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DAILY EDITION 6 SEPTEMBER 2016 1

Fashion. Beauty. Business.

Vision for BrownsHolli Rogers, chief executive officer of the famed London retailer, lays out her plans for the store under new owner Farfetch. PAGE 8

Here we go — New York Fashion Week! Tracy Reese is approaching the season with a message of

self-approval and good old-fashioned optimism. “No matter size, shape, color or age, every woman

is beautiful,” she says. Apparently, she believes the thought holds true to the end: Her presentation

on Sunday is at the New York Marble Cemetery. For more designer inspirations, see pages 4 to 7. CONTINUED ON PG. 10

● The multimedia initiative includes print and outdoor advertising, online ads and social media posts.

BY ARTHUR FRIEDMAN

NEW YORK — As designers start to rev their fashion week engines, City Hall is ramping up its marketing efforts to proclaim the ben-efits of being Made in New York.

The city continues to build its Made in New York: Fashion initiative and has developed a public campaign to promote its Certified Brands program, with a kickoff during fashion week.

Alicia Glen, New York City Deputy Mayor of Housing and Economic Development, said in conjunction with the New York City Eco-nomic Development Corp., the monthlong campaign will spend $170,000 to promote the companies and designers involved in the certification program as the latest effort to

BUSINESS

Made in New York Creates New Marketing Campaign

● The luxury e-commerce site plans to open multiple showrooms around the world.

BY SHARON EDELSON

NEW YORK — Luxury sales have been somewhat anemic lately, but Moda Operandi isn’t retreating from that gilded and rarified corner of the market. On the contrary, the e-commerce site is digging its well-shod heels deeper into high-end territory.

“This year we’re going to stretch our tent wide and put stakes in the ground,” said chief executive officer Deborah Nicode-mus. “We’re focused on the international business. We’re growing aggressively, but the objective is to balance growth with profitability.”

Moda Operandi’s sales volume will be more than $100 million in 2016, Nicodemus said. In terms of transactions, the average online order at Moda Operandi is $1,200, compared to the typical online spend of $300, Nicodemus said.

“Our international growth is coming from the high-touch aspect of our business,” she added. The company in September 2014

MEDIA

Moda Operandi's Goal: Global Luxury Hegemony

CONTINUED ON PG. 12

Tory's LinkTory Burch boosts promotion of her Gemini Link logo via everything from outdoor ads to social media. PAGE 2

FASHION

Everybody's Beautiful

Olympian BarbieCharlotte Olympia has designed a Barbie doll — as well as some human-size, Barbie-inspired bags and shoes. PAGE 9

● The designer debuted the design motif for spring and has since embraced it in a far more cohesive way.

BY ROSEMARY FEITELBERG

NEW YORK — Tory Burch is going all-out with her new Gemini Link campaign.

The all-encompassing, worldwide effort features outdoor ads, store windows, digital, special events, celebrity tie-ins, video, social media and influencer content. This month and in October, outdoor ads will go up in New York, Chicago, San Francisco and London. The Gemini Link collection will be front-and-center in Tory Burch store windows through Sept. 26. Burch fans will also find Gemini imagery, including an animation-like one, on Facebook, Twitter, Instagram and Pinterest.

The often-photographed model Suki Water-house was the first to wear a Gemini Link bag, and other influencers such as Miroslava Duma, Margaret Zhang, Blair Eadie and Valen-tina Ferragni are pitching in to help make the Gemini Link more visible.

While the designer is by chance a Gemini, the initiative is not derivative of anything remotely astrological. More to the point, the design motif — two gold-colored links joined together — hints at the duality of her life as an entrepreneurial designer who is also a mother (whose children include a set of twins). The ideology also reflects the creative and business

sides of Burch. "Gemini to me personally is a concept of duality. I started the company based on the idea of designing beautiful prod-ucts that didn’t cost a fortune,” she said.

First introduced in spring 2016 in pendant necklaces, bold cuffs, bracelets and rings, the Gemini Link has been featured in subsequent seasons, including in resort 2017 handbags, loafers and fashion. The detail at the center of the double link is a subtle reference to the brand’s double-T logo, which draws from Moroccan architecture and Burch’s favorite interior designer, David Hicks.

Having established an international brand since launching her company in February 2004, Burch, who serves as chairman, chief executive officer and designer, now oper-ates 180 freestanding stores showcasing her ready-to-wear, shoes, accessories, watches, home and beauty. She also has a significant e-commerce business. In addition to her own stores, the collections are available in 3,000-plus department and specialty stores.

As is the case with other designers, Burch’s success has brought with it the problem of counterfeiting. But she said that had nothing to do with her decision to feature the Gemini Link more prominently. While counterfeiting remains a big problem for a lot of designers, Burch said, “That is not really why I started playing with the logo. This is not replacing our logo in any way."

Gemini-rooted events in Tory Burch stores will be held in New York on Sept. 13, followed by ones in China next month and London in December. While some economists are wary of China's financial forecast, the designer continues to see it as a big opportunity for her company. So much so that the company recently hired Michael Gonzalez as president for Asia and Nobuo Nagai as president, Japan.

More than anything, the brand's commit-ment to Gemini Link reflects how it is making the most of interconnectivity and not just through technology. Outdoor advertising, for example, is not something the company has done a lot of. Burch said, "We're looking at the world as a changing place. We always want to look at how we can do things differently."

MEDIA

Tory Burch Launches Gemini Campaign

● The Monse designers' first collection for the house will be fall 2017.

BY JESSICA IREDALE

Oscar de la Renta has gone from European chic to American up-and-comers — and the switch will be visible in its fall 2017 collection.

Fernando Garcia and Laura Kim, who were named co-creative directors of Oscar de la Renta on Friday, are expected to inject an even more youthful air to the fashion house's collections. They replace Peter Copping, who left the company in July after nearly two years on the job. He succeeded de la Renta after his death in 2014.

WWD reported last week that Garcia and Kim were the lead candidates for the job.

De la Renta is familiar turf for Kim and Gar-cia. She spent 12 years working under the late designer, most recently as his design director, while Garcia spent six years in the atelier first as an intern and eventually handling celebrity and VIP dressing. They left the company in 2015 to launch their label Monse for spring 2016, which instantly gained retail and editorial traction for its youthfully dressed-up, deconstructed shirt-ing. The collections thus far have been based on an item — shirts, or for resort, it was trenches — which is then reinterpreted in myriad ways.

Elizabeth von der Goltz of Bergdorf Good-man and Sarah Rutson of Net-a-porter were early advisers on the line. Monse was also nom-inated for the CFDA’s 2016 Swarovski Award for Womenswear. Additionally, last year, Carolina Herrera hired Garcia and Kim to consult on her pre-fall 2016 and resort 2017 collections

(a move that reportedly irked executives at de la Renta), which were critically well-received and notable for their fresh take on Herrera’s uptown polish. As WWD reported exclusively, Herrera last week named Raffaele Ilardo vice president of design.

Meanwhile, Copping was failing to flourish at de la Renta. After a successful run as creative director at Nina Ricci, the British designer joined de la Renta in 2014 and briefly worked alongside him until his death in October of that year.

But Copping’s collections for the house never quite resonated, neither living up to what he did for Nina Ricci nor what de la Renta was known for. Rather, Copping’s efforts gave the impression of someone hemmed in by in-house

demands (with chief executive officer Alex Bolen said to continually insert himself into the design process) and the pressure to cater to the loyal de la Renta customer. Unlike many luxury houses, which are fueled by fragrance and accessories, de la Renta is primarily an appar-el-driven business. At the time of his departure, de la Renta said Copping's designs failed to perform at retail.

Kim began working at de la Renta in 2003. Born in Seoul, she was raised in Calgary, Canada, and studied design at Pratt Institute. Garcia, like de la Renta, is from the Dominican Republic. He studied architecture at the Univer-sity of Notre Dame.

Asked when the conversation with Alex Bolen, chief executive officer of de la Renta, began, Garcia said,"We always stayed in touch. Alex came to our shows and it was an ongoing dialogue that started the second we left Oscar."

Garcia said that the the aesthetic direction he and Kim want to take the collection in hasn't been completely worked out. "We will continue to carry on the amazing DNA of the house and push it to the newest level each season, as Oscar always wanted," said Garcia. "What that looks like is going to be determined very soon."

Garcia and Kim's first collection for Oscar de la Renta will be for fall 2017. They will oversee ready-to-wear, accessories, bridal and children’s collections, while continuing to operate Monse. In a statement from de la Renta, the company said it will enter into a strategic partnership with Monse, providing it with operational support. It did not provide financial details of the "partnership" but Garcia said that no stake of the business has been sold to or acquired by Oscar de la Renta. Rather, it will share its back-of-house resources with Monse so Garcia and Kim can focus on design for both labels. "We all agree that a company this young shouldn’t be split up equity-wise at such an early stage," said Garcia. "It's a strategic partnership for that rea-son. Everyone can help it grow, and at a certain point if it becomes a smart business venture, then maybe in the future."

The spring 2017 collection, designed by a team, will be shown 4 p.m. on Sept. 12.

FASHION

Oscar de la Renta Names Laura Kim, Fernando Garcia Co-creative Directors

In Further Reinvention, Wal-Mart to Cut 7,000 Jobs ● The mass retail giant is simplifying its store operations with a nod to online and digital shoppers.

● CFDA Highlights Diversity Guidelines Before New York Fashion Week

● Vera Bradley Home Agreements Help Grow Millennial Base

● Shipping Giant’s Bankruptcy Slams Importers

● Dr. Brandt Skin Care: Evolving From a Tragedy

TOP 5TRENDINGON WWD.COM

NEWSMAKERSTHIS WEEK'S MOST TALKED-ABOUT NAMES IN OUR INDUSTRY

FEDERICA MARCHIONNI

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Tory Burch's fall Gemini campaign.

Laura Kim and Fernando Garcia

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NEW YORK SPRING 2017 DESIGNER INSPIRATIONS Designers share the motivations behind their collections for spring, as they prepare for New York Fashion Week.

“My inspiration for spring is New York — Tel Aviv. Relaxed, minimal and effortless — expect lots of bleached white shirts, blues and dresses mixed with beach-washed denim and light outerwear.” — Nili Lotan

“This summer is a palate-cleanser. Inspired by the artwork of Eric Zener, it is about refreshing your mind, body and soul. The clothes are a reflection of this mind-set. We are experimenting with bright colors reminiscent of the Amalfi Coast as well as polka-dot prints and gold shimmer. Our woman is bold and carefree this summer; resolute to refresh her entire wardrobe.” — Sylvie Millstein, Hellessy

“To create our world…” — Visvim

“This collection coincides with the 15th anniversary of Rachel Comey, so in a way the collection is celebrating our customers and all we’ve learned from them over the years. One surprise for us was how often we found our customer getting married in our pieces, that weren’t designed as bridal. So, for spring we created a group of pieces dedicated to the R.C. bride.” — Rachel Comey

“Haute Havana.” — Trina Turk

“The sensations of the sea.” — Valentina Kova

“Timeless elegance and pioneering will.” — Alejandra Alonso Rojas

“For Adeam spring, I was inspired by traditional Japanese calligraphy, ‘Shodo.'” — Adeam

“Inspired by images of Talitha Getty in Morocco and the wanderlust that evokes.” — Rachel Zoe

“Wadi rum.” — Nicholas K

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“Magical realism.” — Jade Lai, Creatures of Comfort

“Inspired by the Seventies: glamour and femininity highlighted with rich colors and movement.” — Son Jung Wan

“Fold. Unfold. Stack. Unstack.” — Phelan

“An exploration of volumes both soft

and structured.” — Ulla Johnson

“I’m inspired by inner strength and endurance: the most

powerful force is the one you find within.” — founder and

designer HH Princess Haya Al Munayes — Mulhier

“After dusk, before dawn.” — Claudia Li

“We looked at Mimi Farina, Scandinavian folk and Seventies summer festivals.” — Orla Kiely

“Contra-distinction.” — Marissa Webb

“My collection is inspired by

the easy-going and carefree

lifestyle of the Seventies

California surf scene.”

— Rebecca Minkoff

“For Chromat’s spring Hyperwave collection, we were inspired by the strength and power of professional female athletes like Serena Williams and flyboard world champion Gemma Weston, who push both their bodies and their sport to the extreme.” — Becca McCharen, Chromat

“This season, we drew inspiration from artists such as the Quistrebert Brothers, Katharina Grosse and Carlos Cruz-Diez.” — PH5

6 6 SEPTEMBER 2016

“Unveil.” — Oday Shakar

“Nostalgia is imagined, with inherited pieces reinterpreted, evoking a sense of new remembrance.” — Moderne

“This season, I was thinking about how order, control and structure can

create a sense of freedom and optimism; this led me to focus on

graphic inspirations like the work of Esther

Stocker.” — Charles Youssef

“Twisted” — M. Patmos

“Fresh escape from reality — a new chapter for Josie Natori….” — Josie Natori

“Walking down the shores of Mykonos and Santorini, I was

inspired by the spectrum of colors these coasts offer.

The morning light reflects upon the

ocean.…At sunset, these towns are

filled with vibrant pinks and oranges.

By nightfall, lights click on inside each

home and paint a glow throughout the city. The collections

encompass these magnificent colors

you see day-to-night walking around

these Grecian cities.” — Shoshanna

Gruss, founder and creative director,

Shoshanna

“Antonio Lago’s hues of blues.” — Jeffrey Dodd

“This season was about heritage. Fabrics and textures that felt nostalgic but timeless. Classic florals, stripes and prints that have a subverted familiarity. I was thinking about family, the way clothing evolves over time and the idea of passing something on.” — Kaelen

“Fluid.” — Noon by Noor

“With our roots in New York and our

visions set on India, we are redefining the time line and

geography of a collective artisanal

energy.” — Maiyet

“The otherworldly thoughts, raw hems and easy sun-drenched shapes of an ethereal summer. ” — 5:31 Jerome

“Migration — journey of hope.” — Kobi Halperin

6 SEPTEMBER 2016 7

“New Romanticism.” — Rebecca Taylor

“The spring collection, titled ‘7696 Karma,’ delivers the idea of ‘karma,’ that fate is decided on by the previous state of your existence, and ‘7696,’ which combines the childhood years of [designer Heejin Kim] and her parents. Through old-school hip-hop, and ‘retro vintage’ patterns inspired by East Asian culture, Kim combines futuristic synthetic material to interlock the time periods, portraying her story of ‘karma.'” — Kimmy J, Concept Korea

“Yohanix’s spring concept is about ‘defining one’s true self.’ The collection reflects the designer’s view of today’s society and his thoughts on a world that is full of pride and prejudice. Yohan expresses the frustration of people blinded by a misconception of being perfect and wanting to be accepted unconditionally — but rarely accepting others unconditionally — by stating, ‘Only G-d can Judge Me.’” — Yohanix, Concept Korea

“The charm of the unfamiliar.” — Cinq à Sept

“Stay fluid.” — Collina Strada

“Southwestern vibes.” — Whit

“We want you to wear Maison the Faux not only on

your skin but in your skin.”

— Maison the Faux

“Spring is inspired by an amusement park where reality and fantasy coexist. The collection illustrates

memories [Heejin Kim] has from this place, contrasted against her reinterpretation of the retro,

preppy look of the Nineties. This line offers romantic, casual pieces with a large range of styles that span

from day to night.” — Greedilous, Concept Korea

“We are inspired by the that magical time between the late Eighties and early Nineties when everything seemed to be happening.

The dual feminine ideals of Sinéad O’Connor and

Sade. They epitomized the notion that integrity was

the basis of true style.” — Louis Terline, Oak

“Future neoclassicism.” — Öhlin/D

“A blend of geometric tailoring, modern silhouettes and sleek cut-outs, Kendall + Kylie draws inspiration from iconic cult films, including ‘Lost Boys,’ ‘Mad Max’ and a classic fairy tale with a twist, ‘Alice & Wonderhood.’ With our movie inspiration, we were able to have a lot of fun with the design details and add some edge to the overall vibe of the line.” — Kendall Jenner

“En pointe with Douglas Sirk.” — Sachin + Babi

“Slim Keith.” — M. Martin

● The new ceo, with support from Farfetch, aims to knit online, off-line experiences.

BY SAMANTHA CONTI

LONDON — Browns has always been famous for whetting fashion appetites with the unknown, taking chances on obscure talents such as a young John Galliano or Alexander McQueen, and launching labels such as Missoni, Giorgio Armani, Donna Karan and Comme des Garçons in the U.K.

It has always been a gutsy, indepen-dent-minded retailer, and that attitude is thriving under the new management. “We’re going to change the way people consume,” claimed Holli Rogers, the Mayfair store’s chief executive officer, not a hint of doubt in her voice.

Rogers, the former fashion director of Net-a-porter.com and one of the architects of the site’s success, said her latest job is to fuse online and offline luxury shopping so that the sum becomes greater than the parts.

“Right now, online and offline are very separate and for me, that’s the interesting piece: Bringing it all together and making it meaningful and one sphere, rather than two. We’re so small, we can be nimble and agile, and can develop these things together instead of trying to tack them on.”

Another big aim is to keep the retailer’s pio-neering legacy alive. “I just want this to be the coolest boutique in the world — I know that’s essentially what Browns was at one point,” said Rogers, a Texas native who arrived at Browns via Neiman Marcus, Chanel ready-to-wear and Net-a-porter.

Rogers defines cool as “unexpected, fun, always having those new, interesting brands — something you’re hopefully not going to discover anywhere else. It’s the point of view you have in terms of the curation, and the technology you integrate into that experience as well.”

Rogers has been at Browns a year, and has brought in a host of new brands and technologies. She’s worked on back-office operations and fine-tuning the mechanics of the business, which was acquired last year by Farfetch, the online luxury marketplace, from the founding Burstein family.

Online and brick-and-mortar need each other to survive — and both need a serious revamp, according to Rogers.

“We’re all human, and we all like to touch and feel and be connected. Offline retail needs to evolve, it needs to be an experience. It’s the way you can have a personality, and the store environment allows you to mani-fest that in a way you’re never going to get online,” she said.

Online also has some deep-rooted challenges. “You have to know what you’re looking for. Browsing some sites is time-con-suming, as navigation hasn’t changed much in many years. I’ve actually made up this term called ‘finger fatigue’ from that constant scroll. That’s where it comes back to us having the knowledge and the curation so customers are not having to do all that.”

The Browns purchase was part of a bigger strategy by Farfetch founder and owner José Neves to create the luxury specialty store of the future, to woo a new generation of shoppers and make the experience easier for

the older one.Farfetch purchased 100 percent of Browns

in a cash-and-shares deal, although the terms were not disclosed. At the time, Browns’ annual turnover was 14 million pounds, or $21.3 million.

Neves has said he also wants Browns to serve as the cornerstone of a new business unit called “Store of the Future.” The latter will develop and test new innovations in retail technology and omnichannel at Browns before rolling them out to the 400 boutiques on the Farfetch site.

Although the Browns flagship, a lineup of interconnected shop fronts on South Molton Street in Mayfair, and the store at 160 Sloane Street in Knightsbridge, still look the same, they have already changed dramatically — and big reveals are yet to come.

Brownsfashion.com has been dusted down and has a jauntier tone of voice (a major relaunch will take place later this year) while shop floor assistants have apps that give them visibility on stock.

The retailer now has an off-site warehouse and photo studio and bigger online buying teams building out better merchandise assortments.

As a result, Rogers said the web site now generates 80 percent of the Browns business compared to 30 percent when she arrived,

and it is growing in the triple digits.Thanks to the new warehouse and stock

visibility technology, online and offline shoppers can click-and-collect same-day and in-store. Rogers said that if customers want something that’s not currently in the shops, Browns can do a quick turn and secure deliv-eries within about an hour.

For a small luxury operation like Browns — which is 46 years old this year — the changes are big, and point to what the future could look like for an independent, privately owned multibrand fashion retailer.

Rogers has also spent the past year working on mining Browns’ online customer data, and helping spin it into targeted — but sensitive — marketing. “Everyone gets annoyed with certain algorithms on mass web sites, so the question is how is marketing more nuanced, particularly in the luxury realm? How do you talk to people differently here than you would on Zalando or Amazon?” she asked.

“If you know things the customer has purchased, you can do a lot more sugges-tive selling, as in ‘I know you bought those silver Balenciaga boots. We have this really toned-down knitwear to go with it, because obviously it’s all about the boots!’ We are all trying to suggest things and push things out to people that make sense to them.”

The youthful, blond Rogers — who’s

wearing said Balenciaga boots and a Loewe cat face sweater on this chilly summer’s day in London — has also been working on front-of-house technologies, too.

Among the new brands and technologies she’s brought to the store are Myswear for men’s wear, and Altruis by Vinaya wear-able tech jewelry. Myswear (Farfetch works with them, too) specializes in personalizing sneakers.

“It’s giving people the ability to make the decision about what they want, and how they want it to look. It’s part of the process of being a designer — which is actually quite fun,” she said.

Altruis jewelry, meanwhile, allows people to turn on, tune in — and drop out: Rings, bracelets and necklaces connect to an app on a user’s phone and can filter calls and messages, buzzing only when the callers are important or the messages urgent. “Instead of keeping you connected, it lets you be discon-nected in a meaningful way,” said Rogers.

There are other changes in the pipeline, including plans to re-tool the Browns logo and packaging, which Rogers said will have “a nod to the past, but still looking forward.”

Those changes will dovetail with the unveil-ing of the new web site, which Rogers said will have a lighter and more fun tone, with content and layout inspired by social media rather than a magazine. “Everybody has fol-lowed a similar format in terms of the layout of their web site, it’s an online magazine — everybody has that — and I don’t want to do that,” she said. “The whole idea is that social media has taken a front-row seat, and we are integrating that into the setup and design of the site, and cleaning it up — because I feel like a lot of them have so much stuff.”

Browns Focus, the space dedicated to emerging talent and more accessibly priced collections, will be folded into the main offer and the South Molton Street store will be refurbished early next year. A third bricks-and-mortar store in East London is part of the strategic plan for Browns, but it is still in the very early stages.

With regard to the changes at Focus, “I got the blessing of the Bursteins at the very beginning. In my mind, if you’ve got great product, you’ve got great product every-where. There’s so much to explore, and it’s a super interesting store in its higgledy-piggledy way,” she said, referring to the five contigu-ous townhouses that make up the store near Oxford Street.

Rogers has already beefed up the buying teams for both men’s and women’s wear with an eye to building ranges and assortments and new labels for fall/winter 2016 include Miu Miu, Ganni, Rejina Pyo, Y Project, Maryam Nassir Zadeh, Blaze and Sandy Liang.

In the midst of all the newness, however, Rogers is taking pains to preserve the store’s traditions.

Asked if she’d be willing to follow retail doyenne Joan Burstein and take a chance on some young talents — like Burstein did with Galliano, McQueen, Hussein Chalayan, Chris-topher Kane and myriad others — Rogers said most definitely.

“I love her take on fashion and it was incredible that she had the foresight to do that. That’s something I would love to do, too,” she said, adding she spent a lot of time with the Bursteins — Joan, her son Simon and daughter Caroline, who are still involved in retail in London — when she joined the store.

Rogers is also embracing another Browns ethos — ageless style.

Joan Burstein turned 90 earlier this year, and remains a dedicated follower of fashion — from her earlobes (often adorned with fine jewelry made by her Ibiza-based granddaugh-ter Natasha Collis) down to her custom-made Manolo Blahniks (in varying heel heights).

“We want to celebrate the individual,” said Rogers. “Whatever age they are, I don’t care. There are some people with wicked style, and I want to talk to young and old — to people who love fashion.”

FASHION

Holli Rogers Lays Out Her Vision for Browns

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● The plus-size business is adding to its product offering, among other initiatives.

BY DAVID MOIN

Eloquii, the women's plus-size online and catalogue company seeking to sustain its growth, has bolstered its team by nam-ing Melissa Gellman Weiss chief market-ing officer and Michael Concannon chief technology officer.

Gellman Weiss, formerly senior vice president of marketing at J. Crew, will also hold the title of executive vice president over direct-to-consumer at Eloquii. Before J. Crew, she led the brand marketing for apparel, shoes and accessories at Amazon.com and the marketing and international development for Amazon's Shopbop.com. Earlier, she worked at Fast Retailing USA and with its Theory and Helmut

Lang brands.Concannon was the chief technology

officer at Quidsi, an Amazon-owned e-commerce company. Earlier, he was vice president of e-commerce for Barnes & Noble, and before that, vice president of engineering for the direct-to-con-sumer services group at Sony Music Entertainment.

Mariah Chase, Eloquii's chief executive officer, said the appointments reflect the company's rapid rate of growth and are critical to developing new initiatives. "We are a fashion-first business that takes a pretty scientific approach to the fashion," Chase said in an interview.

Eloquii specializes in contemporary, fast fashion for women in sizes 14 to 28 and is based in Long Island City, N.Y., and Colum-bus, Ohio. New collections are shown monthly. Eloquii's plus-size apparel, wide-width footwear and accessories target 20- to 40-year-olds. The company

collaborates with Stone Fox Bride on capsule co-branded plus-size bridal collec-tions. Content on the "Style & Substance" blog on Eloquii.com and in the catalogues is offered and Eloquii has an online com-munity with its #XOQ hashtag.

"Mike's focus will be leading technology for the organization," Chase said. "He has a real predisposition for data. He will enable us to further build on our strong digital platform to provide even better service and more targeted outreach while also streamlining our operations.

"Melissa brings incredible brand-build-ing skills," Chase added. "To date, we have not had someone in the business who comes from a tremendous brand-building background. She's a skilled, forward-think-ing fashion retail and digital marketing executive who brings a clear vision of how Eloquii can more deeply engage with our current customers and attract new ones."

Chase said both are new positions in the company providing a different way to think about "marrying the art and science of the business" and achieve the next level of growth. Renovata Partners was used for chief marketing officer search, and Strive was used for the chief technology officer search.

"There are a couple of things that will happen in 2017 that have already been in the works for a while. They're still in stealth mode. We will make

announcements in 2017."Among the growth manuevers, Eloquii

will be launching in September fits for plus-size women who are 5 feet, 4 inches and under, and in October, "Viola" fits for women who require tops proportioned differently from bottoms. Brick-and-mor-tar as well as showrooming are being contemplated.

As reported last spring, Eloquii obtained a $15 million Series B round of financing to fuel growth. Acton Capital Partners led the funding, with participation from new investors including Wildcat Capital Man-agement and Blue Sky Venture Capital, as well as existing investors Greycroft Part-ners, Daher Capital and Female Founders Fund. The funding came on top of the $6 million in Series A financing raised in November 2014. Eloquii was launched in 2011 by The Limited, which shut it down shortly after. It was later relaunched by the investors.

Market sources have indicated that last year Eloquii generated about $20 million in sales. There’s momentum in the plus-size sector, fueled by a surge in media coverage and industry innova-tions as well as changing attitudes about bodies and what’s beautiful. NPD statistics indicate that plus-size women represent the majority of women in America, about 65 percent. Women’s plus sizes is about a $17.5 billion market in the U.S.

RETAIL

Eloquii Expands Executive Team

● The cheeky British shoe designer creates a new Barbie that reflects her namesake brand.

BY ROXANNE ROBINSON

For shoe designer Charlotte Olympia Del-lal, designing a Barbie doll in her likeness has been a life-long dream.

“Isn’t it every girl's dream to have a Barbie that looks like her?” she asked in an exclu-sive interview. Now, her dreams have come true. The brand will launch the doll with a video campaign and several human-size, Barbie-inspired shoes and bags beginning Sept. 6. The Barbie marks yet another col-laboration for the shoemaker, who has done projects with Havaianas, Agent Provocateur and MAC Cosmetics among others.

Dellal, like many a young lady interested in dolls and fashion, says her fashion career really started with making clothes for her Barbies, some of which she still has. Her favorite past times include acquiring outfits and accouterment for the dolls. She recently bought a mermaid costume in the Miami air-port and once purchased 1,000-plus bags of Barbie shoes that adorned pens in her offices and bedecked her personal dressing room where she displays her collectibles. Her all-time favorite, which sits atop her desk, is from a special-edition “Rio” collection. “It was a set of three girls and a couple of Kens in very different skin complexions and hair-styles because everyone can be Brazilian.” The designer, who is of Brazilian and English decent, noted that what is quite funny about this Barbie is her “body shape is different. She has shorter legs, a flatter chest and is a curvier and exotic looking brunette of mixed heritage in a bikini.”

The designer approached the El Segundo, Calif.-based toy maker, which was more than eager to collaborate, and the process

involved a visit to Mattel's headquarters. She was amazed at just how much detail the toy maker was able to inject into the micro-sized accessories. “Barbie was more complete when she had her accessories. I think it adds to the charm of the doll when things are made miniature” such as her iconic Eve platforms or Kitty flats. She was impressed at how there was such detailed work on small scale — down to the functioning parts like the Pandora clutch, which opens. No detail was too small, including the red mani-pedi Barbie reveals when she removes her gloves and shoes.

While the Charlotte Olympia Barbie’s facial features might resemble earlier versions of the plastic fashion icon, her hair and clothes (her outfit is based on a Giambatista Valli outfit Dellal wears), and of course accessories, are all pure Charlotte Olympia. “I wanted people to see the Barbie and instantly know she was a Charlotte Olympia doll,” said Dellal. To that end, the doll features plenty of staples in the British designer’s wheelhouse — the aforementioned Kitty flats, Eve platform pumps and the Leaf sandals, as well the classic Perspex clutch, banana bag and even a mini ceramic Bruce leopard that guards the entrance of Charlotte Olympia boutiques.

The vintage look was also in keeping with her brand DNA. “I didn’t want to modernize her because I went to the era, the Fifties, that inspires my brand. I definitely went backwards.” One of the biggest challenges Dellal noted was editing down the essence of her brand in one doll with a few accessories. Choosing classic Charlotte Olympia items helped her achieve that.

While the designer doesn’t have her next collaboration yet set, she did say this was by far her most favorite. “It was the inner child in me. Who hasn’t dreamt of having a Barbie that looks like you? You want one you can relate to.”

Life in plastic, really is fantastic.

FASHION

Charlotte Olympia Launches Barbie Doll

Behind the scenes of the Charlotte Olympia shoot.

10 6 SEPTEMBER 2016

opened a consumer-facing showroom in London. It took two years for Moda Ope-randi to understand how to operate the showroom, being geographically removed and having a non-inventory model. But the company figured it out and “we became very successful at it,” Nicodemus said.

In the next five years, the ceo said 15 showrooms will open, including one in Abu Dhabi next year, followed by units in Hong Kong and Seoul.

“We’ll backfill with locations in the U.S. in New York, Texas, California and Florida,” Nicodemus said. “We’ll also enter Canada in Vancouver.”

Tokyo and other cities in Europe are also on the list.

The locations will be exclusive, in keep-ing with Moda Operandi’s modus operandi. “It’s not about traffic,” Nicodemus said. “They’ll be serving one client or five at most" at one time.

That will allow stylists to “find all the brands she adores in her size,” Nicode-mus said, adding that designers will visit showrooms to share their collections with groups of clients following their runway shows.

“We’re using the showroom to help us define big opportunities, which will serve the Internet side of the business,” the ceo said. “They’re not means just for transac-tions. It’s really more experiential.”

At the same time the showroom strategy is being implemented, the company will pursue a high-tech transformation of its web site to help serve international clients.

“We’re localizing languages and curren-cies and services unique to those regions,” Nicodemus said. “It’s a huge opportunity.”

Another avenue for growth is category expansion.

Nicodemus has her sights on the men’s business, which has been a general bright spot at retail for some time.

“In 2019, we’ll start doing the heavy lifting for a men’s web site,” she said. “So many men have repeatedly asked us to implement a men’s business. We’re not going to be taking baby steps.”

As always, Nicodemus will test and learn before putting her foot on the accelerator. A test of a men’s gift guide last fall repre-sented 10 percent of Moda’s total volume for the holiday period. A Father’s Day store in June that opened on the Moda web site and sold gifts and ready-to-wear, captured 13 percent of sales for the period.

Men’s will be tested in the showroom prior to a web site launch. A group of about 100 men in Silicon Valley will participate in a trial and help Moda determine how to frame the business. The participants will be looking for gifts for their wives. “It’s a step to build a client file of men,” Nicode-mus said. Also, prior to launching a men’s site, Moda will hold trunk shows of runway collections for brands with both women’s and men’s components.

“Typically, category expansion comes from a successful business,” Nicodemus said. “The fine jewelry business, which we launched in April of 2014, has been a big success.”

Prices for fine jewelry range from $10,000 to $100,000 and include one-of-a-kind pieces.

“We had a client base already,” Nico-demus said. “They’re not just browsing. They’re pairing jewelry with evening gowns and occasion wear." Eye-catching

jewelry includes Nam Cho’s blue sapphire drop earrings for $23,100; Renee Lewis ruby snake pendant, $32,890; Wendy Yue’s golden diamond cuff, $21,500 and unusual sapphire and tsavorite snake cuff, $18,000, and Sanjay Kasliwal’s Indo-Russian emer-ald and pearl earrings.

“We’re expecting significant growth in high jewelry,” Nicodemus added. “Our high street delivery time is two months to five months. We’ll launch an in-season business to coincide with fashion week. It will be a boutique business, making deliv-eries in five weeks with prices from $1,000 to $10,000. It will be a high-end branded type of business with Moda’s point of view.”

The new boutique jewelry offering will feature multiple designers, but it will be

more about lifestyle and trends than singu-lar statements.

Selling unique designs, whether in fash-ion, fine jewelry or accessories, is critically important to Moda Operandi. Nicodemus said it’s ingrained in the brand’s DNA and is what sets Moda apart from its competitors.

Moda photographs an entire collection after a runway show, not just the most commercial part of the collection that department stores typical buy, which Nicodemus estimated constitutes about 25 percent of a designer's line.

“Department stores are trying to stay within these guard rails," she said. "We want to be a platform for emerging talent.”

It’s not simply altruism that keeps Moda on the hunt for new talent to nurture. The site’s customer is most interested in the 75 percent of a collection that isn't bought by department stores, Nicodemus said, explaining that Moda shoppers want the most unusual pieces, for example, Dolce & Gabbana's corseted tinsel dress, $12,000, and Giambattista Valli's long chevron mink coat, $7,200. From emerging designers there's Isa Arfen's spray frock risqué dress, $1,590, and Johanna Oritz's Anne Boleyn dress, which is exclusive to Moda, $4,250.

“We’re styling the client from head to toe," Nicodemus said. "We merge two separate businesses — emerging talent and high, international luxury brands.”

In addition to going to established fashion capitals, Moda buyers visit less obvious style hubs such as Berlin, Sydney

and Seoul.“We need a very strong point of view,”

Nicodemus said. “If you don’t have a differ-ent point of view, why? We have different criteria for bringing on new talent." If care-fully managed, new brands can perform at the same level as established ones, she said.

In another attempt to offer consumers different prisms through which to view fashion, Moda Operandi has partnered with Vogue. The publication is providing edits of collections and offering select items on its web site available for pre-order or purchase by clicking through to Moda's site. The partnership is being expanded from a test for New York Fashion Week to include editorial content. First up is Vogue accessories editor Grace Givens' selection

of fine jewelry with a floral or other natural motif.

“The idea is to merge editorial and commerce,” Nicodemus said. “We’re both interested in emerging talent and focus on international luxury brands. Our center of gravity is fashion.”

Vogue will provide five collection edits during New York Fashion Week, followed by content surrounding lifestyle and gift giving. In addition to being featured prom-inently on Moda and Vogue's web sites, the magazine will send a newsletter regarding the partnership to its subscribers.

“We are happy to be able to build upon our long-standing relationship with Moda Operandi. This partnership allows us not only to share our runway favorites directly with our readers, but also to provide them with the opportunity to purchase those looks directly from Moda Operandi,” said Hildy Kuryk, Vogue’s executive director of communications.

“It’s their authentic voice,” Nicodemus said. “They’re defining what the stories should be. Our [specialty] is curation and fulfillment. They’ll go into the marketplace for each fashion week city. They have a unique and authoritative voice. It will be a special synergy.”

Nicodemus said Vogue will receive a percentage of sales connected to the items it highlights. “We’re going to continue our own curations,” Nicodemus stressed. “We also do editorials ourselves.”

Lauren Santo Domingo, a socialite and Vogue editor, cofounded Moda Operandi in

2011 with Aslaug Magnusdottir, an Icelan-dic entrepreneur and former Gilt Groupe executive, who left Moda in 2013.

Moda's investors have deep pockets and a wealth of synergistic experience. The company in 2015 raised a $60 mil-lion round led by Fidelity Investments. Participants in the series E round valued the company at $330 million. "We have a remarkable board that crosses technology and fashion," Nicodemus said. Investors include LVMH Moët Hennessy Louis Vuitton, Fidelity, Condé Nast and New Enterprise Associates. Previous financing rounds netted a total of $70 million.

Moda Operandi's foundation is the trunk show in the spirit of couturiers who showed their collections for the upcom-ing season to prized clients, who in turn,

would wait for the garments to be pro-duced. The majority of Moda's consumers are content to preorder items from a collection, knowing that they have dibs on their favorite products is enough.

For now, Moda is watching the see-now-buy-now phenomenon, rather jumping head-on into the immediate fashion flames. An in-season boutique on the site caters to the smaller segment of shoppers who want fashion instantly. The majority of Moda customers dine at fashion’s banquet table and aren’t looking to be sated by a quick style bite. “The heritage of international design is tied to runways," Nicodemus said. "That’s not to say those designers won’t have see-now-buy-now capsules. But they’re not going to walk away from their core business. About 90 percent of Moda’s sales is runway. It doesn’t impact us.

“Our client is putting her collection together six months in advance,” Nicode-mus added. “She’s shopping online and has the benefit of stylists, a service. We’d go to her living room if she wanted.”

The showrooms Moda plans to open should go far toward fulfilling that desire, while the constant refreshing of the web site helps banish boredom. The Lon-don Mews location in Belgravia is in a townhouse. “When you go there, it’s like, exhale,” Nicodemus said. “The site changes every day. We launch 10 new brands across the spectrum from emerging to luxury, and new editorial. We’re very consistent. This is our fourth year of strong results.”

Moda Operandi's Goal: Global Luxury Hegemony CONTINUED FROM PAGE 1

Deborah Nicodemus and Moda Operandi's home page.

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12 6 SEPTEMBER 2016

boost the city’s design and manufacturing sectors.

This is part of nearly $100 million the administration of Mayor Bill de Blasio has invested in the fashion industry, she noted.

“As we go into the fall fashion week, we’re really excited that we’re continuing to build momentum around the industry and that the various initiatives that we started to work on have begun to take fru-ition,” Glen said. “This fashion week what we want to highlight in terms of where the city’s efforts are is the Made in New York branding campaign and how successful it's been. It shows the progress and sends a message of why Made in New York is so powerful and important.”

Glen said the multimedia campaign includes print and outdoor advertising, online ads and social media posts. The outdoor ads include 100 bus shelters across the five boroughs and five news-stands in targeted locations for fashion week.

A video series has been produced fea-turing designers Lela Rose, Rony Vardi of Catbird, B Michael of B Michael America, Haus Alkire founders Julie and Jason Alkire and Anya Cole of Hania by Anya Cole.

The social media coverage will include ads in Facebook and Instagram feeds, and Facebook videos and Instagram photos. The social media campaign carries the tag #MadeinNYcertified.

In a preview of the Facebook videos, Vardi says: “All of our jewelry is made within just 10 blocks of our Williamsburg boutique. That’s us.” Michael says: “The best thing about being a New York City fashion designer are the resources that are available to me,” while Rose says: “I had a dream of becoming a fashion designer and knew that the only city that I could really do this in is New York City.”

In Facebook still-lives, the Alkires say: “Fashion in New York is one of the true American industries and Made in NY cer-tification is working to keep this tradition alive,” while Cole says: “Having certifica-tion shows that being Made in NY is at the core of what we do.”

Commenting separately on the pro-gram, Michael said manufacturing in New York enables B Michael to be closer to seasons — if something is doing well

the company can respond to it in weeks versus months. Michael also pushes his manufacturers to take advantage of the resources that the city offers.

Ellen Rodriguez, chief executive officer of Lela Rose, said, “While other cities may have lower overall costs, New York City offers [the company] unprecedented con-trol over the design and manufacturing of the products.”

Rodriguez said from concept to pro-duction, everything is accessible within a four-block radius, allowing for hands-on quality control, adding that the company can seamlessly produce in-house samples at nearby factories.

Made in NY: Fashion was launched in 2015 by Mayor de Blasio and was modeled on the successful Made in NY initiatives for film, television and technology.

Glen noted that Made in NY: Fashion recognizes the importance of the fash-

ion industry in the city’s economy. The fashion industry employs 182,200 New Yorkers and pays over $11 billion in wages, with more than 900 fashion companies based here.

The certification program has awarded 23 designers who manufacture more than 75 percent of their products in the city. In addition, eligibility requirements include headquarters in the city and presence in at least one store. There is also a thorough application and selection process.

After successful verification, companies sign a licensing agreement with the EDC, which gives them two years to use the Made in New York: Fashion logo and ben-efit from other promotions and exposure before having to reapply.

Glen said the overall initiative aims to “turn upside down” the notion that it’s so difficult to be based and manufacture

in New York and instead show why it’s so important to be in New York and the advantages that come with it.

“The young entrepreneurs in the cer-tification program have repeatedly told us that they have been able to grow their businesses because their line is made in New York,” Glen said.

She noted that the certification initia-tive includes emerging and established designers.

The funding for this branding campaign is part of $15 million of overall marketing City Hall has allocated. In addition, the administration has put $18 million into the Fashion Manufacturing Initiative, and $6 million toward awards and other initiatives since January, as well as $74 million budgeted for a new building at the Fashion Institute of Technology.

Later this month, NYCEDC is sponsor-ing the first Designers & Agents: Made

in NY Collective, offering dedicated free booth space for emerging designers.

“At the end of the day, it’s about these companies being able to make money and sell their products,” Glen said of the D&A presentation. “Anything we can do to get them in front of the buyers helps them and it’s a good use of city money.”

On the branding side is the ongoing Barneys New York and CFDA: Made in New York Collection, a limited-edition collection of locally designed and man-ufactured pieces sold at Barneys stores nationwide.

On the manufacturing end, the Fashion Production Fund, a partnership with Capital Business Credit, helps emerging designers fund their businesses.

NYCEDC has also helps support Man-ufacture New York, which in September

2015 became part of the Manufacturing Innovation Hub for Apparel, Textiles & Wearable Tech, a fashion manufacturing and design hub in Sunset Park, Brooklyn, created in great part from a $3.5 million investment from City Hall.

In April, MNY became part of the U.S. Department of Defense and Massachusetts Institute for Technology’s $315 million public-private project called the Revolu-tionary Fibers and Textiles Manufacturing Innovation Institute. It is partnering with FIT to host skills-based training and reg-istered apprenticeship programs across the fashion textile manufacturing supply chain.

“There’s definitely more interest in more locally made products and some blowback to fast fashion,” Glen said. “It’s not just all about ad campaigns but it’s about where the rubber meets the road that’s important, too.”

Made in New York Creates New Marketing Campaign CONTINUED FROM PAGE 1

Rony Vardi of Catbird.

Lela Rose

Julie and Jason Alkire of Haus Alkire.

Anya Cole

VENICE — If it hadn’t been for the sea lapping the beach a few steps away, attendees of the Venice Film Festival on Friday night might have mistook the location for Milan. The fashion industry descended in full force to show its support for Franca Sozzani and her son Francesco Carrozzini, who directed a docu-mentary on the Vogue Italia editor in chief called “Franca. Chaos and Creation.” The screening was held shortly after the unveiling of Tom Ford’s second directorial effort, “Nocturnal Animals.” Despite his pending spring show in New York, Ford presented the movie with its actors Amy Adams, Jake Gyllen-haal, Aaron Taylor-Johnson and Ellie Bamber, all dressed in the design-er’s namesake line. “For me, this film, this story is really about finding those people in your life that mean something to you and holding on to them,” said Ford, who wrote the script of “Nocturnal Animals” based on Austin Wright’s book “Tony and

Susan,” first published in 1993, and also produced it.

Wearing a golden one-shoulder column dress, Adams made an im-pression on the ever-romantic Italian fans by taking the time to kiss her part-ner Darren Le Gallo on the red carpet. Ford and the cast also scored points for walking down from their gallery seats to the audience for autographs and selfies in the cinema during a technical snafu that forced organizers to stop the movie, fix the problem and restart it. What the impeccable, ever details-oriented Ford must have been thinking, is left to the imagination. The generally positive reviews of critics on Italian media on Saturday included definitions of the film that ranged from “existential thriller” and a “tale of revenge and love” to “an intriguing, psychological story” highlighting the all-redhead female cast, the red lettering and film credits and a strong red element better undisclosed here to avoid a spoiler alert.

Colin Firth, who starred in Ford’s first movie, “A Single Man,” also attended the screening, flanked by his wife Livia, and was later seen on the Sozzani red carpet — judged by die-hard Venice observers as a record-breaker, lasting almost one hour. Firth followed Donatella Versace and Naomi Campbell, and shortly pre-ceded Sozzani, dressed in a romantic white Valentino gown, flanked by the couturier, Giancarlo Giammetti and Pierpaolo Piccioli. Fan shrieks could have rivaled any Hollywood A-lister sighting.

Passionate about and a collector of films, Alessandro Dell’Acqua said Carrozzini’s documentary “would shed some light on the fashion world. It’s not all gold and glamour, and it’s important to see what is behind it.”

Renzo Rosso emphasized how “cinema, fashion, music and art have become the ideal combination.”

“Films are the language of today, a way to communicate,” said Alberta Ferretti, who also expected the film to illustrate the fashion world to a wider public. “Franca has been a mentor to

me, and she’s been such an important part of our industry, we’ve all grown together.”

To be sure, it felt more like a home movie screening, heightened by the eight-millimeter family footage unearthed by Carrozzini, and by several audience members in the know, nodding to references, clapping and cheering. In particular, Sozzani’s sister Carla, together with her longtime friend Azzedine Alaïa, was clearly touched. “It’s my family we see there,” she said dreamily. “It’s very difficult to portray a family member, but Franca is exactly like that,” said Peter Lindbergh, who waved away his own appearance in the film. “I don’t like myself that much,” he said with a self-effacing laugh. Lapo Elkann, just back from his trip to the U.S. and headed to the Formula 1 race in Monza on Sunday, also praised the film’s “authenticity, which triggers the emotions.”

Peter Dundas marveled at the body of artistic photos seen in the film. “It’s mind-boggling, immense and every designer has referenced those images. It’s inspiring.”

While the paparazzi flashes

induced Miuccia Prada to quickly blitz through the red carpet, guests including Riccardo Tisci, Marco De Vincenzo, Ermanno Scervino, Carlo Capasa, Carlo Beretta, Pietro Beccari, Maria Giulia Maramotti, Kean Etro and his wife Constanza Cavalli Etro, Giambattista Valli, Tomaso and Gaia Trussardi, Stefano Sassi, Tommaso Aquilano and Roberto Rimondi, Mas-similiano Giornetti, Diego Della Valle, Jonathan Newhouse, Remo Ruffini, Matteo Marzotto, Eva Herzigova, Liya Kebede, Farida Khelfa and Luisa Beccaria trickled in at the screening. Valentino closed the evening with a dinner at the exquisite stuccoed Goth-ic Palazzo Barbaro on the Grand Canal. — LUISA ZARGANI

Venice Film Festival: Fashion at the Forefront Tom Ford's second film and a documentary on Franca Sozzani were unveiled on Friday at the 73rd annual event.

6 SEPTEMBER 2016 13

Eva Herzigova attends Tom Ford’s premiere at the 2016 Venice Film Festival. Colin and Livia Firth Jake Gyllenhaal

Giancarlo Giammetti, Valentino Garavani, Franca Sozzani and Francesco Carrozzini.

Amy Adams Tom Ford

Naomi Campbell and

Riccardo Tisci.

Liya Kebede

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Anne de Carbuccia is taking a global approach to sustainability.

The fine art photographer is mounting an immersive installation, titled "One Planet One Future," at Westbeth Artists Community on the West Side of Manhattan, which officially opens Sept. 16. She plans to flood a raw basement space (which itself was flooded during Hurricane Sandy), building walkways into sep-arate rooms where her large-scale photographs of her own-designed "shrines" will be on display.

"I go around the world with an hourglass and a vanity [skull]. I use those two elements and I go around the world and I build 'shrines' to time," the willowy, intense de Carbuccia says. "They say there's documenta-tive photography — which is freezing in time these real moments around

the world — and then there's the artistic part of photography, which is expressing an idea. I like to think that I do both in my work."

De Carbuccia's photographs literally span the globe's landscapes — her travels for work have taken her to Antarctica, the Amazon rain forest, Mount Everest, the Maldives, Africa, the Mekong Delta and beyond. "I don't know how much I choose my places or how much they choose me," she says.

In each of those places, she utilizes elements from the landscape around her and combines those with the hourglass and vanity to build her "Time Shrines" — these can range from the tusks of a poached elephant in Africa to plastic bottles that were floating in the sea off the Maldives to the trash she encountered and

collected on the slopes of Everest. She then photographs the landscape, with the shrine as the centerpiece.

She will use the same idea to build a "Time Shrine" for the New York exhibit, utilizing things she has col-lected on a tour of the five boroughs of the city.

While the result is clearly artistic, the real focus of her work is to raise awareness about ecological con-cerns. "Working with this project, I've been traveling so much, I've seen how things are accelerating, and it's getting worse," says de Carbuccia who, when she isn't traveling, lives in Milan with her husband and young son. Her two daughters attend college in the U.S.

"My main subject is water; I think that's probably the most important issue we have today. It goes from receding glaciers in Antarctica to erosion, drought, refugees in war."

She also works closely with sanctuaries that protect endangered animals.

De Carbuccia's photographs use only minimal Photoshopping — she'll take out small traces, such as her own tracks — but there's no major retouch-ing or cutting and pasting. Everything in the photos was encountered or assembled by her on location. "My work is about time. The way I print and the first impression a viewer will

have is you're not exactly sure if it's a painting or a drawing or a photograph. That's also my way of playing with your sense of time."

Through her Time Shrine Foun-dation, proceeds from her work are donated to support various causes related to the subject in her photos — a purchase of a photograph with elephants will benefit an elephant rescue center, for example. Many of these are at the local level, and often are the ones she has worked with for her photographs. "I think that if you have a message, you need to give the example," she says. "You can't make shrines for profit."

As part of the New York exhibit, de Carbuccia has also teamed with environmentally minded compa-nies to produce water bottles and reusable bags that will be sold during the installation's run. Sustainable Italian fiber company Econyl is behind the bags. "I think it's one step at a time to change people's attitudes," she says. "I wanted to make something to replace the plastic bag. Econyl takes all of the fishnets out of the sea and old carpets and all of that and makes it into a new green, clean nylon."

While de Carbuccia is passionate about her shrines and photographs, her real hope is that her work and the Manhattan exhibit help inspire people to embrace the circular economy and be more mindful of their choices. She isn't preaching total abstinence from consumption, or that we give up creature comforts. Instead, she simply wants people to be aware of the danger the planet is in — and how the tiniest change in our behavior, like using a bag made out of recycled nylon, can have a significant impact.

"I believe that we're going through one of the most transitional moments in the history of humankind," she says. "With transition comes choices and awareness. My story is about creating a beautiful installation that will speak to you and make you more aware of what we have, what we're losing, and what we'd like to keep."

"One Planet One Future" is on view at Westbeth Center for the Arts Sept. 16 through Nov. 21. — KRISTEN TAUER

Anne de Carbuccia Mounts 'One Planet One Future' ExhibitThe exhibit will run through Nov. 21.

Anne de Carbuccia in front of “Liwa, Dusk.”

Whale bone.

“Constellation 1.”

“Dance at Dusk.”

Anne de Carbuccia photography.

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16 6 SEPTEMBER 2016

● The Trichologist coined the term "bad hair day" and served a long list of celebrity clients.

BY EVAN CLARK

Philip Kingsley, a leading authority on hair and scalp health whose clients ranged from Sir Laurence Olivier to Vic-toria Beckham, died Saturday, according to his family. He was 86.

Kingsley, who coined the term "bad hair day," wrote four books on hair care and, for a decade, wrote a hair advice column in London’s Sunday Times Style magazine.

He is credited with creating the first pre-shampoo hair masque, Elasticizer, in 1976. Initially formulated for Audrey Hepburn, Elasticizer has grown into a bestseller, with one being sold every two minutes.

Kingsley's daughter, Anabel, recalled: “While Audrey Hepburn was filming the movie ‘Robin and Marian’ with Sean Connery, her hair was in terrible condition — flat and dry — because of all the styling and coloring the studio

beauticians employed on set. Dis-tressed, she went to see Philip Kingsley for help. Philip went straight to his laboratory and formulated Elasticizer just for her. The star was so pleased by how shiny and soft her hair felt that she ordered pots and pots to be sent over to her home in Switzerland — and seeing its success, Philip brought it out as a per-manent product in his hair-care range.”

Among his other celebrity clients were Cate Blanchett, Eva Herzigova, Gwyneth Paltrow, Sienna Miller and Jane Fonda.

Kingsley was one of the first to link hair health with nutrition and well-be-ing. He believed the hair classifications of normal, oily and dry were inaccurate and zeroed-in instead on textures such as fine, medium and coarse.

In recent years, he focused on helping women who had hair loss and developed a Trichotherapy at home hair-care range designed to stimulate hair volume, shine and elasticity.

While Kingsley worked for decades among celebrities, he started out early and modestly, leaving school at 14 to help support his parents and four siblings.

He apprenticed at his uncle's hair

salon in London's Bethnal Green and saved money to take a correspondence course from the Institute of Tricholo-gists, recognizing early the psycholog-ical significance hair can have for both men and women.

Kingsley opened his first London clinic in Marylebone in 1957. Twenty years later he was treating actors from the National Theatre, on the personal recommendation of Sir Laurence Olivier.

He also opened a flagship on New York's Fifth Avenue in 1977. The hair-care range he created, which started with five products, has grown to include over 50 bespoke formulations. In recent years, Kingsley researched female hair loss at Mount Sinai Hospital in New York.

He is survived by his wife Joan and their daughters Anabel, Kate, Sue and Helen.

OBITUARY

Philip Kingsley, Hair And Scalp Expert

● Modeled after the popular Bradshaw and Dylan styles, the wearables are "a natural progression for the brand.”

BY MAGHAN MCDOWELL

Watches have been a highly visible and popular element of the Michael Kors business for years, and today the brand introduces the next generation — and the biggest upgrade — to its fleet of wristwear: the smartwatch.

Michael Kors Access watches today become available in styles that are based on the Bradshaw and Dylan styles for men and women, with interchangeable leather, silicone or steel wristbands, and the wearer can digitally customize the watch face.

The brand announced the collec-tion, created through Google’s Android platform, at Baselworld 2016 in March. The smartwatch is available today in 18 countries, including the U.S., as well as many major Western European coun-tries, in addition to Hong Kong, India, Japan, South Korea, Mexico and more. A global digital and print advertising cam-paign will coincide with today’s launch, including a video featuring Zendaya and Martha Hunt.

Michael Kors chairman and chief exec-utive officer John Idol said that creating a smartwatch was a natural progression for the brand.

“We know our customers are

interested in style, social connectivity, ease of use and wellness,” Idol said. “We think wearables are going to be a substantial business in the future, and it’s both logical and important for us to be there.”

The watch receives notifications of incoming calls and text messages, in addition to other functions such as pro-viding directions, calendar notifications and more. It also works with apps such as Instagram and Uber, and provides fitness tracking. The full functionality, naturally, is most robust when paired with an Android phone, but the watch does work with iPhones through an app.

Wearers can use the “Ok Google” func-tion to help find a nearby store or view new arrivals.

The Michael Kors Access smart-watch, is $350 to $395 (with $40 or $50 separate bands), and as such, is about $100 to $200 more than comparable analog styles. It is the first of the brand’s wearables technology accessories line. Trackers will be $95. Both the watch and the tracker will be available in Michael Kors stores, at michaelkors.com and some department and specialty stores.

“Some [customers] already own a tracker, but it may not match their per-sonal style,” Idol said. “We think that

many more would own a smartwatch if there were fashion-forward options. We’re the fashion leader in watches in the world, and based on this posi-tioning, we feel that our customers are excited by the possibility of having a Michael Kors smartwatch or tracker.”

Google launched Android Wear in 2014, and in the last two years, has part-nered on products from brands from Fossil, Nixon and Tag Heuer to Sam-sung, LG and Motorola. Smartwatches and connected accessories have faced criticism for being tech-friendly without a fashion focus, and gradually, said Goo-gle’s David Singleton, who is vice pres-ident of engineering for Android wear, that perception seems to be changing.

“The beauty is in the diversity, and we’ve certainly seen that flourish,” Singleton said. “Our mission has always been to let people wear what they want, and provide the platform to make that possible, and we’re only getting started.” Android Wear so far has part-nered with at least 12 brands to create smartwatches.

Michael Kors himself said that he wears a watch every day, and although that currently doesn’t include a smart-watch, he will add the Access to his rota-tion. He added that watches have been a big part of the brand for years, and that with this new offering, customers will appreciate the social connectivity and health and fitness tracking.

“I think people today, especially peo-ple in fashion, love juxtaposition. They want a watch that looks like an analog, but that can keep up with them in the way that a smartwatch does,” Kors said. “We’re living in an ‘always on’ world, and this idea of connection is going to be a part of everyone’s lives moving forward.”

ACCESSORIES

Michael Kors Unveils Smartwatch

Philip Kingsley

Michael Kors Access in the Bradshaw style.

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All for HillaryDespite deadlines for their upcom-ing runway shows, a string of New York designers have blocked out time for Tuesday’s fashion show and fund-raiser for Hillary Clinton.

The Democratic candidate’s daughter Chelsea will be on hand to handle the public speaking at the Spring Studios doubleheader, while Condé Nast artistic director Anna Wintour and Clinton aide Huma Abedin (whose marital split has been all over the headlines) are said to be sharing the hosting duties. Tonne Goodman will style what is expected to be about a 20-minute show.

Demi Lovato will perform. Her stylist Avo Yermagyan wasn’t sure Friday about what Lovato will wear for the event.

Hillary fans on a budget no longer have the option of the sold-out $100 general admission. As of Friday afternoon, the options were $250 general seating, $1,000 preferred seating, $2,700 front-row seating and $5,000 premium front-row seating. Higher rollers have the option of the $25,000 package — tickets for two,

backstage passes, VIP reception, front-row seats, rooftop party and merchandise.

Wintour is said to be orchestrating the pre-New York Fashion Week affair, which is officially billed as “Made for History Fashion Show and Rooftop Party.” As was the case in the 2012 presidential showdown, a bevy of designers have stepped up to design red, white and blue merchandise for the Clinton campaign, including Tha-koon, Jason Wu, Brett Heyman, Diane von Furstenberg, Georgina Chapman, Tory Burch, Prabal Gurung, Eva Feh-ren, Monique Pean, Pamela Love and David Neville and Marcus Wainwright of Rag & Bone. Having designed one of the Made for History T-shirts, Love said sales of those items will benefit the Hillary Victory Fund.

For the fashion show, Love sent about 30 to 40 pieces from her collection. “I just really want to encourage people to vote and to vote responsibly,” Love said.

In June, Chapman and her hus-band Harvey Weinstein hosted a fund-raiser for Clinton in their home, and the couple have attended their

share of other fund-raisers for Clinton. Taking a minute in the midst of fittings for Marchesa’s Sept. 14 show, the British-born Chapman said, “We’re huge supporters of Hillary and we’re always keen to help. I, myself, sadly don’t have an American pass-port so I can’t help with a vote. But I can help by designing a T-shirt and by doing other things.”

Marchesa has sent spring 2016 runway looks to stylist Goodman, and Chapman and Keren Craig will “abso-lutely” be there Tuesday night.

Clinton herself will not be at Spring Studios, according to a campaign official, who declined any further comment. She is scheduled to make a campaign stop in Florida Tuesday. She will be in New York Sept. 7 for the Commander-in-Chief Forum, which is being hosted by NBC News, MSNBC and the Iraq and Afghanistan Veter-ans of America. — ROSEMARY FEITELBERG

Laugh Through Your TearsCharlie Chaplin famously said: “Life is a tragedy when seen in close-up, but a comedy in long-shot. To truly laugh, you must be able to take your pain, and play with it.” That saying may be the inspiration behind CBS’ newest pilot, “The Great Indoors,” about the demise of a fictional print magazine as it transitions to a digi-tal-only property.

For those in the media, the nar-rative is depressingly familiar: Print magazine shutters operations, cuts budgets for reporters, moves resources to the web where the publication is run by younger, more economically friendly digital employ-ees.

“It’s happening everywhere,” said the show’s executive producer Mike Gibbons, who was influenced by Newsweek’s transition from print to digital. “I’ve had guilt-piles of The New Yorker, The New York Times and New York Magazine. Web sites are very much a cause...Not only is print dead, print anything is dead.”

Gibbons, 49, co-created "Tosh.0"

and has producing credits on several shows, including "The Late Late Show with James Corden." "The Great Indoors" premieres on Oct. 27 and stars Joel McHale as Jack Gordon, a grizzled adventurer/star reporter of “Outdoor Limits,” who is called in from the field by its old-school British editor in chief and told the print mag-azine is closing. He's asked to mentor the digital team, which is populated by social-media obsessed, overly sensitive Millennials with silly job titles such as “online content curator.”

The pilot episode has Gordon’s bosses explaining that there’s “no out there” for reporters anymore due to shrinking budgets and his self-cen-tered coworker Emma obliviously ask-ing for a raise, despite the pullback, after only eight weeks on the job.

Other choice moments include the Millennials making fun of Gordon’s non-existent social media presence, as he, in turn, marvels at the clickbait

digital stories from the team such as “Three ways to drink your own urine.”

Jokes aside, Gibbons has tapped into how technology has not only changed media, but also culture and behavior overall.

“In my opinion, America has taken this digital age to the highest heights,” he said. “America is leading the charge in self-absorption whether it’s with the popularity of the Kar-dashians…or with selfies.”

The mention of selfies brought the conversation back to Millennials, who Gibbons thinks will tune into “The Great Indoors,” despite the drumbeat of mockery. He noted that the show will occupy the 8:30 p.m. time slot every Thursday following “The Big Bang Theory,” which attracts a young demographic.

But Gibbons may be giving the Mil-lennials too much credit; when CBS showed its pilot to the media, Millen-nial reporters went on a tear over the generalizations made about their generation. During the presentation, an offended Millennial reporter piped up: “I’m a Millennial myself. How are we so coddled, and what about our overly politically correct workplace bothers you?”

After a brief back and forth with Gibbons and cast members, another reporter chimed in to make the point that his generation likely won’t watch the show because it mocks the fact

that Millennials are “so sensitive and PC”— an ironic twist that wasn’t lost on Gibbons.

“It was like an irony wormhole. I was afraid people were going to think we paid that reporter to prove our point. The outrage that we’re calling them easily outraged,” laughed Gib-bons, who brushed that episode off. “I think this generation is going to see very relatable characters.” — ALEXANDRA STEIGRAD

Memo Pad

Body ConsciousAdd Jonathan Anderson to the list of designers who marvel at the transformative silhouettes invented by Rei Kawakubo of Comme des Garçons. “She really tackles the form at a level that’s unheard of,” said Anderson, who is to include looks by Kawakubo in the exhibition he is curating at the Hepworth Wakefield gallery next spring. Titled “Disobe-dient Bodies,” it is to explore how sculptors, designers and potters have reimagined the human form in the 20th and 21st centuries.

Anderson, who creates fash-ion for men and women under his J.W. Anderson label and for Spanish luxury firm Loewe, said he plans to juxtapose dresses with sculptures, including many by Barbara Hepworth and Hen-ry Moore, pillars of the York-shire museum’s collections. His fashion selections run the gamut from flagrant distortions of the human body, such as Issey Miyake’s lantern dresses, to minimalist interpretations by Helmut Lang, who “reduced it to the line.” In Anderson’s estima-tion, artists have been more

daring in their portrayals of the body than designers. “There is a barrier because in fashion we’re always bound by this idea that something has to have a reality,” he mused.

Anderson plans to include looks from his seminal men’s collection for fall 2013, hinged on ruffled shorts and tunics in felt, catapulting his reputation as a gender-bending trailblazer.

Asked how it sold, he didn’t pause: “Not very well.”

Yet he considered that show “a turning point for me in terms of where I was and where cloth-ing was. I feel like it challenged

line, proportion and gender in men’s.”

A fan of ceramics, Arts and Crafts furniture and modern British art, Anderson said he jumped at the chance to interpret its collection. “For me, fashion is about curation. It’s about taking influences from everywhere,” he said. Anderson plans to give visitors a glimpse of what feeds his creativity with a “research lab” installation displaying objects, images, books and films from his personal collection.

The exhibition is slated to open on March 18 for a three-

month run, incorporating sculptures by such artists as Jean Arp, Sarah Lucas, Louise Bourgeois, Dorothea Tanning and Magali Reus, along with vessels by Hans Coper and lamps by Isamu Noguchi. — MILES SOCHA

Larger PasturesEstée Lauder executive group president John Demsey, who has a penchant for giving frequent parties, is moving to larger quarters — but only two doors down the street to a townhouse at 213 East 61st Street that is 2,000 square feet larger than the house he has been renting. And this time he will be a home owner, com-plete with financing jitters that normally come with it. “In this economy, it’s scary,” he said.

The house was listed for sale at $8.75 million and includes six bedrooms, five full and two half-baths, an eat-in chef’s kitchen, a formal dining room and a sitting room. The master bedroom occupies the entire third floor, according to the listing on Zillow.

Although moving day is not until February, Demsey is deep into the planning. Even though the house consists of 5,300 square feet spread over five floors, “somehow I’ve managed to fill it up already. I am in a blue mood,” he said, describing the decorating scheme as “urban

glam,” which will include some redos of Seventies furniture.

Asked what attracted him to the house, he replied, “I love the block, it has a backyard for the dogs. It just felt right.”

He was referring to his two French bulldogs — “There were three but one got voted off the island for bad behavior.” The remaining pair mostly coexists with his three cats and his daughter.

Asked if he is still going to have his parties, the 60-year-old Demsey replied,”We’re going to do sit-down dinners instead. It’s part of becoming more senior.” — PETE BORN

Model CitizenIf you've ever wondered what it would be like to walk a mile in Karlie Kloss' shoes, here's your chance. Well, if you're a size nine at least. The model has po-nied up and donated two pairs of shoes and lots of clothes from her personal wardrobe for fellow model and friend Toni Garrn's second-annual Super-model Charity Flea Market.

This is the German model's second time hosting the event, which benefits the Toni Garrn Foundation, supporting girls in Zimbabwe. The flea market will launch with a private event at 35 Great Jones Street in New York on Wednesday and opens to the public after 2 p.m. that day. After last year's demand,

Garnn has extended the shopping event for two more days, with additional hours on Thursday and Friday, from 10 a.m. to 6 p.m.

What is on offer besides Kloss' shoes? Stylists have do-nated gowns and accessories, while retailers, such as Forty Five Ten in Dallas, have given boxes of unworn pieces (includ-ing a brand-new Azzedine Alaïa handbag). Fashion brands such as Brock Collection and Frame Denim have donated pieces from their lines as well. And with lots of models donating their own clothes, it can't be any surprise that there will be plenty of quintessential model off-duty looks from Isabel Marant, Stella McCartney and The Row for the buying. Prices at the sale will be up to 80 per-cent off retail and, according to Garrn, there's a ton of merch that has never been worn — or barely worn. After all, this is the selfie generation.

"It's a lot of fun, because a lot of models come to shop from each other," Garrn told WWD. "It's such a practical cause as well, because nobody has room for all the stuff they love. We love to shop, but we don't have any room for it. So everybody's like, 'Yes, take it!'"

The charity raised $20,000 last year and Garrn projected this year's sales will be far greater. — SOPHIA CHABBOTT

Fashion Scoops

Hillary Clinton

McHale's character Jack Gordon and the

Millennial digital team.

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The Thinleys, 2015.