John’s BackJohn’s Maison Margiela:

WWD

PHOTO BY GIOVANNI GIANNONI

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By OVIDIS A NATQUE NET

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SEE PAGE XX

By RACHEL STRUGATZ

EBAY IS DETERMINED to make “omnichannel” more than a buzzword.

After a year of testing, the e-commerce and tech-nology giant has begun the rollout of its Retail Associate Platform — and already has DSW, Nine West and Aéropostale on board. The tablet-based soft-ware was unveiled in late 2013 and offers participat-ing brands a number of ways to enhance their offl ine experience by tapping into the online world.

Providing a mobile point of sale is a given. But the service also helps users measure store performance, locate inventory and access consumer databases, with specifi c information on purchase history and what items customers placed in their online shopping carts.

The platform was built to level the playing fi eld be-tween associate and consumer through data, mobile technology and good, old-fashioned in-person custom-er service, said David Geisinger, eBay’s head of retail business strategy and innovation.

“Imagine you walk into Nine West and see a pair of boots but they don’t have your size,” Geisinger told WWD. “Traditionally, the process to get the boots in the right size has been complicated.” Now, the associate can see all in-ventory in real-time with the “Endless Aisle” application — from central fulfi llment or other stores — so they can complete that sale for the customer then and there.

“The idea is to save the sale,” he said.That’s an idea that appeals to retailers.“Previously, we were limited to, ‘Here’s what’s in

By WWD STAFF

DESIGNING GUCCI WILL remain an inside job in the immediate future — and perhaps permanently.

On Monday, the Italian fashion house confi rmed a WWD report that Frida Giannini has exited early as its creative director and that “Gucci’s talented and dedicated men’s and women’s design teams” would take credit for their fall 2015 shows, scheduled for Jan. 19 and Feb. 25, respectively.

Meanwhile, sources suggested that Giannini’s deputy Alessandro Michele is emerging as the front-runner to assume the creative leadership, following a WWD report Saturday that he was among the top picks for the job.

Giannini has exited more than a month earlier than expected.

“I would like to take this opportunity to acknowl-edge the outstanding contribution that Frida Giannini has made to Gucci’s legacy during her nine-year ten-ure as creative director,” said Marco Bizzarri, presi-dent and chief executive offi cer of Gucci.

An offi cial announcement concerning the appoint-ment of Giannini’s successor “will be made in due course,” the company noted.

Over the weekend, sources told WWD that Giannini was asked on Friday to leave the company. It is understood Gucci cut short Giannini’s contract in a bid to facilitate decision-making about the brand’s future creative direction.

“The decision [about Giannini’s successor] needs to be made, so that it can have an impact on the up-coming collections and shows,” said one source.

According to a Milan source, Michele, Gucci’s head accessories designer and the creative director of Gucci-owned Richard Ginori, has not had a hand in the ready-to-wear collections helmed by Giannini. Rather, he has direct responsibility for the leather goods and shoes — which accounted for 72 percent

SEE PAGE 12

MICHELE SEEN TAKING REINS

Gucci Staying InsideFor New Design Team

EBay All About OmniWith Retail Platform

SEE PAGE 9

The sentiments of those gathered in London for John Galliano’s return to the fashion stage were neatly summed up by Manolo Blahnik: “The boy is back.” Showing an Artisanal Couture collection for Maison Martin Margiela in the city where he launched his career 31 years ago, Galliano dialed down the drama to deliver a whimsical work in progress that crossed his own glamorous aesthetic with the tenets of the Margiela house. For more runway looks, see page 4.

TUESDAY, JANUARY 13, 2015 ■ $3.00 ■ WOMEN’S WEAR DAILY

WRAPPING UP BRIDGET FOLEY’S DIARYWRAPPING UPWRAPPING UPWRAPPING UPBURBERRY, TOM FORD,

PRINGLE AND MORE WIND UP LONDON COLLECTIONS: MEN.

PAGES 10 AND 11

THE GOLDEN GLOBES STANDOUTS. PAGE 16

FLORENCE BOUND

A PREVIEW OF PITTI UOMO IN FLORENCE, WHERE MARNI WILL SHOW ITS MEN’S COLLECTION.

PAGES 6 AND 8

WWD.COM2 WWD TUESDAY, JANUARY 13, 2015

By EVAN CLARK

TIFFANY & CO. and Lululemon Athletica Inc. might play in the hottest spaces in fashion — luxe jewelry for the former and athlet-icwear for the latter — but they took turns in very different direc-tions over the holiday season.

Tiffany lost some traction in the Americas and saw its overall sales for the last two months of 2014 drop 1 percent to $1.02 bil-lion, driving its stock down 14 per-cent to $89.01 Monday. Meanwhile, Lululemon showed some sign of getting its groove back after a se-ries of missteps and projected a fourth-quarter comparable-store sales gain of 6 to 7 percent, boost-ing its shares 6.8 percent to $62.59.

That might be the holiday season in a nutshell — while the overall industry numbers were not a blockbuster, they weren’t as bad as feared and allowed enough room for companies in ascent to offer pleasant surprises while others stepped back.

Wall Street is keeping a close eye on Tiffany.

“We are increasingly cautious after Tiffany & Co. announced disappointing holiday sales, with comparable-store sales fl at versus

consensus estimates for [a] 4.4 per-cent [gain],” said Christian Buss, an analyst at Credit Suisse. “We be-lieve benefi ts from prior tailwinds, including favorable commodity costs, outsized [Asia-Pacifi c] growth and strength in North America are beginning to erode.”

The tony jeweler lowered net earnings guidance for the year ending Jan. 31 to a range of $4.15 to $4.20 a diluted share, down from a previous estimate of $4.20 to $4.30 a diluted share.

Lululemon, on the other hand, raised revenue and earnings guid-ance for the fourth quarter ending Feb. 1. The company expects net revenue in the range of $595 million to $600 million. That’s above the prior guidance of $570 million to $585 million with a low-single-digit comp gain. Diluted earnings per share are estimated at 71 cents to 73 cents for the quarter, above the ini-tial forecast of 65 cents to 69 cents.

Wells Fargo managing director and analyst Paul Lejuez said the brand was “coming back to life.”

“With [Lululemon’s] product, sourcing and public relations is-sues over the last couple years, many wondered whether the brand had permanently lost its edge,” he said. “Competition has increased and [Lululemon’s] errors

did, in our view, let other players take some share. However, follow-ing the second-consecutive quarter of sales acceleration and consis-tent with our channel checks, we believe [Lululemon] is demonstrat-ing that customers have not walked away from the brand.”

Lululemon was among the many brands meeting with inves-tors at the annual ICR Xchange conference in Orlando, Fla. Among the other revelations that came out of or ahead of presenta-tions at the conference were: � Ascena Retail Group Inc. said comps for the nine-week holi-day period were up 2 percent, with stores flat and e-commerce ahead 17 percent. Fiscal-year earnings guidance was cut to a range of 70 to 75 cents a diluted share, down from previous guid-ance for EPS of 90 cents to $1.� Express Inc. raised fourth-quar-ter EPS guidance to 43 cents to 46 cents, up from 38 cents to 45 cents.� New York & Co. Inc. said it expects adjusted fourth-quarter operating results to range from breakeven to a slight loss. Comps for the nine-week period ended Jan. 3, were down 0.9 percent.

—WITH CONTRIBUTIONS FROM VICKI M. YOUNG AND

ARNOLD J. KARR

Wu to Speak at Rising Star Awards

Reed Krakoff Names CEOBy LISA LOCKWOOD

Reed Krakoff is getting his house in order.The company has tapped Harlan Bratcher, pres-

ident and chief executive offi cer of A/X Armani Exchange, as ceo. He will also join the board of di-rectors and report directly to the board.

Bratcher takes over duties formerly held by Reed Krakoff, who continues as creative director. Krakoff said Bratcher will partner with the board and him on developing long-term strategy for the brand, as well as lead the company and its executive team in day-to-day operations and ongoing development.

Last month, WWD reported that Krakoff would be undergoing a restructuring, with several staffers leaving the fi rm. Sources indicated that Krakoff will be placing more emphasis on accessories and widening his price points, with an increased focus on styles positioned below the luxury category. A new Reed Krakoff store, at 93 Greene Street in New York, is set to open on Jan. 23.

Krakoff is not discontinuing ready to wear but as part of the new strategy, it will not produce a fall-winter 2015

ready to wear collection and as a result will not hold a runway show during New York Fashion Week next month. The company will produce a fall 2015 accessories collection. It will hold a cocktail party during the New York shows to mark the opening of the new SoHo store.

Bratcher spent more than 14 years spearheading the A/X Armani Exchange business worldwide. He joined the company in 2001 as president and was named ceo in 2006. Earlier, he was chief marketing offi cer of Calvin Klein and, before that, senior vice president, retail development at Sony.

The company’s product range includes handbags, footwear, accessories, small leather goods and rtw.

A spokeswoman for Giorgio Armani had no com-ment on Bratcher’s successor.

Last May, Giorgio Armani took full control of his A/X Armani brand, acquiring the 50 percent he did not already own. At the time, he unveiled ambitious plans to turn the brand into “the fi rst global Italian fast-fashion brand targeting a young customer whose DNA is strongly Armani.” A/X Armani has a strong foothold in the U.S., 270 stores worldwide and more than 3,000 employees.

By ROSEMARY FEITELBERG

NEW YORK — As a designer who has experienced the fast-track of fame, Jason Wu will share some of that ride as the keynote speaker at the Fashion Group International’s annual Rising Star Awards Jan. 27 at Cipriani 42nd Street here.

Hearst Magazines will serve as this year’s lead sponsor and Elle editor in chief Robbie Myers will present the women’s ready-to-wear award. A.A. Antonio Azzuolo’s Antonio Azzuolo; Harbison’s Charles Harbison; Haus Alkire’s Julie Haus and Jason Alkire; Houghton’s Katharine Polk; Ji Oh; Rosie Assoulin; Sally LaPointe; Stacy Lomman, Tanya Taylor Designs’ Tanya Taylor and Tome’s Ryan Lobo and Ramon Martin are nominated for this year’s prize.

In addition to the eight categories, the Karen Harvey Business Innovator Award will be given as well. Harvey’s namesake Consulting Group and Saks Fifth Avenue are this year’s partner sponsors. Saks will welcome the nominees at a cocktail party at the store Thursday night. In addition, Saks’ Lincoln Moore will award this year’s accessories prize. The fi -nalists are Beth Macri Designs’ Beth Macri; Fairchild Baldwin’s Jill Fairchild and Karen Baldwin; Jgeren’s Jen Gerenraich and Lori Wallis, and Jill Haber Design Group’s Jill Haber, and Yliana Yepez.

In the fi ne jewelry sector, the Cooper Hewitt, Smithsonian Design Museum’s Sarah Coffi n will present the award to one of the following three labels: Eva Fehren’s Eva Zuckerman; Lisa Black Jewellery’s Lisa Black or Phyne by Paige Novick’s Paige Novick. For men’s apparel, nominees are Alder New York’s David J. Krause and Nina Zilka, Alexander Nash’s Alex Sumner and Salence’s Whitney Hunter and Andy Gathings.

Rent The Runway’s Jennifer Hyman will give top honors for the retail sector. Artisan Connect’s Amanda North; Frank & Eileen’s Audrey McLoghlin; Spring’s David Tisch, Alan Tisch, Ara Katz and Octavian Costache; Tinker Tailor’s Aslaug Magnusdottir and Wanelo’s Deena Varshavskaya are contenders.

Architectural Digest’s Margaret Russell will be on hand to honor the home/interiors winner. Kriest’s Kristin Victoria Barron; Lazzoni USA’s Efe Kababulut; Marks and Frantz Design’s Lydia Marks and Lisa Frantz and Sam Allen Interiors’ Sam Allen have been nominated.

One of the more competitive categories is the ev-er-expanding Beauty Entrepreneur. Lord & Taylor’s Barbara Zinn-Moore will present to one of the fol-lowing fi nalists — Lurk’s Anne Nelson Sanford; Mereadesso Inc.’s Linda Stephenson; Restorsea’s Patti Pao; VBeaute’s Julie Macklowe or Willagirl’s Christy Prunier.

ON WWD.COM

THE BRIEFING BOXIN TODAY’S WWD

John Galliano returned to fashion’s stage by pouring his bravado into the clothes to high praise from attendees. PAGE 1

EBay is looking to help retailers in their omnichannel efforts, rolling out a new software program. PAGE 1

Harlan Bratcher was named chief executive offi cer of Reed Krakoff. PAGE 2

Tiffany and Lululemon were among the companies updating investors on the holiday season. PAGE 2

Jason Wu will be a keynote speaker at Fashion Group International’s Rising Star Awards. PAGE 2

Brands are continuing their search for the men’s luxury customer at Pitti Uomo. PAGE 6

Nasty Gal named Sheree Waterson ceo, with founder Sophia Amoruso becoming executive chair. PAGE 9

Gertrude G. Michelson, a retired senior vice president at Macy’s, died Saturday morning, at her home in Greenwich Village. PAGE 12

Retailers generally backed a new proposal from President Obama that would require companies to notify their customers within 30 days of a cybersecurity attack. PAGE 12

Analyzing the decade since the World Trade Organization fazed out quotas on apparel and textile imports. PAGE 13

The Hollywood set partied after the awards ceremony, Globes in hand. PAGE 14

Bridget Foley weighs in on Golden Globes fashion — the good and the bad. PAGE 16

The subject of this week’s Model Call is Crista Cober. For more, see WWD.com.

EYE: Next-repped model Crista Cober stopped by WWD’s offi ce to talk about shooting for Balmain, her singular runway experience and her dreams of becoming a midwife. For more, see WWD.com.

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TO E-MAIL REPORTERS AND EDITORS AT WWD, THE ADDRESS IS FIRSTNAME_LASTNAME@FAIRCHILDFASHION.COM, USING THE INDIVIDUAL’S NAME. WWD IS A REGISTERED TRADEMARK OF FAIRCHILD PUBLISHING, LLC. COPYRIGHT ©2014 FAIRCHILD PUBLISHING, LLC. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 209, NO. 7 TUESDAY JANUARY 13, 2015. WWD (ISSN 0149-5380) is published daily (except Saturdays, Sundays and holidays, with one additional issue in March, April, May, June, August, October, November and December, and two additional issues in February and September) by Fairchild Media, LLC, which is a division of Penske Business Media, LLC. PRINCIPAL OFFICE: 11175 Santa Monica Blvd., 9th Fl, Los Angeles, CA 90025. Periodicals postage paid at Los Angeles, CA, and at additional mailing offi ces. Canada Post: return undeliverable Canadian addresses to P.O. Box 503, RPO West Beaver Cre, Rich-Hill, ON L4B 4R6. POSTMASTER: SEND ADDRESS CHANGES TO WOMEN’S WEAR DAILY, P.O. Box 6356, Harlan, IA, 51593. FOR SUBSCRIPTIONS, ADDRESS CHANGES, ADJUSTMENTS, OR BACK ISSUE INQUIRIES: Please write to WWD, P.O. Box 6356, Harlan, IA, 51593, call 866-401-7801, or e-mail customer service at wwdPrint@cdsfulfi llment.com. Please include both new and old addresses as printed on most recent label. For New York Hand Delivery Service address changes or inquiries, please contact Mitchell’s NY at 1-800-662-2275, option 7. Subscribers: If the Post Offi ce alerts us that your magazine is undeliverable, we have no further obligation unless we receive a corrected address within one year. If during your subscription term or up to one year after the magazine becomes undeliverable, you are ever dissatisfi ed with your subscription, let us know. You will receive a full refund on all unmailed issues. First copy of new subscription will be mailed within four weeks after receipt of order. We reserve the right to change the number of issues contained in a subscription term and/or the way the product is delivered. Address all editorial, business, and production correspondence to WOMEN’S WEAR DAILY, 750 Third Avenue, New York, NY 10017. For permissions requests, please call 212-630-5656 or fax request to 212-630-5883. For reprints, please e-mail FFM_Reprints@pmc.com or call Wright’s Media 877-652-5295. For reuse permissions, please e-mail FFM_Contenlicensing@pmc.com or call 800-897-8666. Visit us online at www.wwd.com. To subscribe to other Fairchild Media, LLC magazines on the World Wide Web, visit www.wwd.com/subscriptions. WOMEN’S WEAR DAILY IS NOT RESPONSIBLE FOR THE RETURN OR LOSS OF, OR FOR DAMAGE OR ANY OTHER INJURY TO, UNSOLICITED MANUSCRIPTS, UNSOLICITED ART WORK (INCLUDING, BUT NOT LIMITED TO, DRAWINGS, PHOTOGRAPHS, AND TRANSPARENCIES), OR ANY OTHER UNSOLICITED MATERIALS. THOSE SUBMITTING MANUSCRIPTS, PHOTOGRAPHS, ART WORK, OR OTHER MATERIALS FOR CONSIDERATION SHOULD NOT SEND ORIGINALS, UNLESS SPECIFICALLY REQUESTED TO DO SO BY WOMEN’S WEAR DAILY IN WRITING. MANUSCRIPTS, PHOTOGRAPHS, AND OTHER MATERIALS SUBMITTED MUST BE ACCOMPANIED BY A SELF-ADDRESSED STAMPED ENVELOPE.

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Tiffany Slips, Lululemon Shines in Outlooks

HERE FASHION COMESTO LIFE. FEAST YOUR EYES. SAVOR OUR WORDS.DEVOUR EVERY INCH AND ANGLE. BREATHE IN OUR UNIQUE ATMOSPHERE. REVEL IN INSPIRATION. SAY I LOVE YOU. SAY I HATE YOU.HEAR THE COLORS. LISTEN TO YOUR IDEAS. GET A FRESH START.HERE YOU ARE FREE. HERE NOTHING CAN STOP YOU. DON’T GIVE UP ON ANYTHING.PURSUE YOUR DREAMS. NOW AND FOREVER. THIS IS WHERE YOUCOME TO LIFE.

10 - 12 February 2015premierevision.com

We dedicate this event to all the players in the fashion world, bringing together, here in Paris, under the Première Vision banner and in a shared

venue, all the different experts in :

S_PremiereVisionParis_GB_WWD_254x352.indd 1 01/12/14 11:58

By Miles socha

JohN GalliaNo ReTURNeD to fashion’s stage by pouring his bravado into the clothes — and not the set or his finale getup.

The name over the door — shortened to Maison Margiela, as founder Martin is long gone — gave Galliano an excuse to shed his flamboyant ways and not strut out dressed as an astronaut, pirate or cossack. instead, there was a blink-and-you-missed-it bow à la Miuccia Prada: the Gibraltar-born, British designer smiling in the house’s signature lab coat as shirley Bassey belted “Big spender.”

This came after a no-frills couture show for spring in an all-white space in which Galliano married his pen-chant for romantic silhouettes and daring cutting with the Belgian house’s codes stretching from deconstruc-tion to brushes of white paint.

This two-part production had models first file out in one direction, and return in part two wearing the toiles and experiments to realize this artisanal collection, for everything from bird figurines, scraps of fabric and safe-ty pins were repurposed.

The collection was bold, most exits densely detailed save a few simple evening columns and mannish tuxedo suits.

Despite the hype and hyperbole that preceded Galliano’s show at the tail end of london collections: Men, everything about the production seemed designed to calm, from the spa-like music that washed over the two rows of chairs and spotlights that lined the narrow room to the restrictions on hubbub.

There were only three photographers in the pit, in-cluding one in-house, and no paparazzi allowed inside to document the arrival of Kate Moss and her husband Jamie hince, plus designers that included Burberry’s christopher Bailey, lanvin’s alber elbaz, Manolo Blahnik and Rifat ozbek.

The few people who jockeyed to reach Galliano backstage, whether for congratulations or ambush in-terviews, were deflected by p.r.s, presumably sheltering the designer from awkward questions or some of the pressures that might have fu-eled his use of alcohol and drugs. Galliano blamed those addictions, along with work-related stress, for the altercations that led to his dis-missal from Dior and a conviction for public insult.

The Greta Garbo-like ways of Margiela himself, up-held since his retirement in 2009, may serve as a buffer for the 54-year-old Galliano as he steps gingerly back into the media spotlight.

Galliano chose london — where he catapulted onto the scene in 1984 with his graduate collection at central saint Martins — for his first couture show since 2011, his last at Dior.

The anticipation in the room for one of the biggest fashion comebacks in recent memory was palpable, though well shy of electric. Yet for those who felt pathos for the long unemployment of one of modern fashion’s most acclaimed and incendiary talents, this was a mo-ment to cherish.

Moss and ozbek clapped and whooped as the finale dress came into view.

“shivers. You know when you get the shivers down your legs? i had shivers up and down my legs,” Moss said immediately after the show.

american Vogue editor in chief anna Wintour, the de-signer’s longtime champion and a linchpin figure behind his three-week designer-in-residence role at oscar de la Renta in 2013, clapped and laughed at the conclusion of the show, staged at a gleaming new office tower not far from Buckingham Palace.

“it was brilliant,” Wintour said after the show. “What i loved was the mix: There was so much that we know and we love about John, but then he took the Margiela vocabulary and translated it in such an appealing and innovative way. i loved seeing all the toiles at the end where you can see all the work and the new embroidery.”

in lieu of previews and to avoid the usual postshow melee, Margiela e-mailed show notes immediately fol-lowing the show. They trumpeted “a process of discovery, returning to one’s roots: piece by piece, deconstructing and constructing a new story for Margiela.”

it was clear Galliano had dialed down, but not aban-doned, the retro-tinged glamour he plied over a 15-year tenure at Dior. The dramatic swags of fabrics and ex-plosions of tulle were inimitably his. and there was still theatrical makeup: crystals winking from lips, cheeks and kiss curls.

Galliano upheld Margiela couture’s original mission of upcycling. Raw canvas jackets came trimmed with Matchbox cars, and a series of dresses were fronted with

3-D faces constructed of lacquered seashells, a wink to Giuseppe arcimboldo paintings. The pileups of trin-kets on strongly colored dresses also had a perfume of christian lacroix, another of fashion’s maximalists, now devoted to stage costumes.

The humor and whimsy suggested Galliano is in a happy frame of mind, taking a playful approach to the show — from the platform shoes with their puzzle-shaped pieces to an army of toy soldiers charging across the shoulder of a black velvet gown.

he also stretched the boundaries of the range, dubbed artisanal, by whirling silk ribbons into sexy mermaid col-umns, and molding gauze, cord and organza into a dra-matic sheer red gown, an animal-print bodysuit visible underneath.

“That, in my mind i couldn’t live without it,” Moss en-thused of the latter dress. “and the black ribbons, all the romantic things, i love.”

other attendees were similarly impressed.“it was so surreal — this is the first show i have ever

seen,” said Bailey. “i do shows, but i don’t go to them. it was just extraordinary. i wanted to keep pressing the pause button, to study, look closer at, play with and enjoy the clothes. it was just what i had hoped for — and more.

“There was such a huge amount of storytelling and i love the way the clothes were constructed — like a work in progress,” Bailey added.

elbaz related that Galliano called him about 18 months ago to ask where he should buy good paper and pencils. “i’m here to see how the sketches turned out,” he said with a smile.

“The boy is back,” Blahnik declared, with ozbek pick-ing up his thought.

“oh my God — what a comeback,” he said. ozbek noted he’s been friends with Galliano “since the blitz days — the eighties. John is back! John is back! John is back!”

The handful of retail executives in attendance said they liked what they saw.

“i thought it was brilliant: a great show, great new beginning. Very Galliano and very Margiela both,” said Mark lee, chief executive of-ficer of Barneys New York.

“You see how easily it comes for him to apply his creativity to a brand,” said la Rinascente creative director Tiziana cardini. “For him, fashion is a dream, and he makes you think about it. There’s something

magical and emotional to what he does.”“The show was fabulous,” added simon Burstein, ceo

of Browns in london, which famously bought Galliano’s graduation collection. “i loved the take on Margiela at the end of the show. The first 12 to 15 looks were pure Galliano, and the last were Margiela.”

Burstein said Browns has carried Margiela men’s wear before, but will now carry the women’s line by Galliano. “it doesn’t matter what the label is. The talent, the signature, the handwriting is there. John can deliver. We’ve seen it. That’s genius for you,” he said.

Renzo Rosso, whose group, oTB, controls Margiela via a subsidiary called Neuf, appointed Galliano to helm the house in october, giving a second chance to a contro-versial talent. Prized for his ultrafeminine, historically inspired designs, and a particular penchant for bias-cut gowns, Galliano was hardly an obvious choice for a house known for cleft-toed boots and all-white stores.

“You have no idea what dreamers John and his team are and how much love goes into their work,” Rosso told WWD after the show. “We are so excited and happy. This is a very big moment for John and for Margiela. i saw some of the pieces in the studio beforehand, and we talked about them — but i never interfere. John is totally free. What you saw today was Margiela with the Galliano spirit.”

asked why the backstage was closed, he replied: “We wanted the clothes to speak for themselves, and we want-ed to step away totally from anything that was not about the clothes and about this marriage of super-creativity on John’s part and know-how and professionalism on ours.”

Galliano’s arrival at the Paris-based label should reig-nite interest in Margiela, which had waned in recent years as a succession of hidden talents cycled in and out of the house. Management had put the development focus on its secondary line MM6 as buzz faded around its top lines.

Market sources estimate the company generates about 100 million euros annually, or $126 million at current ex-change. it operates about 50 directly owned stores.

Not yet involved in Margiela’s men’s wear, down for its fall-winter 2015 show on Jan. 23, Galliano’s next fash-ion moment falls during Paris Fashion Week, scheduled for March 3 to 11.

The artisanal spring couture is also to be presented by appointment during Paris couture Week, Jan. 25 to 31.

— With contributions from samantha conti and alex badia

4 WWD Tuesday, January 13, 2015

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John can deliver. We’ve seen it. That’s

genius for you.— Simon BurStein, BrownS

Galliano Makes Margiela D ebut

For more images, see

WWD.com/runway.

N°21: Alessandro Dell’Acqua infused his N°21 pre-fall lineup with a Nordic feel that offered a luxurious take on everyday sportswear. Strong outerwear pieces read masculine, such as a long shearling coat with leather sleeves and a striped wool caban. These were worn atop denim styles that had workwear appeal, including a loose-fitting jumpsuit featuring an upper and bottom in different washes as well as relaxed pants paired with a lace shirt sporting a contrasting poplin collar.

Among Dell’Acqua’s more feminine looks was a ruffled sky-blue techno-twill dress shown with a ribbed wool twin set in a fresh striped pattern. He also mixed and matched fabrics, as with a black techno-twill minidress with a lace bodice and oversize bow worn with a yellow crepe de chine shirt.

— ALESSANDRA TURRA

Roksanda: All of designer Roksanda Ilincic’s signature plays on volume and texture were out in force in this feminine pre-fall collection influenced by the organic lines of sculptor Richard Serra and the cutouts and collages of Canadian artist Laurie Kang.

Ilincic worked with bouclé, transforming it into thick, ruffle-front sweaters and dresses with an abstract mustard, olive green and purple design

inspired by one of Kang’s works. She also whipped up ethereal dresses in pink silk organza with delicate, frayed fringing at the front and small Perspex appliqués. The fringing appeared as well on the elegant bell sleeves of a silk jacket.

Using leather for the first time, Ilincic created a feather-light pink dress with pleats lined in orange and lavender silk, the pleating so light it fluttered as the model walked. For evening, she turned out voluminous silk skirts and dramatic gowns with stripes reminiscent of Serra’s work.

— SAMANTHA CONTI

Tia Cibani: Evoking the secessionist art movement — particularly Gustav Klimt and his muses — Tia Cibani’s lush pre-fall lineup demonstrated her knack for exotic textures. There were lacquered jacquards, waxed taffetas, geometric brocades, chain-mail paillettes and lush velvets in a palette rich with metallics, deep blues and violets. She worked a femme fatale/femme fragile theme, tempering the womanliness of her fluid cutout dresses with more handsome options that included a customizable trenchcoat and tailored suiting over bustiers. An Art Deco-inspired dress that showed off her signature pleating offered a supremely easy, elegant take on the LBD.

— KRISTI GARCED

NEW HONORS: AmfAR has named the honorees at its annual gala before the start of New York Fashion Week. They are: the entertainer Harry Belafonte; the actress Rosario Dawson; and the photographer Patrick Demarchelier. For the past 17 years, the organization has paid tribute to personalities in the worlds of fashion and entertainment for their efforts in the fight against HIV/AIDS. The octogenarian Belafonte, who has been picked up a string of lifetime achievement awards lately, including last year’s Jean Hersholt Humanitarian Award from the Academy of Motion Picture Arts and Sciences, was singled out as an amfAR trustee for the past decade. He spoke at last year’s gala, where Vanessa and Joely Richardson were honored alongside Peter Lindbergh. Taking on performing duties from last year’s entertainer, Grace Jones, is Shirley Bassey.

— WWD STAff

ANNA’S BACK ON STAGE: Ryan Rafferty’s taking his one-man musical about Anna Wintour, “The Most Powerful Woman in Fashion,” to Los Angeles. The show, which began at Joe’s Pub in New York last year, will make its West Coast debut at the Rockwell Table and Stage on Jan. 16 and 17. Rafferty, who plays Wintour in drag, will then bring back the musical to Joe’s Pub during New

York Fashion Week. He told WWD that he has added new material for the upcoming NYFW performances, which are slated for Feb. 15 and 18 and March 3. Tickets to the LA show are between $15 and $25, and in New York, they cost $25.

While Rafferty said he might add more performances during NYFW, he doesn’t expect Wintour to make an appearance due to timing. Her daughter, Bee Shaffer, did attend opening night last year.

“Bee was filming part of the show,” said Rafferty, who met Shaffer after the performance. “I imagine she sent part of the video to her mom. I sent Anna

flowers last fashion week thanking her. I didn’t hear back, but I couldn’t be happier that she knows who I am.”

He continued: “Everybody asks me if she will come. I’m just happy she let’s me do it. I’m sure if she wanted to, she could have me shut down. It’s been a real pleasure playing her.”

For those unable to see Rafferty on stage, there’s still a chance to see him play the Vogue editor in chief. During NYFW, Rafferty will appear on Andy Cohen’s “Watch What Happens Live” show on Bravo. In full Wintour regalia, he’ll dole out fashion criticism — and drinks — as the show’s guest bartender.

—ALEXANDRA STEIGRAD

WWD.COM5WWD Tuesday, January 13, 2015

For more scoops, see

WWD.com.

Fashion scoops Galliano Makes Margiela D ebut

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Pre-Fall 2015

For more pre-FALL 2015, see

WWD.com/runway.

WWD.COM6 WWD TUESDAY, JANUARY 13, 2015

By LUISA ZARGANI

MILAN — “Critical, careful and a connoisseur.”

That is a description of the new luxury men’s wear cus-tomer, according to Umberto Angeloni, chairman, chief ex-ecutive officer and majority shareholder of Raffaele Caruso SpA. “We must be very attentive today. Men are looking for au-thenticity. They are more prag-matic and less trend-oriented, less brand victims. In these mo-ments, you need a competitive advantage: quality, innovation, authenticity and value,” he said, touting Caruso for checking all those boxes.

The company is unveiling a sprawling flagship in Milan, on Via Gesù, which Angeloni has dubbed the “street of men’s style,” on Saturday. This follows the opening of a large store in New York in November. A new unit will open in Shanghai in June 2016. “We are opening new markets and new business extensions with our stores, and [adding] more accesso-ries,” Angeloni said.

As Pitti Uomo winds down Friday in Florence, Milan’s men’s fashion week will kick off with a Dsquared2 celebratory event that same day to mark the brand’s 20 years in fashion. It will take place the evening be-fore the official calendar begins. The men’s shows run Jan. 17 to 20 and consist of 40 shows and 36 presentations.

Both Pitti and fashion week this year are being held against a lackluster backdrop in Italy, as its economy is expected to expand by just 0.5 percent in 2015 after a forecasted 0.3 per-cent drop in 2014, according to the latest study from the Italian National Statistics Institute.

Unemployment remains high and local consumer spending sluggish. Lower oil prices are not an issue here, as govern-ment taxes determine the final price at the station. On the bright side, a weaker euro is ex-pected to boost exports and the flow of tourists to the country.

The U.S. remains a key mar-ket for Italian brands — offset-ting worries about Russia — and investments continue to be chan-neled into emerging markets.

“Geopolitical uncertainties are not helping business,” said Antonio De Matteis, ceo of luxu-ry tailoring company Kiton, who nonetheless was upbeat about future developments in the U.S., for example, and in product extensions. “We have a strong potential in the accessories cat-egory,” he said, noting designs by Diego Dolcini for the brand. North America is Kiton’s “num-ber-one market,” accounting for around 22 percent of total sales. With openings in San Francisco and Houston last year, the mar-ket is growing and expanding, said De Matteis. In terms of fashion, the executive noted “a strong return to the suit, a desire to dress well,” and a comeback of “white and azure shirts, of ties and of high-quality fabrics.”

Stefano Canali, general direc-tor of the family-owned Canali, also highlighted the relevance of the American market for the brand. “The U.S. area is the most important for luxury in the world, and it now accounts for more than one-third of our sales,” said Canali, who expects 2015 to be similar to 2014. “It will be a complicated year, with many question marks on how critical situations will be solved. Last year presented difficult situa-tions. We operated with tenacity and posted single-digit growth.”

The uncertainties are not stopping Canali’s investments in its retail development “where opportune.” Units are slated to open in Washington in April, in Las Vegas in June and in Houston in September. Locations are also expected to be unveiled in Shanghai and Macau in March, as well as in Jakarta in mid-2015. Retail sales account for 25 percent of total revenues. The Italian company has also opened a new showroom in Milan’s tony new Porta Nuova area, “in line with the evolution of the image and in a more dynamic context,” said Canali. Also, the firm is investing in a new state-of-the-art warehouse in Sovico, half an hour north of Milan, in front of its headquarters, which will be completed in mid-2015.

Andrea Pompilio, tapped last year to design a capsule for Canali, is now in charge of the whole collection and all cat-egories, Canali said. “We face intense competition, but we are specialists and we can do well, and customers ask for distinctive quality. We have style and cred-ibility, with more than 80 years of history and consistency,” he said. For fall, Pompilio will develop “two themes inspired by the Fifties, a mix between elegance and concreteness, with a graphic approach,” he added.

Michele Norsa, ceo of Salvatore Ferragamo, said the Florence-based brand has seen brisk growth of its men’s wear division over the past few years, “even a little more than wom-en’s wear,” boosted by emerging markets. Men’s now accounts for 40 percent of the brand’s sales. Norsa said shoes and belts are “a great success,” as well as printed ties with patterns — traditional items for Ferragamo. On Monday

in Florence, the company held the event “A Life of Elegance: The Tale of a Gentleman From a Different Time” to present a capsule collection of men’s shoes, Uomo Creations, which are replicas of original Salvatore Ferragamo designs.

At its Milan show, the com-pany will greet the men featured in the series of photographs and films for “A Man’s Story,” a project by photographer and filmmaker Francesco Carrozzini under the creative direction of Massimiliano Giornetti, present-ed in December. The label part-nered with several tastemakers, including A$AP Rocky, New York Rangers’ Henrik Lundqvist, pho-tographer Ryan McGinley and entrepreneur Louis-Maris de Castelbajac, among others.

On the heels of “a beautiful 2014,” Brunello Cucinelli trum-peted Italy’s “special manu-facture” and a 2015 marked by customers’ desire to own “beautiful, quality products,” seeing “less waste.” The entre-preneur expects 2015 to be “a very important year for knits, even light, worn under a suit; a return of coats, as men in their 30s don’t have them in their wardrobes; ironed pants, softer on the thigh and less narrow; micro-checked or pied-de-poule patterns, and ties, for a well-put-together look.”

Boglioli president and ceo Giovanni Mannucci said the company will continue to focus on its forte, the deconstructed jacket, “shorter and with wider shoulders,” and apply pleats on pants. “We will continue to in-vest in research on fabrics, as 90 percent of fabrics we employ are ours exclusively,” Mannucci said.

The executive was pleased with the brand’s change in path initiated in 2013 and contin-

ued throughout 2014. Last year, the company saw a 5 percent increase in sales, “a great re-sult,” he said, noting that he’s expecting 22 percent growth in 2015. “We are already up 12 percent with our pre-collec-tion,” Mannucci said. Gains were mainly seen in the U.S. and the Far East, Germany, U.K. and Japan. Exports ac-count for 70 percent of sales. Despite Italy’s stagnant econo-my, Mannucci was pleased with the performance of the brand’s new boutique in Milan, which opened in June. “It’s beyond expectations, and 80 percent are Italian customers. We are very proud, and the store is an indicator of what can be done.” Boglioli will launch its online store on July 1.

Deconstructed jackets, “less formal and easy to wear and mix,” are also central for Lardini. Andrea Lardini, president of the Lardini company, which closes its fiscal year in September, said sales in 2014 were up 30 percent compared with 2013, reaching 73 million euros, or $86.8 million at current exchange rate.

“We expect 2015 to be in line with last year, based on the or-ders for the spring-summer sea-son,” Lardini said. Although Japan is the company’s main market, Lardini is investing in the U.S., as its performance was boosted by a capsule collection by Nick Wooster presented in June. Another capsule by Wooster will be showcased at Pitti Uomo in January. “The dollar is strength-ening, there is optimism and en-ergy,” said the executive.

Encouraged by these positive results, Lardini is expanding both its factory in the Marche region and its Milanese show-room, which will be enlarged to about 8,611 square feet.

pitti uomo preview

Exports, Accessories Key to Growth in Italy

Ones to WatchSome top picks to check out at pitti uomo

ANDREA INCONTRIAndrea Incontri is making a come-back at Pitti Uomo this season. The designer, who launched his career at the Florentine trade show, winning the men’s edition of the “Who Is On Next?”

talent competition in 2010, will unveil his new fall-winter men’s collection with a show on Wednesday at Palazzo Corsini.

“There will be a big focus on shoes and bags,” said Incontri, whose leather goods are produced under license by Italian manufacturer Peron. The acces-sories range includes lightweight buffa-lo-leather bags as well as hand-stitched shoes with calf leather soles.

“The ready-to-wear range is based on the contrast between innovation and tradition,” said Incontri, who reworked high-tech and classic materials, such as transparent nylon, loden and soft leather for outerwear staples, including parkas, field jackets, peacoats and bombers with a sporty allure. The apparel collection, which retails from $330 for pants to $1,414 for the most elaborate outerwear pieces, also features high-end knitwear, includ-ing furry, supersoft wool sweaters, as well as lightweight silk and wool polo shirts and turtlenecks. Everything is worked in a color palette of classic masculine tones, such as military green, black, sand, navy blue, deep purple and teal.

Incontri sells his collections in 55 stores around the world. Japan is one the brand’s most important markets.

— A.T

PEUTEREYPeuterey has selected Florence as the location for its first official men’s pre-sentation. On Wednesday, the Italian outerwear label will host an event at the Dogana venue, which will be trans-formed to re-create a suggestive set with minerals as protagonists. Sixteen models will walk on a treadmill-like runway surrounding an architectur-al installation, inspired by fractals, placed at the center of the space.

For the fall season, Peuterey blend-ed tailoring and sportswear into chic yet functional pieces, including field jackets in traditional men’s fabrics, as well as a parka lined with eco fur, worked in a lightweight striped-wool cloth treated to be breathable and wa-ter-resistant.

In addition, the outerwear offer-ing will feature the Arctic range, including warm, filled nylon par-kas in bright tones, such as orange, turquoise and light blue, as well as reversible styles, with one face in a blend of nylon and cotton and the other in colored ripstop fabrics.

Starting with this season, Peuterey also enlarged its offering with a wider number of ready-to-wear options, in-cluding sporty cotton trousers and more formal pin-striped pants, as well as knit blazers with an eco fur lining.

Pants will retail for between $153 and $200, while knitwear will sell for between $177 and $354. Prices for outer-wear will run from $472 to $1,062. — A.T.

{Ones to Watch Continued on page 8}

Shoes and bags will be a fall-winter focus for Andrea Incontri.

Peuterey is expanding its ready-to-wear options.

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8 WWD TUESDAY, JANUARY 13, 2015

WOOLMARK PRESENTS THE WHITE BRIEFS NICK WOOSTERNick Wooster never sits still. The former men’s fashion director for Neiman Marcus and social media maven has teamed up with The White Briefs for a capsule collection of underwear and loungewear that will be introduced at Pitti Uomo.

The line was created in collaboration with the Woolmark Co., so every piece in the collec-tion is made from merino wool.

Wooster said he worked closely with The White Briefs’ founder and creative director Peter Simmonson on the collection, which grew in size as the men started to work together. He said he had collaborated with Simmonson pre-viously when the Swedish designer created a special package for Project Wooster of his sig-nature pieces in a camo print. “So we picked this back up through Woolmark,” Wooster said.

The original plan was to create a 10-piece collection, “but I have 30 hangers now,” Simmonson said with a laugh, noting that many of the 15 pieces were made in different varia-tions of the wool.

There are regular briefs, midbriefs, knee-length shorts, singlets, baggy pants, a long car-digan, sweats and even a loose, boxy robe. In addition to underwear, the brand’s hallmark, he said, “We are also exploring everyday gar-ments in wool.” He noted that The White Briefs had worked in wool in the past, “but not in this way. This is so extensive. It was a fantastic op-portunity to work with these fabrics.”

Wooster said the capsule is targeted at a man on the go. “I’ve spent an inordinate amount of time on airplanes in the last year. And with these products, you can wear them for eight, 12, 14 hours and still look good and be comfortable.”

Wooster added that working with Simmonson allowed the two men to “push each

other in directions we weren’t necessarily com-fortable with.” As a result, the line has a blend of “classic components and fashion compo-nents. That’s why the marriage works.”

The collection will be targeted to retailers around the world. “We have a global plan,” Simmonson said. “We’re looking for conscious,

quality-minded retailers worldwide. We’re tar-geting 50 key customers.” Prices range from $55 for briefs and $95 for boxers to $240 for leggings and $260 for long-sleeve shirts. Tanks are $105, gym shorts are $145 and the robe is $415.

Simmonson said he hopes the collection will be successful enough that it will be offered for additional seasons.

“I hope it’s not a one-off,” he said. “We’ll see what the reaction is. We hope it will continue, and we’ll be able to work with wool in another way.” — JEAN E. PALMIERI

ARRIVOStefano Ughetti, creative direc-tor of men’s apparel label Camo, and Matteo Gioli, member of the trio behind accessories label SuperDuper Hats, have teamed up to launch a new men’s wear project to be unveiled today with a runway show at Florence’s Dogana venue.

Named Arrivo, which means “fi nish line” in English, the line-up is a capsule of 27 outfi ts in-spired by vintage cycling.

“The inspiration is not so much linked with the sport itself but with the idea of strain and ef-fort, which are essentially part of cycling,” said Gioli, adding that his grandfather and Ughetti’s were cyclists.

Showing small details inspired by vintage wool cycling uniforms, the collection, entirely worked in a black-and-white color pal-ette — “since we learned about vintage cycling from black-and-white images,” Gioli explained — is focused on three pieces of-fered in different materials and patterns, such as classic Prince of Wales and houndstooth. These include a pair of cropped pants, a relaxed blazer with a unique button stitching detail and a knit polo shirt.

Ughetti and Gioli also worked with footwear label Casbia on a pair of intrecciato sneakers where elastic bands are woven with leather. “We decorated them with orange soles, recall-ing the color of vintage bicycle tires,” Ughetti said.

The collection will be avail-able for purchase on Camo’s e-store and in a range of selected multibrand stores. “We have many appointments scheduled, especially with Asian and North American buyers,” Gioli said.

Retail prices range from a polo shirt for $295 and pants for $236 to a blazer for $556. —A.T.

By ALESSANDRA TURRA

MILAN — Hood by Air’s creative director Shayne Oliver is ready to shake things up at Pitti Uomo with his urban, irreverent, extravagant fash-ion approach.

The Brooklyn-based designer, who last year won a special jury award at the LVMH Prize for young fashion designers, is gearing up to unveil his fall 2015 men’s collection on Wednesday at the antique Villa di Maiano in the Florentine hills.

“The collection we are show-ing at Pitti is a specifi c statement, a special project introducing our new formal-based tailoring,” said Oliver during a preview of the new collection. “The goal is to recollect the men’s wardrobe back to-gether, making it solid.”

Oliver launched Hood by Air in 2006. At that time, the brand’s offer-ing was limited to T-shirts showing the word “Hood” in big letters. The first complete collection was produced in November 2007, but Oliver took a hia-tus the year after. The de-signer relaunched the label in 2012 with the goal of cre-ating a real lifestyle brand, boosted by the introduction of the Classic line, which includes printed pieces and separates, as well as a women’s range, which debuted at Paris Fashion Week last September.

In order to expand the label and improve the products’ quality, Oliver set up a studio in Milan with three internal designers who help him source fabrics in the country and con-trol production. Collections are mostly manufactured in Italy, except for certain pieces realized in California, New York and Canada.

Although in February, dur-

ing New York Fashion Week, the brand will show a “very recognizable collec-tion” for fall, based more on sports-wear, Oliver said that for Pitti, without setting aside the urban, casual traits of the label’s previous collections, he focused on a new idea of formalwear, where tailoring is combined with sportswear in a fresh, cool way.

“We’re very focused on outerwear,” the designer explained. Oliver re-

worked classic men’s staples, in-cluding biker jackets, shearling

coats and parkas, which he in-fused with a sporty, casual ap-peal through the insertion of details inspired by extreme sports. These include insulat-ed molding that give a sort of

muscle defi nition to the piec-es, which were designed to resemble armor protecting those wearing them.

Working in a wide range of luxury fabrics — includ-ing suiting-grade wool, suede, leather and technical nylon — Oliver also delivered sar-torial pants with a relaxed fi t and quirky trousers long enough to incorporate the shoes. To complete the of-fering, Oliver designed bijoux with marble neck-laces in the same fabric as the clothes, as well as special headpieces.

Hood by Air, which counts Asia as its biggest market, currently sells its collections in about 100 stores around the world. With the participation at Pitti Uomo and the opening of a showroom in Milan, the brand hopes to expand its presence in Europe.

Oliver also revealed that the company found a location

in Manhattan for its fi rst flagship, which is ex-pected to open between the end of 2015 and the

fi rst part of 2016. “But we have no rush,” Oliver said.

Hood by Air’s Formal Take MILAN — Marni is bringing men’s wear back to the runway this season as guest brand at the 87th edition of the Pitti Uomo international trade show.

“Pitti is extremely important for men’s fashion. It’s always cutting-edge, so we are very happy to be part of it this season,” said Marni creative director Consuelo Castiglioni. “This marks a new starting point toward a further evolution of our men’s line.”

The men’s line was fi rst launched in January 2006.

Castiglioni’s signature style — which favors geometric shapes, asymmetric cuts, bold color combina-tions and mixes and matches of rich fabrics — shows in the men’s lineup. Even if certain eccentricities are confi ned to the women’s world, Castiglioni plays with the un-expected and quirky when it comes to injecting a spin into classic men’s styles as well.

“The starting point of the collection was the clas-sic wardrobe of the men’s fashion tradition, which we revisited through our own point of view. We focused on rich materials, impactful sil-houettes and combinations of elements giving an unex-pected twist,” the designer revealed, pointing out that research on materials was pivotal in the development of the collection. In particular, Castiglioni said she worked on special wools and fur — the latter of which is a Marni trademark.

“This collection is a little more formal than usual. Maybe it’s for a man who is a bit more mature,” said Castiglioni, who put the ac-cent on the sartorial details of tra-ditional men’s wear staples she re-vamped, including suits and coats. These were worked in classic tones with pops of bright color.

In keeping with the brand’s tradition, the lineup also includes some printed patterns decorat-ing shirts, as well as the lining of fur pieces.

Exalting the artsy attitude of the brand, Castiglioni chose to unveil her collection at Florence’s Museo Marino Marini, which houses the spectacu-lar sculptures of the late Italian artist. “As soon as we stepped in, we immedi-ately fell in love with the location,” said Castiglioni, revealing that the sculptures of the museum will create a dialogue with the clothes on the catwalk.

The designer said that, starting from this season, there will be a bigger focus

on accessories, which include shoes, bags, gloves and scarves.

The show at Pitti represents a comeback on the runway for Marni’s men’s wear. “The goal is to return to show in Milan,” said Castiglioni, who, although excited

for the event in Florence, admit-ted she was a fan of presenta-tions. “They enable people to actually see the collection, touch the clothes and discov-er all the details,” she said.

The decision to show at Pitti Uomo is in line with the brand’s strategy to ex-pand its men’s business.

“The men’s line is be-coming more and more im-portant for us, and we are giving more and more visi-bility and space to it in our stores,” said Castiglioni, adding that the new fl ag-ships the company will in-

augurate this year, including units in San Francisco and in Milan, will have ample space dedicated to men’s.

“We invested a lot on the development of Marni men’s collections to give a com-plete offering of ready-to-wear and accessories,” said Marni chief executive offi cer Gianni Castiglioni. “The first results are promising, both in the retail and wholesale business.”

Marni closed 2013, the most recent figures available, with revenues of 117 million euros, or $160.3 million at average ex-change rate. — A.T.

Marni to Highlight Men’s

Ones to Watch

Asia is Hood by Air’s biggest market.

Marni men’s wear is coming back to the runway.

Arrivo takes its inspiration from vintage cycling.

Nick Wooster and The White Briefs are targeting a man on the go.

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the store,’ but now we can get really smart about it and recom-mend a broader assortment and come up with recommendations that are relevant to the custom-er,” said Milton Pappas, Nine West’s president of e-commerce. “Before that, the iPad was just an order device.”

Nine West is in the process of rolling out Retail Associate in 10 of its full-priced doors in cit-ies such as New York and San Francisco. For the time being, the only one of eBay’s suite of products it’s using is the Endless Aisle application.

Retailers have been talking endlessly about merging their on and offline presences, but often-times the results have been un-even, with brands exceeding in one aspect and falling short in another.

The drive for retailers to ex-pand online has created a bud-ding business for tech companies such as eBay, Amazon, Google and Alibaba that are looking to get a bigger piece of the online business by partnering with other brands. Most retailers could use some help in the digi-tal realm given the sheer amount of dollars it would take to trans-form a retail operation and the expertise it would take to build digital capabilities in-house.

EBay’s program can help retailers handle mobile POS, tackle any fulfillment situation, show all inventory in real-time, tap into a universal cart that fol-lows the customer from their desktop, to their smartphone to the store and eventually sync up to the dressing room digitally.

EBay has a total of 1,500 doors using the Retail Associate Platform across the U.S., with more starting to employ the tech-nology during the first quarter.

The rollout of the Retail Associate Platform is perhaps eBay’s most aggressive effort at making omnichannel a real-ity, following the launch of its “Connected Fitting Room” late last year. Rebecca Minkoff was the first to implement the fitting room technology into her first flagship, followed by Nordstrom, which tested digitized fitting rooms in three of its doors dur-ing the holiday season.

Geisinger said the majority of last year was spent adding ad-ditional features to the Retail Associate Platform — like integra-tion with third-party recommen-dation engines and point of sale platforms, the ability to accept cash and gift card payments and

real-time inventory checks against other doors and the retailer’s Web site. The Retail Associate technol-ogy can now support promotions, coupons and price adjustments and works in tandem with existing loyalty programs.

So far, eBay said its om-nichannel efforts are leading to consumers spending more.

Craig Hayman, head of eBay Enterprise, said that eBay han-dled $1 billion worth of “ship from store” and in-store pickup orders last year.

From Thanksgiving to Cyber Monday, order volume from “ship from store” and in-store pickup increased over 30 per-cent — but sales grew by up-wards of 50 percent.

Save That Sale: eBay Unveils Platform{Continued from page one}

Nine West will be rolling out Retail Associate to 10 of its full-priced doors.

LOS ANGELES — Nasty Gal has named Sheree Waterson chief executive officer of the Los Angeles-based e-tailer.

Founder Sophia Amoruso will become executive chair of the company, which has been expand-ing rapidly with its first freestand-ing store as well as a growing team of senior retail and operations executives. Nasty Gal opened its first storefront in November on Melrose Avenue in Los Angeles.

Waterson joined the company last year as president and chief product officer after leaving Vancouver-based Lululemon Athletica Inc.

She spent five years at Lululemon as chief product officer and left shortly after the compa-ny’s high-profile recall of too-sheer yoga bottoms.

Waterson’s appointment at Nasty Gal was one of a string of hires the company made in the fall, including a chief financial of-ficer and a senior vice president. Robert Ross joined as cfo from Ideeli but had a 13-year stint at Urban Outfitters Inc., and while senior vice president of creative, Lina Kutsovskaya previously was at Sephora.

Nasty Gal underwent at least three rounds of layoffs last year, most recently more than 20 in September that included positions in the com-pany’s technology department.

— KARI HAMANAKA

Nasty Gal Taps Waterson as CEO

Burberry Prorsum: Christopher Bailey beat his very own hippie trail with an embellished collection featuring tiny mirror details, fringes on scarves and blanket shawls and pops of paisley and floral print.

The brand’s chief creative and executive officer tempered his flower-child instincts, however, and wove the sparkle, texture and pattern in with classic shapes and fabrics. “I liked the idea of tailoring, of classic pieces mixed with something bohemian and off-kilter. It’s about the contradiction of different worlds,” Bailey said after the show.

To the beat of a performance by Clare Maguire, his bespectacled hippies strode out in outerwear ranging from shearling coats to fringed blanket shawls in a palette featuring cornflower, olive, teal, burgundy and mustard.

Corduroy or suede jackets came in similar vibrant tones, while quilted cotton ones were printed with paisley, flower and vine patterns. Bits of leopard print crept their way into the lineup — on coats and scarves — while camouflage-patterned trousers were a fitting foil for the eye-catching outerwear.

Accessories played a starring role. The piles of embroidered and mirror-embellished bags and scarves, as well as the fringed totes and portfolios, will no doubt pave a trail to profit.

— SAMANTHA CONTI

Tom Ford: The designer loosened up his “no pictures” policy — as well as his silhouettes — at a showroom presentation where he invited guests to snap the models on his perfectly lit white set. “We can get a wind machine if you like,” Ford jested as he talked press and buyers through his new — and slightly more roomy — jackets and Sixties-inspired silhouette. Shaggy-haired models strode out in groups, perfect for square-format Instagrams that occasionally resembled album covers of yore.

Ford decided to show only the season’s most directional pieces, including black-and-white patterned jackets with a slight sack shape and a chunky Sixties-style shearling layered over a suit.

Casualwear included three styles of selvage-denim jeans: “Three fits designed to give everyone the narrowest hips and the skinniest legs possible,” said the designer, who paired them with short, rugged shearlings or denim puffer jackets. Eveningwear was clean and modern, with black-and-white optical prints for silk or velvet jackets, skinny bow ties and sneakers to punctuate the look. — S.C.

E. Tautz: Patrick Grant called his E. Tautz show “Terry Street,” after Scottish poet Douglas Dunn’s late-Sixties collection of poems chronicling life in working-class Northern England. That yielded a sober, masculine collection rendered in a gloomy palette of gray and

black, with a few flashes of white. But a sense of richness came through in the textured fabrics that Grant fashioned into loose-fitting tailoring, as in a roomy, double-breasted overcoat in a nubby gray, black-and-white bouclé tweed.

— NINA JONES

Pringle of Scotland: Pringle is marking its bicentennial this year and has already begun strutting its heritage on the catwalk. Designer Massimo Nicosia, who loves nothing more than blurring the lines between knits, wovens, leather and fur, turned out a collection packed with the brand’s codes. There were black-and-white Fair Isle sweaters as well as cable and argyle ones, while Nicosia layered a chunky cardigan over a thick, flecked sweater in a nod to the twinset. Plaid jackets had raised, piped stripes, while coats had tartan strap details. Among the standouts was a trompe l’oeil sweater made from mink that had been shaved and carved to mimic a classic Aran stitch. The show unfolded at the 16th-century hall of Middle Temple, one of the four Inns of Court, and while the setting was suitably historical — and spectacular — this is a collection that needs to be examined in close-up, its textured surfaces touched. Pringle would do better to showcase these creative, highly researched pieces in a more intimate setting. — S.C.

James Long: The 2006 artist documentary “Jack Smith and the Destruction of Atlantis” was the foundation upon which James Long built his collection of what he called “Slobulence” — streetwear made opulent through the addition of appliquéd lace, sports mesh and Lurex patches.

It was adroitly executed, and the effect was stylish and luxurious. There was a whiff of the Seventies in the broad shearling collars of cropped combat jackets, including a black one belted with nylon strapping and worn with navy lace track pants. A cropped, distressed denim jacket with a wide collar and patch pockets in shearling was embellished with appliquéd lace pieces. It was worn with gray sweatpants that also featured mesh and lace pieces. Tough and tactile: This collection showed Long at his most confident.

— JULIA NEEL

Craig Green: For his first London solo show, having previously presented as part of the Man collective, Craig Green sent out a fluid collection, including garments that resembled samurai robes. His billowing designs had a patched-together quality, with the sleeves on jackets tied together with ribbons, and pockets sewn with visible stitching on the outside of garments.

Floor-sweeping pants were cinched at the waist with

bunches of ribbon and paired with oversize shirts and jackets in fabrics such as quilted tarpaulin, cotton and heavy denim. Most of the outfits were in a single color: white, black, dark denim or cornflower blue. There was a glimpse of real-world designs amid the more conceptual fare, including boxy, textured knit sweaters and crisp cotton shirts. — N.J.

Joseph: A nonchalant, faded-aristo-meets-college-boy feel blew through this collection, Joseph’s fullest men’s wear offer so far, which was designed by Mark Thomas, under the brand’s creative director, Louise Trotter.

Ribbed-knit tracksuits and drawstring leather or nylon

tracksuit bottoms abounded, as did corduroy and gray flannel trousers — many without waistbands. They were paired with patchwork Fair Isle sweaters that looked like heirlooms lovingly mended over the years, while others were teamed with gray riding coats that looked as if they’d been found — in perfect condition — in grandpa’s stately dressing room. Outerwear included a reversible shearling duffle coat, a shearling bomber and a double-breasted wool-linen overcoat with a snug fit. — S.C.

Tiger of Sweden: Tiger of Sweden channeled the mid-Seventies post-punk aesthetic of Kraftwerk into its fall collection with a lineup of

narrow suits, slim shirts, skinny ties and tapered high-waist trousers. The palette was dominated by black and white, with punches of bottle green, navy, gray, mustard and cobalt. Further nods to the decade came via a camel double-breasted blazer teamed with chocolate trousers and a brown shearling coat worn with a fine caramel sweater. Highlighting the legendary synth band’s electronic sound, the geometrically wandering lines of circuit boards inspired the prints, which came on monochrome suits, knits and outerwear. — J.N.

Casely-Hayford: The Casely-Hayford father-son duo proposed a collection for urban

10 WWD TUESDAY, JANUARY 13, 2015

Burberry Prorsum (big pic)Tom Ford (big pic)E.Tautz (big pic)Pringle of Scotland (med pic)James Long (med pic)Craig Green (med pic)Joseph (med pic)Tiger of Sweden (med pic)Casely-Hayford (small pic)KTZ (small pic)Xander Zhou (small pic)Nasir Mazhar (small pic)

Isn’t it Rich? SHEarLiNG, MiNK aNd LuSCiouS KNiTS addEd uP To a LuXuriouS aNd rEFiNEd LoNdoN SEaSoN.

Burberry Prorsum Pringle of Scotland

James Long

For more Fall coverage, see

WWD.com/runway.

rebels who’d like to escape their rat-race existences.

Layering was the big story here. Consider a long, black fl eece vest over an ankle-length gray and claret hooded cardigan, which was worn over an even longer black fl eece hoodie, over a sweatshirt and narrow tailored trousers. Not good for getting dressed in a hurry but worth the effort for a striking look that was surprisingly wearable.

The tailoring was still there, just concealed: The hem of a gray blazer peeped out beneath a paneled sweatshirt, which was worn under a striped charcoal “crewdigan” — a long crewneck sweater that split at the neck, revealing the other layers. The fi nishing touch? A pair of

orange tailored trousers. — J.N.

KTZ: Designer Marjan Pejoski sent out an uncompromising collection that conjured a sinister mood, with designs that had an air of “A Clockwork Orange,” riot gear and military garb.

Recalling the Droogs of the Kubrick fi lm, one model strode out in white zippered overalls and a white shirt, teamed with heavy black boots and a bowler hat, an umbrella tucked under his arm.

Pejoski also gave British heritage fabrics a militant twist, as one houndstooth bomber jacket was patched with beaded images of Lenin and Chairman Mao. As a contrast to those ultrasevere looks, there was a series of beautifully crafted pieces

with a tribal air, such as a fur-trimmed black hooded parka inset with images of animal skulls. — N.J.

Xander Zhou: Beijing-based designer Xander Zhou put a futuristic techno spin on the idea of the Wild West with a youthful, off-kilter lineup exalting modern-looking materials and techniques. He sent out three-quarter-length, fringed leather coats in what looked like snakeskin but was actually shiny leather woven to create a snakeskin pattern. Shearling-lined smooth leather jackets were appliquéd with splotches of sheepskin in bright blue or pink, to mimic a cow’s spots. One-eyed sunglasses — one lens designed to look like a gun’s crosshairs —

added to the madcap mood of the show. — N.J.

Nasir Mazhar: Nasir Mazhar said he wanted to explore “the idea of a uniform.” He was referring, however, to a guy whose day runs from “hazy-eyed lazing” to “strobe-fi lled euphoria,” according to the show notes. Cue a lineup of the designer’s signature macho streetwear, this season rendered in opulent fabrics at odds with the sporty silhouettes. Among the designer’s more experimental looks were tracksuits done in jacquard, as in one attention-grabbing combo of zip-up jacket and matching track pants in a glittery charcoal and royal blue fl oral pattern — not a look for the faint of heart. — N.J.

narrow suits, slim shirts, skinny ties and tapered high-waist trousers. The palette was dominated by black and white, with punches of bottle green, navy, gray, mustard and cobalt. Further nods to the decade came via a camel double-breasted blazer teamed with chocolate trousers and a brown shearling coat worn with a fi ne caramel sweater. Highlighting the legendary synth band’s electronic sound, the geometrically wandering lines of circuit boards inspired the prints, which came on monochrome suits, knits and outerwear. — J.N.

Casely-Hayford: The Casely-Hayford father-son duo proposed a collection for urban

WWD.COM11WWD TUESDAY, JANUARY 13, 2015

Joseph

Tiger of Sweden

E. Tautz Craig GreenCasely-Hayford

KTZ

Xander Zhou

Nasir Mazhar

Tom Ford

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of Gucci revenues in 2013 — plus jewelry and home collections.

While the two Roman designers worked together at Fendi earlier in their careers and went on to become a closely-knit duo at Gucci, their fashion aesthet-ics have diverged in recent years, with Michele possessing a “refi ned” sensibil-ity, according to the same Milan source.

A separate source familiar with Michele described him as “passionate about interi-ors and antiquities.” He called Michele “one of Giannini’s closest friends,” saying the two often spent holidays together. The source said Giannini had always taken steps to surround herself with people she could trust, prizing their loyalty.

Indeed, more than one source said it is likely Giannini reacted badly to the news that Michele was set to replace her, precipitating her early departure. “If Michele is indeed one of the top contend-ers, she may have seen this as a betrayal of sorts,” said one source.

Another source added: “If it had been someone coming from outside Gucci, there would not have been clashes for vertical power until [Frida] had left. But how could she assert her power with her team if her second in command was there and due to take on her role?”

A separate source familiar with Michele’s management style called him “the pulse of Gucci’s design studio, a hard worker who puts a lot of care into his designs.”

The revelation that Michele is a top contender for the creative director role suggests that Gucci parent Kering, con-trolled by France’s Pinault family, is keen to break a long cycle of musical chairs in

design studios by cultivating and promot-ing its homegrown talents.

As reported, Gucci has a track record of promoting from within.

When the brand was faced with re-placing its tag-team of Tom Ford and Domenico De Sole when they exited in

2004, it promoted a trio of insiders — Alessandra Facchinetti, Giannini and John Ray — to succeed Ford at the design helm, heading women’s ready-to-wear, ac-cessories and men’s wear, respectively.

Giannini took over as the brand’s sole creative director in 2006.

Meanwhile, Givenchy’s star couturier Riccardo Tisci and Valentino’s Maria Grazia Chiuri are believed to be among other talents that have been considered for the Gucci job, along with Joseph Altuzarra. Kering took a minority stake in Altuzarra’s New York-based fashion house last year and the designer has sat front-row at the Gucci show.

Giannini and Gucci’s ceo Patrizio di Marco, who are partners and planning to marry, revealed in December that they would step down from their roles. Di Marco has already left and on Jan. 1 was succeeded by Bizzarri, who was previously head of Kering’s luxury couture and leath-er goods division.

The failure of the couple to turn around the fl agging brand precipitated their departure, setting off a guessing game as to who would succeed Giannini and who might be able to get the brand back on a solid growth track.

Gucci is trying to reverse sliding sales in China and elsewhere by rein-venting itself with fewer logo products. In the third quarter of 2014, Gucci rev-enues slipped 1.6 percent to 851 million euros, or $1.13 billion, despite positive trends in directly operated stores in North America and Japan, as reported.

At the time, the company cited “solid trends” in handbags, which represent 32 percent of retail sales, fanned by the new Swing and Bright Diamante lines, with the Jackie Soft also showing prom-ise. It also touted double-digit growth for Giannini’s fall ready-to-wear.

But sales in Asia Pacifi c declined 5 percent, reflecting the disruption of pro-democracy demonstrations in Hong Kong and Macau, as reported.

Giannini Out, Michele Believed to Be In

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More than one source said it is likely Frida Giannini reacted badly to the news that

Alessandro Michele was set to replace her.

{Continued from page one}

By DAVID MOIN

GERTRUDE G. MICHELSON, a retired senior vice president and board member at Macy’s, whose influence extended well beyond the walls of Macy’s to other corporations as well as academic institutions, died Saturday morning, after a long illness, at her home in Greenwich Village. She was 89.

Born in 1925, Michelson, known as “G.G.,” fi rst graduated Columbia Law School — she was one of six women in the class of 1947 — before joining the execu-tive training squad at Macy’s.

In 1948, she became assis-tant to the labor-relations man-ager, and 15 years later rose to vice president of employee personnel, becoming the fi rst woman to hold that slot.

In the Seventies, she was senior vice president for per-sonnel, labor and consumer relations and became known as the “consumer czarina.” She rose to hold senior positions in human resources, labor rela-tions and external affairs and was responsible for collective bargaining with the Teamsters and 14 local unions. She was considered by executives at the store as a “conciliator par excellence.” She became a mentor to top retailers, in-cluding Macy’s chairman and chief executive officer Terry Lundgren, as well as Michael Gould, the former chairman of Bloomingdale’s, even though

Gould never worked with her. The late Edward Finkelstein, the former chairman and ceo of Macy’s, relied on Michelson for advice on many issues, whether dealing with unions or the mayor’s offi ce. The two were in Macy’s executive training at the same time.

“She was a mentor, a teach-er, a confi dant and, most of all, a friend,” said Gould. “She touched everyone she came into contact with, from the rank and fi le to the ceo of many com-panies she was involved with.”

“G.G. was a trailblazer in so many ways, not only at Macy’s but in the very fabric of New York City, American higher education and corporate gov-ernance,” Lundgren said. “Her impact on several generations of business and community leaders is remarkable, and her active involvement continued until very recently.”

Because she was so infl u-ential on a range of areas, Michelson maintained an of-fi ce on the 13th fl oor of Macy’s Herald Square headquarters for many years after her re-tirement in 1992, because ex-ecutives like Lundgren wanted her around.

“In labor matters, she man-aged to get along with both sides and could handle con-frontations. She was very cog-nizant of the workers and not just the executives,” said Don Eugene, a former Macy’s chief fi nancial offi cer, now partner in the Callydus Group.

Michelson served on several boards, including General Electric, Irving Trust, Quaker Oats, Harper Row and other major corpora-tions. She also served on the boards of Spelman College and the RAND Corporation and was once governor of the American Stock Exchange. In 1980, she was named to the board of trustees at Columbia University and was elected to its chair in 1989, the fi rst woman to lead the overseers of an Ivy League school. She was influential as a board mem-ber in the determination that women should be allowed to attend Columbia, after more than two centuries of being a male-only institution.

She served as deputy chair of the Federal Reserve Bank of New York, served on the emergency financial control board to help pull New York City out of its fi scal crisis in the Seventies and was picked to be on several commissions under the administrations of New York City Mayors Edward Koch and David Dinkins.

Michelson is survived by her daughter Barbara Michelson, her sister Mildred Terr, son-in-law Jim Heffron, three granddaughters and four great-grandchildren. Her husband, Horace, and her daughter Martha predeceased her.

Plans for a memorial ser-vice will be announced at a later date. No funeral service was held.

By KRISTI ELLIS

WASHINGTON — Retailers gener-ally backed a new proposal from President Obama on Monday that would require companies to notify their customers within 30 days of a cybersecurity attack and data breach.

Obama broadly outlined the “Personal Data Notification & Protection Act” at the Federal Trade Commission, as well as proposed leg-islation to protect consumer privacy and identity theft and the privacy of children using digital forums.

The president’s proposals come amid heightened concern follow-ing massive data breaches that have hit several major retailers in the past year, including Target, Neiman Marcus and Home Depot, that com-promised the personal data of mil-lions of consumers.

As a result, Obama said, “We are introducing new legislation to cre-ate a single, strong national stan-dard so Americans know when their information has been stolen or mis-used. Right now, almost every state has a different law on this and it’s confusing for consumers and it’s confusing for companies, and it’s costly too, to have to comply to this patchwork of laws.”

Obama said the measure would also strengthen enforcement against criminals who sell person-al fi nancial data and identities in the U.S. and overseas.

In the wake of the recent hacking at major retailers, business groups and lawmakers on Capitol Hill have been calling for a federal breach notifi cation standard to replace and

preempt the patchwork of state laws that retailers must meet when data security breaches are discovered, and consumer fi nancial and personal data are compromised.

Retailers embraced the concept of Obama’s proposal on Monday, but also called for some fl exibility in the 30-day requirement to allow for law enforce-ment involvement and guidance on no-tifi cation and internal investigations to shut down the breaches.

“We intend to carefully review the details, but on the surface, a 30-day requirement seems within reason and consistent with current industry practices,” said a spokes-man for the Retail Industry Leaders Association. “The one caveat I would offer is that when a breach has been identified, law enforce-ment is often immediately involved, and in order to facilitate their inves-tigation, they have substantial input on when notifi cation is made. A ref-erence to that would be important.”

Mallory Duncan, senior vice president and general counsel at the National Retail Federation said, “It looks like what the President is doing is very consistent with what we have advocated for a long time and that is gratifying. We are pleased to have the White House support that.”

However, Duncan added, “We don’t know how the President plans to structure the standard. If it is de-signed in such a way that allows law enforcement to do its job and allows companies to plug the holes [in a data security breach], then it will be fi ne. If not, then that is something we will have to talk about, but we are fully supportive of what the White House is trying to do.”

Obama Details Proposal For Data Protection Act

Gucci’s head accessories designer, Alessandro Michele, has emerged as a top contender for the post.

WWD.COM13WWD TUESDAY, JANUARY 13, 2015

By KRISTI ELLIS

WASHINGTON — It’s been 10 years since the nations of the World Trade Organization phased out quotas on appar-el and textile imports, and the sourcing world is a dramatically different place.

Many of the angst-ridden predictions in early 2005 — the first year of quota-free trade after more than 30 years of restricted trade on garments and fabric — have borne out a decade later. China’s dominance of apparel and textile pro-duction deepened significantly, hundreds of thousands of apparel and textile jobs in the U.S. and abroad were displaced, several countries lost their position as top suppliers and companies consolidat-ed their sourcing.

At the same time, China and Vietnam joined the WTO, giving them full trad-ing rights. Several countries, including Taiwan, Hong Kong and South Korea, moved up the economic ladder and virtu-ally out of apparel manufacturing, while automation impacted employment and new free trade agreements gave a new duty-free edge to several countries.

The end of quotas signaled the dra-matic rise of China, but it also present-ed opportunities for countries such as Vietnam, Bangladesh and Cambodia to take advantage of liberalized trade

and to develop their industries. Several countries lost significant production and share in the U.S. market, including Canada, which fell from number three to out of the top 10; Mexico, which slipped from the second spot to the fifth; Taiwan, which fell out of the top 10 from number seven, and South Korea, which dropped to number eight from number five.

China’s share of the U.S. textile and apparel market has risen to 48.2 percent from 24.8 percent in 2004 — clearly the winner in the phaseout of quotas, as most trade experts and other countries pre-dicted. Further data from International Development Systems show that China’s U.S. market share of apparel grew to 42.1 percent for the year ending Oct. 31 from 14.9 percent in 2004.

“From 2005 to 2008, China was the country that benefited the most from the post-quota era, and for good reasons — China has a huge supply of skilled labor, good upstream materials supply chain, efficient logistics, a stable govern-ment and low overall costs,” said Edwin Keh, a lecturer on global supply chains at the Wharton School of Business at the University of Pennsylvania, and chief executive officer of the Hong Kong Research Institute for Textile & Apparel. “However, China’s domestic economy

also developed at a rapid pace. National policies focused more on driving domes-tic consumption means more competition for limited production capacity. In China, with the incredible wealth that came with its export economy and the appre-ciation of the RMB [renminbi], China has also in recent years lost some of its ad-vantage to more cost effective countries.”

Keh noted that Vietnam, Cambodia and Bangladesh became the new hot man-ufacturing destinations, while improved affluence and the decline of low cost labor in China has changed the dynamic.

John Cheh, vice chairman and ceo of Esquel Group, said in the 10 years since the end of quotas, China’s share of the U.S. import market grew significantly, but “is not growing further, although Vietnam and Bangladesh are growing faster.” This is in part due to China’s desire to fulfill demand for its domestic market, along with companies diversify-ing their sourcing strategies.

Cheh said China’s continued competi-tiveness is based on its overall place in the global supply chain and no longer just on price. Esquel now produces 10 percent in China from zero in 2004, he noted.

“If you want to shift to low-labor-cost countries, the question is how long it will take until those low wages become not-so-low wages,” Cheh said. “Labor costs are not the only variable, since they only ac-count for 25 percent of the FOB price. You shouldn’t just focus on one variable alone. Productivity must also be considered.”

Josh Teitelbaum, deputy assistant sec-retary for textiles, consumer goods and materials at the Commerce Department, said, “If you look at China, the shift in sourcing was stark and real….They were the number one supplier in 1995, 2004 and 2014, and their share has ultimately increased significantly. Countries like Taiwan and Hong Kong fell off, but their story is slightly different than some of the other countries. They moved up the supply chain and became more advanced economies in a way that maybe a coun-try like the Maldives or Nepal, which were exporting apparel to the U.S. then but aren’t any longer because they didn’t make the leap.”

“There is also the rise of coun-tries like Vietnam, Cambodia and Bangladesh, where that trade diversion impact had a real and lasting effect,” added Teitelbaum, who is also chairman of the interagency Committee for the Implementation of Textile Agreements. “They were able to really establish some significant basis of manufacturing and export to the United States. Vietnam ac-tually went from not being in our top 10 [of apparel importers] to being [sixth] in 2004 and to number two in 2014. The rise of Vietnam is another big story.”

Apparel represents the majority of those country’s imports to the U.S. Bangladesh moved to number three from the fourth slot in 2004 and Cambodia moved to the sixth largest apparel sup-plier from number 10 in 2004.

“When quotas went away, so [did] the unnatural distortions of quota era,” Keh said. “Unnatural manufacturing loca-tions like the Maldives or Madagascar no longer made sense. There are still distortions that are driving manufactur-ing decisions. The EU’s preferential duty treatments for (least developed coun-tries) benefit countries like Bangladesh. The anticipation of [the Trans-Pacific Partnership] is driving a lot of invest-ments in countries outside of China. The U.S.’ preferential treatments for cer-tain countries in Africa and Central and South America also drive production into countries.”

During the past decade, U.S. apparel and textile jobs fell to 359,400 through November from about 698,000. But there has been a resurgence in recent years in U.S. apparel and textile manufacturing, spurred on by a renewed push for Made

ToTal U.S. apparel and TexTile imporTS

2014 Percent Share of(Year ending october) U.S. imPort market

1. China 48.2

2. India 7.1

3. Vietnam 6.6

4. Pakistan 4.2

5. Mexico 4.1

2004 Percent Share of U.S. imPort market

1. China 24.8

2. Mexico 8.7

3. Canada 6.9

4. Pakistan 6.3

5. South Korea 4.9

Source: InternatIonal Development SyStemS

in America by retailers such as Wal-Mart Stores Inc. and the Obama administra-tion. A report from the American Apparel & Footwear Association showed that U.S. apparel manufacturing had increased 6.2 percent in 2013, the third consecutive year it had grown after decades of de-cline. The Central American Free Trade Agreement also helped the U.S. textile in-dustry expand, which counts the Western Hemisphere as its biggest export market.

Auggie Tantillo, president of the National Council of Textile Organizations, said the quota phaseout “multiplied” the impact of Chinese imports on the U.S. industry.

“There is no way to know the exact number of jobs lost to the quota phaseout, but the compounded effects of illegal and unfair trading practices [by China], on top of the quota phaseouts, is responsible for the lion’s share of the number of workers that were displaced,” Tantillo said.

Offshoring, which began a decade or more before quotas were phased out, led to job losses in the domestic industry, as well as automation, which also played a big role in the textile industry’s work-force attrition. Tantillo credited CAFTA for helping the region’s countries survive quota elimination and in turn providing the largest export market in the Western Hemisphere for U.S. textile mills.

“It is an amazing success story because what you had is China coming on in an unrestricted fashion with unlimited pro-duction capacity and with artificial pric-ing through a state-controlled economy,” he said. “It is a miracle that anybody still produces textiles and apparel in the world in the face of that. The CAFTA/NAFTA countries would not be here save for the

free trade agreement structure that was established because it allowed them to re-main somewhat competitive. The fact that there are around two million jobs in the Western Hemisphere tied to textile and apparel production in spite of the massive competitive pressures that have evolved over the last 10 to 20 years shows they are a significant success story.”

Teitelbaum also cited the CAFTA countries as ultimate winners in the bat-tle for global apparel and textile business in a post quota world.

“While the quotas were expiring, CAFTA was going into effect, and we think that has had a significant impact in helping to shore up this supply chain that’s just been a huge export market for our domestic textile manufacturers,” Teitelbaum added.

The debate about quotas and their elimination still lingers in Washington a decade later.

Julia Hughes, president of the U.S. Fashion Industry Association, said: “Ten years later, the industry is so different and decisions are driven so much more on com-petitive factors, whether it is quality, price, delivery or location. There are a litany of different decisions that can be made in-stead of decisions based only on managed trade of quantitative limits like quotas.”

Teitelbaum said quotas served their purpose for the three decades they were in place, but contended that the U.S. tex-tile industry today has come out stronger, leaner and equally competitive.

“At the end of the day, I think our tex-tile industry is world class,” he added. “We’re globally competitive — we’re ex-porting all over the world….Those folks that continued to invest in their compa-nies, increasing productivity, buying new equipment, making technological advanc-es, are the ones that are doing well.”

— WITH CONTRIBUTIONS FROM ARTHUR FRIEDMAN, NEW YORK

textiles

What a Difference a Decade Makes

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14 WWD TUESDAY, JANUARY 13, 2015

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“DO WE DANCE? Do we eat?”Lorde said this as she

sauntered into the Beverly Hills Hilton lobby Sunday night, locked arm-in-arm with gal pal Taylor Swift. The two pop dynamos caused a stir as they briskly swept in, with Jaime King in tow no less, for one of the many parties taking place inside the hotel following the Golden Globes. Warner Bros. and InStyle magazine were throwing their annual after party and the VIP section of the Oasis Courtyard was already brimming with the likes of Jessica Chastain, Taylor Schilling, Jeremy Renner, Chanel Iman and Alessandra Ambrosio. “Oh, is this, like, an express lane?” asked Rene Russo of the center aisle (one of three) that a security guard waved her through. Running close behind was Maggie Gyllenhaal, clutching her new award for “The Honorable Woman,” followed by J.K. Simmons with his own trophy for “Whiplash.”

Nearby, Jennifer Aniston obliged a fan who requested a photo with her and Viola Davis. “Just lift it a little higher, honey, a little higher,” Aniston instructed the woman trying to capture the moment with a phone.

Salma Hayek only managed to cross the threshold before she got swept up in the crowd. “I’m just so proud that Alejandro won tonight,” she told David Oyelowo, referring to Alejandro González Iñárritu, who won best screenplay for “Birdman.” “And I’m not just saying that because he’s Mexican. He really made an incredible movie.”

Channing Tatum and Jenna Dewan-Tatum wasted no time busting move after move to Usher

and Whitney Houston songs (even hunks Scott Eastwood and Anthony Mackie looked intimidated as they huddled on the sidelines). Just then, two young offi cers from the Beverly Hills Police Department strode in. “Are you going to shut this party down?” asked one guest. “Not at all,” said one of them as he bobbed his head to the beat. “I’m enjoying it.”

Swift’s posse, which also included the Haim sisters, walked over to The Weinstein Co., Netfl ix and Marie Claire magazine bash. The gals lost it when the DJ played Swift’s “Blank Space” shortly after their arrival, apparently not too cool to shimmy and sing along to every word. Later on, Swift’s ex Jake Gyllenhaal showed up, prompting cellphone-wielding attendees and photographers to swarm the “Nightcrawler” actor as he caught up with 50 Cent. No word on whether he prefers “Shake It Off ” over “Blank Space.” While Warner Bros. walked away empty-

handed, Focus Features was one of the three so-called “mini studios” to emerge triumphant from

the Globes, winning two awards for the weeper “The

Theory of Everything.” One of the big gets of the night, Eddie

Redmayne, a winner for best actor in a drama, came to the studio’s party on the hotel’s rooftop with costar Felicity Jones and his shiny new trophy. Hailee Steinfeld, Bethany Joy Lenz, Sarah Rafferty and Shaun Robinson were among the others toasting underneath the rooftop’s blue tent. What did

“Transparent”

actress Alison Sudol make of her fi rst Globes after party? “There are so many interesting people here, and I’m just looking forward to talking to them about random stuff. That’s my favorite thing to do at these kinds of events,” she said.

At HBO’s Arabian Night-themed party at the Circa 55 restaurant, Aniston and Justin Theroux also made an appearance, entering hand in

hand; John Legend and wife Chrissy Teigen stole kisses in a not-so-dark corner by the bar; and Matthew McConaughey bro’ed out with Vince Vaughn. Lena Dunham strolled into the

event a half hour before the doors were offi cially open and beelined toward her assigned table, where she was joined by her “Girls” costars Allison Williams, Zosia Mamet and Jemima Kirke.

“I haven’t eaten. I’m starving,” Kirke said. “Because, look, if I eat something, then that will happen.” The actress dramatically stuck out her midriff for emphasis. Their table was the place to be and the night’s clique of cool girls all turned up at some point, including, of course, Swift with her entourage, plus Sarah Hyland and Selena Gomez. “I tend to stay out a bit later than they do,” Kirke continued, referring to her castmates. “I’m imagining that I’m going to be probably staying out until…who knows? Who can put a number on it?”

— MARCY MEDINA, JENNY SUNDEL, ERICKA FRANKLIN,

LINDZI SCHARF

Shake It Off

eye

FOR MORE PHOTOS, SEE

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Taylor Swift in Jenny Packham, Este Haim, Jaime King in Valentino, Harvey Weinstein and Lorde in Narciso Rodriguez at The Weinstein Co. after party.

Ruth Wilson in Prada at The Weinstein Co. after party.

Emily Ratajkowski in Escada at the InStyle after party.

Lena Dunham in Zac Posen.

Cara Delevinge in Mugler, Georgina Chapman in Marchesa, Jennifer Lopez in Amanda Wakeley with Rita Ora in Zac Posen at The Weinstein Co. after party.

Channing Tatum with Jenna Dewan-Tatum in Carolina Herrera at The Weinstein Co. after party.

Will Arnett and Ricky Gervais at The Weinstein Co. after party.

Justin Theroux with Jennifer Aniston in

Saint Laurent at the HBO after party.

Jack Black at the HBO after party.

Lena Dunham in Zac Posen.

Felicity Jones in Dior Haute

Couture.

JOE ZEE Yahoo Style

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PATTI COHENDonna Karan Inter national

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Announcing The 2nd Annual Clio Image Awards Jury.

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16 WWD TUESDAY, JANUARY 13, 2015

My Golden Globe Picks

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NEWS FLASH: Keira Knightley was not well reviewed on social media for her look during Sunday night’s Golden Globes. Knightley, who’s pregnant, was called out because her dress didn’t fi t any of the handful of red-carpet archetypes, almost all of which start with a skin-baring bodice, usually strapless. (There were plenty of those on view, the women wearing them trending pretty and forgettable.) With its deep ruffl ed bib collar and ribbon-marked empire waist, Knightley’s Chanel Couture dress drew comparisons to Laura Ingalls Wilder, a Pilgrim, and at least one musing about her turn in “Pride & Prejudice.” All were intended insults.

Au contraire, you negative tweeters. What in the world is wrong with a Laura Ingalls Wilder/Jane Austen/Virginia Colony reference, especially in the hands of a design master, Karl Lagerfeld? Between Lagerfeld and Knightley, they gave the exquisite primness a Goth spin — he, by opting for a bold insect embroidery over a schmaltzy fl oral, and she, by not wrecking her look with the wrong accessories. Instead of matronly glitz, Knightley wore a giant, otherwise quite real-looking butterfl y affi xed to her wrist. Divine.

I’ve grouped my other favorites into categories. The Modernists (a term used oh-so-loosely in awards-show context) include the much-celebrated Emma Stone in her Lanvin jumpsuit with its trouser cut. Ruth Wilson, who, in a tight Prada column with geometric, subversively frayed seams (alas, not apparent on television) showed that body-con need not be a bore. Felicity Jones and Taylor Schilling went for fresh takes on the ballgown. Jones wore a dark teal-ish blue (the evening’s most powerful color) Dior with slightly futuristic bodice. Schilling wore Ralph Lauren, her look particularly interesting because while there’s nothing intrinsically inventive about a halter cut, here, Lauren’s graphic take in the context of a ballgown looked fresh, making red (the night’s most oversaturated color) far from mundane.

Lorde gets honorable mention. Modern, yes, but a too-big diamond choker lessened the impact of her chic Narciso Rodriguez midriff-baring smoking. My fi rst thought was, “Too old for her;” second thought, “Superhero, but no, right the fi rst time.” Though I don’t agree with Holly Golightly that diamonds are always tacky on women under 40, I do think that

more often than not, the-young-and-beautiful don’t do themselves any favors by piling wattage.

Barely There: In an embroidered Miu Miu with plunging neckline, Sienna Miller showed an alternative approach to showing skin on top, while in silvery Chanel Couture, Dakota Johnson looked otherworldly provocative.

Retro Yeah: Amanda Peet rocked her disco-inspired J. Mendel.

Retro Nay: Kate Hudson in Atelier Versace. Hudson couldn’t have looked any hotter. But the how-naked-can-you-get approach to red-carpet dressing feels passé. (Hello, J.Lo in Zuhair Murad.) While it must be near-impossible to turn down a red-carpet request from a major celebrity, Donatella should have said no to this one: The dress read like a snapshot from a moment in time, a time past. Donatella fared better with Jessica Chastain — all glam, bronze

goddess — and Amy Adams in a lovely draped number.

In terms of sartorial controversy, there wasn’t much. But kudos to Rosamund Pike for bringing the body-image issue into focus. She clearly knew what she was doing; as taut Hollywood

midriffs go, fi ve-weeks post-partum, she hasn’t got one. While I’d love to be all PC and say I think she looked fabulous, I’m not quite there. First of all, Pike’s white Vera Wang goddess dress looked as if the bodice had slipped a bit. But I love the real-woman audacity.

In the sexy, shiny category, Julianne Moore worked a mysterious vibe in Givenchy Couture and Reese Witherspoon nicely updated the notion of Hollywood glamour — she worked the concept while avoiding overt retro. Still, when I heard the credit, Calvin Klein Collection, it struck me that the crystal bombshell gown had no connection whatsoever with Francisco Costa’s runway aesthetic. I then thought of a conversation I had with Francisco little more than a year ago, when he broke down his designing responsibilities into three categories: runway, pre-seasons and red carpet. Yes, he acknowledged, the last category is a discipline unto itself, one often not refl ective of the brand’s runway message. I think that’s counterproductive, particularly as the red carpet becomes increasingly generic with the exception of the handful of outliers at each event, such as the ladies noted above. But it’s unlikely to change anytime soon.

“It’s a different side of the business,” Costa said. “It’s a major importance.”

Bridget Foley’s Diary

WWD.COM

Amanda Peet in J.Mendel.

Keira Knightley in Chanel Haute Couture.

Kate Hudson in Atelier Versace.

Felicity Jones in Dior Haute Couture.

Rosamund Pike in Vera Wang.

Taylor Schilling in Ralph Lauren.

Ruth Wilson in Prada.

Sienna Miller in Miu Miu.