Candice89102
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Kind of disappointing 
Nina Ricci F/W 08.09 Paris
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DandyWarhol
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oh my god that dress on kasia is simply disastrous.
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I love the colors, there's something about this that I love but...
For the most part I feel like Olivier has been a bit of a dud since he's been at Nina Ricci. His aesthetic has gone so soft and just doesn't work.
In stores it's always the quiet and subtle pieces that catch my eye. I wish he would show it that way on runway.
For the most part I feel like Olivier has been a bit of a dud since he's been at Nina Ricci. His aesthetic has gone so soft and just doesn't work.
In stores it's always the quiet and subtle pieces that catch my eye. I wish he would show it that way on runway.
here is an article from WSJ and I would like to share with you guys
Runway to Rack:
Finding Looks
That Will Sell
March 6, 2008; Page D1
Now that the runway shows are over in Paris, many designers are facing their real moment of truth: the showroom visit, when stores come to decide what to buy.
For example, the collection by Olivier Theyskens for Nina Ricci repeatedly featured a striking fabric with leafy patterns in Sunday's runway show. Kelly Golden, co-owner of the Chicago boutique Neapolitan, spied the patterns from her sixth-row seat and planned to build her Nina Ricci purchases around them.
But at the Nina Ricci showroom the following day, Ms. Golden dropped her plan when she learned the cost of the patterned fabric. The retail price for one blouse was $3,390. "The price has to be under $2,000" -- the most her clients are likely to pay for a very special blouse, Ms. Golden said.
Fashion designers get two sets of score cards. One comes from the fashion critics and magazine editors who watch runway shows and weigh in on the creativity of a collection. They tend to want pieces that will astound, entertain, and set the pace for trends.
The other score cards come from store buyers. They want pieces that will sell.
Some nimble designers cater to both groups. Alexander McQueen, for one, puts on runway shows that are pure theatrics. Back in his showroom, less dramatic interpretations are available. This week, the finale of his show featured Elizabethan fashions fit for Henry VIII. These looks were cut down to more practical scale in the showroom -- a cape was shorter and more narrow, for instance.
Still, it's a challenge for any designer to strike a balance between runway drama and retail salability. This week, to make sense of how runways relate to the clothes we see in stores, I tagged along with Ms. Golden and Neapolitan's creative director, Chris Mulroy, as they attended the Lanvin and Nina Ricci shows and then did their buying trip to the Nina Ricci showroom.
Neapolitan, in suburban Winnetka, Ill., caters to wealthy Chicago women who are players in the charity-dinner circuit and travel a lot. Evening and cocktail wear, as well as resort wear, are big sellers. Ms. Golden describes her typical customer as someone in her 40s or 50s who can afford a terrific wardrobe but doesn't want everyone to know how much she spends. (That, by the way, is a refrain I've noticed among women who buy luxury clothes. While fashion may appear to be all about conspicuous consumption, many women keep their fashion spending secret.)
The store avoids logo-covered items that scream "label." Oscar de la Renta, Lanvin and Carolina Herrera are some of its biggest sellers. At the more affordable end are labels like Temperley and Derek Lam, which offer dresses in the $1,000 range.
Yet the rising price of luxury is a big issue for the store these days. "I'm trying to remember when the average price of a shoe reached $800," Ms. Mulroy said.
Ms. Golden estimates that the average price of a designer ready-to-wear dress has doubled in five years. "In 2003, a beautiful designer cocktail dress retailed for around $2,000," she says. "Today it is approaching $4,000." The cost increases are due to both the weak dollar and the fact that designers are adding more embellishments like embroidery, as they attempt to differentiate themselves from fast-fashion imitators. Ms. Golden has to find the sweet spot on price -- which she determines by knowing her customers. Indeed, she often buys with particular customers in mind.
The Nina Ricci show, which took place in a large tent along the Tuileries gardens, was the third collection Mr. Theyskens had done for the label, in a tenure marked by adulation among the fashion media. His recent looks have been influential in fashion circles -- the feathers of his last fall collection later appeared all over the following season's New York runways -- and the reviews of this show were generally good.
Ms. Golden, on the lookout for items that would sell, nudged me in the ribs halfway through the show at the appearance of a softly draped cocktail dress. The runway was otherwise dominated by clingy silk jodhpur pants and 1980s-style broad-shouldered jackets -- neither of which seemed particularly salable to her. She predicted that looks like the cocktail dress and that leafy patterns on silk and chiffon -- so central to the collection that the pattern appeared on the backdrop to the runway -- would be crucial elements in her buy.
Generally, a mere 20% to 30% of the designer clothes sold in stores come from the runway. The rest come from so-called pre-collections -- clothes sold ahead of fashion week -- that are less dramatic, made to be sold rather than photographed. But store buyers still want to buy from the runways -- partly to maintain good relations with designers, but also to offer eye-catching looks for store displays. Looks that have walked the runways still have a certain cachet.
When planning her orders the day after the Nina Ricci show, Ms. Golden instructed her Nina Ricci sales representative, Margaret Baurkot: "No pants." The clingy look of the pants this season just wouldn't be workable for her Chicago clients. She noted later that her customers tend to buy pants from American designers, which "are cut more generously."
Kieron Pisano, Nina Ricci's director of sales for North America, conceded later that the jodhpur look would be a hard sell. He pointed to a slightly wider pair of pants as a more likely option.
The draped silk dress that made Ms. Golden nudge me in the ribs will retail for $3,690, and she made sure to include it in her order. Unlike a blouse at that price, a dress represents a whole outfit. And the fact that the dress walked the Paris runway was a plus. "You always want to go for the runway look," she said.
Ms. Golden's big showroom disappointment was the pricey patterned silk. One sleeveless blouse was priced to retail for $2,650. "It's gorgeous," Ms. Golden said, but noted that she thought she could sell it for no more than $1,500. "Even at $1,500, it's a lot," Ms. Golden added. "It's sleeveless and it has no embroidery."
Mr. Pisano of Nina Ricci says the cost comes from the design of the fabric, which is created in-house. Another Nina Ricci sales associate said prices were lower under the direction of the previous designer, Lars Nilsson -- and Ms. Golden expressed a preference for Mr. Nilsson's more salable and lower-price designs. Mr. Pisano concedes the in-house designed fabric is a risk for the label, but said, "I think we'll do well with them because they're such a statement for the house."
Toward the end of Ms. Golden's buying session, she asked to see a satin blouse with inserts of patterned chiffon. It turned out that the chiffon was added at the last moment just for the runway show -- the blouse will be produced in plain satin, with a retail price of $1,590.
There was a blouse fully made of the patterned chiffon, but it was priced at $3,190. Ms. Golden rejected it in favor of a $4,400 dress in the fabric. "They'll go for the dress," she said, noting that she is considering using it in a window display.
Ms. Golden paused at an eye-catching suit lined in the patterned silk. Ms. Baurkot didn't yet have a price for the suit, but Ms. Golden took a guess. "That's a $10,000 look," she said.
"It's not a matter of if people have the money," Ms. Golden noted. "They do. But customers are pretty savvy."
Runway to Rack:
Finding Looks
That Will Sell
March 6, 2008; Page D1
Now that the runway shows are over in Paris, many designers are facing their real moment of truth: the showroom visit, when stores come to decide what to buy.
For example, the collection by Olivier Theyskens for Nina Ricci repeatedly featured a striking fabric with leafy patterns in Sunday's runway show. Kelly Golden, co-owner of the Chicago boutique Neapolitan, spied the patterns from her sixth-row seat and planned to build her Nina Ricci purchases around them.
But at the Nina Ricci showroom the following day, Ms. Golden dropped her plan when she learned the cost of the patterned fabric. The retail price for one blouse was $3,390. "The price has to be under $2,000" -- the most her clients are likely to pay for a very special blouse, Ms. Golden said.
Fashion designers get two sets of score cards. One comes from the fashion critics and magazine editors who watch runway shows and weigh in on the creativity of a collection. They tend to want pieces that will astound, entertain, and set the pace for trends.
The other score cards come from store buyers. They want pieces that will sell.
Some nimble designers cater to both groups. Alexander McQueen, for one, puts on runway shows that are pure theatrics. Back in his showroom, less dramatic interpretations are available. This week, the finale of his show featured Elizabethan fashions fit for Henry VIII. These looks were cut down to more practical scale in the showroom -- a cape was shorter and more narrow, for instance.
Still, it's a challenge for any designer to strike a balance between runway drama and retail salability. This week, to make sense of how runways relate to the clothes we see in stores, I tagged along with Ms. Golden and Neapolitan's creative director, Chris Mulroy, as they attended the Lanvin and Nina Ricci shows and then did their buying trip to the Nina Ricci showroom.
Neapolitan, in suburban Winnetka, Ill., caters to wealthy Chicago women who are players in the charity-dinner circuit and travel a lot. Evening and cocktail wear, as well as resort wear, are big sellers. Ms. Golden describes her typical customer as someone in her 40s or 50s who can afford a terrific wardrobe but doesn't want everyone to know how much she spends. (That, by the way, is a refrain I've noticed among women who buy luxury clothes. While fashion may appear to be all about conspicuous consumption, many women keep their fashion spending secret.)
The store avoids logo-covered items that scream "label." Oscar de la Renta, Lanvin and Carolina Herrera are some of its biggest sellers. At the more affordable end are labels like Temperley and Derek Lam, which offer dresses in the $1,000 range.
Yet the rising price of luxury is a big issue for the store these days. "I'm trying to remember when the average price of a shoe reached $800," Ms. Mulroy said.
Ms. Golden estimates that the average price of a designer ready-to-wear dress has doubled in five years. "In 2003, a beautiful designer cocktail dress retailed for around $2,000," she says. "Today it is approaching $4,000." The cost increases are due to both the weak dollar and the fact that designers are adding more embellishments like embroidery, as they attempt to differentiate themselves from fast-fashion imitators. Ms. Golden has to find the sweet spot on price -- which she determines by knowing her customers. Indeed, she often buys with particular customers in mind.
The Nina Ricci show, which took place in a large tent along the Tuileries gardens, was the third collection Mr. Theyskens had done for the label, in a tenure marked by adulation among the fashion media. His recent looks have been influential in fashion circles -- the feathers of his last fall collection later appeared all over the following season's New York runways -- and the reviews of this show were generally good.
Ms. Golden, on the lookout for items that would sell, nudged me in the ribs halfway through the show at the appearance of a softly draped cocktail dress. The runway was otherwise dominated by clingy silk jodhpur pants and 1980s-style broad-shouldered jackets -- neither of which seemed particularly salable to her. She predicted that looks like the cocktail dress and that leafy patterns on silk and chiffon -- so central to the collection that the pattern appeared on the backdrop to the runway -- would be crucial elements in her buy.
Generally, a mere 20% to 30% of the designer clothes sold in stores come from the runway. The rest come from so-called pre-collections -- clothes sold ahead of fashion week -- that are less dramatic, made to be sold rather than photographed. But store buyers still want to buy from the runways -- partly to maintain good relations with designers, but also to offer eye-catching looks for store displays. Looks that have walked the runways still have a certain cachet.
When planning her orders the day after the Nina Ricci show, Ms. Golden instructed her Nina Ricci sales representative, Margaret Baurkot: "No pants." The clingy look of the pants this season just wouldn't be workable for her Chicago clients. She noted later that her customers tend to buy pants from American designers, which "are cut more generously."
Kieron Pisano, Nina Ricci's director of sales for North America, conceded later that the jodhpur look would be a hard sell. He pointed to a slightly wider pair of pants as a more likely option.
The draped silk dress that made Ms. Golden nudge me in the ribs will retail for $3,690, and she made sure to include it in her order. Unlike a blouse at that price, a dress represents a whole outfit. And the fact that the dress walked the Paris runway was a plus. "You always want to go for the runway look," she said.
Ms. Golden's big showroom disappointment was the pricey patterned silk. One sleeveless blouse was priced to retail for $2,650. "It's gorgeous," Ms. Golden said, but noted that she thought she could sell it for no more than $1,500. "Even at $1,500, it's a lot," Ms. Golden added. "It's sleeveless and it has no embroidery."
Mr. Pisano of Nina Ricci says the cost comes from the design of the fabric, which is created in-house. Another Nina Ricci sales associate said prices were lower under the direction of the previous designer, Lars Nilsson -- and Ms. Golden expressed a preference for Mr. Nilsson's more salable and lower-price designs. Mr. Pisano concedes the in-house designed fabric is a risk for the label, but said, "I think we'll do well with them because they're such a statement for the house."
Toward the end of Ms. Golden's buying session, she asked to see a satin blouse with inserts of patterned chiffon. It turned out that the chiffon was added at the last moment just for the runway show -- the blouse will be produced in plain satin, with a retail price of $1,590.
There was a blouse fully made of the patterned chiffon, but it was priced at $3,190. Ms. Golden rejected it in favor of a $4,400 dress in the fabric. "They'll go for the dress," she said, noting that she is considering using it in a window display.
Ms. Golden paused at an eye-catching suit lined in the patterned silk. Ms. Baurkot didn't yet have a price for the suit, but Ms. Golden took a guess. "That's a $10,000 look," she said.
"It's not a matter of if people have the money," Ms. Golden noted. "They do. But customers are pretty savvy."
fashionista-ta
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^ I agree, I think the Nina Ricci prices are just outrageous. (Though I will say my shoes arrived & I thought they were very good value for the money--I think they'll last forever.)
that's a really good article. she's a good buyer, that lady. it's good that they mentioned that stores will often buy runway pieces not exactly hoping that they'll sell, but rather for promotion (quite plainly-the windows).
i have to say, the pieces that i've seen in store, are gorgeous. True to the article though, offensively priced.
i have to say, the pieces that i've seen in store, are gorgeous. True to the article though, offensively priced.
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stunning. 
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THAT is a very honest and intersting article. And also it explain to me why I never get to see the runway pieces for Balenciaga!
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