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BUY THE BOOKPierre Bergé discusses the upcoming auctions of his library of rare and antique books. PAGE 12

PHOTO LIBRARYMoncler unveils a photo exhibit at the New York Public Library focused on its Maya jacket. PAGE 15

Fashion. Beauty. Business. 10 SEPTEMBER 2015

● The store is reworking its look in a $250 million renovation.

BY DAVID MOIN

Talk about a makeover. After 18 months of thinking and rethinking how to elevate the shopping experience, the Saks Fifth Avenue team has finalized a three-year, $250 million master plan for overhauling the Manhattan flagship — and they’re ready to reveal what’s in store.

The strategy represents a conven-tion-breaker that is almost certain to shake up the industry — the beauty floor is mov-ing from the ground level up to two, the main floor will convert to handbags and accessories; fine jewelry is moving down to a new concourse level, and a world of eveningwear and evening accessories will be created on nine. “We do not look at this as a renovation. This is a reinvention. A reimagination, and a redevelopment,” Marc Metrick, president of Saks, said about the plans in an exclusive interview, where he was joined by Tracy Margolies, Saks’ chief merchant, and Kerry Mader, senior vice president of store planning, design and construction at Hudson’s Bay Co., which owns Saks.

The project will impact most of the

● The fashion house’s sales rose 59 percent in the first half, with growth in all markets.

BY LUISA ZARGANI

Valentino could be fashion’s next bil-lion-dollar baby. With sales jumping 59 percent to 478 million euros, or $530.6 million, in the first half compared with 301 million euros, or $412.3 million, in the same period in 2014, the storied Rome-based company is expected to hit the 1-billion-euro mark by the end of the year.

“We had set this target as part of a five-year business plan two or three years ago, but the brand is performing better

RETAIL

Saks Plan Shakes Up Flagship

FASHION

Valentino Aims for $1B-PlusSales Target

Victor Alfaro fused Ellsworth Kelly’s signature pops of color with his own strongly defined shapes in a spring collection that was both arty and luxe. For more from New York Fashion Week, see pages 8 to 11.

CONTINUED ON PG. 14

CONTINUED ON PG. 4

CollectionsSpring

2016

The Bright Side

SPRING CALMPantone’s top 10 colors for spring focus on calm shades, with shots of coffee and red. PAGE 14

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● The action sports brand’s Chapter 11 raises the question: Is the sector suited to big companies?

BY KARI HAMANAKA

HUNTINGTON BEACH, Calif. — It’s the end of an era no matter how the news of Quiksilver Inc. gets sliced.

The struggling company sought shelter in a Chapter 11 motion filed Wednesday that ultimately places one of the action sports industry’s largest legacy brands in the hands of Los Angeles-based Oaktree Capital Management if a bankruptcy judge approves the reorganization plan.

The company reported $826 million in debts and $337 million in assets, according to court documents. Results for the July quarter were expected Wednesday but have since been postponed to no later than Sept. 14.

The pre-arranged bankruptcy plan calls for affiliates of Oaktree and Bank of America to provide $175 million in debt-or-in-possession financing. Oaktree would provide funding for the bankruptcy and have its debt converted into company stock to become the majority owner upon the company’s exit from bankruptcy.

“Oaktree’s financial strength and expertise, deep experience working with companies in situations similar to ours and successful history operating in our industry make them an exceptional part-ner for us going forward,” said Quiksilver chief executive officer Pierre Agnes.

The plan could be seen as good news for the company given Oaktree’s involvement with Australia-based Billabong Interna-tional Ltd., a Quiksilver competitor and the

company perhaps most similar to Quiksil-ver in its struggles in more recent years.

Oaktree, along with Centerbridge Part-ners, emerged victors in 2013 in a drawn-out battle over ownership of Billabong International. The two offered long-term financing to Billabong, which is itself in the midst of a turnaround under ceo Neil Fiske. The company reported full-year results for the 12 months through July during which it swung back to black, something not seen for Billabong since 2011.

The Quiksilver news, which surfaced late Tuesday evening on the West Coast, closes the books on a particularly dark period for the broader action sports industry — loosely defined as those brands inspired by surfing, skate-boarding and snowboarding — as they struggled under the weight of their own largesse at a time when the broader retail landscape was contracting with the reces-sion and increased competition.

Layoffs and executive retooling occurred throughout the industry.

Billabong International underwent its own restructure, a bidding war that created uncertainty about the business and the sales of brands such as Nixon and Dakine.

Streetwear brands, which have long taken market share and retail space from action sports companies, themselves have also struggled with shifting consumer behaviors. The Hundreds cofounder Bobby Kim talked growing pains for his own business, of which he said it’s now at the right size, to attendees at an Ever-lane-sponsored event this year. Lifted Research Group has undergone multiple rounds of layoffs this year.

Quiksilver’s bankruptcy poses the ques-tion of a broader debate in the industry,

which is whether brands that built them-selves on the ideals of counterculture and going against the status quo are ever really meant to become megabrands with $500 million in sales.

It’s hard to say.It would seem possible looking at a com-

pany like Cypress-based Vans Inc., which has plans to relocate headquarters to Costa Mesa. The company, under the ownership of VF Corp., is now a $2 billion brand.

Bob McKnight, who along with Jeff Hakman, founded Quiksilver Inc. and grew the brand in the U.S., launched the first women’s surfwear brand in Roxy and took Quiksilver public. McKnight, who could not be reached for this story, discussed the changed landscape with WWD last month, making it clear the industry, while armed with new strat-egies to fix the business, still faces an uphill battle.

“[Becoming a megabrand is] a reality if you have time on your hands and you have enough finances to finance through the times and if you go global somehow,” McK-night said during the interview. “I think most of these small companies are correct in following the path of [being a] $30 mil-lion [company]. But to do that in today’s world is a real stress on margin, margin, margins. But I think that sort of model, if I started all over, that’s how I would do it. When we started, we never aspired to be more than a two-year project.”

The landscape was also vastly differ-ent when Quiksilver started because the industry largely didn’t exist.

“Our world is not just competition from Billabong, Hurley etc. — our own tribal brands who do what we do in the surf shops, but there’s a whole new crew in town now that’s also competition,” McKnight said. “Hollister, American Eagle, H&M, Abercrombie, Lululemon, Under Armour and then all the bigger chains have their own private label. So everyone’s in the game doing more and more like similar product or similar price points….The [group of heritage brands is] not as special as it was. Now there’s a ton of competition at all price points. America has been trained to buy on sale.” ■

RETAIL

Quiksilver’s Woes Reveal Challenges

FASHION

Made in N.Y. Campaign Launches

Queen Elizabeth Reigns On ● Queen Elizabeth II is now the longest reigning monarch in the history of the British empire. Here’s a look back at the royal style through the years.

● Cintra Wilson on Her Latest Book ‘Fear and Clothing: Unbuckling American Style’

● Best of Madonna in WWD

● Los Angeles’ Newest Museum: A Preview of The Broad

● Jeremy Scott on ‘Jeremy Scott: The People’s Designer’

Global Stock TrackerAs of close Sept. 9, 2015

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TOP 5TRENDINGON WWD.COM

● $5M effort spotlights all things local.

BY ROSEMARY FEITELBERG

In honor of New York Fashion Week, city officials plan to reveal a $5 million Made in New York marketing campaign Thursday morning on the steps of Moyni-han Station.

An offshoot of the $15 million program Mayor Bill de Blasio kicked off in Febru-ary, the new installment includes a Made in N.Y. ad campaign. Prabal Gurung, Public School, Rosie Assoulin, Eugenia Kim, Alexis Bittar and Tim Coppens are among the labels featured in the initial $1 million wave of Made in N.Y. ads, which includes Times Square billboards, 600 taxi tops, 75 bus ads and print publica-tions. In what appears to be a by-land-or-by-sea approach, there will also be dou-ble-decker bus wraps, ferries and cruise vessels and terminals. Meant to support local manufacturers and up-and-coming talent, designs by Ohne Titel, A Morir and Chromat are also spotlighted in the new ads.

“The fashion industry is more vital than ever when it comes to our city’s economic future — employing over 180,000 people and generating $2 billion a year in tax

revenue,” said de Blasio. “That’s why we’ve tripled our investment to support and elevate the manufacturers, designers, and students here in New York who make this industry and this city so great. New York Fashion Week is key to that work, highlighting New York City’s centrality to the industry and attracting people from across the globe.”

Deputy Mayor for Housing and Eco-nomic Development Alicia Glen and New York City Economic Development Corpo-ration president Maria Torres-Springer were expected to talk up the effort Thursday morning with help from Theory chief executive officer Andrew Rosen at Moynihan Station, one of the main bases for New York Fashion Week. Officials will also spread the word about plans for a Made in N.Y. pop-up shop or online store. They also plan to discuss how New York City-based fashion companies can apply for Made in New York programs via the city’s Made in N.Y.: Fashion site, a digital hub meant to showcase local talent, pro-mote New York-made goods and serve as a directory of resources.

Their run-through will include updates about existing programs such as the Barneys N.Y. x CFDA: Made in New York collection, a limited-edition range created by such labels as The Row, Thom Browne

and Altuzarra. Ten percent of sales will benefit the Fashion Manufacturing Initiative, an initiative with the CFDA that supports local fashion production.

There will also be mention of the Made in N.Y. certification program, which enables preapproved New York-based fashion design companies to use the Made in N.Y. logo for their products and for advertising and marketing purposes. City officials will also discuss the Made in N.Y. Trade Show Partnership, which offers local designers the opportunity to build their respective brands’ visibility by partici-pating in trade shows at free or reduced rates. Up-and-comers will also hear more about the Made in N.Y. fund, which will offer early-stage designers lines of credit to finance production of purchase orders at below-market rates. The purchase orders can come from traditional stores, e-commerce, or the designers’ Web sites. Along with the funding, designers will also receive mentorship and financial training.

The city’s fashion industry employs more than 184,000 New Yorkers, accounting for 5.4 percent of the city’s workforce, paying $11.6 billion in wages. New York’s wholesale fashion market is one of the world’s largest, attracting more than 578,000 visitors per year to its trade shows, showrooms and fashion shows. ■

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4 10 SEPTEMBER 2015

91-year-old, 11-story flagship. It ambitiously calls for creating “dominant” assortments, remerchandising to catch up to changing shopping habits, and as Metrick likes to say, “de-departmentalizing” the depart-ment store. The intent is to draw shoppers through more of the store by providing greater vertical transportation and easier sight lines and set an environment that is less harried.

Among the biggest changes ahead:• The highly productive beauty floor

moves up a flight to two, contrary to the industry norm of beauty being a main-floor business, or in some recent cases, housed on the lower level such as at Barneys New York and Bergdorf Goodman. Beauty will be 53 percent larger and “all about the romance, the intimacy and the femininity of the experience,” Margolies said.

• All handbags, leather goods and acces-sories will be on the main floor, providing 60 percent more space for those catego-ries, including 81 percent more space just for handbags.

• Women’s apparel will consolidate from four to three floors and be remerchandised by lifestyle with varying price points in single locations. “There will be designer on every ready-to-wear floor,” Margolies explained. “Three will be core designer collections, with some new designers that are not carried currently. Four is designer as well, more lifestyle and the fifth floor will be advanced designer and contempo-rary collections.” The idea is to encourage greater cross shopping.

• Precious and fine jewelry and watches move down from one to the concourse level, which will be branded as “The Vault.” The strategy reflects the marketing success of Saks branding its footwear floor as 10022-Shoe in 2007. There will also be jewelry on two, on the tower side.

• On nine, Saks will create “The Ballroom” for everything that’s evening — evening gowns and dresses, evening shoes, evening handbags and jewelry. Bridal will be part of the 8,000-square-foot area.

Right in the middle of the main floor, Saks will create a glass elevator with a grand, 23-foot-high spiral staircase wrap-ping around it to transport shoppers from one to two and down to the concourse. “It’s going to be an architectural beacon,” said Mader. Next to the staircase, there will be an escalator to two.

Floors six and seven will still be men’s, but separated by lifestyle, remerchandised for “big dominant classifications,” and linked by a new staircase.

The Saks restaurant on eight, called Cafe SFA, will relocate to nine and will be oper-ated by a third party that Saks will disclose

later. That move will enable an expansion of 10022-Shoe on eight, which will add shop concepts along the perimeter.

Also on eight, there will be a Champagne bar with a patio overlooking Rockefeller Center and St. Patrick’s Cathedral and a staircase to the ninth-floor restaurant, which will be able to expand into an event space. Intimates will stay on nine, where there is also office space. On 10, John Bar-rett will open a beauty salon in a partner-ship that will lead to other Barrett salons at Saks locations.

The flagship project is expected to be completed by mid-2018. In the meantime, Saks is making other big maneuvers, including relocating its headquarters to Brookfield Place in lower Manhattan, where a Saks Fifth Avenue store will open, and launching its first stores in Canada, and its first freestanding shoe store in Greenwich, Conn.

The Saks flagship is considered one of the most valuable retail properties in the world, recently assessed at $3.7 billion, and one of the underlying reasons why the Hudson’s Bay Co. bought Saks two years ago. The 646,000-square-foot flagship is indispensable to the business, accounting for more than $700 million in sales last year and about $1,700 in sales per square foot. The main floor and 10022-Shoe floor are the most productive levels. The flagship sets the tone for the luxury chain and accounts for roughly 20 to 22 percent of the overall business. It’s believed that executives see the flagship as capable of topping $1 billion in sales, though they

won’t confirm that.The Fifth Avenue store is central to

HBC’s drive to close the profitability gap between Saks and Neiman Marcus, which maintains a huge lead over Saks.

“You are coming up on 100 years for this store. It’s old, and when it was developed, the customer shopped differently,” Metrick said. “She no longer shops just for utility. What people want can be gotten any-where. One of our biggest challenges we face is how do we make these stores excit-ing? How do you make it an experience, so when a customer wants something they don’t want to just pop on their phone and buy it. Especially with luxury, as somebody said to me, it’s a dream. It’s aspiration. It’s supposed to be enjoyable. You have to have an environment that matches that. It can’t be just a place to get stuff. There are product categories that didn’t even exist, or if they existed are completely different. You need to change and you need to be more flexible.…One of our guiding principles was, this needs to feel very different.”

For years, Saks flirted with renovating the beauty floor but budget concerns and the recession interfered. The main level is energetic and always busy, but congested and hampered by walls and fixtures block-ing visibility. “We’re creating an environ-ment where people can see what’s in front of them and that there are other floors and other places to go,” Metrick said, noting that beauty shop walls and fixtures rise eight-and-a-half feet on the main floor, but will drop to five-and-a-half to six feet,

excluding perimeter shops, when it moves to the second floor.

“One of our guiding principles was to have more disciplined sight lines and open up the store for improved customer circu-lation. The store needs to be more actively shopped,” Metrick said.

Moving beauty up to two does pose a risk to productivity, but Metrick thinks it will be fine, based on some past experi-ence. “When we moved our footwear busi-ness up to the eighth floor, people thought we were crazy. Shouldn’t it be right on the main floor? The trick is, if you build beau-tiful, category-dominant assortments, in New York City on Fifth Avenue in the 50s, people are going to go there.”

“The vendors are thinking differently about each floor,” added Mader. “The old paradigms are shifting. They are not looking at the back or the front. They are trying to figure out what is the best possi-ble space for them based on how we are creating different verticals and sight lines within each floor.”

During the development process, hand-bag duplexes were considered, reminis-cent of the duplexes at Harrods and Macy’s Herald Square. “We were really struggling with that from a customer perspective because we wanted her to come in and see the world of handbags, to see a dominant category,” Margolies explained. “It’s also very bold to bring beauty to two. What we want to do is expand beauty and by bring-ing it to two, it allows our customer to have the experience” in a proper, relaxed environment and greater services. “Today she is sitting on the main floor having her makeup done in the middle of a leather goods shop. While it’s very profitable, you don’t feel like you want to spend the day there.”

The Vault will occupy 25,000 square feet on the 60,000-square-foot concourse, which has stock and receiving areas and electrical equipment. The high ceilings, at 12 to 15 feet and typical of Saks’ upper floors, will help create ambience. In its cur-rent location on the east side of the main floor, behind the elevators and escalators, jewelry seems detached from the rest of the store.

“The Vault will be a destination,” Metrick said. “We can market it. It’s being branded. It will mean something more than the brands inside of it. Imagine marketing collateral, imagine separate packaging. We are going to do whatever it is to make sure people understand it’s a unique environment. I do believe jewelry is an underserved category at Saks.”

One of Saks’ “hidden assets,” added Metrick, are the windows. Many have been covered up in one way or another. “Where we can we are activating our views, which no one can mimic. People can put Cham-pagne on their footwear floors, but they can’t put up a balcony outside on Fifth Avenue and look at Rock Center.” ■

● Roopal Patel joins the retailer from the creative consultancy she founded in 2012.

BY DAVID MOIN

Saks Fifth Avenue has appointed Roopal Patel as fashion director, a position that hasn’t been filled for some time.

Patel, a veteran fashion executive well known in luxury and retail circles, will report to Tracy Margolies, Saks’ chief mer-chant. Years ago, the two worked together at Bergdorf Goodman, a division of the Neiman Marcus Group.

“Tracy and I first started as assistants at Bergdorf Goodman, under Dawn Mello and Steve Elkin,” said Patel, referring to Bergdorf’s president and chief executive officer, respectively, at that time. “We go back quite a bit. I feel that my partnership with Tracy has come full circle.”

Patel will play a key role forecasting the trends that underpin Saks’ buying activities and will be shaping Saks’ seasonal fashion messages. She will scout new designers and collections, attend fashion shows and visit showrooms.

She joins Saks from Roopal Patel Con-sulting, a creative consultancy she founded

in 2012 focused on brand development and posi-tioning, merchandising retail strategy, and trend forecasting. Before that, she was executive fashion director of Moda Ope-randi. Earlier, she spent more than a decade at Neiman Marcus, where she served as senior

fashion director of Bergdorf Goodman as well as senior accessory market editor for Neiman Marcus.

Asked about the challenges at Saks, Patel

said: “These days, it is so important to cre-ate a unique and special voice. Fashion is at a very dynamic place with up-and-com-ing talent that needs to be nurtured and grown. There really is an opportunity to help define fashion and luxury for the modern-day customer.”

“It’s a new structure. Saks hasn’t had a true fashion director for quite some time,” said Marc Metrick, president of Saks Fifth Avenue. “Roopal is a respected force in the industry with high energy and a deep understanding of today’s luxury fash-ion consumer….I am confident that her demonstrated expertise in trend direction combined with Tracy’s leadership in fash-ion merchandising will be invaluable as we continue to elevate the brand and position Saks as a modern and relevant fashion authority in luxury retailing.” ■

RETAIL

Saks Names Fashion Director

Saks Plan Shakes Up New York Flagship CONTINUED FROM PAGE 1

Roopal Patel Saks Fifth Avenue

Renderings of the remodeled floors at Saks.

WWD.NYdaily_1_4.indd 4 9/9/15 8:49 PM

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D E S I G N E R I N S P I R A T I O N SOn Day One of New York Fashion Week, WWD presents its third group of designer inspirations illustrating how ideas for spring collections were sparked by people and places from the American South to Tokyo to the Mediterranean.By KELSI ZIMMERMAN

“Edo-period Japanese

kimonos and woodblock

prints.” Adeam

“The Rose Period.” Carolina Herrera

“Glamour.” Jason Wu

“The collection is called Fortuna and it’s inspired by the first painting I ever bought for myself, a pre-Raphaelite that was hanging in a jewelry store…a celebration of women, beauty and freedom!” Diane von Furstenberg

“Feeling blue.” Greg Lauren

“The women and their

style ‘South of the Border.’”

Dennis Basso

“The masterful brushstrokes of artist Laxman Shreshtha.” Prabal Gurung

“It’s time to have fun and create collaboratively in one wild inside-out ‘Happening.’” Nanette Lepore

“Delpozo reimagines a modern and passionate

woman with bohemian

ease.” Delpozo

“Wrinkle-free.” Altuzarra

“Fly, fly away.” Cynthia Rowley

“Open spaces, the power of landscapes and terrain that is vast and simple and stunning all at once.” Kaelen

“Overall, the collection is distinctly feminine and eccentric, like the artists who inspired it, celebrating the creative needs and expressions of the woman who wears it.” Suno

“Menagerie.” Marchesa

“One is not born a woman, but becomes one. — Simone de Beauvoir” Sophie Theallet

“Life in the desert, the innate strength and beauty of a woman.” Alice + Olivia

“I want it all.” Veronica Beard

0910_NYdaily_006-007_Inspirations.indd 2 9/9/15 8:25 PM

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“I had seen the exhibit of the Matisse cutouts at MoMA, and was surprised to see how much he was influenced by his time spent in Tahiti (and particularly the traditional Tifaifai quilts). This was what sparked my curiosity. So my vision of Polynesia was already in development before I left on my summer vacation to Tahiti with my family.” Anna Sui

“Tokyo.” J.Mendel

“Island Life; my favorite days in Mustique.”

Tommy Hilfiger

“The Modernist Sharp angular shapes define the feminine form, with a clean, architectural influence in American modernism. Use of contrasting textures and colorblocking play with the eye’s perception of positive and negative space, emphasizing lean proportions with definitive lines.” KLS Kimora Lee Simmons

“Movement and a modern woman on the go.” Theory

“Public School unplugged.”

Public School

“Fresh and effortless beauty.”

Jil Sander Navy

“'Sling Chair.’ Lina Bo Bardi.” Narciso Rodriguez

“DNA remixed.” Boss

“Resilient beauty.” Clover Canyon

“Earthy elegance.” Michael Kors

“Ergonomic arabesque.” Hervé Leger

“The beautiful, colorful life

inspired by the essence of the

Mediterranean.” Naeem Khan

“Finding beauty in unexpected places.”

Tory Burch

“High contrast.” Edun

“The smell of us both.” Calvin Klein Collection

Oscar de la Renta

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Victor AlfaroVictor Alfaro has re-established himself rather quickly as a fashion force. While he relaunched his brand several seasons ago with a racy vibe, his trajectory has been toward a more overt take on languid luxe with a dash of arty. For spring, Ellsworth Kelly provided inspiration and, like the painter, the designer went minimal but not mundane. He incorporated ample geome-try, layering, mixing fabrics and textures, seaming on the diagonal, and often con-necting sliced fabrics with opaque strips for interest and sensuality while creating strong graphic lines. While much of the collection was black and pale neutrals, pops of Kelly color came in bright orange and yellow.

Backstage before the show Alfaro said he started his design process with sweaters, a basic beginning that morphed into an artisanal range of sumptuous hand-framed, fabric compilations — thick, braided knits; unfussy crochets and laces — over wide trousers and cropped motocross pants. For additional flourish, he strung long overlays of fringe onto dresses and gowns, some in “vegan leather,” and accessorized with Pilar Olaverri’s bold Calder-inspired jewelry. Relaxed American chic at its elevated best. — Bridget Foley

Lisa PerryLisa Perry looked to one of her favorites, the American installation artist Robert Irwin, as her starting point for spring. “We had stum-bled upon one of his shows titled ‘Who’s afraid of Red, Yellow & Blue?’” she said. “Our answer to that is: We are not.”

Perry is no stranger to primary hues, but this season, she made red, yellow and blue the main event in a series of flirty Mod-ish silhouettes featuring colorblocking, circle prints and oversize, peekaboo grommets. Perry said she upped her attention to detail more than ever; it was evident in a subtle contrasting stitch on linen dresses or the slightly off-kilter placement of dress straps.

For the presentation, held inside her SoHo boutique, Perry deconstructed red Ikea tables and hung them on the wall like art. “I love the idea of high-low,” she said, adding that some of the looks in the collection will be sold at a lower price point for the first time. “I wanted to get the point across that you can have things look very chic and beautiful, but they don’t have to be expensive.” — Kristi Garced

See by ChloéClare Waight Keller loves to envision her romantic, free-spirited See by Chloé girl in different environs. This season, it was on a vacation in Big Sur, Calif., where a warm color palette of creamy whites, pinks and blues — bearing a slightly washed out, sun-faded appearance, particularly on knits — mimicked the Pacific coastline.

A bohemian spirit ran through Waight Keller’s silhouettes, which were fluid with a lived-in feel. There were peasant blouses, some hanging loose off the shoulder and featuring eyelet embroidery as well as floaty, ruffled sundresses and skirts in busy floral prints. Other more polished looks like a chevron-printed tweed jacket and Seventies-inspired striped bell-bottom trousers still struck the right balance of idiosyncratic and youthful. Denim offerings included a couple of variations, such as a darker indigo wash with colorful piping and a more bleached-out version, seen on one chic, ankle-grazing skirt. — K.G.

Victor Alfaro

See by Chloé

Jeffrey Dodd

Lyn Devon

Lisa Perry

CollectionsSpring

2016

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Lyn DevonLyn Devon loosely referenced Japanese culture — soft origami effects, wrapping constructions and a hand-painted botan-ical print — for spring, casting an Eastern zen on her tony sportswear without veering too literal. It was a new angle for Devon, who typically deals in classic Americana, and the Japanese notions of serenity and simplicity suited her collec-tion. Standouts included a lightweight, unlined robe trench and a crimson dress with gentle folding details. — Jessica Iredale

Jeffrey DoddSome of Jeffrey Dodd’s favorite child-hood memories are of his family trips driving through America’s Southwest and collecting kachina dolls. For spring, he looked to these ancient, spiritual Native American figurines for inspiration. So how did a refined designer such as Dodd translate this tribal theme into his collec-tion? By drawing on elements of texture.

The spring lineup had an artisanal influence with custom fabrics such as stand-up sequins, frayed fringe and bas-ket-weave techniques — all unique textile treatments on minimal silhouettes. Key looks included a frayed fringe tuxedo pant, a hooded suede poncho, a bas-ket-weave coat with leather insets and a hooded sequin top. — Antonia Sardone

TseThanks to innovative technology, Tse creative director Tina Lutz was able to shoot her look book in the English countryside while walking WWD through her spring 2016 collec-tion via FaceTime. She was inspired by her favorite island, Jamaica, and more specifically by the books of photographers Beth Lesser (“The Rise of Jamaican Dancehall Culture”) and Patrick Cariou (“Yes Rasta”). While this may sound like a major depar-ture for the modern cashmere house, Lutz translated the energy, spirit and essence of island life in a luxuriously chic way.

The designer worked a graphic pattern on everything from a shrunken robe to a mesh tank. To play off the athletic vibe of Jamaican dance halls, she showed athletic shorts as well as sweatpants, most notably a pair with a pointelle knit hem. A zigzag motif reminiscent of the polo shirts the island’s men wore in the late Seventies and early Eighties was used on an assortment of knits. Lutz’s creativity really shone through this season, especially on the raffia embroi-dered striped top with a bubble back. — A.S.

HellessySummer in the city isn’t so bad when you’ve got a rooftop view at sunset. (See Instagram for a billion examples.) The skyscrapers and changing sky colors of blue, ivory and dusky red inspired Sylvie Millstein’s spring collection for Hellessy. Millstein is great at capturing sophisticated nonchalance even if the clothes aren’t all that casual — they project a relaxed atti-tude. She accentuated her lean silhouettes with shirts with extra-long cutaway panels in the back, floor-grazing slipdresses and a pair of pants with a panel down the side. Theoretically, the majority of the lineup was daywear, but most of it would make a pretty cool proposition for evening, in particular a shiny tank of long, fringed macramé paired with pants. — J.I.

CadetFor Raul Arevalo and Brad Schmidt’s first women’s collection for Cadet, the 2015 CFDA/Vogue Fashion Fund finalists reimagined their men’s aesthetic — which

hinges on utility and military references — tweaking it ever so slightly with femi-nine touches like cropped silhouettes and cinched waists. “We wanted to make sure that we didn’t create ‘girls’ looks,” Schmidt said of the tight lineup. “They’re still really true to our men’s styles.”

Softly tailored separates in a digital camouflage print added visual interest to the earthy palette. Elsewhere, a traditional flight suit was reinterpreted for women in a delightfully unexpected cashmere blend, and an olive green floor-length cotton safari dress felt effortlessly cool. — K.G.

M MissoniWelcome to the Big Top — this season Angela Missoni, creative director for M Missoni, looked to the whimsical humor of the circus for inspiration. And the collec-tion was anything but tame. Colors were vibrant and happy, prints were bold and playful, all with a youthful charm.

So how did Missoni translate the wonder-ful world of the circus? With prints, ruffles and plenty of Lurex, of course. Pierrot clown collars were found on everything from sweet little tops to delicate dresses. Intarsia knit dresses had motifs ranging from trapeze artists to animal pedestals. Stars and swirly stripes decorated skirts and tops, while a Lurex-stripe jumpsuit was reminiscent of a circus tent. It was all fun and kitschy, and sure to appeal to the M Missoni girl who isn’t afraid of standing out in a crowd. — A.S.

Tamara MellonTamara Mellon can hardly contain her enthusiasm for a tribal-gypsy-warrior woman motif and spring 2016 was no exception. Her mood board was awash with Peter Beard photos of Seventies supermod-els in the desert and a trio of carved wood African sculptures. The cutout became a graduated black-and-white print on a tiered, ruffled above-the-ankle “maiden” dress with a rope and leather harness-style bodice. The effect also showed up as laser cuts on color-blocked suede drawstring pouches and platform wedges.

A mix-matched draped gown with a leather open-corset belt worked back to her first love, accessories, and a gold Masai-in-fluenced embroidered bodice on a white camisole-style dress was reminiscent of an Ancient Greek rather than African mood. The stunner of the collection was a white linen “blanket” dress with a turquoise, red and yellow stripe pattern and fringe whose inspiration came from another far-flung place: Marfa, Texas. — Roxanne Robinson

WarmTracy Feith is back. After shuttering his own collection of frothy bohemia for chic surf chicks in 2010, he’s designing for Warm, the popular NoLIta boutique owned by Winnie Beattie and her husband Rob Magnotta, that’s launching a whole-sale collection of women’s ready-to-wear for spring.

“It’s an extension of what I used to do,” said Feith of the line, presented in a large format photo installation shot by Todd Hido. “It’s fun to get back into it again.” Beattie, the collection’s creative director,

was one of Feith’s original employees — and fans — 20 years ago. She’s grown up and evolved since then, which is reflected in the clothes. The sensibility is still Feith’s beachy, breezy print and dress-heavy style, but more sophisticated with a focus on loose, easy fits. Fabrics — cotton voile and filmy silk — feel luxe and upscale but nothing is precious. There are no baby dolls. As Beattie said of one block-

printed, side-pleated style, “I would wear this over a wet bikini, but you can also wear it with heels to a meeting.” — J.I.

— Jessica Iredale

favorite child-hood memories are of his family trips driving through America’s Southwest and collecting kachina dolls. For spring, he looked to these ancient, spiritual Native American figurines for inspiration. So how did a refined designer such as Dodd translate this tribal theme into his collec-tion? By drawing on elements of texture.

The spring lineup had an artisanal influence with custom fabrics such as stand-up sequins, frayed fringe and bas-ket-weave techniques — all unique textile treatments on minimal silhouettes. Key looks included a frayed fringe tuxedo

-ket-weave coat with leather insets and a

— Antonia Sardone

WWD through her spring 2016 collec-tion via FaceTime. She was inspired

Rise of Jamaican Dancehall Culture”)

While this may sound like a major depar-ture for the modern cashmere house, Lutz translated the energy, spirit and essence of island life in a luxuriously chic way.

linen “blanket” dress with a turquoise, red and yellow stripe pattern and fringe whose inspiration came from another far-flung place: Marfa, Texas.

WarmTracy Feith is back.his own collection of frothy bohemia for chic surf chicks in 2010, he’s designing for Warm, the popular NoLIta boutique owned by Winnie Beattie and her husband Rob Magnotta, that’s launching a wholesale collection of women’s ready-to-wear for spring.

said Feith of the line, presented in a large format photo installation shot by Todd Hido. “It’s fun to get back into it again.” Beattie, the collection’s creative director,

was one of Feith’s original employees — and fans — 20 years ago. She’s grown up and evolved since then, which is reflected in the clothes. The sensibility is still Feith’s beachy, breezy print and dress-heavy style, but more sophisticated with a focus on loose, easy fits. Fabrics — cotton voile and filmy silk — feel luxe and upscale but nothing is precious. There are no baby dolls. As Beattie said of one block-

printed, side-pleated style, “I would wear this over a wet bikini, but you can also wear it with heels to a meeting.”

Tse

Tamara Mellon

M Missoni

Hellessy

Cadet

Warm

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Trademark“Funny” is a word Pookie Burch uses quite a bit to describe her collections for Trademark. Spring 2016, for example, included a “funny little take on a denim jacket,” “a funny little raincoat” in plastic and shirts, sweaters, scarves and some nifty flat slides decorated with pom poms, which Burch considers “funny.”

She was not joking, but there was a wink-wink throughout the lineup, which was inspired by Italy in the Sixties — a photograph of Ingrid Bergman and Isabella Rossellini, in particular — and the Eight-ies, with a sweater with a giant tomato on it. It was fun and funny. There was a dose of retro kitsch, most prominent in the Eighties prepster cashmere V-neck sweaters — the first time Trademark has done cashmere — and the dotty cardigans, but Burch served it with sophistication and quality execution that enhanced all the funny little details. — Jessica Iredale

Charles YoussefGeometry is always an inspiration for Charles Youssef; his zigzag patterns and architectural silhouettes have become a signature of the brand. For spring, he went a step further, and perhaps softer, channeling Art Deco colors and prints, drawing inspiration from the work of Australian artist Esther Stewart. A flair of drama reverberated throughout the looks — a white dress shirt in cotton poplin came decorated with voluminous “sun-burst” pleated cuffs — and Youssef also played with proportion in his ruffled and asymmetrical silk dresses and sheer tops. A navy origami silk and cotton wrap dress stood out as the most regal option for evening. — Kristi Garced

O’2ndO’2nd debuted in 2011 with the mission of reinventing classics at an advanced contemporary price point. They have succeeded, it seems, as they are sold in 15 countries by key retailers such as Barneys New York, Scoop, Shopbop, Bergdorf Goodman and Harvey Nichols. The brand’s spring 20116 presentation marked its New York Fashion Week debut.

“The time is right for us,” said brand director Minsoo Chung, walking WWD through the collection and pointing out how the line is pushing the envelope creatively. This time around, the color palettes of artist Gary Hume and the cut-outs of Henri Matisse provided the initial inspiration. Most prominent was a coral leather skirt with cutout hem detail worn with a fuchsia knit. A shibori print — which traces the brand back to the label’s Korean roots — was present throughout in a fluid maxiskirt and elongated knit tunic as well as in an effortless slip paired with a cream leather jacket. Also noteworthy: a lovely white and cream layered crochet tank dress. “It’s very much about modern femi-ninity for us,” Chung said. — Mayte Allende

Sachin & BabiSachin and Babi Ahluwalia have a lot to celebrate this season during New York Fashion Week. They just finished renova-tions on their East Side town house and decided to show their spring collection in this beautiful space. The setting was perfect for their intimate presentation that combined both their Sachin & Babi and Noir labels.

The husband-and-wife team said, “more and more girls are coming to us for special occasion dressing.” The designers deliv-ered that this season in bold yet whimsical floral prints on everything from a volumi-nous tripled-tiered gown to a corset top and full-skirt combo. Delicate lace trousers paired with a peplum top were a modern

take on a night out, but there were plenty of botanical-inspired frocks for the tradi-tionalist. Silhouettes ranged from folded off-the-shoulder tops to full skirts. The result was romantic and sweet. — Antonia Sardone

À MoiSpring 2016 marked Alejandra Alonso Rojas’ fourth À Moi collection. “I feel like I’ve [determined] the silhouettes and I’ve kind of rounded up who my woman is — girlish and whimsical but relaxed,” said the designer backstage at her presentation. The season’s looks ranged from crafty and artisanal — such as three-dimensional floral embroidered canvas skirts and jackets, a yellow jacquard peplum top and match-ing culottes and a bomber embellished in floral motifs with sheer sleeves — to more successful simplistic approaches where one could see the perfect balance between artistry and wearability. Case in point: her black silk T-shirt with embellished sleeve detail and fluid wide-leg pants. The approach was best summed up by Rojas’ show notes: “The idea of applying the ele-vated sartorial traditions of the past to the necessary versatility of now is paramount when creating garments.” — M.A.

Halston HeritageHalston Heritage designer Marie Mazelis said for spring 2016 she was inspired by the faded palette in some photos of Havana. “I also like looking to Halston’s archives for a link to the past,” she added, playing with a pair of sunglasses that belonged to one of the founder’s Seventies collections.

Making the house’s history relevant now was Mazelis’ main objective — and nothing underscored that more than the brown ultrasuede strapless sheath, cut in a new, richer version of the original Toray-man-ufactured cloth. Mazelis also mined

Trademark

Flagpole

Charles Youssef

Halston Heritage

Sachin & Babi

CollectionsSpring

2016

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● WWD has learned that the house of Schiaparelli plans to unveil its debut “prêt-à-couture” collection for spring 2016 during Paris Fashion Week. It has sched-uled four days of presentations, starting Sept. 30, and notes that these deluxe, limited-edition clothes will be sold only at its headquarters at 21 Place Vendôme.

Bertrand Guyon, who made his debut as design director with fall couture, is to present a “small collection,” according to the house.

Guyon joined Schiaparelli last April from Valentino. Previously, he also worked at Christian Lacroix, Givenchy, Charles Jour-dan and Pierre Cardin.

Owned by Italian entrepreneur Diego Della Valle, Schiaparelli is reviving a brand dormant since 1954 and synonymous with shocking pink and Surrealist influences.— Miles Socha

● SAM SINGSSam Smith will serenade a star-studded crowd at the L.A. County Museum of Art's fifth Art + Film Gala on Nov. 7. Co-chaired by Leonardo DiCaprio and Eva Chow and presented by Gucci, the gala will honor art-

ist James Turrell and film director Alejandro Gon-zaléz Iñárritu.

Past perform-ers have included Culture Club, Sting, Florence + the Machine and Stevie Wonder. The British Grammy-winner has just recorded

the theme song for the next James Bond movie, "Spectre." The song, called "Writ-ing's on the Wall," will be released Sept. 25 ahead of the film's Oct. 26 U.K. premiere. — Marcy Medina

● FIT TO A DEEThe handbag designer is the latest to get into the customization game with the Bag Bar, a new program that allows customers to pick bag size and color, and to deco-rate bags with interchangeable covers and charms, all sold separately. “It’s an interactive venue where the consumer can really be the designer,” said Ocleppo. “You’re picking and choosing the elements yourself.”

The Bar will build off of Ocleppo’s exist-ing top handle style, available in small, medium and large — or the shot, the single, and the double — with prices ranging from $295 to $695, done in six colors. While Ocleppo’s main collection often features removable covers, customers were previously unable to purchase covers individually. Now the interchangeable and reversible covers are available as unique stockkeeping units and sold separately. Options include fringe, grommets, ruffles, suede, fur, suede, antelope and ostrich.

“We’ve tried not to brand it too much,” Ocleppo said of the designs. “I was watch-ing Kanye [West] at the [Video] Music Awards and I do think that Millennials are going to get sick of branding. They want to do their own thing and express themselves in their own way.”

Additional “garnishes,” or add-ons, include bag hooks, leather tags, key chains and bag charms. Price points for garnishes start at $45, while covers will begin at $150.— Lauren McCarthy

Fashion Scoops

Prepping Pret

the Seventies for her crepe jumpsuits, single-shoulder dresses, caftans, white paillette pants and a terrific orchid print.

Echoes of Halston can always bring a cozy nostalgia to his fans, but Mazelis needs to have the courage to create a bit more pizzazz and risk her own reinvention for the house. — Bobbi Queen

Whit“We are into our sixth year, the brand has matured and now it’s more about what we want to do and what we believe in — we are not doing a black pant because someone said we need a black pant,” said Whitney Pozgay at her spring 2016 Whit presentation.

The result was a playful and inspired lineup of pieces that a girl will really want rather than need. There was an obvious take on volume — most memorably on a pink and green off-the-shoulder puffy sleeve minidress and a red flared halter midi dress. “It all stemmed from the idea of colorful hot air balloons over the savan-nah,” she said. That explained the African references on tribal-print skirts, hand-painted stripes and a cool raffia-fringed skirt — because who needs black pants when you can have any those. — M.A.

RhiéIn 2011, Rie Yamagata launched a small knitwear capsule collection named Rhié and since then the label has grown into a full contemporary line. For spring, Yamagata took an artisanal approach, playing with raw edges and finishes but in a chic and refined way. Most noteworthy was a jacquard dress in a loose weave with frayed edges over a pair of slim trousers.

Yamagata custom designed all her prints, from a poppy motif jumpsuit to a pixel-weave blouse and skirt. She also played with fun polka-dot cutouts on sweet little dresses. Pointing to a suit, she noted,

“this is my interpretation of denim.” It was a navy linen denim cropped jacket and trouser paired with a crochet bra top. Those details infused the collection with femininity — but with a cool edge. — A.S.

Flagpole SwimAlthough designers Megan Balch and Jaime Barker have been designing their Flagpole Swim collection for two years and already sell to Barneys New York and Net-a-Porter, they held their first New York Fashion Week presentation Wednesday on a sundeck at Chelsea Piers. After just a glance at the 13-piece lineup, the reason for the buzz and early success was obvious.

The boldly color-blocked maillots and two-piece suits are made in New York with Italian fabrics and “are modeled after a leotard’s construction,” explained Barker. “These work for volleyball, swim, playing with children. They are constructed to have no mishaps.” A one-piece suit with long sleeves, a cutout top and a high-cut bottom was at once sexy and functional — attributes all the styles can claim. Balch and Barker chose to confine their prints, namely stripes and geometrics, to their cover-ups: short jumpsuits, long skirts, shorts. While comfort, construction, fit, function and durability matter here, nothing trumped the collection’s terrific visuals. — B.Q.

À Moi

Whit

Rhié

O’2nd

Sam Smith

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The former couture boss loves paperbacks, prefers to read on a Kindle when on vacation and devours contemporary novels galore — as he judges several

literary prizes in France.Yet he is equally passionate about his

collection of 1,600 rare books, manuscripts and musical scores that he is preparing to auction off, starting Dec. 11 at Drouot in Paris and at six subsequent sales in 2016 and 2017.

A selection of about 60 of the 150 initial lots is to go on display at Sotheby’s in New York today through Sunday — providing a glimpse into a highly personal collection amassed over a lifetime.

Interviewed in the cozy library on the second floor of his Paris apartment, Bergé said there’s a simple reason why he is part-ing with tomes that are estimated to sell for as much as $700,000.

“Because I’ll be 85 before the end of the

year and one has to be conscious of one’s age and think of the future,” he shrugged, seated at the leather-topped table in the center of the room.

Proceeds from the auctions, to be con-ducted in collaboration by Pierre Bergé & Associés, are ultimately destined for the Fondation Pierre Bergé-Yves Saint Laurent, which is to transform into permanent YSL museums in Paris and Morocco in 2017.

“I have no heirs, so I’ve willed this library to the foundation. It’s decided and orga-nized, but I prefer to take care of it myself while I’m still alive,” he added.

Bergé became acquainted with antique books at age 17: His first job was at L’Orig-inale, a bookshop owned by Richard Anacréon on the Rue de Seine. Among his tasks were to scour the booksellers that rim the banks of the Seine, known as “bouqui-nistes,” and search for treasures that could be resold.

“I can’t tell you that I learned everything

in one year, that’s not possible,” he said. “All the same, I learned things, and I never forgot the experience.”

His first important purchase, at age 21, was Gallimard’s complete works of Marcel Proust. “It was not a paperback,” he said with a smile.

The money he would amass running Saint Laurent’s global fashion empire would help him build the collection, starting in earnest at age 40. Today, it spans every-thing from a first edition of St. Augustine’s “Confessions,” printed around 1470, to William S. Burrough’s “Scrapbook 3” from 1979. The wooden cases reflect an eclectic taste for grand literature across multiple languages, including Russian, English, Ital-ian, Portuguese and German.

Bergé was emphatic that the late Saint Laurent had no interest in his literary leanings, and left him free to assemble the library according to his interests and tastes.

While Bergé appreciates the longevity and beauty of his oldest volumes, pointing out the challenges of publishing and print-ing books amid strict social mores and tech-nical challenges, he acknowledged that “the text is the text” and to read a paperback version and a more modern translation is more practical. What fascinates him is the journeys made by these ancient books,

passing over generations through many hands, some famous — and likely some who never even read them, owning them for prestige “or because it’s chic,” he winked.

For example, he showed off a copy of Gustave Flaubert’s “Madame Bovary,” remarkable not for its printing wizardry, but for what’s written in fountain pen on the first page: a dedication to Victor Hugo.

“For me, it’s very moving to think that, first of all, this is a first edition, the first time it was printed, and this is the copy Victor Hugo owned and the one he read. There’s a back story, and I love that,” he marveled.

Next he produced a small volume, Cham-fort’s “Maxims,” from a hard case, and explained that it belonged to the 19th-century French writer known as Stendhal, who is said to have trimmed its cover so he could stuff it in a pocket, and who filled it with his thoughts in florid script.

To be sure, Bergé is an avid collector. While in 2009, Christie’s famously auc-tioned off the art collection he and Saint Laurent had amassed, netting some 374 million euros, or $521.2 million at average exchange rates that year, he also boasts collections of skull sculptures known as “vanités,” of 19th-century statuettes known as “Santibelli,” and of African masks.

“I have a lot of respect for collectors,” he said, noting that extends to children who start out with stamps, appreciating not only the beautiful scenery or famous people they often depict, but the romantic connotations: What messages these stamps might have delivered; what journeys they endured. (And yes, Bergé was a stamp collector as a child.) “I will die a collector, of who knows what, maybe matchbooks,” he teased.

Bergé has a particular passion for Flaubert, not only because of the French writer’s influence and stature in global literature.

“There are books you read when you’re young that you love, but when you re-read them as an adult, you may not like them,” he explained. Not so Flaubert. “I loved his books when I was 15, I loved them at 20, I loved them at 30, and I love them in my 80s,” he said.

Among his cache of Flaubert novels is one that was owned by the American writer Henry James, with his address inscribed inside the cover.

Bergé enjoyed a personal friendship with two prominent French writers, meeting Jean Giono at age 18, and, at 24, Jean Coc-teau, becoming such close friends with the latter that Bergé was named the godfather of his second child.

Cocteau’s “Le Requiem” from 1962 contains a personal dedication to Bergé. The handwritten message — “I know one must bear one’s cross — mine is heavy. I send you the stream into which we spit,” is the English translation — is cryptic, but not to Bergé, who knew that Cocteau suffered from paranoia toward the end of his career, convinced that people did not appreciate or understand his writings.

That volume is estimated to fetch between 2,000 and 3,000 euros, or about $2,230 to $3,350 at current exchange rates. The December sale is estimated to net about 8 million euros, or $8.9 million at current exchange.

After the New York preview, Bergé’s books are to go on display at Sotheby’s in Hong Kong from Oct. 2 to 7 and at Sotheby’s in London from Nov. 6 to 9. ■

“I will die a collector, of who knows what, maybe matchbooks.”Pierre Bergé

Bergé Opens Up Rare Collection Ahead of Auction Some 1,600 books, manuscripts and musical scores are to be put on offer starting in December. BY MILES SOCHA

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The myriad Manolo Blahnik-shod feet at Wednesday’s Couture Council of the Museum of FIT’s annual luncheon would have given even Imelda Marcos pause. The event, at the David H. Koch Theater at Lincoln Center, honored the footwear designer with the council’s award for artistry, so many in attendance dressed accordingly. Next year's winner will liter-ally have big shoes to fill.

“I married a beautiful woman and the paparazzi follow her now,” said Alec Baldwin, of wife Hilaria. Asked about her favorite designers, Baldwin said, “Who doesn’t she like? Manolo, Carmen Marc Valvo, Dolce & Gabbana.”

“Manolo is almost an adjective by this point,” said Linda Fargo, senior vice pres-ident of fashion at Bergdorf Goodman. “If you can be known by one name, you’re in Madonna territory.”

The event, which marked the 10th anni-versary of the luncheon, raised more than $10 million.“This is the first time we’ve honored a shoe designer,” noted Valerie Steele, director and chief curator of the museum.

Martha Stewart attested to the com-fort of Blahnik's designs, adding, “I have a lot. They’re my favorite shoes. I have good feet.”

Uma Thurman dropped in just long enough to deliver the award to Blahnik. “I can honestly say he’s been with me every step of the way — literally,” she said. Blahnik was effusive, but clipped. “I'm not very good in public,” he said. “It’s great to be in America and New York. The gener-osity of your people…and the wonderful lady from Spain,” Blahnik said, referring to the Spain Tourism Board’s Elisa Ruiz

Sáinz, who spoke about the designer's connection to her country, and whose name he didn't remember. Blahnik was born in the Canary Islands to a Spanish mother and a Czech father. “New York is one of my favorite cities,” he said. “Thank you, thank you, thank you.”

After he received the award, he said, “It hasn't really registered yet. It’s a great time and a great moment.” Asked what he looks forward to doing in the city, Blahnik indicated he would do what he always does when he comes to New York: “Going to the movies.” ■

● The firm will unveil a redesign to coincide with the rollout of apparel from high-end fashion designers.

BY RACHEL STRUGATZ

Rent the Runway is redesigning and bolstering its designer apparel offering today with looks from Jason Wu, Nina Ricci and Giambattista Valli, Derek Lam and Kaufman Franco.

Later this year, 3.1 Phillip Lim and Suno will be added to the firm’s roster of more than 350 designers. (Rent the Runway carried just 30 brands when it launched almost six years ago).

In tandem with the arrivals, the rental company will introduce a general redesign with a reimagined logo.

Jennifer Hyman, cofounder and chief executive officer, said it was time for Rent the Runway to “start talking” to savvy Millennial women who want to wear sportswear to an interview or on a date.

“The design had to appeal to the fashion-forward woman in her 30s who is living in a city, who is living a busy life and is smart and knows about these designer brands,” Hyman told WWD. The rental portal began to offer sportswear to its five million active members in April and is looking to continue to expand its presence in the category.

Hyman said a key component to the siteπs makeover is the revamped styling and photography. Images are now shot in a way that evokes the look and feel of a fashion editorial, mirroring the presentation of top-tier designers that Rent the Runway offers, she said.

A new section of the site, The Real Runway, will showcase fashion-minded female entrepreneurs and stories about how they founded their businesses. This will be accompanied by photos of women — from Brit Morin, founder and ceo Brit + Co, to Payal Kadakia, founder and ceo of ClassPass — wearing a range of looks that can be rented on the site.

Hyman projected the company will grow at a rapid pace this year, and the retail equivalent of rentals will more than double from $500 million last year to $1.35 billion in 2015. She said the valuation of the firm — estimated to be between $500 million and $600 million at last yearπs Series D fund-raising round of $60 million — is higher now, given that the company beat its financial projections. Organic traffic is up 45 percent so far this year.

“I think it says something both about the normalization of rentals for Millennials and society across the board,” Hyman said of consumers using services such as Rent the Runway, Uber, Spotify, Airbnb and Blue Apron. “Now it’s par for the course.” ■

RETAIL

Rent the Runway’s New Look

Barneys New York continues to inte-grate its message across print, digital and in-store and today will launch an app for its women’s magalogue, The Window in Print, available at the Apple store. Barneys printed 165,000 copies of the fall version, and 70,000 of a new men’s mag-alogue. Every item in both issues is easily shoppable. “We hadn’t shown the breadth of what Barneys is in one medium,” said Daniella Vitale, senior executive vice president and chief operating officer. “We wanted to make sure that a lot of people are able to see the app. We didn’t want it to be just a catalogue or a PDF that you download from the Web site. Making it available through the Apple store is a new thing for us. It means more eyeballs.”

Vitale insisted that “editorial helps sell product. When we launched The Window in Print in the spring, the revenue was higher than all of the [mailers] in aggre-gate that we did the previous spring. The app is going to add a whole new layer of customers and higher response rates from existing customers.”

Barneys has been working on person-alization of The Window on the Barneys Web site. “That’s one of the biggest projects we embarked on two years ago,” Vitale said. “You’ll see this Window property continue to expand for us,” she said, noting that features from TWIP will be translated to store displays. “The Window in Print and app shows the world of Barneys.” — S.E.

¬ WISING UP: The Financial Times is dipping into the golden stream of men’s wear with its first publication dedicated entirely to the style-conscious male. Wise Guise, which bows on Saturday, will be a biannual publication published in a sim-ilar format to the paper’s lifestyle glossy, How to Spend It. It will showcase fashion, accessories, watches and technology.

The debut issue has 88 pages, half of which are made up of ads from brands including Louis Vuitton, Prada, Hugo Boss, Brioni, Berluti and Giorgio Armani.

The new magazine features an under-water fashion spread — complete with

circling sharks — shot on location off the coast of Nassau, Bahamas. There is a profile of Thomas Maier, interviews with Brioni’s Brendan Mullane and Dior Homme’s Kris Van Assche, and a look into the closets of Lord March, Ben Goldsmith and Aston Martin design director Marek Reichman.

Gillian de Bono, editor of How to Spend It, said she’d long been hankering to launch this publication: The men’s-themed sections in the Friday editions of How to Spend It have been popular with readers; the men’s wear category is grow-ing rapidly, and a high proportion of men are already reading How to Spend It.

De Bono added the title could poten-tially increase in size — up to 136 pages — and become a quarterly in the longer term.

Although the new magazine resembles How to Spend It, with regular columns such as The Aesthete and Perfect Week-end, the launch issue was a particularly ambitious undertaking. The underwater shoot took place among live sharks — but not man-eating ones, according to de Bono. There were two shark wranglers with food on hand, and a particularly game model who only had one diving lesson the day before and wore weighted clothes — but no chain mail. All in the name of fashion. —SAMANTHA CONTI

Memo Pad In the Window

FASHION

Couture Council Honors Manolo Blahnik

Manolo Blahnik and Uma Thurman

● The footwear designer received the Award for Artistry at a luncheon attended by Uma Thurman, Alec Baldwin and Carolina Herrera.

BY SHARON EDELSON

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Pantone’s Top Colors Hint at Calm

● Spring 2016 tones range from pink to gray, and every shade between.

BY ROSEMARY FEITELBERG

Pantone’s Top 10 colors for spring are meant to ease the daily grind. There’s a psychological reason for that, according to Pantone Color Institute executive director Leatrice Eiseman.

“The fact that technology has gotten so overwhelming and so 24/7 has really created a great part of the need for these comforting, softer colors. Technology plays a huge part in people feeling like they want to stop the world and get off,” she said. “At the same time, we can’t deny that global doors are opening — as in Cuba and other south-of-the-border places.”

How else to explain Rose Quartz as this season’s number-one color for women and men? Other soothing shades can be found in the remaining top-five hues — Peach Echo, Serenity, Snorkel Blue and Buttercup. The second half of the top 10 — aqua Limpet Shell, Lilac Gray, warm red Fiesta, Iced Coffee and Green Flash — hint at other kinds of reprieves and allow for some unexpected color combinations. In addition, the healthy art world has sparked interest in some of the unexpected hues. Designers also referenced colors favored by Matisse and Picasso, which have had blockbuster New York shows in the past year or so, and Frank Stella, Esther Stewart and Sam Falls also factored into the list.

Rose Quartz along with Peach Echo, Serenity, Limpet Shell, Lilac Gray and Iced Coffee are among Pantone’s new colors.

Other shots of more vibrant colors can be attributed to consumers’ appreciation for the lush vegetation in urban design. “Whether they get outside or not, they at least want to be within eyeshot,” Eiseman said. “We’re even seeing a lot of botanical prints for interiors. People want patterns with a vegetation look.”

Here, more detail on the top 10:

1. ROSE QUARTZ 13-1520 PERCENTAGE OF DESIGNERS WHO USED THIS

COLOR: 22.55%“This really is a beautiful pink that will radiate well on the skin for women as well as

men,” Eiseman said. “Women can always be helped along by cosmetics, but guys have to rely on the colors they’re wearing to some-times make them look a little healthier.”2. PEACH ECHO 16-1548 19.87%“We know the oranges have been hanging in there even though historically orange is a color that comes and goes. Peach Echo is a very warm, friendly and accessible color,” Eiseman said.3. SERENITY 15-3919 15.86%“As the name suggests, Serenity is a calming color that plays to the whole idea that we know we’re still living in turbulent times. Blues simply relay that feeling of relaxation,” Eiseman said.4. SNORKEL BLUE 19-4049 15.21%Eiseman said this shade is “meant to be a bit more fun, less serious than navy, and serve as one of the anchor colors for the spring palette.”5. BUTTERCUP 12-0752 11.45%“Buttercup is all about sunlight, happiness and cheer — this one just speaks to give us a ray of sunshine, something to be hopeful about. It really energizes,” Eiseman said.6. LIMPET SHELL 13-4810 11.23%“Lovely and refreshing,” Limpet Shell is a blue that has a slightly green tinge, accord-ing to Eiseman. 7. LILAC GRAY 16-3905 9.78%“There is a need for neutrals every season and this one has a hint of the purple family that is soft and subtle,” Eiseman said. “In light of the state of the economy, people are still mindful about the way they spend their money. If they invested in gray in recent seasons, as many people have, this is a color that is not going to say to them, ‘Oh, that’s so yesterday — I have to get rid of that.’”8. FIESTA 17-1564 8.99%“The south-of-the-border influence really plays heavily into this particular shade of red, which is more warm-based than a cha, cha, cha red. It’s very free-spirited,” Eiseman said.9. ICED COFFEE 15-1040 8.92%“With a tan disposition, Iced Coffee has a warmth that combines well with every-thing else,” Eiseman said.10. GREEN FLASH 15-0146 8.68%With a yellow undertone, this bright green would be well accepted for spring or summer. ■

Hint at CalmPANTONE

13-1520 TCX

Rose Quartz

1

22.55%

Hint at Calm PANTONE 16-1548 TCXPeach Echo2

19.87%

PANTONE 15-3919 TCXSerenity

3

15.86%

PANTONE

12-0752 TCX

Buttercup

5

11.45%

PANTONE 19-4049 TCX

Snorkel Blue

4

15.21%

PANTONE

13-4810 TCX

Limpet Shell

6

11.23%

PANTONE 16-3905 TCXLiliac Gray

7

9.78%

PANTONE 17-1564 TCXFiesta 8

8.99%

PANTONE 15-1040 TCXIced Coffee9

8.92%8.92%

PANTONE

15-0146 TCX

Green Flash

10

8.68%

than expected — depending on the second semester, we are getting close to reaching it this year,” said chief executive officer Stefano Sassi at the fashion house’s offices here Wednesday. Owned by the Qatar-based fund Mayhoola for Investments, Val-entino regularly releases year-end financial results, but this is the first time the com-pany has released its first-half figures.

Pleased but never self-aggrandizing, Sassi said his intention is to “bring some visibility” to this achievement. “This is a symbolic turning point for us that will lead us to a new ulterior phase,” he said.

The executive declined to elaborate on possible future developments — whether an initial public offering or the acquisition of other fashion brands — diverting any decision to the majority shareholders. But he did point out that there is no need for a cash injection and that the owners’ “inter-est in developing their presence in luxury” is a fact, depending on the opportunities. Incidentally, he said, there is “no Missoni dossier on the table,” addressing recent rumors about the group’s interest in that brand.

“We are supersatisfied, and the gains point to the brand’s critical mass and its

management of financial resources,” Sassi said.

In the first half, Valentino’s earnings before interest, taxes, depreciation and amortization climbed to 87.5 million euros, or $97.1 million, compared with 46.7 million euros, or $64 million, in the same period last year. Dollar amounts are con-verted from the euro at average exchange rates for the periods to which they refer.

The company has more than tripled

in size, expanding sales from 152 million euros in the first half of 2011. EBITDA in the first half of 2011 totaled 9.3 million euros.

Sassi attributed Valentino’s growth tra-jectory to the following:

The brand’s retail network, which showed a like-for-like increase of 22 percent in the first half. “This is the fifth consecutive year we see a 20 percent retail growth,” observed Sassi.

The opening of new stores, such as units in Hong Kong’s Canton Road and New York last year and in Rome this year. The com-pany has added 40 stores in two years.

The growth of its wholesale channel. “This is also a successful division, very rel-evant. It’s very selective and we pay great attention to it to protect the brand. Sellout is increasing,” Sassi said.

New markets, as regions such as Korea and the United Arab Emirates are now directly managed.

Foreign exchange rates as “10 percent of the increases are connected to this,” said Sassi.

All categories and all divisions are grow-ing. Accessories account for 55 percent of sales and ready-to-wear for 40 percent, allowing Valentino to be a leader in wom-en’s apparel, said the executive, who once again credited creative directors Maria Grazia Chiuri and Pierpaolo Piccioli.

Sassi noted that markets are “solidly balanced,” with Europe showing the big-gest growth, and an increase of domestic

customers, too. He pointed to Japan, Brazil, the U.S. and Asia as areas gaining significantly. Hong Kong remains positive although “not growing,” but China is “very well,” he pointed out, registering 30 percent growth in the first half and leveraging “the strength of the brand, and a careful management of points of sale for exclusivity.”

Europe is the brand’s largest market, accounting for 40 percent of sales, and growing 22 percent in the period. Asia and Japan represented between 35 and 37 percent, followed by the U.S., accounting for 23 percent of the total. In the latter, a store at the Royal Hawaiian Center opened in July and a unit is expected to open at Bellagio Las Vegas.

Retail investments since 2013 have totaled between 250 million and 300 million euros, or $341.1 million and $409.3 million at current exchange. “Retail was an element of weakness [before being acquired by Mayhoola in 2012]. You must have points of sale that represent the brand. We have an obsession for the label, but, really, this is the king tool to convey our message,” Sassi explained.

The executive said that July and August “confirm the trends” for Valentino. “We expect to continue [growing], we are positive. Product, style and lifestyle are connected, the cornerstones are solid and relevant, I don’t see why there should not be continuity.” ■

Valentino Aims for $1B-Plus Sales Target

CONTINUED FROM PAGE 1

Stefano Sassi

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True to form, Jeremy Scott brought the stars and his signa-ture tongue-in-cheek glamour to the Hollywood premiere of “Jere-my Scott: The People’s Designer” on Tuesday night.

“I wanted to go Old Hollywood so I’m doing a tuxedo, but with no shirt. It’s a topless tuxedo and I covered it with Swarovski crystals so it would sparkle and shine,” he said.

By his side was BFF Katy Perry, dressed in a matching gown. “We are twinning. I think that’s the word on the streets these days,” she said. “Jeremy is always so kind to let me borrow things, but I turn into a pumpkin at midnight.”

Cinderella and her prince still had some more gushing to get out of their systems before midnight.

“She’s the most beautiful pumpkin you’ve ever seen,” Scott said. “And she’s one of the most kind, generous people you could ever hope to have as a friend. To me, she is still the little girl who came up to me

before her album came out [in 2007] and told me that I was her favorite designer and hoped one day I would dress her.”

The documentary, from film-maker Vlad Yudin, is populated with footage of the duo at the Costume Institute gala and the Super Bowl. Several of the other famous faces in the documentary also turned out for the premiere, including a Moschino-clad Rita Ora — who said her favorite thing about Scott is that “we’re both a bit wild, a bit crazy”; A$AP Rocky; China Chow; Liz Goldwyn, and Liberty Ross.

“Jeremy never got his true respect in the fashion world, but he has a lot of real fans. People wear his stuff and follow him as if he’s a pop star,” Yudin said. “When pop culture embraces you, it’s way more powerful than any institution.”

Indeed, there were several young Scott-clad fans lining the barricades on Hollywood Boule-vard hoping to get a glimpse of him. They had plenty of time to

ogle because Scott and Perry also partook in the Tinseltown tradition of immortalizing their handprints in the cement in front of the TCL Chinese Theater — née Grauman’s.

“I am so honored to be the first designer to have his hands immortalized with all these stars I love,” Scott said.

Inside, the audience erupted into applause after the film, and Perry, who brought tissues, said, “Everything with us is very natural. You can call it a muse but I think it’s a bond and a friendship. Plus, I like when people go against the grain and are a little bit of the black sheep.”

Afterward, a select group made its way across the street to the Roosevelt Hotel penthouse for the after party, including Dita Von Teese, Tinashe, Vanessa Hudgens and Rosson Crow.

“I mean, I loved Jeremy before, now I really fell in love with him,” gushed Lily Collins. “What other designer is so lovable and so fun?” — MARCY MEDINA

Jeremy Scott Documentary PremieresKaty Perry, Rita Ora, Lily Collins, Dita Von Teese and other fans came out for the highly anticipated showing of “Jeremy Scott: The People’s Designer.”

“New York is a photographer’s city,” says Remo Ruffini.

The Moncler president was speaking recently before the label unveils a private exhibition at the New York Public Library featuring the work of 32 of the most celebrated names in fash-ion photography tonight.

Jeremy Scott and Katy Perry

Dita Von Teese

Skrillex and A$AP Rocky

Rita Ora Vanessa Hudgens

Lily Collins

Curated by Fabien Baron, the editorial director of Interview magazine, the group includes Patrick Demarchelier, Arthur Elgort, Annie Leibovitz, Bruce Weber and many others. Ruffini asked each of them to shoot Moncler’s Maya duvet jacket — which was designed the year the brand was founded in 1952 — however they wanted for the group show.

“It’s something really incredible because we gave [the photogra-phers] the freedom; we didn’t give them any brief,” Ruffini says. “We said you have to do exactly you, and that was really the key.”

The resulting images couldn’t be more varied. Hans Feurer shot model Hana Jirickova at the Place de la Concorde in Paris — the relatively straightforward photo was inspired by “a strong, self-confident woman.”

Fashion Photographers’ Spin on Moncler Classic

Paolo Roversi, meanwhile, wanted to capture “first adven-tures,” so he shot his daughter, Stella, near the Pont Alexandre III bridge over the Seine at 3 a.m.

Pamela Hanson shot one of her muses, Julia Restoin Roitfeld, in her Chelsea apartment in order to depict the jacket in the most “natural way.”

Others strayed from candid snapshots. Raymond Meier propped a silver mannequin up inside what appears to be a walk-in refrigerator, for example, while Brigitte Lacombe used a cat as her model. “You really see the jacket but in different ways,” Ruffini says. “In some pictures it looks like a sports jacket, in some pictures it looks like a piece of art.”

Called “Art for Love,” the exhibit will support the HIV and AIDS research organization amfAR

Liberty Ross

● Patrick Demarchelier, Arthur Elgort, Annie Leibovitz, Bruce Weber and more shot the label’s iconic Maya duvet jacket for an exhibition.

BY ALLY BETKER through a silent auction — also available through Paddle 8 — at a dinner Thursday expected to draw some of the top names in fashion photography, such as Ter-ry Richardson, Vinoodh Matadin and Inez van Lamsweerde, plus the participants in this exhibit and their muses.

Funds will go toward amfAR’s “Countdown to a Cure” project. ■

Julia Restoin Roitfeld

photographed by Pamela

Hanson

Hana Jirickova photographed by

Hans Feurer.

Brigitte Lacombe used a cat

as her model.

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