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The Official Page of The Fashion Law.

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    Cartier has been awarded almost $30,000 in damages by a Shanghai court, stemming from a trademark infringement case the jewelry brand filed last summer against three Beijing-based companies. Turns out, Beijing Mengkela Science, Technology Co. Ltd., Beijing Huixin Tianyuan Science and Trade Co. Ltd., and, were selling "Cartier jewelry," (counterfeit Cartier jewelry) and using the Cartier brand name in their advertisements, obviously without authorization to do so. Lawyers for Cartier alleged in the lawsuit that the famed French brand had been granted status as a well-known trademark by Chinese courts multiple times in the past, and should be recognized as the holder of such mark. And while that argument appears to have worked, Cartier was seeking $80,000 in damages and a public apology, but seems to have settled with $30,000. 

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    Guess what ... Nasty Gal may have actually started listening. After nearly two days of posting and tweeting about the online retailer's ridiculously blatant copy of Givenchy's Rottweiler tote, Nasty Gal is no longer offering the bag for sale. Chances are, founder Sofia Amoruso, read up on the law (aka read our post about how the bag most likely infringes a Givenchy copyright) or received a cease and desist letter from Givenchy. Either way, I doubt she really wants to go up against luxury giant LVMH in court. Our advice to the Nasty Gal team, support design integrity by offering consumers more original designs and less copies. Have you spotted a copy? Shoot us an email. 

    Givenchy bag (left) & Nasty Gal's version (right)

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    Since this week finally felt a little bit like Spring, we don't blame you if you were soaking up some sun and weren't in front of your computer much. Just in case you missed something, here are some of our top stories for the week ... 

    NYC is getting serious about fakes. Councilwoman Margaret Chin has proposed a bill that would penalized both sellers AND buyers for transactions involving counterfeit goods. The bill would penalize individuals caught buying designer fakes with a maximum $1,000 fine and up to a year in prison.

    The battle of the YSL films. Currently set to debut this year: two films portraying the life of late fashion designer Yves Saint Laurent. The problem: one has been endorsed by YSL co-founder Pierre Bergé and the other by Kering founder François Pinault (Kering, formerly known as PPR, owns YSL). This may get ugly. 

    A look at Cartier's nail bracelet and why many fashion bloggers' claims that this design is too simple for Cartier to own is just plain false! 

    Kanye West is headed to court, and the lawsuit stems from his hit single, Gold Digger ... 

    Nasty Gal debuted a Givenchy copy this week and after some pressure from The Fashion Law team, the Rottweiler tote bag has been removed. Learn the law behind the lookalike bag. 

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    It finally felt a lot like spring this past week and the sudden change in temperature has us longing for a springtime wardrobe. Based on quite a few of the street style photos, spring style consists of a lot more than florals. In fact, almost anything goes for spring. So, take a look and get inspired by some of our favorite girls, including Christine Centenera, Eleonora Carisi, Geraldine Saglio, Hannelli, Hanne Gaby and more.  

    images courtesy of harpers bazaar, tommyton, fashionologie, pinterest

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    image courtesy of fashioncopious

    Coach Inc. won an $8 million jury award in a counterfeiting case this week. The lawsuit, involving one of Coach's customs brokerage firm, was filed in a federal district court in Los Angeles. The firm  was responsible for handling the paperwork required for the importation of authentic Coach goods for the U.S.-based accessories company. After U.S. Customs and Border Patrol seized a large shipment of counterfeit Coach handbags and wallets headed for the Port of Los Angeles, Coach began an investigation, and it turns out, the defendants had created and filed fraudulent customs entry documents to allow for counterfeit Coach goods to be shipped to the U.S. According to WWD, the case is the most recent victory in Coach’s anticounterfeiting litigation campaign “Operation Turnlock,” which the company launched in May 2009. So far, the accessories firm has filed over 650 lawsuits and has received millions in judgments and settlements. 

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    By Miles Socha, WWD (edited by TFL)

    After eight years at the creative helm of the French house, Riccardo Tisci proved that his signature cocktail of tough and tender—while seemingly at odds with Givenchy’s genteel image—is a combustible combination.

    “You never know what to expect from me,” the Italian designer relates in his mile-a-minute parlance over the phone from Brazil, where he is vacationing for a few weeks after his triumphant show. “Today I could be very romantic, and the next season I could be very sexual.”

    Chalk it up to his youth and his full-throttle approach to life and to work. At 38, Tisci has brought Givenchy back to the top of the Paris fashion agenda. His shows are pulse-pounding, theatrical events, rarely failing to deliver a strong jolt of fashion.

    Told he is becoming something of the showman, the designer balked at the descriptor, insisting the term is more appropriate for the likes of the late Lee Alexander McQueen. “I don’t feel like a showman. I feel like an emotional man,” he says, explaining that his fall collection was largely autobiographical, born of twin acts of misfortune.

    One was a love affair that ended last year, leaving Tisci in a wistful mood suggested by the poetry of Hegarty’s lyrics.

    “In a way, it was a celebration of love, of honesty, of purity,” Tisci says of the show, which had models parading under a giant ring of light in a concrete warehouse, their hair dyed vivid colors and swirled into tight pin curls that resembled flowers. In a graceful mix of streetwise aggression and sweet femininity, they wore gypsy skirts trimmed with zippers, boyfriend jackets and molded leather bombers.

    The other misfortune behind this outstanding collection was a water leak at Givenchy’s headquarters on Avenue George V that threatened its vast clothing archive. Visiting the cache to survey any damage, the Italian designer, who arrived at Givenchy after nurturing a Goth-tinged signature collection, was confronted with an impromptu retrospective of his output for the house.

    And so he decided to revisit the various shapes and themes he has brought to Givenchy, thinking of the Gypsy women of Italy—the zingare—and how they expertly recycle old garments. “They really know how to put clothing together, mixing men’s clothes, women’s clothes, trainers,” he enthuses. “For me, they have an allure that is so honest, an expression of what they really want to wear.”

    Sarah Andelman, purchasing manager and creative director at Colette in Paris, was struck by how Tisci transformed his looks of yore. “I like that he’s not afraid to use touches of previous prints when other designers erase everything between each collection,” she says, summing up his appeal as “this balance between something very chic and sexy.”

    Tisci’s transporting show also made a statement about female empowerment. In a handwritten note from Hegarty left on every seat, the singer made a plea for “future feminism” as a way to save the earth from ecological disaster. “Men must find the humility to retreat. Women must step forward and start to forge a new way forward for our species and for all of nature,” he wrote.

    The designer, too, characterizes himself as something of a social activist, leveraging the platform his position in Paris fashion affords him to, as he puts it, “give messages,” particularly in support of women’s rights, along with acceptance for human diversity and antiracism. After all, Tisci has used a transsexual person, his friend Lea T, and a strapping albino model in ad campaigns for Givenchy.

    Portraying women as powerful figures—“strong” and “sensual” are two of his favorite adjectives—is certainly a Tisci mainstay, from his first, largely panned ready-to-wear effort, which he calls the “balloon” collection for the giant white inflatable at the center of his show set.

    While he now lives with all the privileges that come with being a couturier—chauffeurs, first-class travel and the like—Tisci is always up front about his modest upbringing: being the youngest and only boy among nine children, and having to work from age 12 to help his family make ends meet and to save money for art school. He worked as a delivery boy, store clerk and carpenter, scoring a job designing fabrics at a textile firm at age 16 and fueling his fashion ambitions. After attending the London fashion school Central Saint Martins, he did stints at Puma, Antonio Berardi, Coccapani and Ruffo Research while crafting his own label. At Givenchy, he was the fourth designer to helm the brand since Hubert de Givenchy retired in 1995, following in the footsteps of John Galliano, Lee Alexander McQueen and Julien Macdonald.

    Today, retailers say Tisci’s place in the top ranks of international fashion is secure.

    “If I had to come up with a list of the five most influential designers of our time, Riccardo would definitely be on that list,” says Jeffrey Kalinsky, executive vice president of designer merchandising at Nordstrom Inc. “He has been able to refine and elevate influences from the street, such as the fabulous sweatshirts on the fall runway. No other designer at this time seems to take inspiration from the world around him the way Riccardo does.”

    “Givenchy is in our top 10 brands in ready-to-wear across women’s, men’s and accessories,” notes Sarah Rutson, fashion director at Hong Kong–based Lane Crawford. “Our customer has always responded to his aesthetic, but we have seen how much it has grown in terms of recognition and desirability for his designs. Riccardo understands women so well. He grew up surrounded by women in a matriarchal environment and has created a brand that speaks to many customers, yet it keeps a clear vision and focus.”

    Barbara Atkin, vice president of fashion direction at Canada’s Holt Renfrew, says Tisci has moved Givenchy “light years away” from the prim, now cliché Breakfast at Tiffany’s image of yore. And that’s a very good thing. “Riccardo has invigorated the brand with his ability to tap into the zeitgeist and understand the influences of hip-hop-inspired urban streetwear on pop culture. He has almost single-handedly turned the sweatshirt and baseball jacket into some of the most coveted fashion items, and his Rottweiler T-shirts are among the most sought-after images in the fashion world today.”

    In her estimation, Givenchy’s appeal today is that it is “dark, mysterious, erotic and surreal, along with a rebellious spirit.” That’s what “makes the Givenchy label so attractive to the next generation,” Atkin says. “Stand at any street corner, or visit any school yard around the globe, and you’ll witness the intersection of Riccardo Tisci with urban youth style.”

    Tisci says it’s exciting for him to see his fashion propositions—whether it’s his quirky dog prints or his fetish bomber jackets—make it from the runway to the streets. “When I see it in reality, whether I’m taking a flight or going to a club, that’s what inspires me to keep creating,” he says. “Today, I know who I’m talking to. Before, it was just imagination.”

    Indeed, the edge Tisci brought to French fashion is today tempered with growing sophistication. For his most recent men’s collection, for example, the designer stripped away the tribal jewelry and the man skirts to focus on innovative tailoring and sportswear that bristled with modernity and subtle sensuality. “I’m maturing,” he allows. “I’ve learned so much at Givenchy, about creating, about how to make clothes, how to express myself.”

    This year Tisci renewed his contract with Givenchy, signaling that he feels “at home” at the house and reflecting his ambitions to continue fueling its strong growth vector.

    Sebastian Suhl, chief executive officer at Givenchy, declined to discuss numbers but called 2012 a “record year in terms of both top- and bottom-line growth” and cited “high-double-digit growth” for fall collections.

    While Givenchy remains one of the smaller fashion houses in the LVMH Moët Hennessy Louis Vuitton luxury universe—dwarfed by the likes of Louis Vuitton, Fendi and Céline—market sources estimate the brand is on track to surpass revenues of 200 million euros, or about $255 million at current exchange, this year. Growing the brand’s nascent retail business—Givenchy has only about 20 directly operated stores—is a key development thrust.

    “We’re planning to open 10 stores a year for the next couple of years,” Suhl says, listing an Avenue Montaigne flagship in Paris, several Hong Kong locations and about five boutiques in Mainland China among openings slated for 2013. Givenchy also boasts about 40 franchised boutiques around the world and about 800 wholesale doors. “We want to have a significant percentage of our business done with retail between now and 2015,” he says.

    The company is also investing significantly in its infrastructure, assembling a strong team of retail professionals, enlarging its design staff, plus reinforcing its supply chain and industrial supports. “The company has exploded in a very short time,” Suhl notes, crediting Tisci’s creative muscle.

    “He’s really provided the house with a contemporary identity,” the executive says. And that extends across all product lines, with the men’s wear business—which he only took over in 2008—already as large as women’s rtw. “We’re one of the few houses in the world that is able to go from a very strong luxury street influence all the way up to serious tailoring for a fashionable man,” Suhl asserts.

    To be sure, 2013 is shaping up to be a big year for Givenchy, and for Tisci. On May 6, he will cochair the annual Costume Institute benefit gala as the Metropolitan Museum of Art stages “Punk: Chaos to Couture,” the institute’s big spring exhibition. The designer is to return to New York on June 3 for the 2013 CFDA Fashion Awards, where he will be honored with the International Award, recognition that has also been granted to the likes of Rei Kawakubo, Phoebe Philo, Christopher Bailey and Dries Van Noten.

    “It takes a few years to learn what is really the essence of the house,” he says of Givenchy, founded in 1952 and a watchword for chic elegance and a French spirit. To those attributes, Tisci has added dark romance, and an urban edge, lacing his collections with undercurrents of danger, rebellion and eroticism.

    According to the designer, it’s crucial to remember the times we live in are far removed from society in the Fifties, Sixties and Seventies, when founder Hubert de Givenchy was causing a sensation. Tisci points out, for example, how Instagram, Facebook and Twitter have transformed the way people interact and communicate in the past two or three years.

    With the company’s rapid growth, Tisci is now facing the need to delegate—“I’m quite young. I do the casting myself,” he notes—and build the right structures. “The success went a little faster than the organization. I’m trying to do a lot.” 

    Asked about his future ambitions, Tisci says he hopes to see Givenchy expand its retail footprint, and he would love to celebrate its heritage with a retrospective exhibition featuring the world of de Givenchy—“He really deserves it,” he stresses—and some of his “incredible” successors, notably Galliano and McQueen.

    Meanwhile, he continues to rack up influential collaborations with his “gang,” an eclectic group of cultural shape-shifters, from Beyoncé, Madonna and Rihanna to performance artist Marina Abramovic. “We don’t pay celebrities,” Tisci stresses. “We just collaborate with people. I need to respect and relate to the person. I don’t change them and they don’t change me.”

    What’s the common denominator uniting his famous friends? “Confidence, intelligence and a strong point of view,” Tisci says.

    Not to mention influence. Holt Renfrew’s Atkin recently attended the Toronto stop of Rihanna’s Diamonds World Tour, with each of the singer’s six outfits designed by Tisci for Givenchy. “Thousands of screaming, look-alike fans were there, shooting videos and broadcasting Rihanna’s music, production and style via social networks such as Twitter and Instagram,” Atkin marvels. “The influence of Riccardo Tisci is revitalizing Givenchy, laying the foundation for a true power brand of the future.”

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    Spring has sprung. Here is a collection of street style shots in an ode to how to do spring, regardless of what your style is. Some of our favorites include bloggers Elin Kling Zoe Elysia, Vogue Paris' Capucine Safyurtlu, models Erin Wasson and Kate King, former Barneys fashion director Amanda Brooks, model-turned-writer Jenna Sauers and more. Enjoy! 

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    Thierry Andretta, managing director of Lanvin since 2009, has resigned for “personal reasons" according to the French design house. Rumor has it, Shaw-Lan Wang, Lanvin’s majority owner, chairman and CEO, has asked Michèle Huiban, Lanvin’s COO, to assume the role. Andretta is responsible for Lanvin's global retail expansion, the introduction of a children’s wear collection, and an increased focus on leather goods. Further, according to WWD, revenues at the fashion house nearly doubled during Andretta’s tenure, to an estimated 240 million euros (about $308.5 million) in 2012.

    Andretta (left) with Lanvin creative director Alber Elbaz

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    By Andrew O'Hagan, T Magazine

    Givenchy’s Riccardo Tisci’s edgy fall collection has the fashion world buzzing. But he has always staked his career on punking the status quo — challenging notions of sexual identity and class bias with the cut of a skirt.

    I just witnessed my first fashion moment. A fashion moment, to paraphrase Diana Vreeland, is a sudden, shared intoxication, when watchers are offered a perfect release from the ordinary. I’ve been to a number of fashion shows before, enjoying the spectacle, the happy tribalism of the fashion world and the hungry passion of the paparazzi. I’ve attended the parties and heard the Oh My God talk about this season’s unmissable, life-changing thing. But I’d never before stood beside a woman completely dressed in yellow as she wept into her BlackBerry. “I can’t. I can’t speak. It’s amazing. Like, totally amazing,” she said.

    The crowd was packed into the Halle Freyssinet, near the Quai d’Austerlitz, like Champagne in a dusty cellar, arranged in rows according to our label or our vintage. The space had gone dark, and Antony Hegarty, of Antony and the Johnsons, backed by a full orchestra, began to sing a haunting song. Then the fall collection for Givenchy, designed by Riccardo Tisci, unfolded in a very elevating and emotional parade, part gypsy, part Victoriana, with zippers, Bambi sweatshirts, paisley patterns and deconstructed biker jackets.

    I could finish by saying the crowd went wild and the rest is history. (They did. And it is.) But the subversive tracings in Tisci’s collection will connect him to fashion history in a different way next month, when he co-hosts the Costume Institute Benefit to open the Metropolitan Museum of Art’s landmark show “Punk: Chaos to Couture.” I’ve loved punk since I was a kid and have always felt drawn to its ribald, cheeky and rather powerful habit of lighting into our complacencies. If you were around in the 1970s and remember how mundane everything was, how mired in self-importance and gray authority, then you might welcome punk’s very necessary spirit at any time. The Met show is bound to open up some excellent arguments, not least about whether the Americans or the British arrived first with punk. But that hardly matters. What matters is whether this brilliantly scabrous, inventive and politically questioning movement is still a relevant life force in the culture today. The answer, if you believe in the influence of Tisci, is yes.

    When I turned up to meet Tisci at the Givenchy offices on the Avenue George V, where he has been creative director since 2005, I found him to be pleasingly conspiratorial and fun, naughty as an old school pal who knows why you dumped your homework. He even had the cigarettes, American Spirit, which he smoked quickly, stubbing them out each time he made a fresh point. Tisci is brown-eyed, roughly handsome and gesticulating — an engine of dark intensity, like the chief troublemaker in a film by Luchino Visconti, with a secret shyness. Basking in the afterglow of that week’s triumph, he was keen to share his distaste for conformity and his ideas for change.

    “I know I can make beautiful clothes on the runway,” he said, “but why not give people something to think about at the same time? For me, that is punk. Punk is an attitude — it is being free, it is being honest. When I was young, I felt punk was like me dreaming. I was attracted to all these sounds and to the look of these people. I felt that I had something to say that people didn’t understand. Emotions come from reality, not fakeness.”

    Before talking about his own childhood he lit another cigarette and waved the smoke away. “My story is intense,” he said, “and if I was born again I would ask God to give me the same story.” He was born in Cermenate, Italy, to working-class parents who had eight girls before they had him. “My father wanted a boy. And then he died when I was young. I went through suffering but it informed both the head and the heart, making me who I am. We had no money and I grew up amongst these women: they are my greatest inspiration and my biggest fans.” He tells a story of difficult teenage years coming to terms with his own creativity in the strong macho culture of Italy. “I grew my hair long and did my face white. My mother was clever: she never stopped me. I looked like a real freak but I was reading a lot, and that, too, made me dream. It was London and New York I dreamt about.”

    Tisci, now an international star, feels he owes no debt of thanks to his native country. He feels let down by its attitude to him, but, more than that, he objects to the chaotic authoritarianism of Italy’s church and state, and you see such rebellion in his work: “I have been killed so many times in my career for saying things. When I touch on sex and religion — I love sex, and I pray every night — that makes me a bad and a dangerous person in some eyes. But I went for it. I was ready to be criticized.”

    The punk legacy adopted by Tisci leads him toward new kinds of emotional and political engagement. He cares about femininity and its attackers and many of his design ideas stem from that. “I want to break down the legend of Italian men being macho, you know, the whole thing: Italian women and their large breasts, the football and the pizza, the women always dominated by the men.”

    Givenchy not only has a dreamer as its head, but in Tisci it has a thinker and an activist, too. This, for me, is where the punk ethos, however far it has flown from its origins, comes home to roost: an international luxury goods company has a chief designer who cares about the rights of the people he is selling to. And that is not nothing. He loves the industry — loves fabulousness, loves success — but he also sees it as the vehicle for a new upgrade in gender equality. “When you get to a place like Givenchy, you get power,” he said. “I hate to use this word, but, yes, you get power. And you get followers because you are making people beautiful, you are changing people. I can sell more bags, I can sell more beautiful shoes, but, next to that, you have the power to give a good message to people. I had this friend called Leo who was transgender. I helped her through her journey and eventually we used her in our advertising campaign. Everyone was against it, but we did it.”

    It must seem far off to many people, Givenchy, high fashion, the Avenue George V, the Met. But Tisci feels that everything he does comes not only from the little streets of his childhood but also from the little streets of today. “It’s actually the beginning of my inspiration,” he said. “I make sure that in every collection there is stuff for kids with less money. They might have to save up but it is reachable. My sisters still work in factories, and why shouldn’t normal people have the chance to dream, to wear the Givenchy label? I want my sister, my nephew, my niece to be able to go to a Givenchy store and buy something, not just a princess, you know?”

    I think I do. When I was growing up, the soul of punk was to be found in a safety pin that you could fix to your school blazer as a way of giving the finger to the headmaster. It wasn’t much, yet it was everything, a way of finding your own voice with a small articulation of the word “no.” And if punk has a creative potential across decades, it was always going to be that, even though, in Riccardo Tisci’s case, the articulation is anything but small: it is phenomenal, powerful, classy and moral.

    One imagines that Tisci’s involvement in the Met Ball is something of a consummation for the boy from southern Italy who once whitened his face and mangled his jeans. “A lot of the established designers, they don’t really care about the relationship between creativity and social change. That is why I love some of the younger people like Christopher Kane and Rodarte.” He smiled at the world beyond his clear Paris windows. “They really care,” he said, “and it blows me away with happiness.”

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    Vogue published a Guide To Affordable Spring Fashion, which consists of 100+ garments and accessories under $100. It is a good idea. Not everyone has unlimited funds to spend on new pastel trousers or striped accessories. However, you know what's not such a good idea? When the self-described "thought-provoking, relevant and always influential" pinnacle of American fashion includes design pirated copies on its affordable fashion list. Because nothing says sophistication and culture like a knockoff. I'm not exactly sure what's going on at Vogue, the supposed holy grail of the fashion world, other than Anna Wintour getting a promotion, but the results are downright pedestrian. Bowing down to celebrities (think: Beyonce co-chairing the Met Gala), kissing up to politicians (think: endless fundraising for Obama), and mediocre cover stars (think: Kate Upton coming in June), its as if this once truly epic voice in fashion is begging for its own decline.

    But back to the 100 under $100 list. While I applaud Vogue for highlighting some emerging design brands on its list, its choice to include Zara, a repeated supporter of unethical labor practices, is questionable; as is the presence of design pirate, and copyright and trademark infringer, Nasty Gal. In terms of some of the blatant copies that made it onto the list, such as Jeffrey Campbell's take on Jenni Kayne's staple d'Orsay flats or Forever 21's replica of Pamela Love's cuff, Vogue should not be highlighting these wares, let alone promoting them - regardless of whether this is an affordable fashion list. If anything, the publication should be distancing itself from such copies or educating about how harmful design piracy is to young and/or independent brands. But, I guess the reign of Vogue is slowly coming to an end and we should not be holding the once great Conde Nast mag to such high standards anymore.  

    Jenni Kayne's d'Orsay flat (left) & Jeffrey Campbell's version (right)

    Pamela Love's cuff (left) & Forever 21's version (right)

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    For true Givenchy-enthusiasts, the story of Leo T-turned-Lea T is old news. Moreover, regular readers of The Fashion Law have also likely become familiar with the Brazilian beauty, who is Givenchy creative director Riccardo Tisci's longtime pal and former-assistant. You have have seen her make her modeling debut, when she starred in Givenchy's Fall 2010 ad campaign, or any of the subsequent Italian Vanity Fair, Vogue Paris, LOVE magazine or Elle Brazil features. In case this is the first time, you're hearing her name, the very short version: she served as Tisci's assistant at Givenchy for years, before becoming an openly-transgender model and undergoing a gender reassignment surgery. With so much recent press about Tisci, due to the up-coming Met Gala that he is co-chairing, the designer shed light on one of his muses. Rarely speaking too much about Lea T, he told the New York Times:
     I hate to use this word, but, yes, you get power [from being a creative director]. And you get followers because you are making people beautiful, you are changing people. I can sell more bags, I can sell more beautiful shoes, but, next to that, you have the power to give a good message to people. I had this friend called Leo who was transgender. I helped her through her journey and eventually we used her in our advertising campaign. Everyone was against it, but we did it.”
     See more of Lea T after the break ...

    Lea T (second from right)

    Lea T in 2012

    Lea T in Givenchy Couture Fall 2012

    Lea T and Riccardo Tisci

    Lea T's controversial Vogue Paris feature in 2010

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    WWD's Bridget Foley sat down with designer (and branding genius) Tom Ford recently. They spoke about everything from his Fall 2013 collection, to bad press, the Tom Ford customer ("a lot of 25-year-olds who are married to someone really rich or are the daughters of someone really rich"), and our favorite part ... Zara and the reality of design piracy! Ford spoke about his return to womenswear, which included a small show for his close friends. No bloggers, no press, no camera phones. Read Ford's thoughts below ... 

    Bridget Foley: When you did that very personal show in New York with Beyoncé, Marisa Berenson, Joan Smalls, you allowed only your own photographer, Terry Richardson. You criticized the current fashion system and said you didn’t want the show photos circulating so early. 

    Tom Ford: And I don’t. A lot of the things I did—it’s not going to sound anything but egotistical—if I’m lucky and I did the right thing, they will be at Zara way before I can get them in the store and I don’t like that. [But] my company has gone to a point where I can no longer service the global markets that I need to service by doing one-on-one presentations. However, even if I’d been doing one-on-one presentations, I would have been doing a very flamboyant collection this season because that was what I was in the mood for.

    images courtesy of harpers bazaar

    Ford told Vogue back in 2010: “I do not understand everyone’s need to see everything online the day after a show. I don’t think it ultimately serves the customer, which is the whole point of my business — not to serve journalists or the fashion system. To put something out that’s going to be in a store in six months, and to see it on a starlet, ranked in US magazine next week? My customer doesn’t want to wear the same thing she saw on a starlet!"

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    If the thought of anything but black and white sends chills running down your spine, you'll appreciate a Spring/Summer 2013 collection that only dips its toes into the color sphere. Edeline Lee, a London-based designer known for her clean, modern lines and attention to detail, found inspiration in avante-garde artists and transformed her latest collection into a wardrobe for power women. Looking towards the Fluxus movement (the 1960's anti-art, anti-commercial aesthetic that resulted from blending different artistic media and disciplines), Lee created strong black and white pieces with touches of beauteous blues and greens ... what she calls, "her attempt at color." For the woman juggling the entire world, and then some, these smart and structured garments will make it look easy to be chic. See more after the break ... 

    Kate Concannon is an experienced fashion and lifestyle writer featured in publications, such as, Philadelphia Style Magazine, and Examiner. Her fashion and lifestyle blog, Life Sucks In A Strapless Bra, featured in Time Magazine online, is a spin on all the crazed things women do for the sake of fashion. Follow Kate on Twitter @LSIASB.

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    Vogue UK just posted the best fashion news story of all time - or at least of today. Singer Rihanna (who may actually be most known for being an all-around bad role model) is not the new face of Chanel, according to a spokesperson from the French fashion house. Rumors started this past January after the singer shared a picture on her Instagram account - in which she appeared to be wearing Chanel jewellery - with the comment: "And that's a #wrap on my shoot for my new #topsecret ad campaign!!! #2013." Not much is sacred in fashion anymore, but I, for one, am glad Chanel hasn't completely sold its soul. 

    image courtesy of business insider

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    For his Saint Laurent Music Project series, designer Hedi Slimane recruited and photographed Daft Punk for a series of black-and-white ads. The electronic music duo, which consists of French musicians Guy-Manuel de Homem-Christo and Thomas Bangalter, join musicians Courtney Love, Beck, Marilyn Manson, etc. in Slimane's latest project. See more after the break ... and tell us in the comments who you think is next! 

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    Scorned designer John Galliano joined American luxury house Oscar de la Renta for a three-week residency prior to its fall runway show. In case you've been living under a rock, Galliano was ousted from Dior and his namesake label following a drunken, anti-Semitic tirade in Paris cafe about two years ago. The anticipation surrounding Oscar's Fall 2013 show (very likely due to Galliano's involvement) was huge. The de la Renta website crashed as too many people were trying to watch the live-streamed show (which was beautiful with touches of Galliano, to say the least) and the internet was buzzing with speculation as to whether Galliano would take a bow at the end. So, it is only fitting that interests are piqued regarding Galliano's next move. Asked whether Galliano would be back for spring 2014, Oscar de la Renta told WWD: “We all loved having John here in the studio and would like to find a way of having him here more often." More to come ... 

    image courtesy of the times uk

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    Regardless of how much someone knows about fashion, the word Prada means something. WWD recently put it best: "Miuccia Prada and her brand thrive in pop culture to a near mythic extent on levels both high brow (last year’s “Schiaparelli and Prada: Impossible Conversations”-themed Met gala) and less so ... Yet Prada herself remains an enigma, perceived as a press-wary goddess of brainy, adventurous, subtext-rich chic." Here are some of the 63-year old legend's thoughts on fast fashion, modern day fashion and e-commerce ... 

    image courtesy of nymag

    On her fashion shows: "I do the show basically in one month. It’s a very dense process to try to find what I call 'the title,' basically what I’m trying to express. More and more, [it emerges during] the last two days when I start to do the fittings and so on, when I know what I want to say."

    On fast fashion (and why Prada is so "expensive"): "People say I am expensive and horrible, “How can you sell clothes at that price? Simply, it’s the cost. If you pay people to do everything with the right system, things are expensive. And the same people that criticize the [dangerous production environments], when it comes to cost they like the inexpensive pieces because they think it’s more democratic. This is an example of hypocrisy."

    On fashion today: "Until the Seventies or Eighties, there was still a group of elite that kind of lived among themselves. It was economic or social. Eccentricity was possible because you were living among equals, a small elite. This does not exist anymore. You live with so many people. Everybody is much more public. There is no place for this elite that made fashion more eccentric than is possible now. Now there is everybody. Rich, poor, Chinese, black, any kind of religion, any kind of race. [All kinds of people] live everywhere in the world. You have also to have decency, let’s say. If you look too rich or too eccentric, you look ridiculous."

    On e-commerce: "We don’t like it. I don’t care. My husband hates it and we think for luxury it’s not right." 

    On Hollywood fashion: "[Actresses] are so afraid to get it wrong…They have to look beautiful; they have to look thin. I don’t think they are happy. This, I don’t understand. If I were an actress, I would pick my own dress. Or collaborate. I think it’s a difficult moment for everybody. It’s slightly inhuman." 

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    Famed fashion designers have a penchant for the controversial, that's for sure. Karl Lagerfeld referred to Adele as fat, in addition to making many other comments about his distaste for non-sample size people. Hedi Slimane very publicly called fashion critic Cathy Horyn predictable. Galliano ... Well, we don't really need to go there. And then there's Roberto Cavalli. No stranger to controversy, Cavalli caused quite a stir last year when he referred to American fashion as "terrible" thanks to Anna Wintour. This time, he's not limiting his critique to American fashion but offering up his opinion about the work of basically all designers of the moment. Read what the 72-year old designer told the Guardian after the break ... 

    Cavalli told the Guardian this week: "Fashion is changing for the worse. Today, it is industrial, it is quantity, it is a collection of 1,000 pieces ... The only really talented people of our generation were Alexander McQueen and Gianni Versace." Absent from the animal print-loving designer's list? Well, a few possibilities ... Karl Lagerfeld, Valentino, Miuccia Prada, hell, even Tom Ford. Thoughts? 

    Cavalli (left)

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    Having an obsession with fashion oftentimes means lusting after something that will never love you back. Sure, you will feel incredible in it, but your Burberry Prorsum shearling-lined aviator jacket will never return the sentiment. This is a fate, we fashion-crazed souls proudly accept. We watch beautiful designs come down the runway, we wait for them to hit stores, and, for those of you who understand the pain of being a student while involved in this love affair, we wait longer for them to go on sale. Which brings us to an event we’re all sure to encounter in this process: the item once out of reach is priced so unbelievably low that you have to pinch yourself to ensure it’s not a dream. This is precisely what many Macy’s customers recently experienced. The retailer mailed out catalogs in March, which mistakenly listed a $1500 “diamond-accent cable necklace in sterling silver & 14k gold” for just $47. 

    The necklace was, in fact, supposed to be marked down, but the intended price was $479. Shoppers flocked to the store to make their purchase and others took to online shopping. And some of the earliest shoppers to arrive at the store actually walked away with the necklace after only paying $47. But for the rest, their purchases were cancelled due to the pricing error. We’re here to tell you what to expect should you ever encounter a jaw-dropping pricing error. 

    The short answer is this: expect your order to be cancelled and that’s the end of it. Many retailers, including Macy’s, have policies that no sale is final until it is in your hands. This means that even after clicking “complete purchase” online, the retailer can still “cancel or refuse to accept any order placed based on incorrect pricing or availability information.” The Fair Trading Act also allows a retailer to claim a genuine mistake was made if an advertisement has a pricing error. The Act recognizes that a “reasonable mistake” could’ve been caused by a third party or missed in checking for accuracy. As long as a retailer isn’t in the habit of claiming a genuine mistake, a retailer is okay in not selling you the item at the low price. The lesson to be learned: Go to the store, get there early, buy as much as you can!

    Jennifer Williams is a law student, who writes about fashion, the legal avenues available for protecting it, and the ways in which the laws are falling short. Jennifer writes for legal reporting blog, Legal As She Is Spoke. For more from Jennifer, visit her blog, StartFashionPause, or follow her on Twitter

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    Irish actress Antonia Campbell-Hughes spoke recently about her role in the upcoming film “Lotus Eaters,” which premiered at the Tribeca Film Festival in 2011 and is set to show in a limited U.S. release this month. She talked about her clothes in the film: they "are from wonderful designers. From great little Chanel jackets to John Rocha, who I’m a huge supporter of." Interestingly enough, she also spoke of modeling. Campbell-Hughes, who has been under the microscope lately for her shocking weight loss, routinely models for the French label Devastee and along with Abbey Lee Kershaw was recently featured in “Submission,” the short film directed by Martina Amati. However, while she would “would never describe herself as a model," the 30-year old does shed light on the often controversial industry. She says: "It can be very difficult. You spend a lot of time alone and it’s very insular and lonely. When you work, you work — and when you don’t, you don’t,” she said. “It is a very altered spectrum of reality.”

    image courtesy of zimbio

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