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The Official Page of The Fashion Law.

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    Gucci's creative director Frida Giannini showed a killer collection in Milan today. For Spring, Giannini went in a sporty new direction, but yet, it was still very Gucci. Instead of the ordinary mesh t-shirt, Giannini's version is laser-cut suede. Basketball shorts bore Art Nouveau illustrations of Erté, track pants were paired with kimono-sleeve cardigans, and triangle bras peeked out of the often-sheer outerwear. I'm not sure "sportswear" has ever looked so good. You must see the entire collection below ... 

    images courtesy of, tmagazine

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    by Luisa Zargani, WWD 

    Domenico Dolce and Stefano Gabbana were aware that the company they sold their brands to in 2004 was a fictitious entity, according to Judge Antonella Brambilla. As per the reasonings behind the guilty verdict handed down in June, 62 pages of which were deposited in court this week, Gado Srl was a firm only apparently based in Luxembourg and one that had “no administrative management or accounting,” which raised “legitimate doubts” about the tax rate that should be applied. 

    In detailing her reasons for finding Dolce and Gabbana guilty, Brambilla wrote that she believes the designers were “certainly” aware of the fact, as they had sold their brands to Gado and “evidently knew its structure and purposes, as it is certainly not believable that the designers had given up control of the actual ownership of the brands.” The judge said that the only purpose in setting up a company such as Gado was “to transfer earnings derived by royalties in Luxembourg” and that they were effectively the “beneficiaries.”

    In a statement, the designers’ lawyers, Massimo Dinoia, Armando Simbari and Fortunato Taglioretti said Brambilla’s motivations “reveal how the trial results have been misunderstood or forgotten by the court.” The lawyers reiterated that they will appeal and that they are “sure” the sentence will be overturned. Regarding the alleged responsibility of the two designers, the lawyers said Dolce and Gabbana “never had any role nor were they ever engaged in the restructuring of the group, even less so in the creating and following the management of Gado. They are two designers who dedicated their activities exclusively to research, creativity and style,” said the lawyers. 

    In June, Dolce and Gabbana, as well as four other defendants, were found guilty in the designers’ long-running tax evasion case. Brambilla sentenced the designers and accountant Luciano Patelli to one year and eight months in jail, plus legal expenses. Dolce’s brother Alfonso, general director Cristiana Ruella and finance director Giuseppe Minoni were sentenced to one year and four months in jail plus legal expenses. 

    There is little chance the designers and the other defendants will serve any jail time because the sentences are below the two-year minimum generally required in Italy to do so and because there are the conditions for a “conditional suspension” of the sentence.

    The defendants were also charged with paying the Revenue Agency a provisional fine of 500,000 euros, or $667,325 at current exchange. The plaintiff solicitor Gabriella Valadia at the end of May asked for a provisional fine of 10 million euros, or $13.3 million, citing damages to the image of the Revenue Service. Valadia at the time claimed that tax evasion “shows a system that is not credible and efficacious, it hurts the credibility of the Italian fiscal system, aggravated by the fact that the individuals at the center of the trial are so famous.”

    The court’s fine is separate from one imposed on the designers by the Revenue Agency of more than 400 million euros, or $533.8 million at current exchange, at the end of March. The designers may still avoid the fine, if they decide to appeal and wait for a third-degree sentence. The designers were acquitted on the second count they were originally charged with, which regarded the valuation of the company and the tax rate paid. 

    Following investigations that began in 2008, initiated by the Guardia di Finanza, an Italian police force under the authority of the national minister of economy and finance, both designers were charged with alleged tax evasion related to the 2004 sale of the Dolce & Gabbana and D&G brands to the designers’ Luxembourg-based holding company, Gado Srl. The Italian tax police reportedly consider Gado essentially a legal entity used to avoid higher corporate taxes in Italy.

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    The Versace Mansion in Miami, the former home of the late Gianni Versace, got a new owner this week after going up for auction on Tuesday. After some reportedly intense bidding between real estate magnate Donald Trump and the Nakash family (the owners of Jordache Jeans), the Nakashes prevailed with a winning bid of $41.5 million. Since the Versace family sold off the property in 2000, it has served as a private residence, but more recently, as an event space and a hotel. The Nakash family is reportedly planning to turn the house into a boutique hotel, and they told WWD that they're interested in potentially "using the Versace name" in conjunction with the property.

    Given the expansive collection of trademarks that the design house owns (from clothing to furniture and interior design, as well as advertising and publications in the field of art and fashion) and its former association with the property, the Nakashes will certainly have to get authorization from Versace to do so, likely via a pretty serious licensing deal, in order to avoid the legal drama that Elisabetta Gucci faced when she tried to open a Gucci-branded hotel without the authorization to do so. More about that below ... 
    image courtesy of sothebys

    You may recall that in 2010, Gucci founder Guccio Gucci's granddaughter Elisabetta Gucci planned to open a global chain of hotels under her name, but the result was a lawsuit from the luxury goods company founded by her great-grandfather. The Gucci Group filed a lawsuit in early 2010 in Florence, Italy, against Elisabetta Gucci and her partners “seeking injunctive relief in order to protect its rights.” The first hotel was expected to open by late 2010, but according to a June 2010 decision, the Florence court ruled in favour of Gucci Group and ordered all those involved in the project to cease immediately the use of the ”Elisabetta Gucci” brand and hand over the web site 

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  • 09/19/13--09:31: Prada Spring/Summer 2014
  • Miuccia Prada showed her Spring 2014 collection today in Milan. The show was set against a backdrop of murals, which the design house commissioned from five muralists (El Mac, Mesa, Gabriel Specter, Stinkfish, Jeanne Detallante and Pierre Mornet) and which embody "femininity, representation, power and multiplicity." The clothes were very Miuccia. Dresses with jewelled bras over the top, princess coats, pristine pleated kilts and smart tailored tunic dresses (some of which bore painted faces) and all of which were paired with knee-high sports socks. See the entire collection after the break and be sure to share your thoughts in the comments section below ...

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    Iraqi-British architect Zaha Hadid has teamed up with American footwear designer to the stars, Stuart Weitzman, for a chain of stores. The pair's first store, which opened with a soiree last night, is located on Via Sant'Andrea in Milan and features a monochrome interior with curved forms and modular shelving systems with seating areas for customers (pictured after the break below). The award-winning Hadid, who is known for her futuristic designs, will also create five further interiors for the Stuart Weitzman brand, with stores in Hong Kong, Rome and New York planned for 2014.

    According to Denzeen,  a new concept will be developed for each location, but Hadid says they will all feel like part of the same family. "The design is divided into invariant and adaptive elements to establish unique relationships within each worldwide location, yet also enable every store to be recognised as a Stuart Weitzman space," she explained. Experimentation with materials and construction technologies further define the unique space. The curved modular seating and freestanding display elements have been constructed from fibreglass dipped in rose gold – a technique similar to that used in boat manufacturing. Also, the glass-reinforced concrete of the store's walls and ceiling expresses solidity whilst at the same time the delicate precision of complex curvatures focus on special areas for display. 

    Similarly, Weitzman commission the Ribbon store design, which can be seen in select Weitzman boutiques worldwide, from famed Italian avant-garde architect Fabio Novembr. The store design is protected by trade dress in the U.S. and internationally. Given the skill and foresight of Weitzman's General Counsel, Barbara Kolsun, the new Zaha Hadid designs will likely be registered with the US Patent and Trademark Office, as well - if such applications are not in the works already. 

    According to the trademark application for the Ribbon Store Design, the mark "consists of the three dimensional trade dress of the interior design of a retail store with a color white 'ribbon' pattern traversing walls and making up the design of tables, counters, and chairs, and the color white background covering the walls, ceiling and floor. The 'ribbon' design consists of long bands that invert, fold and twist to give the illusion of a large scale ribbon."

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    Kanye West has never made a secret of his design aspirations, or his desire to be validated by the fashion community at large. [Insert line about his failed womenswear line here]. And just this past week, like so many designers before him, he was lucky enough to serve as the “inspiration” for someone else’s slightly less than original design, and this isn't the first time that this has happened. You may recall that fake Yeezy nameplate necklaces were a big hit on counterfeit sites following his second womenswear show and his shoes for Guiseppe Zanotti were copied pretty heavily, as well. 

    This time the culprit is Supra Footwear. The company (which is headed up by professional skateboarder Chad Muska and which made a name for itself as a leading force in the streetwear world after the original Skytop design was seen on everyone from Lil’ Wayne to Justin Beiber when they first came out a few years ago) released its Skytop IV recently, and the design inspiration behind it is clear. The new Skytop borrows the relatively unique silhouette from the Yeezy 2, including the clear outsole and wave pattern on the back. And also the whole colorway – check the red accents on the interior. Skytop designer Chad Muska managed not to get too crazy with his Yeezy homage though, and the details are different enough (good looking out ditching the strap) that Supra probably needn’t fear a cease and desist from the Donda camp or, worse yet, an all caps internet tirade from the man himself.

    Kanye West's Yeezy 2 (left) & Supra's version (right)

    In other news, the entire fashion industry doesn't hate Kanye. Anna Wintour loves him and apparently, footwear designer Guiseppe Zanotti still loves him, too (and even calls him an extremely talented artist and a "renaissance man"). The designer recently spoke out about the new father and often controversial musician-turned-fashion figure, saying that Kanye's "brave nature needs to be respected. People are too hard when something new changes the balance. I think that some little details should be forgiven to brave people. Kanye was not afraid of facing such a dangerous world such as the fashion one, he was not afraid of shouting to everyone who he is. I really would love having a guest designer like Kanye during Milan’s fashion week. He could shake the system with his adrenaline." So, from the sounds of things, Kanye is set to co-design another collection with Zanotti. We will give him this: he actually has talent when it comes to designing accessories! More to come ...

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    by Alice Fisher, The Guardian (Edited by TFL)

    It is quite wrong to say I'm a minimalist," declares Raf Simons, a designer who has been routinely, reverently, described as a minimalist since he delivered his first collection 18 years ago. "I have shown work in my own brand [menswear label Raf Simons] that has been completely not minimal. When I worked at Jil Sander, the heritage of that brand was actually purist. Jil was such a purist she even threw away her own archive." He pauses to look part impressed, part alarmed by this rigour. "My point is, you get stamped all the time: conceptual designer, minimal designer… but I don't have to be the avant-garde kid now: I'm not 25, I'm 45."

    For a man who has always striven to make his work modern rather than conforming to any particular -ism or -ist, it must be frustrating to be defined by his past. Even if it is a past full of clothes that have been adored by critics and that have had a wide enough impact to affect the way people have dressed, filtering down to the high street in the form of tight suits in the past decade and neon flashes in the present. Though his work at the Raf Simons label, started in his native Belgium in 1995, and as creative director of Jil Sander menswear and womenswear from 2005-2012, played with prescriptive ideas, it wasn't driven by them.

    If you really want to pin down his modus operandi, it is to explore new ideas. Something he's shown in every collection since he became creative director for the house of Christian Dior in April 2012. His new role is one of the most influential in fashion: Dior, the jewel in the crown of LVMH, the world's largest luxury conglomerate owned by French businessman Bernard Arnault, is one of the few truly global fashion brands. It is not, by any stretch of the imagination, a job for a minimalist.

    "For me, it's more interesting to think of what I will not be," he says. "I will never be theatrical, that I know. Kick me out when I'm theatrical – I think it's disgusting. The only thing I haven't been called is a less heavyweight word. Like nature, or flower, or playful, which is very much in me."

    He doesn't look very playful as he says this. Rather formidable, in fact, sitting cross-legged and straight-backed in his dogtooth check jacket and slim black trousers, stark against the white panelled backdrop of a salon at Dior's avenue Montaigne HQ in Paris. He says what he loves is dialogue. It is a debate about clothes and the lives of those who wear them that he has championed throughout his career.

    He launched his menswear label after working with Walter van Beirendonck, one of the original "Antwerp Six" – a group of avant-garde Belgian designers whose radical vision influenced fashion in the 1980s. Simons had originally trained in industrial design, but used to sneak away from his work placement at a factory, where he was meant to be designing crates to hold 24 beers, to work for Van Beirendonck. When he launched Raf Simons he used models cast from Antwerp's streets. He'd run a minibus of these kids along with any family members who wanted to go along for the ride to his Paris show on a fashion awayday. He talked to the boys about their lives and their opinions on his clothes. "These kids, they didn't care. If one in 40 said [your design] is shit, you thought: he has no taste. If 20 said it, you think: maybe this isn't what this generation is interested in."

    Now he applies the same courteous interest to women buying luxury ready-to-wear from Dior, one of the top houses in the international fashion market. They may be unlikely to tell him his clothes are shit, but these women are just as opinionated as his Belgian kids and he wants to hear what they think. "For me, I work in tune," he explains. "I love the active/reactive thing. Fashion is a melting pot. I need to have a direct dialogue with women, with colleagues, with people," he explains. "You sniff it up, you hear it, one thing brings you to another. You learn and read from reactions. Because of the size and history of the house of Dior, there's dialogue all the time, which is fascinating. It's interesting to have dialogue with the world."

    It seems to be working. He's produced seven collections of modern tailoring, shimmering ballerina skirts and colourful, sexy bustiers; clothes that investigate and innovate the tropes of couture and the feminine ideal that form the legacy of Christian Dior. Clothes that are playful and clever and very wearable. They have also been financially successful – the brand's global sales rose 17% in 2012.

    Though Dior's original house vision was simple, updating it for today's increasingly complicated fashion market is no small feat. Simons' approach has been inspired. His last two shows – resort 2014 and couture autumn/winter 2013 – were bigger and more varied than these collections typically are. The pieces he presented moved significantly away from the traditions of Dior. At resort, the lace and the flowers were mixed with zips and a sporty feel; at couture – a fundamentally European artform – African, Asian and American motifs were given equal space on the catwalk. It's a smart proposition for how a fashion house equally stabilised and held down by the weight of its history can move forward. The focus on couture is particularly interesting. Sales have risen 24% during Simons' time at Dior, and though it seems like an archaic artform to most of us – fashion's "dusty sister", as Simons puts it – he's fascinated by it. "I think choice is a big luxury these days. I want to offer possibility and direction. In couture, when look number one to number 45 is very much about one thing, it's controlling. It's not how young people see the world."

    Though he's open to new ideas and ways of looking at the world, there is one thing Simons has as a constant. The influence of art. This love is at the fore in all his work at Dior – in the Andy Warhol illustrations that pepper his autumn/winter 2013 collection and the surrealist designs that shape his knitwear – but it is also apparent throughout his career. His last Raf Simons show was set in the Paris outpost of the Gagosian. The art references during the Jil Sander years ranged from the pop of Yves Klein blue in his 2008 spring/summer collection to the more obscure influence of ceramicist Pol Chambost in 2009. "I need art," says Simons. "I cannot live without it. Ce n'est pas possible. It's like air."

    Art shaped his worldview long before he knew fashion existed. Simons was raised in the tiny village of Neerpelt in the Belgian province of Limburg, "between farms and disconnected from culture", by his parents Jacques Simons, an army night watchman, and Alda Beckers, a cleaner. He went to a "very dusty" school run by priests and focused on mathematics and Latin. "I was well bored, but I took it seriously because my parents said once, when I was 15, 'You'd better take it seriously or you might end up doing the things we do.' I always remembered it. So I would sit on a bench doing Latin, thinking, 'Shit!'

    "All I had for culture was a record store and a television. My dad was a sports person, and when you're brought up on football then, bah, you look for something else. One summer [1986] an important Belgian art curator, Jan Hoet, did an ongoing project called Chambres d'Amis [in which works of art were hung in private homes]. I was intrigued by it. Every day I followed it on television and I travelled to Ghent, the city where it happened." he could he started a personal art collection – which includes an eclectic mix of contemporary artists such as Sterling Ruby (who designed the interior of Simons' Tokyo store in 2008), sculptor Olafur Eliasson and George Condo – and he has worked as a consultant for the Cigrang Freres art collection in Belgium. He thinks that one day he'll move into the art world professionally. "It's a very beautiful environment. Most of my close friends are artists, so I wouldn't ever want to be in a position where I needed to make money from an artist. Curating, though, I find super."

    As soon as he could he started a personal art collection – which includes an eclectic mix of contemporary artists such as Sterling Ruby (who designed the interior of Simons' Tokyo store in 2008), sculptor Olafur Eliasson and George Condo – and he has worked as a consultant for the Cigrang Freres art collection in Belgium. He thinks that one day he'll move into the art world professionally. "It's a very beautiful environment. Most of my close friends are artists, so I wouldn't ever want to be in a position where I needed to make money from an artist. Curating, though, I find super."

    His face lights up when he talks about art and it's nice to see such a warm smile. In a business renowned for neuroticism and bitchiness, Simons has a reputation for being one of the nicest men in fashion – a man who personally makes sure that journalists at his shows are given the access they need and answers every question with grave respect. Even the one – which still makes me cringe – that I asked him about the weather after the resort 2014 show held in May. His driver, who shuttles him between France and Belgium, is given food to take home by Simons' mother when he drops the designer in his homeland. "Well I'm not always sunshine," he says. "I can be a meanie. But I don't want to hurt people because I know how it feels to be treated badly."

    He thinks his attitude is down to how and where he grew up. "I don't know about hierarchy. I think it's a psychological thing. But then why should I behave differently to the cleaning lady in the house to Mr Arnault [who owns it]? We are all humans."

    His approach to his career in fashion is as pragmatic as to the people working within the industry. He already says he knows when it will be time to quit. "My thought process never stops. My ideas have always been such a natural process, they overlap in a constant flow. It's not a calming thing. I have to text my ideas to myself or run quickly to the office to sketch them down. I have a sketchbook next to my bed because I wake up from it sometimes – but not every day, don't think I'm a freak.

    "So I said to myself 18 years ago that when I have to think too hard, sitting at my desk, that's seriously the day that I have to get out." Hopefully it won't happen too soon. But Simons looks quite fascinated by the idea. He looks happy and open. Interested in what the future holds.

    images courtesy of, tfs

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    Dajia Davenport, the former unpaid intern at Elite Model Management Corp. who has a "passion for fashion" and who filed a $50 million lawsuit against the management company in February alleging that it violated New York State Labor Law and the Fair Labor Standards Act, is still moving forward with her case. this week, Davenport (via her counsel, Steven Wittels of Law Offices of Steven L. Wittels and Richard Roth of the Roth Law Firm) asked a New York federal court Tuesday to approve her proposed class action lawsuit in accordance with the Fair Labor Standards Act on behalf of “unpaid or underpaid” interns, who have worked for Elite beginning in February 2010. Davenport also filed a motion to order Elite (whose roster of models includes Hilary Rhoda, Jamie Bochert, Karen Elson, and Agyness Deyn, among others) to provide her with the contact information for other current and former interns, who may want to join the lawsuit against Elite. 

    According to Davenport's LinkedIn profile, she worked as a New Faces Development intern at Elite from July to September 2010, and her duties included: "Assisting Bookers with scouting new talent at open calls; Assisting with product management and development including data entry, scheduling and image maintenance; Providing administrative support for Marketing/Booking/Scouting Departments; Issued follow-up for bookings and referrals, thank you letters, phone calls, and client feedback; Initiated new contacts and cultivated business relationships; Answered phone calls, greeted clients, and scheduled appointments.; Assisted with purchasing of processed client orders; Assisting all Agents and Bookers; and Performing general office duties: processing shipments, ordering promotional product and office supplies." More to come ... 

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    For his Spring 2014 collection and the design house's return to Milan (after 23 years of showing in Paris), designer Ennio Capasa presented a collection focused on subdued sexuality and deconstructed tailoring. Entitled "De-Construct-Re-Construct," the collection consists sharp tailoring and high-tech materials (think: laser-cut leather, technical fabrics and unusual shapes). The largely black and white, color palette was supplemented with a bit of metallic silver and some acid yellow and blue. With collections like this, Milan is lucky to have Capasa back in his native country. See all of the looks after the break ... 

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    Hollywood heavy weights continue to step out in NYC-based designer Prabal Gurung's designs. The latest: Sarah Jessica Parker and Cate Blanchett. SJP very appropriately wore a Prabal Gurung bustier and an Olivier Theyskens skirt to the New York Ballet's Fall Gala. In case you missed it, Gurung and Theyskens both designed costumes for the NYC ballet's upcoming season. Blanchett, on the other hand, stepped out in Milan for Vogue Italia's Beauty in Wonderland exhibition in Prabal's sable racerback drop-waist dress with a hand embroidered ostrich feather skirt, from the designer's Resort 2014 collection. For those who didn't know, Gurung, who's namesake label is just four years old, designs and manufactures nearly all of his collection in New York, and is one of the young designers putting NYC on the map. 

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    Lately it seems designers are working even harder to mimic their namesake wares in mass market collections and the two most recent collaborations are perfect examples. First it was the Phillip Lim for Target Pashli-looking bag and now Isabel Marant for H&M is feeling quite familiar, as well - namely, the cropped, quilted, embellished jacket that I spy in this recently-released preview of Marant for H&M. For some time (when I designer x mass market retailer partnership scenario was still pretty new), designers largely avoided mimicking their high end collections, but it seems that this is changing. 

    As we mentioned when Phillip Lim showed a bag very similar to his most-recent "it" bag in his collection for Target, this could be a step in the right direction for designers, who struggle with being copied.  Because legal protection for fashion designs is somewhat limited in the U.S. (and doesn't appear to be changing any time soon) and original designs more often than not appear on the e-shelves of Nasty Gal and other retailers by way of nearly stitch-for-stitch copies - the ones that Marant absolutely hates. However, designers have the advantage here. They can reach consumers with one things most consumers absolutely love ... their established brand name. The copies that are sold by Minusey and the many other fast fashion retailers may look like the real thing (minus obvious, obvious differences in quality) but they aren't the real thing and as a result, they do not bear the designer's name on the tag. By teaming up with a mass market retailer, designers can design and produce lower-cost items, such as the Isabel Marant x H&M jacket above, that do not necessarily compete with Marant's $4000 versions but certainly compete with other mass market retailers' versions. 

    In this way, designers are getting their name out there (via the enormous advertising budgets that companies like H&M have and use for collabs like this), designing for a varied group of consumers, and fighting design piracy simultaneously. They are knocking themselves off so-to-speak by providing lower cost options of their most noteworthy wares - the ones that are copied most often. Will this stop sites like Nasty Gal and Minusey from stocking Isabel Marant copies or copies of Phillip Lim's Pashli bag? No. But there is a chance that consumers will look to the designer-approved "copies," the ones provided by H&M or Target, etc., instead. Thoughts?

    Coats from Isabel Marant's namesake collection

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    With so many unpaid internship lawsuits currently pending (think: the former Harper's Bazaar intern v. Hearst Corp., the lawsuit stemming from Fox Searchlight's Black Swan, the former Elite Models' intern lawsuit, the unpaid internship lawsuit that W Magazine is currently facing, etc. etc.), it is interesting to hear what some of the industry's most successful designers say about their internship experiences. Nicolas Ghesquière, the former creative director of Balenciaga, spent the summer working at Agnès B. in Paris when he was 15, for which he was paid in clothes. Of the internship he says, with a laugh: “I watched, I photocopied, I made the coffee." After that, he was offered an internship with a new young designer, Corinne Cobson. He says: “For two years I worked for Corinne in Paris every weekend and every holiday, then went back to school in Loudun. When I left school she gave me a proper job."  

    Last but not least, on the eve of his 19th birthday, Ghesquière began an internship at Jean Paul Gaultier. “It started out as a supersmall job, making coffee and dog walking, eventually doing color cards and photocopies, but it was fascinating." It seems Ghesquière doesn't have anything but good things to say about his internships and after a long tenure at Balenciaga, it seems they paid off. So, I ask: Internships - good or bad? Share your thoughts in the comments below.

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    Brit footwear brand, Dr. Martens has slapped fellow footwear company, Chinese Laundry with a lawsuit. In its complaint, which was filed this week in the United States District Court for the Northern District of California, AirWair International Ltd. (Dr. Martens' parent company) alleges that Chinese Laundry has violated its registered trade dress, saying: “Chinese Laundry’s conduct in copying AirWair’s registered Trade Dress Marks has been systematic and deliberate. Chinese Laundry has copied the Trade Dress and the overall style and configuration of Dr. Martens boots and shoes as closely as possible in a deliberate and calculated attempt to trade upon the popularity and distinctive appearance and design of Dr. Martens footwear.” In particular, AirWair is taking issue with the "yellow stitching in the welt area, a two-toned grooved sole edge and a DMS undersole design that are Dr. Martens signatures." 

    The lawsuit hardly comes as a surprise, as Chinese Laundry is not exactly the epitome of original design. (You likely already know that the brand regularly stocks an array of Jenni Kayne and Christian Louboutin copies). So, what does AirWair want? Well, in addition to injunctive relief (which means that Chinese Laundry would be ordered by the court to permanently and immediately cease sales of the infringing styles), Dr. Martens' parent company wants any profits that Chinese Laundry gained from sales of the offending shoes or statutory damages in an amount of not more than $1 million per counterfeit mark per good sold or offered for sale by Chinese Laundry. Ouch.

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    by Astrid Wendlandt, Reuters (Edited by TFL)

    LVMH is in talks to buy a stake in British fashion brand J.W. Anderson (see his Spring 2014 collection here), a source close to the matter said on Friday after the No.1 luxury goods group revealed today that it is investing in another budding UK label, shoe designer Nicholas Kirkwood. The news signals intensifying competition among luxury groups such as LVMH and Kering to invest in fledgling fashion brands and lock in promising designers who could one day work for some of their bigger names.

    LVMH, which owns Dior and Louis Vuitton, took a minority stake in young French fashion label Maxime Simoens earlier this year, while Yves Saint Laurent and Gucci owner Kering has invested in British fashion brand Christopher Kane and U.S. brand Altuzarra. "The idea is to invest in new growth opportunities," the source said about LVMH's discussions to invest in J.W. Anderson.

    Born in Northern Ireland, Jonathan William Anderson, 29, is known for his urban, androgynous style. He graduated in 2005 from the London College of Fashion where he studied menswear, launched his own label three years later and did a small, one-off collection for Versace's Versus line.

    LVMH's efforts to reinforce its stable of hot, young designers come as the group works on turning round its flagship Louis Vuitton brand by improving its offering of leather bags and its market positioning. 

    LVMH said it had bought a majority stake in Kirkwood, whose stilettos have been worn by celebrities such as Sex and the City actress Sarah Jessica Parker and British model and TV presenter Alexa Chung. The group declined to give financial details but analysts estimate the deal at less than 20 million euros ($27 million). "This acquisition affirms the ongoing commitment of LVMH to nurture talent and creativity, considered as the heart of any success in the industry in which they are leaders," LVMH said in a statement.

    Kirkwood will sit alongside the group's other luxury men's label, Berluti, headed by Antoine Arnault, son of LVMH founder and Chief Executive Bernard Arnault, who is developing the brand into a men's ready-to-wear and accessories business and expanding its retail network. Kirkwood, 33, studied fine art at Central Saint Martins college in London. He later learned the craft of shoemaking at London-based Cordwainers College before founding his shoe brand in 2004 together with business partner Christopher Suarez. Kirkwood's collections are already distributed in 150 leading department and specialty stores around the world as well as three flagship stores in London, New York and Las Vegas.

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    Forever 21 is causing controversy yet again. This time, the fast fashion giant has angered fans with the depiction of its new Compton collection - namely, the image below of a white model wearing the NWA-inspired t-shirts. The Los Angeles-based retailer tweeted the image last night and has since deleted it after receiving quite a lot of race-based tweets in response (see some after the break), articles entitled "What's Wrong with This Picture," and YouTube videos addressing "cultural appropriation" (you can catch that here). Tell us what YOU think! 

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    Spring 2014 collections are still in full force, which shows currently taking place in Milan. Here are some highlights from this week's shows, including Alberta Ferretti, Gucci, Prada, No. 21 (pictured below) and more ...

    Alberta Ferretti Spring 2014

    Alberta Ferretti Spring 2014

    Versace Spring 2014

    Versace Spring 2014

    Max Mara Spring 2014

    Prada Spring 2014

    Tod's Spring 2014

    Gucci Spring 2014

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  • 09/22/13--08:45: Missoni Spring/Summer 2014
  • See the entire Missoni Spring/Summer 2014 collection below ...

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    See all of the looks from the Salvatore Ferragamo Spring 2014 collection right here. Straight from Milan Fashion Week ... 

    images courtesy of

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  • 09/22/13--10:45: Week in Review
  • Fashion Month is in full effect. If you've been too busy scurrying between shows or just recovering from your respective fashion week to keep up with all of the news this week, we have you covered. Here are some of this week's biggest stories ... 

    A former Elite Models intern is moving forward with her lawsuit against the model management company. Dajia Davenport (who has a self-proclaimed "passion for fashion") filed a $50 million lawsuit in February and is now asking the court to certify her class action, which would allow an array of former Elite interns to join in the lawsuit, as well. 

    RIP, Prada Marfa? Following a decision that Texas-based art installation is a violation of Texas state law, like the fate of the faux Prada store in the middle of the desert is unclear. 

    Isabel Marant is designing a collection for H&M, and from this sneak peek, it appears she is channeling her namesake collection in a major way. Considering how much she hates being copied, it seems she is using this collection to fight fakes. 

    Following several disappointing fiscal periods, Louis Vuitton is back to its old ways (think: exclusive and desirable). The house's latest handbag collection, namely, its Capucine bag, is selling out and in some cities, a waiting list exists. 

    Fashion Killa, A$AP Rocky launched his e-commerce site this past week. Up for sale: A$AP-designed tee-shirts, sweatshirts and hats, as well as a Raf Simons-inspired design that the rapper appears to have stolen from a young, Southern California-based brand. 

    Runway diversity may not be on the rise in any significant way, but Prabal Gurung is embracing it. The NYC-based designer showed his Spring 2014 collection earlier this month and his runway was a demonstration of diverse beauty. 

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  • 09/23/13--06:47: Guest of a Guest Gets Sued
  • New York-based photo site, Guest of a Guest, is going to court. The site, which covers parties and nightlife in New York, Los Angeles, the Hamptons and Washington, DC, was been slapped with a copyright infringement lawsuit last last month by Sid Avery and Associates, the Los Angeles-based company that owns the rights to the work of late photographer and director, Sid Avery, who is known for shooting legendary Hollywood celebrities like Elizabeth Taylor, James Dean, Marlon Brando, Humphrey Bogart and Audrey Hepburn, among others. The two are set to face off in New York's Southern District Court, stemming from Guest of a Guest's unauthorized use of a Sid Avery-lensed photo. Far from a stranger to litigation, Guest of a Guest was founded in-part by Winklevoss twin, Cameron (of Facebook-related fame), along with Rachelle Hruska in 2008. Hruska bought out Winklevoss last year. More to come ...

    images courtesy of sid avery

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