of the original curved, contoured bottle are the same, but silver accents have been replaced with glossy black ones.

The actual fragrance, created by perfum-ers Honorine Blanc and Ann Gottlieb at Firmenich, will be Calvin Klein’s first chypre floral. The scent has top notes of cas-calone, white pepper and mandarin leaves, midnotes of black magic rose and a base of musk and patchouli.

An aggressive marketing strategy will kick off today, including traditional and digital campaigns that Brun called “very differ-ent than anything we’ve done before.” At launch, 45 percent of the media budget will

go to TV, with 25 percent going to print and 25 percent to digital. The remaining five percent will be dedicated to out of home.

“The concept of the creative is all about the morning after, where she wakes up to the morning light of her hotel room as the previous evening suddenly begins to reveal itself,” said Melisa Goldie, chief marketing officer at Calvin Klein, adding that the campaign is about a youthful, adventurous, downtown girl.

Print and TV advertising — images were shot by Craig McDean and the commercial by Francis Lawrence, director of “The Hun-ger Games” — are part of the plan, but the biggest focus will be on digital.

Goldie maintained that digital is critical in extending the story and amplifying the con-sumer experience and the brand created exclusive digital content to convey this.

The Deep Euphoria commercial, which will air in August in the U.K. and a month later in the U.S., will hit calvinklein.com and all corresponding social media channels this week. A series of three vignettes — a 30-, a 20- and a 10-second film with three specific stories linked to the global creative — were shot exclusively for online use, as well as behind-the-scenes footage and direc-tor’s cuts. The digital content will launch in the U.K. in August and in the U.S., Spain and travel retail in early September. Print ads will debut in mid-August in September books.

“Obviously when Euphoria was launched in 2005, there was no digital at that point,” Brun said of introducing a fragrance now versus a decade ago. “It was a beautiful launch, but that was 12 years ago and now we know that we have to be good at every level.”

He’s referring to digital, calling it the first time that a Calvin Klein fragrance has made digital such an integral part of its launch strategy. It’s a similar approach to Michael Kors, another digitally savvy brand that cre-ated exclusive online content for the debut of its Wonderlust fragrance in August.

BEAUTY

Calvin Klein Launches Deep Euphoria

Margot Robbie is the face of Calvin Klein Deep Euphoria.

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● The Dutch duo will launch a collection of wedding dresses with Justin Alexander for fall 2017.

BY MILES SOCHA

PARIS — Viktor & Rolf, who made budget brides part of their popular 2006 collabo-ration with H&M, are now making a serious commitment to the category.

The Dutch couturiers have said “I do” to wedding specialist Justin Alexander and are to launch a full collection in October and show it during New York Bridal Week.

Unveiling the project exclusively to WWD, Viktor Horsting and Rolf Snoeren said they have long been fascinated with wedding dresses, the narrative surrounding them and the preciousness of the nuptial moment. They famously dressed Princess Mabel of Orange-Nassau for her 2004 nup-tials to a member of the Dutch royal family.

Horsting and Snoeren are inviting retail-ers to preview their debut fall collection by appointment during couture week in Paris. It is to carry the label Viktor & Rolf Mariage, employing the French spelling.

“Each dress in this collection has an indi-vidual, autonomous character,” they said.

The collection is to accentuate sculptural shapes, including voluminous tulle cre-ations, along with demonstrative bows and opulent embroideries.

The avant-garde designers are renowned for extreme silhouettes and daring exper-iments, once parading tulle dresses that looked as if they had been carved with a chainsaw.

The duo noted they would adhere to their brand’s key characteristics, which they list as unexpected elegance, concep-tual glamour and provocative couture.

The tie-up with Justin Alexander is char-acterized as a partnership, leveraging the firm’s manufacturing know-how for mid- to high-end wedding dresses. The American firm markets bridal collections under various labels, including Justin Alexander, Justin Alexander Signature, Lillian West, Sincerity Bridal and Sweetheart Gowns. The company sells its designs to about 1,000 doors worldwide.

Viktor & Rolf are to show their fall 2016 couture collection in Paris on July 6.

Last year, the designer’s halted their sig-nature women’s and men’s ready-to-wear,

leaving them to concentrate on couture, fragrances and special projects.

Italian industrialist Renzo Rosso’s group OTB SpA holds a majority stake in Viktor & Rolf, who are sometimes described as the Gilbert and George of fashion.

FASHION

Viktor & Rolf Set Bridal Partnership

A sketch for Viktor & Rolf Mariage collection.

Viktor & Rolf

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30 JUNE 2016 7

● Travelers from the country are taking advantage of a weak pound in the wake of the monumental vote by booking trips to the United Kingdom, but observers say the trend could be short-lived.

BY CASEY HALL

SHANGHAI — Chinese travelers are seen booking trips to the United Kingdom to take advantage of a weak pound in the wake of the Brexit vote, but observers warn the trend could prove to be short-lived.

The China International Travel Service expects to see an increase in interest from Chinese tourists about package tours to the

U.K., according to a spokesman. But he added that the spike in travelers won’t be significant immediately because most Chinese travelers plan their trips at least six months in advance. Meanwhile, the uncertainty of where the U.K. might be in six months could deter risk-ad-verse Chinese travelers from planning for trips within that timeframe.

Torsten Stocker, a China expert and the chief operating officer of the lifestyle division of property and logistics company Thakral Corp., said the long-term outlook for Chinese tourism to the U.K. — which soared almost 40 percent year-on-year in 2015, according to figures from tourism body VisitBritain — is hard to predict.

“There are…people saying if there is a lot of instability in the U.K. that will deter tourists, but we don’t really know how that will play out over the next three or six months — we

will have to wait and see,” he said.Both Shanghai Spring Tour and online

travel operator Ctrip reported jumps in tours booked to the U.K. since Friday, when the results of the referendum were finalized, according to local media. Neither agency could be reached for confirmation.

Traditionally, Chinese travelers across the spectrum — from budget to high-end — have placed an emphasis on value for money in terms of travel, said Stocker.

“Chinese tourists have been really good at seeking out bargains based on currency fluctuations, in recent years we have seen waves going to Korea, Japan and Russia,

where the currency fell and the people going there to buy luxury goods will benefit from the arbitrage,” he said.

Great Britain has been overtly courting Chinese tourists in recent years. Last year it announced a loosening of its visa require-ments for Chinese visitors, allowing them two-year, multiple-entry tourist visas.

Since Britain is not part of the Schengen zone, Chinese tourists traveling to European Union countries, such as Spain or France, as well the U.K. have always had to acquire two separate visas for their travels, so that aspect will remain unchanged.

But what is uncertain – and potentially worrying for Britain’s tourist industry in the long term – is the impact Brexit may have on the V.A.T. and customs duties big-spending Chinese travelers might have to pay if they are traveling to both the U.K. and E.U. countries.

“If the U.K. actually leaves the E.U…if you leave the U.K. for Ireland, France or any other E.U. country, you will have to declare what you bought tax-free in the U.K., and vice versa,” said Daniel Meesak, chief operating officer of the China Outbound Tourism Research Institute.

“For tourists intending to do a lot of shop-ping, they will have to choose whether to do their tax-free shopping either in the U.K. or the E.U., or they will risk having to pay V.A.T. and customs duties,” he said.

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● The launch of Low-Poo Delight provides products for the whole curl spectrum.

BY ALLISON COLLINS

DevaCurl is now riding the full curl wave.The business has added a new line of

products to tackle wavy hair, following an expansion into supercurly hair last year. Low-Poo Delight and One Condition Delight, which launched in June, are meant for those with wavy locks. In 2015, Deva-Curl launched its Decadence line, which is meant for girls with supercurly hair. The brand is known for No-Poo, a curl cleanser without sulfates, parabens or silicones.

“This will make a huge change in our business,” said chief executive officer Colin Walsh. “The business has doubled over the past three years, based on some of the inno-vation we’ve had — the launch of Decadence for supercurly — but now with the launch of Delight and being able to offer products for wavy, curly and supercurly, and speak for all curl kind — 65 percent of the population

— we see tripling this business in the next three years.” That projection would bring the brand to more than $100 million in sales, according to industry sources.

DevaCurl celebrated the launch of the Delight line with a party at Lightbox in New York on Tuesday, where the brand’s dedicated following of curly-girl influencers were in full force. The brand’s ambassa-dors, Kai Frias, Ginny Pettit and Tori Piskin were there as well.

“Any of those heavy-moisture [products are] too much for a wavy girl who will have finer hair, more often than not. We have Low-Poo Delight, it has a very light lather, because a wavy girl is not as used to these cleansing conditioner-type products, she’s been shampooing her whole life,” said Walsh. He’s been leading the brand since Tengram Capital’s investment in 2013.

“It’s grown very strongly,” said Matthew Eby, managing partner at Tengram. “The prospects for growth remain strong. It’s a category that has tremendous tailwinds right now.”

Despite evident interest in the curl

category with brands from L’Oréal to Bum-ble & bumble rolling out curl-specific lines, DevaCurl isn’t feeling the competition.

“Candidly, we’re grateful for the conversation and how much attention it’s bringing,” Walsh said. “Every major player or generalist brand has launched something. The difference is, to have it as a range, equal to volumizing or moisturizing or color-protecting is a very topical benefit of hair, versus a deep expertise and under-standing and [ability] to advise, inform, coach [and] provide specific products at specific times to a naturally curly-haired consumer.”

“Deva is the original,” Eby said. “It really was the first brand to focus on the category and that authenticity is really important to the curly-haired consumer. When they find a company that says ‘we’re embracing you for who you are and enabling you to embrace your curls…the big brands can’t manufacture that.”

That authenticity is something that resonates with DevaCurl’s unpaid base of social media influencers. While the brand

will occasionally send free product, Walsh said, they do not pay their influencer base or request exclusivity — even as it chose a handful of its influencers to come on board as ambassadors.

In addition to the launch of Delight, DevaCurl has revamped its packaging. The new look is still green, but includes yellow caps for the Delight line and blue caps for the Decadence line. The regular line will keep its green caps.

“There was a fundamental opportunity to communicate more clearly from a design standpoint,” Walsh said. “We also wanted to have some differentiation so people understand the formulas now.”

The brand’s plan for continued growth includes two main parts — geographic expansion and styling product expansion.

“Our biggest opportunity is global expansion, we’re really a North America business today,” Walsh said. “We have a small rapidly growing business in Brazil, so that’s exciting to be in South America, but really global expansion is the huge, huge opportunity.”

“Culturally, it’s an emerging curl mar-ket,” Walsh added. “Obviously the hair tex-ture is there, but they haven’t been wearing it naturally curly. They’re on the same trajectory that North America is on the curl trend, they’re probably just a little behind, but the opportunity is there. The economy can be a hot mess, but [people] are still very committed to their beauty routines.”

On the product end, the next big launch is Wavemaker — the styling component of the Delight system. “We’re launching [Wavemaker], which will be a superstar designed specifically to create waves,” Walsh said. “Then you can imagine getting into things around beach, next-day curls, so different styling formulations — but we also have a substantial business in tools.” To that end, DevaCurl is looking into building a hooded hair dryer business. “We’re looking at opportunities and options to make that available at home,” Walsh said.

BEAUTY

DevaCurl Expands Product Line to Waves

Chinese travelers are booking more trips to

Great Britain.

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● The brand showed USA medalist, track and field, women’s soccer and tennis uniforms.

BY JESSICA IREDALE

In anticipation of the Rio 2016 Olympics, which begin Aug. 5, Nike revealed more of the uniforms and technology it’s developed for Olympic athletes at an event Tuesday at its showroom at 45 Grand Street in Manhattan. The event was called “Unlimited Innovation” and included displays of the new track and field spikes, Team USA uniforms for bas-ketball, tennis, track and the USA Women’s National Soccer Team, as well as the medal stand uniforms.

Stylistically, the uniforms were all driven by a clean, graphic “flow-motion” point of view to accentuate the movement of the body, said Martin Lotti, vice president and global creative director of categories at Nike. The medal stand uniforms — the jackets from which will be available for purchase at NikeLab, along with many of the products developed for the Olympics — were inspired by classic tracksuits and looked sleek and elegant. Done in navy with muted red knit sleeves — not unlike the Nike Flyknit weave — that stretch to reveal different colors, the medal stand uniforms embody “the idea of performance, style and soulful details,” said

Lotti. For example, inside the U.S. jackets is a patch that bears the phrase “Out of many, you are the one,” which is taken from the U.S. dollar bill.

The event was a chance for Nike to show off the performance-driven innovations it has developed for athletes. One of the biggest fashion and technological statements came from the track-and-field shoes. “The athletes are telling us, ‘Make me look fast, be fast and feel fast,” said Lotti.

All of the shoes are done in a fusion of Nike Volt (fluorescent yellow) and hyper-pink, chosen because yellow is apparently the most visible color on the spectrum to the human eye and the blend of yellow and pink create a visual blur when in motion. Expect to see them on all the athletes’ feet, particularly Shelly-Ann Fraser-Pryce, the two-time gold medalist in the 100-meter sprint. Nike devel-oped a new spike for her with the goal of making her one-mile-per-hour faster. Key to it is a new plate that is significantly stiffer than previous styles and features fully integrated spikes that don’t need to be screwed in. The plate, in an iridescent blend of deep purple and blue, is also quite pretty.

There were significant developments in the track uniforms as well. The Nike Vapor Track and Field kits feature garments using AeroSwift technology made with recycled polyester. Lotti explained the technology was developed on the yarn-level, “literally under a microscope,” to produce fabric that, according to him, is 10 percent lighter, 25 percent more moisture-wicking and quick-er-drying, with 50 percent more stretch than Nike’s previous highest-quality fabrics. The kits are developed as a system with all the pieces working together to give the athletes more speed. Within the system, some of the niftier developments include AeroBlade tape, which is actual tape with textured bumps, or blades, on it that runners can stick to their forearms and lower legs — the fastest parts of the body — to increase speed. “You would think smooth is fast but that’s not true,” said Lotti. “Texture is fast. The AeroBlades are almost like a golf ball. It’s not smooth, it has texture to cut through the air.”

The tape, along with adhesive bibs that stick to the garments, as opposed to being pinned on, were two of Lotti’s favorite developments. “One area that always drove me crazy is we build sleek, elegant, tailored garments and right before the race, they put a bib on and literally pin it on,” said Lotti. “It’s completely inefficient and not aerody-namic. The pin was invented in 1849 and has not evolved since. If we’re literally obsessing down to shaving fractions of seconds, we needed to address this.”

The bibs and tape will be available for consumer purchase. The latter already had a fan in Jackie Joyner-Kersee, who was on hand along with Michael Johnson and Scottie Pippen for a former Olympian Q&A. “I wish I could have had that tape,” said Joyner-Kersee, who won gold medals in the heptathlon in 1988 and 1992, and was generally impressed by how far Nike tech has come since she was competing. “Just the feel of the uniforms is remarkable from when I was competing. With the big old clunky stuff I had, the closest I could come to aerodynamic was just pulling my hair slicked back.”

FASHION

Nike Unveils Team USA Olympic Uniforms

Nike’s U.S. Olympic track and field uniforms featuring

AeroBlade tape.

Scottie Pippen, Michael Johnson and Jackie Joyner-Kersee traded Olympic stories at the Nike Unlimited Innovation event.

Nike’s 2016 track and field footwear collection is done in

shades of Nike Volt and hyper pink to create a visual blurr in motion.

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termed an interim decision, adding that the procedure is still ongoing. Slimane, who left Saint Laurent in April after a four-year tenure as creative and image director, lodged the procedure in May. It concerns non-competition obligations that are among standard clauses for high-profile executive and creative roles in fashion, and which typ-ically restrict a designer or chief executive officer from working for competitors for up to a year or more.

“Kering lifted this clause at the end of Hedi Slimane’s contract, thus freeing Hedi

Slimane from this potential constraint. Hedi Slimane is requesting that this clause be applied still, along with the effective payment of the financial compensation that goes with it,” the group said.

In April, Kering confirmed a WWD report and said Anthony Vaccarello would succeed Slimane at the design helm of Saint Laurent, thrusting an unassuming, low-key designer into one of the hottest seats in fashion. The 36-year-old Belgian designer is slated to show his first collection for the brand for the spring 2017 season.

Slimane’s legal challenge suggests he doesn’t have any immediate plans to sign on with another fashion house. Before joining YSL, he spent several years concentrating on photography and art making in his post-Dior Homme career.

In a separate statement earlier this month, Kering noted the “disagreement does not alter the group’s recognition for Hedi Slimane’s contribution, who, together with the Yves Saint Laurent team, has reformed the maison.”

30 JUNE 2016 9

● The up-and-coming models join Kendall and Kylie Jenner as the faces of the West Coast brand, which is relaunching denim for back-to-school.

BY KHANH T.L. TRAN

Kendall and Kylie, meet Luka and Lottie.

Pacific Sunwear of California Inc. is sliding down the alphabet for the next duo that it hopes will boost its profile and generate sales in a big back-to-school campaign launching July 22. The teen retailer has snapped Lottie Moss and Luka Sabbat (aka Kate Moss’ little sister and Kanye West’s protégé, respectively) to promote the rebranding of its in-house denim line. Renamed from Bullhead Denim Co. to PacSun Denim, the private label is pushing Nineties-inspired styles with the social media-savvy models, who were born just before the start of the Millennium.

“Outside of Kendall and Kylie, it’s our second foray into getting top-tier talent,” said Greg Crawford, PacSun’s senior creative director, who oversees social media and the creative efforts on e-commerce and store design. “We’re banking on Luka and Lottie — who they represent, who they are.”

PacSun is the latest marketer to hitch its fortunes to the rising stars, who together command the attention of more than 355,000 fans on Twitter and Instagram. Following her debut as a 13-year-old brides-maid at her half-sister’s 2011 wedding to Jamie Hince, Moss traced her sibling’s footsteps to pose in skivvies for Calvin Klein. She also landed the ad campaign for Botkier this past spring and shared the May cover of Paris Vogue with Lucky Blue Smith.

The New York-born, Paris-raised son of a fashion designer and a stylist, Sabbat stood in formation alongside Kylie Jenner last year at the presentation for West’s Yeezy Season One. He has modeled in campaigns for Urban Outfitters’ collaboration with Champion, H&M, Tommy Hilfiger Denim and Adidas Originals, the last of which is still plastered all over Hollywood.

Until the daylong photo shoot in late April that took them on a tour of Los Angeles’ downtown and Eastside neighborhoods, they had limited contact with PacSun. “I’ve never actually shopped there because, you see, in England we don’t have PacSun,” Moss said. Sabbat, whose dressed-down duds included a Raf Simons sweatshirt, Asspizza T-shirt, Carhartt pants and black diamond-encrusted skull ring he designed with Gianni Monini out of solid white gold, said, “I know about them through Fear of God and Been Trill,” the buzzworthy men’s brands that have collabo-rated with the Anaheim, Calif.-based retailer.

Moss and Sabbat didn’t have points docked for being carpetbaggers who flew from

London and New York for PacSun’s paean to the City of Angels. Moss, who grew up in Sussex, England, had been in town only once before. “I haven’t really done the tour of L.A.,” she said. “I think it’d be really cool to do work while sightseeing.”

Besides, Crawford chuckled, “Who is from L.A.? We want the coolest of the coolest who can represent PacSun.” He added that Sabbat is returning for the holiday ads while Moss is in talks with the company to do the same. Plus a design project with them “is definitely on the table in the future,” he said. “We hope to create a relationship with Luka and Lottie as we did with Kendall and Kylie.”

It certainly helped that the rapport between Sabbat and Moss on set was light-hearted and chummy. Adding PacSun to her portfolio of campaigns for Free People and Selena Gomez’s tie-up with Adidas, photogra-pher Harper Smith was instructing them and the five other multicultural models as if they were a modern-day Breakfast Club serving detention on an outside deck at Walt Disney Hall. “Guys,” she yelled to get their attention. “Intertwined energy. It’s about the two of you and how you interact.”

Moving across the concrete slabs, Smith said, “Lottie, give me a little smirk, girl.” To boost morale, Crawford told the group, “These look great, guys. Stick with us.”

After showing Moss the photos that she liked, Smith told Sabbat, “Give me a little chagrin.” “Uh,” he answered, “I forgot what

that is.”Ultimately, Smith didn’t succumb to

frustration with her young charges because “they’re supercool,” she said. “Luka, for me, reads a little Basquiat, so I like him in the denim with the long arms and also the stripes.”

Moreover, the 18-year-old New Yorker is “superrelevant” to customers, said Alfred Chang, PacSun’s senior vice president of men’s merchandising and design. “There are only a few guys that guys look up to,” he said. “Luka is definitely one for that generation.”

This is the second time that PacSun is revamping the branding for its private label denim. Before being rechristened as Bull-head, the denim division was known as Tilt. Having produced its own jeans for 30 years, the company now wants to establish itself as a major player in the teen denim market. In its back-to-school collection, it’s checked off all the major trends that have quickly trickled down from the premium denim strata and interpreted them at prices ranging between $49.95 and $69.95: mom jeans, released hems, skinny styles, ripped knees and paint-ed-on pants.

It faces big competition from “anyone that sits in that mall space,” according to Crawford. Specifically, he noted, “The A’s: American Eagle and Abercrombie. Of course, Tilly’s and Zumiez are always going to be on our radar. H&M is doing a lot of business. We intend to steal from them and get our market

share.”What PacSun’s Brieane Breuer wants to

avoid is a conversation between teens that goes something like this: “Oh, I love your jeans. Where did you get them?” “It’s Bull-head Denim.” “What’s Bullhead Denim?”

“We have an opportunity to build brand equity,” said Breuer, who is the senior vice president of women’s merchandising and design.

The stakes are high for PacSun, which filed for Chapter 11 bankruptcy in April in attempts to dig itself out of burdensome debt. As of April 7, it operated 593 stores across the coun-try and in Puerto Rico. Its retail network has shrunken from 601 stores as of Jan. 30 and almost 1,000 units in 2006. Total sales fell about 3 percent to $800.9 million in its fiscal year ended Jan. 30 from $826.8 million in the previous year. Excluding gains and charges, the net loss widened to $22.6 million from a net loss of $18.5 million a year ago. In late June, after canceling an asset auction due to a dearth of bidders, it fell under the control of San Francisco-based Golden Gate Capital.

Running for at least eight weeks, the new campaign ranks among the two most expen-sive marketing efforts for PacSun. Between 2012 and 2014, it rolled out nationwide an ambitious initiative to highlight its Califor-nia heritage with a “Golden State of Mind” message. Including the marketing dollars for that project’s final push, its overall expenses increased 8 percent to $238.4 million in the fiscal year ended Jan. 31, 2015, from a year ago. In 2015, the retailer began shifting spend-ing from print publications to the digital world. Thus, the photos of Moss and Sabbat and their first-person point-of-view videos will be dispersed on YouTube, Snapchat and Instagram. “That is a big component for the campaign,” Crawford said, declining to disclose the marketing budget.

In a lull at the final segment of the day, as the sun faded behind hilltop houses and a chill seeped across Echo Park Lake, Crawford ordered one of the assistants to “have some-one under 30 put on the music.” Loitering on the edge of the water like a gang of young hipsters, which isn’t uncommon in this neigh-borhood, they drew the attention of a little girl wearing a rabbit-print T and fuzzy orange skirt. “Mommy, they’re making TV,” she said.

Nobody else in Echo Park recognized the up-and-comers, although Sabbat got a few looks from observers on the sets at Grand Central Market and Pershing Square earlier in the day. The comment overheard from one passerby was: “Oh man, I’ve seen him, some fashion dude,” he recalled.

For the final shot at the lake, Moss slipped on a satin burgundy bomber personalized on the back with “L. Moss,” over a bodysuit and blush pink sateen jeans. It was her most conservative look. One of her previous getups at Disney Hall was a slightly faded jean jacket embellished with “L” on the front, which opened up to reveal her pierced belly button and shredded miniskirt. The 18-year-old also used a sun-bleached denim car coat to shield her bare torso and black high-waisted briefs, as tourists climbed the seven flights to admire the view of the skyscrapers and take selfies.

Later explaining her nonchalance with nudity, Moss winked, “You’re not seeing anything. We’ve all got it.”

MEDIA

Luka Sabbat, Lottie Moss Promote PacSun Denim in Fall Ads

French Court Orders Kering To Pay Slimane $13 Million CONTINUED FROM PAGE 1

Behind-the-scenes of PacSun Denim’s ad campaign shoot with Luka Sabbat and Lottie Moss.

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all of the company’s initiatives.Under Belk, the chain has been growing

contiguously in its Southern geography, particularly in Texas. It’s also been pump-ing up flagship locations, and investing in its online business, which is the fastest growing area of Belk. “We continue to invest in digital and are re-platforming our website,” he said.

Belk has also supported new signature branding events like the Belk Bowl college football game that gives the chain national exposure, and the Southern Designer Showcase, a strategy featuring designers with ties to the South.

“The general direction will remain the same,” Belk told WWD, an hour after the news of his upcoming departure broke. “I am sure Lisa will add to it and will be building on the direction.”

He will remain on the board, but his departure as ceo marks the first time in the store’s 128-year history that it will no longer be run by a Belk family member. Last December, the $4.1 billion retailer was sold to Sycamore, a private equity company. Also last year, Tim’s brother John, who served as president and chief operating officer, left the business.

Hot Topic is part of Sycamore’s invest-ment portfolio, which also includes Aero-postale, Coldwater Creek, Dollar Express, EMP Merchandising, the Kasper Group, MGF Sourcing, Nine West Holdings, Tal-bots and Torrid.

Stefan Kaluzny, chairman of Belk Inc. and managing director of Sycamore Part-ners, said, “Tim’s vision and passion as a leader were among the qualities that first attracted us to Belk, and I look forward to continuing to work with him on the board. We are excited for the company’s

next chapter, and we believe Lisa will position Belk for future success.”

The 57-year-old Harper has a strong track record at specialty apparel chains, but has never held a key role at a depart-ment stores, suggesting a learning curve. She joins a small field of females com-manding a major retail chain, including Karen Katz, ceo of Neiman Marcus Group, Bon-Ton ceo Kathryn Bufano (who used to be president of Belk) and Jane Elfers of The Children’s Place.

Belk supported Sycamore’s choice for the company’s next ceo, saying, “Lisa is very skilled at building brands and has a history of that. That’s a terrific thing she can bring to Belk and building out our ‘Modern. Southern. Style’ positioning. She also has a lot of background in product.”

He noted that Harper worked at Levi’s for seven years and launched the women’s Docker business.

“She’s a seasoned retail leader, very good in design and product. She had a ter-rific track record at Hot Topic. Before that she was ceo of Gymboree. She effected a turnaround there. She’s got a lot of talent in leading an developing people,” he said.

Belk also pointed out that Harper is very familiar with the department store chain as a native of Durham, N.C. She worked at one of its stores as a high school teenager, as a floater at the South Square Mall unit.

Harper became ceo of Hot Topic in March 2011 and continues to serve on that company’s board. Before that, she was ceo of the Gymboree Corp. from 2001 to 2006 and chairman from 2002 to 2006. She also held various creative, merchan-dising and design positions at Gymboree and earlier held similar positions with several other clothing retailers, including Limited Too, Esprit de Corp., GapKids, and Mervyn’s.

She was not available to comment Wednesday on her new job.

Asked if there was pressure from Syca-more to leave the company, the 61-year-old Belk replied, “This is a personal decision. Now is the right time to move on and retire. I am feeling really good about where we are in this transition and where Belk is in the retail marketplace. We have made a lot of progress, from old Belk to new Belk.”

Over the last several decades, many regional retailers have struggled for survival and either went out of business or were consolidated into larger retail operations. Belk, despite its concentration in the South, has been a steady operator, partly by taking over some regional com-petitors, such as Parisian; maintaining strong relationships with vendors, and developing strong shopper loyalty and community ties.

With the new ceo and with the difficult retail climate currently, it remains to be seen whether the chain will maintain the course charted by Tim Belk. Three years ago, he unveiled a master plan for the business, in tandem with the celebration of Belk’s 125th anniversary, setting a goal of $6 billion in annual sales within five years and earnings growth of 10 percent a year. To reach the goals, the company became capital-intensive, planning to invest $600 million over five years, from fiscal 2012 forward. Through the reces-sion, the company, unlike other retail-ers, built a stronger balance sheet and liquidity, partly by cutting dividends and benefits but not staff or anything custom-er-facing. Expansion was halted but not renovations and remodels or the technol-ogy spend.

Generally, department and specialty stores have been showing weak perfor-mance since last year. But Belk said his business “is doing well, continues to per-form, and had a good year last year.”

“I am making no plans at this point. I am deliberately deciding not to do any-thing. I will take six months and try to say, no no and n” to any opportunities that arise in the near future, he said.

“I want to be thoughtful about what’s next. I am excited about the options that will be there. I am convinced there could be a chapter two and a chapter three. I am not restricting myself to retail or other forms of business.” Non-profit is also a consideration, he added.

Belk did say he had “strong, mixed feelings” about leaving. “I have a lot of great relationships in place, and watching people grow and develop, walking away from all that will be really hard.”

10 30 JUNE 2016

Steady as She Goes: Harper Seen Staying Belk’s Course CONTINUED FROM PAGE 1

● With news feed changes, businesses are encouraged to share content that users will share and comment on.

BY MAGHAN MCDOWELL

It’s bros before business or media at Facebook.

The stated goal of the social networking giant’s news feed is to “show people the stories that are most relevant to them.”

Facebook, which boasts 1.65 billion monthly active users, said it will be making an update to the secretive algorithm it uses to determine which posts users see, and when and where. Vice president of product management Adam Mosseri said this means friends and family come first, so posts from them will come at the top of users’ feeds.

Next in the pecking order are posts that inform, such as updates on a current event or a story about a celebrity, and posts that entertain, such as funny photos.

The update relegates media and busi-ness posts to second-string status at a time when both groups are looking to get more

out of social media generally.The decision will be particularly closely

watched by publishers, who have come to rely heavily on Facebook to drive traffic in the wake of print declines. According to analytics firm Parse.ly, in June of last year, Facebook surpassed Google in referrals.

Engineering director Lars Backstrom acknowledged that this update means reach and referral traffic for Pages — public profiles on Facebook devoted to busi-nesses or brands — might decline.

“We encourage Pages to post things that their audience are likely to share with their friends,” Backstrom said, adding that if referral traffic comes from people sharing content or commenting on it, there would be less impact on traffic. For users who want to prioritize posts, they can select to “unfollow,” “hide” or “see first,” leaving the burden on businesses to deliver con-tent that users want to see.

Facebook also stated a preference for authentic stories in place of those that might be “misleading, sensational or spammy.”

The platform has recently faced criti-cism that it has given preference to stories with a liberal bias in its news feed. Mos-seri’s post addressed that concern: “We are not in the business of picking which issues the world should read about. Our integrity depends on being inclusive of all perspective and view points.”

Mosseri added that this change has become more necessary as more outlets

— both people and publishers — publish more and more content to the site. This challenge has also been one faced by Twit-ter, which has struggled to help users sort through the cacophony.

Mosseri said Facebook’s success was dependent on showing stories that matter most to its user.

Although this update might threaten stories shared by media outlets or updates shared by business, Facebook has been courting publishers in other ways.

In March, Facebook said it had an early beta program that paid publishers to experiment with the live video service Facebook Live.

Justin Osofsky, vice president of global operations and media partnerships, said members of the beta program included “partners who had the capabilities to easily produce and test a variety of live programming; partners who had already experimented with live and had some early success; public figure partners who had already demonstrated an early interest in going live via the mentions app; and partners who would have relevant use-cases for live, such as breaking news and personality-driven Q&As.”

MEDIA

Facebook Update Puts Friends in Front of Media, BusinessesFacebook founder Mark Zuckerberg at Facebook’s 2016 F8 conference.

Lisa HarperTim Belk

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30 JUNE 2016 11

● British actress Gabriella Wilde is the brand’s new ambassador and is featured in their latest campaign.

BY NATALIE THEODOSI

LONDON — British jeweler Mappin & Webb celebrated the reopening of its London flagship on Regent street on Tuesday night following an extensive renovation.

Brian Duffy, the brand’s chief execu-tive officer, explained that the revamp of the Regent Street space is part of a wider relaunch of the Mappin & Webb brand.

“We had to do it all over again — choose an ambassador, elevate the product and rebuild the store. This has been a work in progress for the past 18 months,” Duffy told WWD.

The brand has stores at a number of loca-tions across the country including Old Bond Street in London, as well as in other cities in the U.K. such as Glasgow, Manchester and Cambridge.

Duffy stressed the importance of having a presence on Regent Street. “Architecturally it’s the most beautiful street. It lost its beauty for a while in the Seventies and Eighties, but I think the Crown Estate has been doing an incredible job reimagining the street.”

The brand has appointed its first ambas-sador — British actress Gabriella Wilde, who is primarily known for her roles in films including “The Three Musketeers,” “Carrie” and “Endless Love.”

Wilde, who has also been working as an ambassador for Estée Lauder, said she was attracted to the brand’s rich heritage, having grown up learning about Mappin & Webb

from her parents. “That kind of heritage and history gives meaning to things. What I think is so lovely about what Mappin and Webb are doing now is they have these pieces and they do look contemporary, youthful and wearable, but there is a history to them, so they have even more value.”

She pointed to two dainty gold necklaces from the brand’s Fope range as among her favorite pieces. “That is how I like to wear jewelry, something you don’t have to take off and you can wear it with anything but is also quite unique and special,” Wilde said. “Working with the brand I got to discover a lot of different pieces. It is such a luxurious label but you can find jewelry that you can wear everyday.”

Wilde is featured as the face of Mappin & Webb’s latest campaign. Shot in an old English country house in Cornwall, the campaign aims to channel a romantic and quintessentially British identity that harks back to the romantic novels by the likes of Jane Austen and Charlotte Bronte, a mood that was fully aligned with Wilde’s latest role in the BBC drama television series “Poldark.”

“The campaign is so feminine and roman-tic and ‘Poldark’ has a very romantic story line, too. It’s fun being in those old English houses like that and one of the shots we did next to this incredible old tree captures that element of history,” Wilde said. “There was a whole character that we created and a story line, so each image is a moment in the charac-ter’s life. Shooting the campaign was almost like another acting job for me.”

The campaign is featured across the store and the brand’s web site, as well as on bill-boards around the British capital. It will break in U.K. titles in September.

In addition to the renovation of its flagship and the appointment of the brand’s first ambassador, Duffy said adding new ranges was another key part of the team’s relaunch strategy.

“We hugely expanded our product, which is all designed by our in-house team in Lon-don. We’ve doubled up our jewelry ranges and really upgraded the watches. Mappin & Webb used to be a huge watch brand and will be again, so we are delighted to re-introduce watches,” Duffy said.

Some of the key additions to the jewelry brand’s offer include a “By Appointment” bridal service, which will offer customers the opportunity to create bespoke engagement rings; the Carrington collection of diamond and round-cut precious stones pieces paying homage to its 242-year heritage, and the Empress collection inspired by the Queen of Siam features white gold and diamond statement cuffs and cocktail rings.

Two new collections of men’s watches — the Clarendon and Austen — as well as a wom-en’s watch collection have been introduced, drawing upon the brand’s heritage as a luxury watchmaker and the team’s experience retailing watches by labels such as Cartier and Patek Philippe.

The relaunch and the two million pound, or $2.6 million, that the brand spent on reno-vating the Regent Street space coincide with a time of uncertainty in the country following the vote to leave the European Union. Duffy said he remains optimistic despite the inevita-ble changes that will occur in the market.

“London was always seen as a global market for luxury watches or gold and silver pieces, so there will inevitably be changes in that perception and the pricing. But we are resurrecting so many great brands, each has their own direction and strategy so I’m staying optimistic. Change often presents opportunity,” he said.

ACCESSORIES

Mappin & Webb Revamps Regent Street Store

A visual from Mappin & Webb’s campaign featuring Gabriella Wilde.

● Kate Moss, Stella McCartney and Jean Paul Gaultier were among party guests to mark the debut in London.

BY STEPHANIE HIRSCHMILLER

LONDON — Forget the red carpet — guests at the London premiere of “Absolutely Fab-ulous: The Movie” all trod a gold-spangled runway befitting the show’s bling-loving stars, Joanna Lumley and Jennifer Saunders.

Kate Moss, Stella McCartney, Jean Paul Gaultier and Kylie Minogue joined Lumley and Saunders on Wednesday night at the Odeon cinema in Leicester Square. There’s already talk of a sequel. Indeed, Lumley told WWD before the film’s debut, “I couldn’t possibly go back to the small screen after this, darling!”

Here’s the question: Who would play their younger selves if there were a prequel, with Patsy Stone an assistant in the fashion cupboard and Edina Monsoon a struggling PR manning the party entrance? “Lena Dunham would play me and Amy Schumer would play Patsy,” proclaimed Saunders.

For the premiere, Saunders was wearing Stella McCartney, and Lumley was dressed in a glitzy pantsuit by Gaultier. Both designers have cameo roles in the movie, as part of its stylish extended cast, which also includes

Moss, Giles Deacon, Joan Collins, Alexa Chung, Jerry Hall, Poppy Delevingne, Jourdan Dunn and Suzy Menkes.

“Most fashionable person on set was undoubtedly Kate Moss,” said Saunders. “Who could be more fashionable than Kate? She’s the most fashionable person on the planet.”

Moss, it turns out, also played a key role in designing the green, sequined mermaid gown she wore for her spectacular plunge into the Thames. “The main thing I wanted for her was to be herself, so first of all I turned up at her house and looked at her clothes,” said

the movie’s costume designer, Rebecca Hale. “While we were discussing the kind of silhou-ette she would like, Kate suddenly declared, ‘I’ve got the perfect thing — Johnny Depp gave it to me when I was 21.’ So we took it to our seamstress who made it.”

In fact, there were around seven versions of the same dress made, including options for Kate’s stunt double. It wasn’t Moss herself who toppled into the river. Another version was used for Moss’ scene wallowing in the Thames. “It was shot in the middle of winter, and she was freezing, so she needed to have an extra thick wetsuit on underneath,”

said Hale.Director Mandie Fletcher revealed the

movie’s most “Ab Fab” moment actually hap-pened off camera. “There was a sequence we had to shoot with Stella McCartney and Lily Cole together on the red carpet,” she said, “but Stella was away, so I had to re-create shots with her later on, in a B&Q DIY store car park in Cricklewood [a suburban area of northwest London]. I said to her as I knocked on her caravan door, ‘I bet you haven’t been here before.’ That was a slightly strange experience.”

Fletcher added that despite the glamor, there wasn’t a huge budget. “We had to beg, borrow and steal designer clothes where we could, and we even borrowed a superyacht, but we ended up having to pay for the fuel, which came as quite a shock.”

Fletcher also had lots of praise for Moss’ acting. “She was really nervous at the begin-ning, but she’s a quick learner and became really confident. She’s got bags of charisma,” she said.

With the movie being shot both in London and on the French Riviera, talk obviously turned to Brexit. For Gaultier, however, actions spoke louder than words. He was wearing a waistcoat emblazoned with the Union Jack. Jane Horrocks, who plays Edina’s dim-witted assistant, Bubbles, and Julia Sawalha, who plays her long-suffering daugh-ter, Saffy, said their characters would both have voted Remain.

As for the dynamic duo themselves, “they simply wouldn’t care,” said Saunders.

When it came to her wardrobe, Lumley admitted she had a foot in both camps. She accessorized her Gaultier suit with a pair of shoes from British high street and Duchess of Cambridge favorite, L.K. Bennett.

MEDIA

‘Ab Fab’ Actors Hit the Gold-Spangled Carpet for London Premiere of Film

Joanna Lumley and Jennifer Saunders at the world movie premiere of

“Absolutely Fabulous - The Movie” in London.

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“You know, you do some films that are lovely and some films that you care about, but you do a few that you just love.”

British costume designer Ruth Myers was discussing a movie that fell into the latter “job in a million” category: “The Legend of Tarzan,” out on Friday.

She was recruited by one of the film’s producers who had previously worked with her on “Golden Compass” in 2007, and thought her style would be a fit for “Tarzan.” “I talked to [director] David Yates and they sent me a script. As very occasionally happens when you get a script that just talks to you, I sat and did maybe six or eight drawings,” Myers recalled. “To draw before you’ve talked to anyone, even though you’ve seen the script, is a bit like undressing in public. You’re literally going, ‘here’s me.’ It’s terribly expos-ing, and a bit frightening. So you have to feel that passion-ately to do that.”

The passion was palpable: Yates responded positively to her drawings, and Myers got the job. “He wanted to make a period film that didn’t look period,” Myers said. “I really had to sit down and think about how I could do this without doing costumes that were appalling for the period, but by the same token trying to make them feel just very, very available. It was a hard thing to do.”

Myers was presented with a starry cast to costume: Alexander Skarsgård as Tar-zan, Margot Robbie in the role of Jane, Samuel L. Jackson as George Washington Wil-liams, and Christoph Waltz as the villainous Leon Rom. “There wasn’t a lot about this [film] that wasn’t great. First of all, the actors: talk about the dream team. I’ve never had a group of better actors in my life,” Myers enthused.

The film begins in late Victorian London, and the costumes in the beginning of the film reflect the fashions of the era. “The main idea was to keep him incredibly buttoned-up and tight,” Myers explained of Skarsgård’s look in the early in the film. “I mean

his clothes were overtight, with the sense he was some-one just about to burst out of his clothes and revert to who he was in his skin,” she con-tinued. “Alexander worked so, so hard to physically become Tarzan. The only challenge there was, even during shoot-ing, his body shape changed quite dramatically because he did so much working out.” To keep his look form-fitted, Myers had to make daily micro-adjustments to Skars-gård’s costumes for the changes in his physique. “We were changing his britches on a daily basis as his body became more and more ripped, more and more fit. He was enormously patient because virtually every day

we’d drag his things away and then refit them and bring them back.”

It helped that virtually all of the costumes in the film were original pieces, be-spoke down to the smallest of detail — most of the fabrics were custom-printed or dyed. Going the custom route was also a matter of practicality: as the characters venture into the jungle, their outfits become increasingly worn. Margot Robbie’s charac-ter clocked in nearly 300 versions of the same dress design to reflect the various states of its deconstruction.

“[Robbie] will not only wear what you ask her to wear, but she’ll work it,” Myers said. “One of the fun challenges

was from about a third of the way through the film — I think she only has about four outfits — and then she changes into the outfit in which she gets captured and Tarzan goes to find her, and they’re then in the same out-fits the rest of the film,” she explained. “And there were 10 varieties of each of their outfits. We went through the script very, very carefully, working out at which point they disintegrated and how they’d look. So each one was essentially like a completely different costume.” In the case of Margot’s Jane, her dress gets dragged in and out of water, becoming more stained and ripped as the movie progresses. “In my drawings, for [Tarzan and Jane], I have 10 varieties from the original costume to the final costume. Not only 10 varieties, but I think they had 30 of each of the 10 varieties because there were doubles, and they got wet.”

It may not be the standard Victorian elegance, but Myers found the less glam-orous style of costuming highly rewarding. “It’s always nice when you’re designing costumes and they’re not

just pretty costumes but also to make sense, to tell part of the story,” she said. “That is essentially the best way to see the sort of job I have: as a storytelling job.”

Myers also skewed period-piece when it came to Samuel L. Jackson and Christoph Waltz’s costumes. Jackson’s character starts off “looking very much like a Victorian dandy,” Myers said, noting details of his look: a watch chain made with horse hair, a red-and-purple-checked waistcoat, boots that blend Victorian and cowboy. Meanwhile Waltz, who portrays Belgian captain Léon Rom, is dressed in white linen throughout the film, a hat tip to the main character in Werner Herzog’s 1983 film “Fitzcarraldo.” While the other characters’ costumes disintegrate, Waltz’s remain pristine. “There’s a point in the film when he opens his closet and you see all of these beautiful white suits, and all of these beautiful panama hats and boots all lined up,” Myers recalls. “There’s this sort of running joke that he constantly looks exquisite be-cause once one gets dirty, he

changes it for another beau-tiful white suit. In the midst of this chaos with people in loinskins and beads, filthy and ripped to pieces, there Christoph Waltz is, dressed in clean white linen.”

The film uses a fair amount of CGI, but Myers noted that this presented minimal challenges from a costuming standpoint. “I’ve done a few CGI-type films now, so you sort of know what you’re going into and I’m used to it,” she explained. “It doesn’t present the sort of challenges it did in it’s very early days, when you couldn’t use certain things. You have to be very aware of what colors you’re using, because essentially you’re painting a picture, but you’re not paint-ing it with the background painted in,” she continued.

“You are literally placing your colors where you want, your shapes where you want, your silhouettes where you want. So you have to be very aware of what it’s going to look like. It’s actually a tremendous challenge, but it’s one that I enjoy. It’s a lot of work, but the gratification is huge.” — KRISTEN TAUER

12 30 JUNE 2016

GQ editor in chief Jim Nelson hit Los Angeles on Tuesday night to toast July cover girl Kim Kardashian — along with Internet-breaking web traffic due to her scantily clad photos and an interview in which she called out Taylor Swift — with a cocktail party in the penthouse of West Hol-lywood’s Chateau Marmont. “I wanted to do the party in a sophisticated place that felt like it spoke to the spirit, aesthetic and ambition of the shoot itself,” said Nelson, who selected Kardashian for the magazine’s 10th “Love, Sex and Madness” issue because “she’s stunningly beautiful. It was also 10 years since ‘Keep-ing Up With the Kardashians’ [debuted].” Nelson seems to share Anna Wintour’s admiration for the reality star, adding, “For me, it was more about how she’s risen above all of it. She’s preserved and

elevated herself. In a lot of ways, she and Kanye kind of represent the new American Dream, you know? It’s really interesting.”

Nelson enlisted photogra-phers Mert Alas and Marcus Piggott to help re-create “the spirit of Helmut Newton” for the shoot. Asked whether he thinks the issue will be a top seller, he said, “I do know this — it already broke the

Internet. We’ll have had the highest month of traffic ever. We broke one record the first day. We broke another record the second day. The third day, we thought it might slow down and so we pulled back a little bit on tech support and our site actually broke for like 20 minutes…which is not something you want to have happen, trust me, but it literally broke the Internet,

so we’re thrilled about that.” Nelson said they “encouraged engagement” by rolling out one photo at a time on their web site in order to create “a sense of drama about it.”

Kardashian said she was happy to be on the cover. “GQ is iconic,” she said, adding that the shoot took place shortly after she gave birth to her second child Saint. “When I got the call to do their anniversary cover, the summer issue, I thought, ‘You know what? It’ll be a really good goal to motivate me to [stick to] my diet.”

The television personality said she has a couple new covers “in the works” that she “can’t really talk about.” She said she often chooses opportunities based on photographers. “I love them to have a vision, especially when I’ve never worked with a photographer before. Like,

for this with GQ, I’d never worked with Mert Alas and Marcus Piggott before. I was dying to shoot with them, so to see their vision for me and use their hair and makeup and try a whole different thing and Jim [Moore] styling it? I love that. I love to see what people’s visions are for me.”

Kardashian was joined at the party by close friends John Legend and Chrissy Tei-gen as well as sister Kourtney Kardashian and mom Kris Jenner. Others in attendance included Kevin Hart, Patrick Schwarzenegger, Ashley Benson, Skyler Samuels, Ju-lian Morris, Omarion, Russell Westbrook and Christina Milian.

Photos from Kardashian’s shoot lined the hotel’s white walls like a makeshift art museum. The images got the seal of approval from her loved ones. “Oh my good-

ness! It’s gorgeous, like all her covers,” said Teigen, who once again seemed to be channeling the star in a white cleavage-baring dress and sleek hairdo. “There is no point in time where Kim will ever not look gorgeous.” Kardashian’s

mother agreed. “She looks beautiful and strong,” said Jenner, adding that the fam-ily’s summer plans consist of shooting the show. “We’re rolling into season 13 in about a month.” — LINDZI SCHARF

Kim Kardashian Toasts GQ CoverThe party at Chateau Marmont drew John Legend, Chrissy Teigen, Kris Jenner and Kourtney Kardashian.

Ruth Myers on Costuming ‘The Legend of Tarzan’The latest remake stars Alexander Skarsgård and Margot Robbie.

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Kim Kardashian

Margot Robbie in “The Legend of Tarzan.”

“I’ve never had a group of better

actors in my life.”

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14 30 JUNE 2016

Sidewalk StoriesNo fancy props, actresses or elaborate concept for Demna Gvasalia’s first adver-tising campaign for Balenciaga. Instead, the designer tapped photographer Mark Borthwick to portray “couture attitudes” in everyday settings.

“I wanted the pieces to be shot in a real environment around where we work and live,” he told WWD. “So we shot in various locations on the streets of Paris.”

It marks a break from previous Balen-ciaga campaigns, which in the past had featured models, such as Gisele Bündchen, in elaborate poses, and celebrities such as Jennifer Connelly.

Instead, the same models who walked in Gvasalia’s debut show this past March are seen on sidewalks: sipping coffee from a paper cup, waiting for a bus or just striding on platform boots, cracked plaster walls or grimy tiles behind them.

Occasionally, a mirror is propped on the street, picking up the reflection of a delivery truck.

“Mark’s ‘real’ approach in his aesthetic was a key factor in my choice of photogra-pher,” Gvasalia explained.

The unvarnished imagery echoes Gvasalia’s approach to the Instagram feed for his Vetements brand, the poses “uncal-culated and spontaneous,” according to Balenciaga. Gvasalia said the layouts of the visuals are key to his creative method. Meanwhile, he takes a wardrobe approach to the Balenciaga collection, starting his creative process with a list of garments.

Asked if he would ever enlist famous people for a Balenciaga campaign, he replied: “The new Balenciaga women, the women who wear the clothes, are my celebrities.”

Lotta Volkova did the styling, Gary Hill the hair and Inge Grognard the makeup. The spots are slated to break in newspa-pers early next month. — MILES SOCHA

Murray Steps InDuJour Media has hired Fiona Murray as editor in chief, succeeding founding editor Nicole Vecchiarelli, who resigned last month.

Vecchiarelli, who held the top job for more than four years, will be leaving the company at the end of July to pursue other opportunities. In her new role, Murray will oversee DuJour Media’s multiple platforms and strategic partnerships, working closely with chief revenue officer Leslie Farrand. Murray and Farrand both report to DuJour founder and chief executive officer Jason Binn.

“Nicole has been an amazing partner since our launch, in fall 2012, making DuJo-ur an award-winning must-read,” Binn said. “I wish her every success as she starts this new phase of her career. I am confident Murray’s experience will enhance our stra-tegic partnerships, including Gilt.com. She will be taking the baton, creating unique exclusive lifestyle content.”

Murray comes to DuJour from The Wall Street Journal’s WSJ Magazine, where she

was promoted to the role of features direc-tor in 2010. She served as acting editor in chief of the magazine in the interim months following Deborah Needleman’s departure for T Magazine in 2012 and the hire of current editor in chief Kristina O’Neill.

Over the past 15 years, in addition to WSJ, Murray has worked at InStyle, T Mag-azine, Marie Claire and Gourmet Traveller, where she created print and digital content across key categories, such as celebrity, fashion, culture, design, technology, busi-ness and food.

Murray’s hire signals a new chapter for the quarterly DuJour and comes as there have been widespread rumors that there have been other staff changes at the title, which Binn denied on Wednesday.

DuJour was launched via a partnership with Gilt Groupe and James Cohen of Hudson News, now part of Dufry. Accord-ing to Binn, Cohen remains a shareholder in DuJour even though the Hudson News founder recently launched his own quarter-ly magazine, Galerie, with his wife Lisa. — ALEXANDRA STEIGRAD

Rich MediaDespite volatility in the media industry, families who made their fortunes in pub-lishing, cable and radio, held their own in 2016 — and some even prospered.

According to Forbes’ America’s Richest

Families list, the Waltons of Wal-Mart Stores Inc., were once again on top with an estimated net worth of $130 billion. But the family’s worth dropped 12.8 percent from $149 billion in 2015.

Forbes said the richest 25 families are collectively worth $722 billion this year, $11 billion less than the top 25 were a year ago.

Following the Waltons were the Koch, Mars and Cargill-MacMillan families with respective net worths of $82 billion, $78 billion and $49 billion.

The Cox family, which owns newspa-pers, television and radio stations, among other enterprises, ranked fifth with a net worth of $41 billion, $6.5 billion more than last year. The Hearst family slipped in the rankings a bit — falling to the ninth spot from sixth a year ago. Forbes said the fam-ily that built media’s Hearst Corp. is worth $28 billion, down $6 billion from 2015.

The Newhouses of Condé Nast held the 11th spot and actually managed to increase their net worth by $5 million for a total of $18.5 billion.

Elsewhere, the Lauder family ranked 12th with $17.9 billion, up from last year’s net worth of $16.5 billion. The Ziffs, who own an investment arm as well as publishing firm Ziff Davis (recently in the news for its stalking horse bid on bankrupt Gawker Media), had a net worth of $14.4 billion. Last year, the family had an estimated net worth of $15 billion.. — A.S.

Memo Pad

CFDA/Vogue Fashion Fund Finalists NamedThe newest batch of finalists for the CFDA/Vogue Fashion Fund were revealed Wednesday evening at the Proenza Schouler store in SoHo. Jack McCollough and Lazaro Her-nandez, who won the first CFDA/VFF, did the honors. The 10 finalists are: Adam Selman, Beckett Fogg and Piotrek Panszczyk of Area, Laura Vassar and Kristopher Brock of Brock Collection, Chloe Gosselin, Ji Oh, Stirling Barrett of Krewe du Optic, Morgan Curtis of Morgan Lane, Maryam and Marjan Malakpour of Newbark, Laura Chan-dler and Joshua Cooper of Rocham-beau and Chris Stamp of Stampd. The winner stands to receive $400,000 and the two runners-up take home $150,000 each. The winners will be announced Nov. 7 at a gala dinner in New York. In the meantime, the designers are put through a grueling set of challenges before the selection committee, which includes Ken Downing, Mark Holgate, Steven Kolb, Anna Wintour, Diane von Furstenberg and Jenna Lyons. This year’s program is done in partnership with Uniqlo. One of the design challenges is underwritten by Intel and a fashion show staged at Chateau Marmont in Los Angeles is underwritten by Kate Spade New York.“Good luck,” said McCollough after the finalists were announced. “You have your work cut out for you.” — JESSICA IREDALE

Going FishingMoncler has teamed with Off-White, the luxury sportswear label founded by Virgil Abloh in 2014, to launch a men’s collection for fall.

Called “Moncler O,” the range, conceived by Abloh, was inspired by fishermen in the northern seas. Traditional waxed jackets inspire the anoraks with multiple pockets, while references to British Navy uniforms

from the 17th century echo in the oversize pants crafted from a water-proof double cotton and featuring elasticated drawstring waists. The sporty lineup, infused with a technical feel, also features padded jackets with detachable hoods, vests inspired by life jackets, an lightweight parkas. Patterns include prints referencing stormy skies, along with Off-White’s signa-ture diagonal stripes. The Moncler logo appears in a yellow silicon version.

“Moncler is a brand I admire for its history and what it represents in the myriad brands based in outerwear

and fashion,” said Abloh, who added that he wanted to tell a story through the pieces included in the collection. “My inspiration comes from storytelling. The chance to tell a story via individual pieces of clothing is a powerful tool I believe in.”

“Moncler O,” which will retail from $420 for a T-shirt to $3,800 for a par-ka, will be unveiled in New York with a cocktail party at Moncler’s boutique in SoHo on July 12. The collection will be available in stores worldwide and at moncler.com starting in Septem-ber. — ALESSANDRA TURRA

Travel ExpensesThe Ritz Paris has invited Laure Hériard-Dubreuil, founder and chief executive officer of The Webster, to put together a capsule collection of travel essentials for its new concept store. She has tapped brands to cre-ate exclusive products in the spirit of her Miami boutique, with a first drop now and a second in September.

Hériard-Dubreuil asked the design-ers to work with her store’s signature shade of pink and vintage wallpaper motifs, which will also feature in the decor of the corner. “I’m always living out of a suitcase, so it made sense,” she said. “The products are designed in a fun and tongue-in-cheek spirit.”

Maison Michel contributed a bellboy hat, Mark Cross designed a passport cover and suitcase and Olympia Le-Tan came up with a clutch embroidered with the cover of Ernest Hemingway’s “A Moveable Feast” — a nod to the writer who spent so much time at the Ritz that the hotel named a bar after him.

Other products include paja-mas by Francesca Ruffini’s FRS label; a packable hat by Gigi Burris; Tabitha Simmons shoes; an Edie Parker clutch in the shape of Place Vendôme; a Sonia Rykiel travel blanket and socks, and a Lisa Marie Fernandez swimsuit.

In addition, there are branded notebooks, pens, stickers, iPhone covers and a lollipop, as well as novelty items like pink granola from Maisie Café and a pink cashmere flamingo from The Elder Statesman, which Hériard-Dubreuil came up with as a companion to the Ritz Paris stuffed teddy bear.

The Ritz plans to invite a new guest editor every six months. — JOELLE DIDERICH

Fashion Scoops

Melania Trump on DuJour’s Summer Cover.

An image from Balenciaga’s fall ad campaign.

A sketch of the FRS pajama for The

Webster’s corner at the Ritz Paris

concept store.

A look from the “Moncler O” collection.