Last year I had mentioned a really good article published on IFB concerning fashion bloggers and their finances. As I look through the tweets and photos and having just last week attended Montreal Fashion Week, my mind is still boggling with wonder. How do these women afford these expensive clothes? Besides the stylists, models, and close friends, fashion fiends who prance around in $2000 outfits each day, simply, again, boggles my mind. Especially those who claim they are of the fashion blogging brigade.

And for a brief moment, I felt like I had to step up my game and also dress up for the crowds, a sea of people I don’t know, in the hopes that I would get photographed and have the self-gratifying knowledge that I was deemed fashionable. It’s actually kind of silly when you think about it. But I have to admit, it’s so easy to get swept up in the illusion of glamour and 5 second celebrity of being liked by strangers. And who wouldn’t want to look good in an expensive outfit and have thousands of eyeballs seeing you on a high trafficked website?

Yet, I personally can’t afford those $2000 Louboutin knee high boots, which even disgraced actress Lindsay Lohan, got to wear in a photoshoot, but a mere blogger such as myself simply can’t afford, and refuses to buy a knockoff version. What’s a girl to do? By next season, they’re gone already.

And, I don’t know if I’m jealous of other bloggers who get most of their wardrobe for free, such an example is Tavi Gevinson, the 14 yr old wonder who owns Rodarte tights and Proenza Schouler shirts. What was I wearing when I was 14? Tommy Hilfiger t-shirts made in China, that’s what. At the L2 Generation Next forum last year (shown above), she disclosed her outfit brands and mentioned American Apparel socks (which they didn’t send them to her to wear for that specific event, but did send them to her for free). Not to disrespect Ms. Gevinson, she’s a well-spoken 14 yr old with great talent for insight for her generation’s way of thinking, but I can’t help it but feel a bit disgusted at the free expensive clothes she gets. To emulate the fashion blogging stars of today, many fashion bloggers join the fold and hope to get to such status: getting free clothes, be featured in fashion magazines, rub up with fashion editors, sit front row at the fashion shows, and heck, even design a capsule line with H&M.

It’s no longer about appreciating the clothes, it’s just to have them, show ‘em off on the blog and at the shows, and then discard them into the back of the closet or the drooling vultures waiting to buy it off you. Because you can’t be seen with the same old thing from last season when you have a new crop of spanking brand new clothes to wear for the new season. It seemed only yesterday fashionistas were spewing talk of “investment pieces” when it’s really code for a shelf life of one season.I really doubt you’ll be seeing that Givenchy leopard print outfit from 2010 any time soon.

Fashion blogging that focuses on criticism such as Dualité is probably not at the top of most people’s list of things to look for when searching for clothes. Fashion brands dislike negative press, yet I don’t understand why they would get so offended. When reviewing a product, whether it’s a computer, a toothbrush, shampoo or clothes, you’re bound to have some negative criticism. That’s why I find criticism of the electronics industry to be so wonderfully open to audience reviews, and it drives them to do something about their shortcomings (such as Apple’s flack on the iPhone 4′s reception). Why can’t fashion brands get “flack” on badly designed collections once in a while? After all, all collections are based on a team of collaborators (seamstresses, suppliers, bag makers, shoe makers, etc) of whom the designer seems to be taking all the credit for. Why does the fashion industry have to go so far as to BAN journalists from attending because of one flack review? Why must they be so sensitive about criticism? What does it say of a brand who can’t stand up to criticism and prove people wrong the next time around? Where’s the will to fight back?

Image credit: Scott Schuman, The Sartorialist

Anyway, I felt that as I watch NYFW unfold, as great as everyone looks in those street style photos, something rings false in the end. It’s not really street style when you’re going to a place to be seen and snapped. That’s what I really liked about The Sartorialist, he goes out and photographs when it’s NOT an event, where the fashion crowd isn’t normally found. That is true street style – unpretentious and unplanned.

Going to the first Alexander McQueen show without the namesake designer was an emotional rollercoaster for many editors this season. Sarah Burton had an enormous pressure surrounding her, with the obvious question looming: “Could she do the Alexander McQueen brand justice with this Spring collection?”

What transpired down the runway was opulence, wildness, softness, and a touch of romance. The editors sighed in relief. It was a splendid success. And rightfully so, in this day and age where the revolving door for creative directors at fashion houses are turning over faster than the blink of an eye, Ms. Burton has proven herself worthy to be McQueen’s successor. Of course, it did help that she had worked closely with him for the last 15 years.

But elsewhere in the fashion circuit, new faces are donning the shoes of iconic couture houses such as Giles Deacon for Emanuel Ungaro, a gift from God considering the Lindsay Lohan fiasco she had brought upon the French house for her Spring 2010 collection. Others are facing uncertain futures such Stefano Pilati, for Yves Saint Laurent, who has been struggling for the past 6 years to carve himself an identity, according to Cathy Horyn of the NY Times. Although truthfully, it is difficult to step outside of the grand master’s shadow.

Indeed, what has plagued many of today’s most popular brands date back to designers who are no longer the creative directors of their namesake brands. Very few brands have been able to carry on with much success, and look up to the likes of Karl Lagerfeld, holding probably the longest tenure at Chanel (27 years), John Galliano for Dior (14 years), Marc Jacobs for Louis Vuitton (13 years).

What causes concern and wonderment are why fashion groups are so desperate to revive some fashion brands that have been dead for 5 decades (Vionnet) or are still searching for a creative director whose namesake designer still lives (Ungaro). We know the power of a fashion designer’s name, especially one that has literally changed the face of fashion such as Yves Saint Laurent, has enough clout to have consumers purchase a garment as long as the style sells. This has been true for Jimmy Choo, who has sold his share of his label in 2001, and is now one of the hottest shoe brands in the business. While this may not be a working formula for all brands, fashion brands should perhaps look into letting go of certain fledging iconic names and invest in the bubbling pool of designers desperate for financial funding.

There are so many young, innovative designers who could benefit in having some of those hedge fund investors believe in their talent. Just like when Donna Karan got financial backing from a Japanese investor to help her launch her womenswear line in the mid 1980s when she left Anne Klein. So different are the times now to be a designer, where not only are designing chops required but also a sense of business know-how in order to take flight. With the internet, new sources of revenue strategies are popping up such as crowd sourcing, but such methods are a long shot in helping designers earn a constant flow of funding.

Fashion has always been slow for change especially where investors’ money is concerned. But I think the risk taken on new talents is much smaller than trying to revive a dead brand and losing prestige, honor and face when the wrong designer is paired together with an established aesthetic. Many young designers deserve a chance to create their own legacy, it’s the only way that fashion moves forward – with new talent.

Image credit: Style.com

As an advocate for well-made clothes and shoes, there are always exceptions to the rules of “the more expensive, the better”. We assume that price should be an indication of quality: the more expensive, generally, the superior the product. But we all know that there are plenty of ready-to-wear designer garments that do not live up to its retail price tag. It’s especially eye-popping when said product is mass-produced in countries like China, Vietnam, Cambodia and Bangladesh.

But what happens when it is a question not about style but comfort that comes into play? More specifically with shoes.

I realized that designer footwear are clearly not made for my feet no matter how gorgeous they looked, or how well-crafted they were. I  had bought a pair of Christian Louboutin slingbacks and a pair of Stella McCartney pumps. Both pairs are gorgeous, but they are not the most comfortable shoes I’ve ever worn. In fact the Stella McCarntey ones are incredibly uncomfortable. Both pairs are made in Italy, an assumption that we are purchasing a superior product. Yet amazingly, Nine West, which are mostly made in the third world countries and considered the fast fashion of shoe brands, is able to create stylish shoes with an added bonus that they are also incredibly comfortable to wear. My toes spread out naturally and are not confined to a narrow foot design. I own 3 pairs of Nine West shoes, and I would choose them over my Louboutin simply because they fit my comfort level to a much greater degree. The bonus is that they cost a fraction of the price. I might as well put my Louboutin under a glass case for display instead.

Whoever said that we must suffer for fashion is rubbish.

We should never suffer for fashion.

It’s unfathomable to conceive that we pay several hundred dollars for designer brands that ill-fit the human foot. I expect my product to be superior in comfort, yet they obviously are not. I even tried to dispell that my pair of slingbacks are just a fluke. I tried on another pair at Holt Renfrew, the strappy booties of this fall’s collection. That pair was even more painful to wear! Superior product? I don’t think so. And what about those easily scratched red soles? Well those are just poorly made soles.

Thus, if fashion is really a matter of personal style and taste, why is it that fashion editors continue to shove down our throats of what’s supposed to be cute and not? Shouldn’t we be able to decide for ourselves what that is? And if we go against the grain – not jumping into the same bandwagon as everyone else to acclaim something is beautiful or awful – are we being unfashionable or just plain honest?

I have the right to say that something is ugly. I don’t care how much time the person spent designing the garments, if it doesn’t please me, I don’t buy it. I’m sure people will defend what they love and retaliate with “You don’t know what you’re talking about,” or “You just don’t get it”, which are vague attempts of justifying one’s choice.

My friend over at The No Shopping Experiment brings up a great topic about Makeover shows. How they are trying to conform certain individuals with “poor taste in fashion” to make themselves more presentable to the world. Yet personality wise, there is nothing wrong with them. And Makeover shows such as “What Not To Wear” belittle these good people by objectifying them based on their looks.

It’s funny many people in the fashion world are so in touch with fashion yet have poor personalities. Perhaps we should be focusing on what really leaves a lasting impression: our selves.

Image credits: Style.com, TLC.com

The film industry has been a buzz about the fashion industry ever since The Devil Wears Prada wowed audiences in 2006. Since then, a few more fashion oriented films have attracted fashionistas and world premieres within fashion weeks to give them yet another level of exclusivity.

Among the films shown in the past decade (and that I’m aware of that has made significant impact on myself) are of the following:

Signé Chanel (2004) – Documentary about Chanel’s 2004 Haute Couture show, focusing more on Chanel’s legendary seamstresses under Karl Lagerfeld’s direction

The Devil Wears Prada (2006) – Meryl Streep’s performance as tough as nails Miranda Priestly is allegedly based on Anna Wintour’s character at Vogue.

Sex and the City – The Movie (2008) – Dedicated fashion followers have been waiting for years for a cast reunion of this infamous HBO series.

Valentino: The Last Emperor (2008) – Documentary chronicling the life of Valentino Garavani up until his last show that celebrates his 45th anniversary in the business.

Confessions of a Shopaholic (2009) – Comedy film that couldn’t come at a worse timing during the recession. Not particularly insightful, but definitely followed in fashion footsteps.

Coco Avant Chanel (2009) – Biopic of Gabrielle Chanel prior to her ascent in becoming one of the most iconic fashion figures in history.

The September Issue (2009) – Documentary chronicling behind the scenes of Vogue’s 2007 September Issue, their biggest ever, tagging along with Anna Wintour and Grace Coddington.

Upcoming Films

Sex and the City 2 (2010) – The sequel to the first movie, the casting of extras for this movie along had generated huge buzz among fans already. We’re not sure if the 40-50+ cast can whip up the magic a second time on the big screen.

Schmatta: From Rags to Riches to Rags (2010) – HBO documentary about the fall of the New York garment district in 40 years. Garments made in America went from 95% to a mere 5%.

Now there is yet other news that Ridley Scott, famed director of Academy Award winning film Gladiator, is set to film about the Gucci Dynasty. Though there is no official script yet, Variety.com reports that the direction plans on following the tumultuous lives of the Gucci family up until Maurizio Gucci’s death.

Of course these are simply the big budget movie films that I’m announcing. For a more artistic approach towards fashion film, you should definitely check out The Business of Fashion’s Top 10 Fashion Film list of some of the most innovative short films that has happened this past year.

Image credit: Valentino film

The Spring edition contains the usual suspects – Marie Saint Pierre, Denis Gagnon, Christian Chenail, etc – and a handful of newcomers to the show: Claude Bouchard, Dimitri Chris, Micalla,  and Annie 50.

The highly successful Le Showroom, a sort of trunk show, will be showcasing other local designers’ collections since many are not choosing to run on the catwalk. Curiously, the CIMM is MIA in this edition, where usually the more commercial designers like Simon Chang would showcase the more wearable collections to the public. I would’ve thought they had finally made some sort of business connection with MFW, but I guess that has dissolved?

One has to wonder though how the recession has affected local Canadian fashion industries. More and more companies are outsourcing their workload to Asia, with a very select few companies who still produce in Canada (to my knowledge Tristan and Le Chateau are still hanging in there). The sole and only press conference that could possibly address this issue will be on Tuesday, Oct 15th, the inaugural opening day of Montreal Fashion Week SS10, but I’m afraid it’s nothing more talking fluff to reassure designers.

I do certainly believe that a fashion conference in Montreal is severely lacking in addressing these important business issues. And perhaps it would be to the local designers’ benefit if the industry would stop trying to brush it off by replacing it with more talks about pushing creativity, which frankly is not necessary. Think of all the past talents that have appeared and disappeared under the radar: Yso, Renata Morales, Rush Couture, Nadya Toto, Marisa Minicucci, Philippe Dubuc, and for a time Denis Gagnon. Top tier talents like Dubuc and Minicucci are struggling to keep afloat, or in Minicucci’s case, have to rethink their business strategy altogether. Montreal also has to contend with Toronto, which often has some of our best talents migrating to show such as Rudsak, Andy, Aqua di Lara, Travis Taddeo, and Morales, and our cream of the crops are showcasing in Paris or New York, like Rad Hourani and Mackage. It seems that Montreal is too small for designers who are aiming higher.

If Montreal is supposed to be so axed on promoting local talent and encouraging to buy local, they will certainly need to rethink their strategies to influence shoppers. Because the fast fashion giants down on Ste-Catherine are eating up the local industry’s sales with cheap “chic” like Forever 21, H&M, and Zara. While the talents of the likes of CIMM is totally capable of wowing us with commercial and sometimes innovative garments, yet they are nowhere to be found this season.

Like I’ve said before, Montreal has great potential as a fashion hub, but lacks the direction and support it needs to establish itself as true player among fashion capitals.

Image credits: Jimmy Hamelin, Montreal Fashion Week

A friend of mine and I at the Matsuri Japon Festival in Montreal

Color combinations are endless, as are the patterns that keep this distinctive aesthetic that is strictly Japanese. They’ve also been able to determine marital status and clan (back in the old days) set by certain colors and crests. Still today, the kimono astounds and impresses even in native Japan and around the world alike. It is complex as it is simplistic, gives instant elegance and definitely makes you feel special and different.

Whether it’s light cotton summer yukata (as worn in the photo above) or made of heavy silk with an impressive line of embroidered patterns, the kimono is a surefire way to impress.

I don’t think there has been any piece of clothing that has earned more respect than a kimono. And why is that? It looks so simple and uncomplicated, but yet it is the hardest contraption to put on. A yukata requires 2 ties (or belts), 1 obi, and the cotton yukata. A kimono requires two robes (including the exterior), 6 ties (or belts), 1 obi, and stuffed padding. And depending on what style of obi knot you make, the more time it could take.

Once you learn how to put on a kimono as well as learn how to fold it neatly into a rectangular pile, there’s a great sense of pride of owning something so special, yet is nearly like any piece of clothing. Plus when you think about being economical, the kimono is nearly made of only rectangular shapes, so imagine all the cloth you’re saving in the process of creating these. The Japanese really have thought about everything.

Image credits: Yamatoku Vintage Kimono

Here are some points of observations that I’ve come to realize about fashion:

There will always be new designers with new visions, new businesses emerging, as well as old names dying out, designers leaving their houses, and brands going bankrupt. I believe the fascination lies with the observation of how some businesses are successful and discovering what their secret magic potion is made of. However, it’s a topic I can’t keep up with and difficult to get a straight story from highly successful companies when things go awry. They have a lot of money on the line.

It will be a continual uphill battle for more ethical fashion as well as “green” fashion, which has yet to find a worldwide recognition system of certifying organic products. I frankly have eco-fatigue, and being greener doesn’t seem to many anyone happier. And who said being green meant being ultra ugly in fashion? No wonder their products don’t sell.

Luxury will remain of course – with ample focus on creativity and quality control, at least that’s what all true luxury consumers are hoping for. But in a continually consuming society and with tightening budgets, the need for cheap goods will certainly remain rampant for the long forseeable future. But both extremes never cease to amaze of what they can pop out next. We know how high people can go, but we also have to wonder how cheap will people go for for fashion?

I’m waiting for the future of fashion, especially in retailing. I want the stores to tell me when I scan my item what it’s made of, where it comes from, maybe a video of how it’s made, and all the tid bits you never knew about it. I want to be able to customize my clothes with the buttons I want, the colors I want, with the fabric I want and make it ready the next day. I want my shoes to be multi-purpose, heighten or lower my heels, add optional hardware and “skins”. I even want my shopping bag to be so unique that whenever I make a purchase in the store, that it becomes a billboard in my hand and advertises all the brands that I’ve bought without needing to carry 5 different shopping bags.

The possibilities are there. Who’s going to make it happen?

Image credit: Chile Fashion Week

Newspapers should be your #1 source of an investigative piece of any story and category. So I wonder why is that nearly all of the Canadian newspapers lack this investigative approach when it comes to fashion? All of the spreads I see in newspapers are written magazine style: positive, positive, positive. The fashion police and faux-pas don’t count. I’m talking about real pieces with facts, numbers, statistics, interviews, the lot. I don’t see any of this. And if I do, they’re usually tucked away in the business section. This is why I find it so discouraging for any aspiring fashion journalist that their hopes in writing something truly meaningful in a Canadian newspaper won’t happen except on a rare blue moon.

It’s especially difficult when most of the news I get have an American slant on it, thus not entirely affecting the industry in Canada. The Globe and Mail may produce the highest quality in Canadian news writing but, to be frank, their fashion reporting sucks. How many more days, weeks, months, seasons do I have to read upon another review of the must-haves and yet another thorough description of the new summer dress, and how florals are back in style? Who cares? And at first I thought it was cool to get updates on the latest sales going on over at The Gazette, but after a while, I was craving for something more serious and less superfluous.

Since I’ve concluded that if I wanted anything of substance concerning the fashion biz, I’d have to mosey on down to the Business sections. I’m also looking into Canadian business magazines, and trying to find educational fashion magazines (if that’s even possible) like Bespoken which has an interesting bit about sewing terms, and the latest fabrics for custom-made suits for men.

On a side note about getting a better understanding of the textile industry. I got a crash course about wool from a new client I’ll be writing a monthly newsletter for, and it was fantastic to learn about it. Why some wool apparels makes you itch, while others are smooth on your skin. This kind of information is usually only available if you’re some seamstress or fashion designer in training, learning how to work with fabrics, learning about their characteristics, etc. This is also something you won’t find in your run of the mill fashion magazine either.

But finding statistical information on our local industry or articles on such matters is pretty difficult at the moment. For one thing, where does one start? Who do we contact? And are manufacturers willing to divulge where clothes are really made? Some are honest and proud to say that their products are made in Canada, like Second Clothing, other companies can be pretty sneaky.

Since my recent experience at Montreal Fashion week last March, I’m not quite sure if the Quebec government is even ready to tackle the issues of disappearing manufacturing jobs and outsourcing it elsewhere in the world. The fashion industry seems to be such a one way street where people simply accept what’s being fed to them by wooing them with sequins and chiffon dresses.

Thus Investigative Fashion Journalism is a rare category to focus on. When people talk investigative journalism they think about the old scandals like Watergate, Area 51, etc. Also, due to watching too many movies, consequences of investigative journalism can lead to losing your job, your family, your money, and  on the very rare occasion – your life. Though last I’ve heard, the fashion journalists that I’ve admired are still very much alive (thankfully). Part of the fun is being your own detective by trying to dig up evidence, to see what the big cover up is about. I mean how many of you were actually aware that illegal immigrants, working long hours in manufacturing jobs, were happy being paid minimum wage in Europe? The point of investigating the industry isn’t to bring down the industry – it’s to stop the corruption. Or at least penalize those who are guilty of corrupting. See how LVMH made an example of eBay with their $60 million lawsuit.

We love scandals admittingly. And what better scandals can you uncover than the fashion industry? I mean I know celebrity gossip is hot right now, but exposing a multi-billion dollar industry gives me a bigger high, but that’s just me. Also, by exposing the corruption, you can change how the industry works (or at least hope) and perhaps enforce better practices for all current and new companies coming into the mix. If you lead by good example others will follow right?

Since this is such a niche subject, I would have liked it if local universities would offer such a program in journalism. I would’ve signed up for it in a heartbeat. Unfortunately, for now, I am resolved to my fashion blog and other small writing ventures in my future.

P.S. I have left Gloss Magazine due to time constraints. They’re still a good choice of a Canadian fashion e-zine, so please keep supporting them. On the bright side, as I’ve mentioned earlier, I’ll be writing a monthly newsletter for a men’s couture store. I find this as a great opportunity to learn more about men’s fashion and it’s so refreshing to see a man’s perspective on things for once. I’ll also be writing for a new Canadian lifestyle magazine called “The Warehouse” writing (not too granola) pieces on fashion.

Just what in the world could they be carrying in their bag?

…a laptop, [...] a notebook, as well as her BlackBerry, wallet, sunglasses, shoes, hairbrush, makeup, a can of Diet Coke and items for her four kids.

For one woman. Personally, carrying shoes AND a laptop in one bag is just insane. I can’t imagine hefting around a 17lb bag of “necessities” all day long and not think about how much my shoulder would be suffering.

Mucho Giganto

The red croc Birkin bag can fit a 14″ laptop computer, with lots of room to spare. $55,000.

The best advice is to just use a smaller purse, bring the rest of your stuff in a seperate bag and find a secure place to store it. Or keep it in your car (if you can own a BlackBerry, I’m sure you own a car). Why pay more money for medication when this can be avoided?

Then again this comes to as no surprise as women will do anything for fashion, as history tells us. From corsets to high heeled shoes to plastic surgery, this big bag trend is yet another consequence to loving fashion beyond human comfort.

Here’s a proposition that one UK Car Insurance group, Sheila’s Wheels, came up with to solve the solution: a convertible shoe that turns from flat to stiletto from whipping out the heel from the bottom of the shoe.

Convertible heels, the next step in shoe design?

Ta dah! Instant glamour.

Being a mere prototype, we’re not really sure if they’re as comfortable as both heel and flat, but they sure do look cute. I can see this working in the long run, it’s highly convenient and efficient. 2 pairs in 1, how can you go wrong?

Sheila’s Wheels are working on developing the project, but there aren’t any specific dates when these babies will be available. Here’s to another step to shoe evolution.

[via TreeHugger.com]