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NYFW : A Repetitive Bore?
- Thread starter misspepe
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I don't find it boring as there are quite a few interesting designers showing there BUT it's over saturated with unimportant or lesser designers. This brings NYFW as a whole down, making good designers get lost in the blandness of the rest.
Yeah I've never understood why people have this tendency to disparage or degrade a collection just because it's similar to the designer's previous collections. This is especially true of three designers: Elie Saab, Ralph Lauren and Giorgio Armani. These designers' careers, reputations and legacies circulate and depend on their supposedly "boring" collections. Armani owns the Italian pantsuit, that's his signature. Ralph is the king of 1920s chic and preppy polowear. Elie Saab is synonymous with goddess dresses. They created legacies, so why would they venture away from them?
There's a misconception that fashion MUST be about originality and must ALWAYS try its best to be groundbreaking. Some of it does and some of it doesn't. Get used to it. Some designers don't give a rat's as$ about being original, they're interested in timelessness and classic beauty.
The democratic nature of NYFW means NY is the best chance to see new designers though. That "unimportant" and "lesser" designer could end up being the next big thing. The selectiveness (snobbery?) of other fashion weeks means year after year it's always going to be Chanel, Dior..etc. When I think of new designers who have emerged to become big names in recent years most have come out of NY- Rodarte, Alexander Wang, Proenza, Prabal Garung, Jason Wu, Altazurra...etc.
The newer talents have even begun to overshadow the old guard (Donna Karan, Ralph Lauren, Michael Kors Calvin Klein). Will their ever come a day when new designers in Europe can emerge to overtake Chanel or Dior?
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Aquamarina
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NYFW is pretty boring. I really don't like any of american designers. For me Milan and Paris truly create a fashion but US designers just styling clothes. I really hate Rodarte-brilliant example of soap bubble designers-loud ecstasy of critics but in practice nothing.
Not Plain Jane
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loladonna you make an interesting point; that's always been one of the reasons I enjoy London fashion week, too; they are often opening runways for new talent. Hence we've seen the emergence in recent years of Christopher Kane, Erdem,Jonathan Sanders, etc.
Lee MG Tisci
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i don't think NY was bad at all, it was much better than last season actually..
i'd say it's just the reputation that NY historically burdens of being the more commercial one, which is something unavoidable in a place like the US but things have definitely been getting more interesting in the last years.. basically because, as some have already said, NY has become a great place for new talents,
i'm not a huge fan of people like Altuzarra, Prabal Gurung, Alex Wang, Proenza Schouler, Rag & Bone, etc. but still i've been looking forward to their shows because they're talented and also unpredictable, they've totally made fashion week more exciting!
imo, Milan is more repetitive than NY but all that is swallowed by the hype around Prada, Gucci, Versace and Cavalli (however, there are exceptions like Marni, Jil Sander or Bottega Veneta) and for me London is more boring than NY although i know is an unfair statement because i barely follow London.. there isn't a designer who has caught my attention yet or i've been simply horrified (Topshop Unique s/s 12!)
i wish brands like Alexander McQueen, Vivienne Westwood, Stella McCartney or even V. Beckham would do their shows in London to bring some excitement there
my NYFW highlights were: Donna Karan, Marc Jacobs, Vera Wang, Narciso Rodriguez, Anna Sui, Marc by MJ and Rag & Bone..
certainly more than any other NY season
.
i'd say it's just the reputation that NY historically burdens of being the more commercial one, which is something unavoidable in a place like the US but things have definitely been getting more interesting in the last years.. basically because, as some have already said, NY has become a great place for new talents,
i'm not a huge fan of people like Altuzarra, Prabal Gurung, Alex Wang, Proenza Schouler, Rag & Bone, etc. but still i've been looking forward to their shows because they're talented and also unpredictable, they've totally made fashion week more exciting!
imo, Milan is more repetitive than NY but all that is swallowed by the hype around Prada, Gucci, Versace and Cavalli (however, there are exceptions like Marni, Jil Sander or Bottega Veneta) and for me London is more boring than NY although i know is an unfair statement because i barely follow London.. there isn't a designer who has caught my attention yet or i've been simply horrified (Topshop Unique s/s 12!)
i wish brands like Alexander McQueen, Vivienne Westwood, Stella McCartney or even V. Beckham would do their shows in London to bring some excitement there
my NYFW highlights were: Donna Karan, Marc Jacobs, Vera Wang, Narciso Rodriguez, Anna Sui, Marc by MJ and Rag & Bone..
certainly more than any other NY season
.
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Benn98
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The Outside View: The Case for American Fashion
Gary Wassner on why New York Fashion Week should not be overlooked.
By Gary Wassner on January 28, 2019
Why do our editors and retailers insist on making comparisons between European fashion weeks and New York Fashion Week? I hear things like, ‘We have to look to Europe for innovation and excitement,’ ‘Why is this on the runway? It should be on hangers in a showroom,’ ‘Our expectations are so low for NYFW,’ ‘We should eliminate NYFW and let them all show in Paris.’
Hasn’t the world recognized the difference between us and them yet? We are entrepreneurs. We are more often than not underfunded. We are independents. We are scramblers and street fighters. We are on shoestring budgets. Corporate support is hard to acquire and limited at best. Sponsorships are a struggle to obtain. And yet we give birth to what Europe adopts and exploits! All the time. Grunge, street, boho, tie-dye, hip-hop and denim for God sakes! And even as far back as we can recall, flappers, big shoulders, Hollywood glamour. Scarlett O’Hara wore a dress made out of curtains! Global decades are defined by our style — American style.
Give some of our more creative designers a $2 million budget along with all kinds of governmental support to design and stage a show! Let Jason Wu and Christian Siriano and Nili Lotan and Ulla Johnson and Proenza Schouler and Prabal Gurung and Cushnie and Amiri and The Row and Rodarte and John Elliott go wild. I think we do pretty damn well under the circumstances.
Just think what they could do if they weren’t constrained by every dollar they spend. If they had a staff of hundreds to create and construct their visions. If they had tanneries at their disposal and shoe factories and custom fabric mills and ateliers with dozens of trained beaders, embroiderers, sewers and patternmakers. It frustrates me to no end. We are different here. We should be proud of these differences, and praise them — celebrate them. We gave birth to diversity on the runway. We shattered gender bias on the runway. We’ve made everyone start thinking about sustainability and zero waste and animal cruelty.
And yet I read over and over again how New York Fashion Week is getting tiresome and unexciting, and buyers’ budgets are being reserved for the European shows. The attitude of the global fashion press is frustrating and frankly astounding. Isn’t it time to step into the real world? They should be looking at what we do independently of what’s done by the fashion conglomerates…at what we do better.
And credit has to be given where credit is due. Many of the brands I mentioned try hard to stage shows at a zero bottom line cost to their companies. Do the editors and fashion directors even understand what that means? Where should our brands cut back? On models? On staging? On p.r.? On samples? On venue? We should be celebrating the results under these very real circumstances of the American fashion industry. But we don’t. Time and time again we denigrate these efforts. And trust me, I have firsthand knowledge of this every day! I see the toll that preparing for a runway show takes on a small company, financially and creatively. I see the stress and anxiety caused by continual concerns about cash flow and even meeting payroll weekly. Yet we persevere. And we thrive.
Ralph and Calvin and Tommy and Michael and Marc and Coach make the front pages and they put on spectacular shows in creative venues, with all the top models, their design and creative and marketing teams are huge and well-funded. No one complains about attending their shows. Is it money that dictates how a brand is perceived? Shouldn’t we, as an industry, be more astute than this? Smoke and mirrors won’t resonate forever with the modem consumer. We see at retail how brand loyalty is eroding. I’m certainly not denigrating these iconic American brands. I’m only asking for the industry to look deeper into the back of the house of the American fashion dynamic.
And now we’re embarking on building similar creative machines, emulating LVMH Moët Hennessy Louis Vuitton, Kering and Richemont, utilizing shared services and leveraging talent and resources. Tapestry and Kors and my own private equity platform, Interluxe, are buying design companies! Are they all going to nurture them? Build them? Support them? I hope so. But if we’re going to compete on this level, we need new leaders with long-term vision. Leaders who are willing to invest in artistry and talent without any hope of profit for years. Visionary leaders who understand the business of fashion. Can we do this? Can we mentor our best talent and create global brands again? Will these companies give the brands a runway long enough to really find out if they can and will succeed on a global level?
But even this path won’t change the entrepreneurial spirit of the American fashion industry. New designers continue to emerge, with little or no funding to help them along. This is what makes us so special. My office is a revolving door of bright, new talent.
I’ll end where I began. We are different here. And it’s time we stood up and applauded what makes us so unique, what makes the world adopt our style and capitalize on our inspirations — what makes the world dress like Americans. Look to NYFW for what we do best. Look to other venues for different things, fantastic in their own right. But please, please give our valiant workers in fashion a break!
Gary Wassner is chief executive officer of fashion factoring company Hilldun Corp. and chairman of Interluxe Holdings, which has investments in Jason Wu, A.L.C. and Mackage.
WWD.com
Gary Wassner on why New York Fashion Week should not be overlooked.
By Gary Wassner on January 28, 2019
Why do our editors and retailers insist on making comparisons between European fashion weeks and New York Fashion Week? I hear things like, ‘We have to look to Europe for innovation and excitement,’ ‘Why is this on the runway? It should be on hangers in a showroom,’ ‘Our expectations are so low for NYFW,’ ‘We should eliminate NYFW and let them all show in Paris.’
Hasn’t the world recognized the difference between us and them yet? We are entrepreneurs. We are more often than not underfunded. We are independents. We are scramblers and street fighters. We are on shoestring budgets. Corporate support is hard to acquire and limited at best. Sponsorships are a struggle to obtain. And yet we give birth to what Europe adopts and exploits! All the time. Grunge, street, boho, tie-dye, hip-hop and denim for God sakes! And even as far back as we can recall, flappers, big shoulders, Hollywood glamour. Scarlett O’Hara wore a dress made out of curtains! Global decades are defined by our style — American style.
Give some of our more creative designers a $2 million budget along with all kinds of governmental support to design and stage a show! Let Jason Wu and Christian Siriano and Nili Lotan and Ulla Johnson and Proenza Schouler and Prabal Gurung and Cushnie and Amiri and The Row and Rodarte and John Elliott go wild. I think we do pretty damn well under the circumstances.
Just think what they could do if they weren’t constrained by every dollar they spend. If they had a staff of hundreds to create and construct their visions. If they had tanneries at their disposal and shoe factories and custom fabric mills and ateliers with dozens of trained beaders, embroiderers, sewers and patternmakers. It frustrates me to no end. We are different here. We should be proud of these differences, and praise them — celebrate them. We gave birth to diversity on the runway. We shattered gender bias on the runway. We’ve made everyone start thinking about sustainability and zero waste and animal cruelty.
And yet I read over and over again how New York Fashion Week is getting tiresome and unexciting, and buyers’ budgets are being reserved for the European shows. The attitude of the global fashion press is frustrating and frankly astounding. Isn’t it time to step into the real world? They should be looking at what we do independently of what’s done by the fashion conglomerates…at what we do better.
And credit has to be given where credit is due. Many of the brands I mentioned try hard to stage shows at a zero bottom line cost to their companies. Do the editors and fashion directors even understand what that means? Where should our brands cut back? On models? On staging? On p.r.? On samples? On venue? We should be celebrating the results under these very real circumstances of the American fashion industry. But we don’t. Time and time again we denigrate these efforts. And trust me, I have firsthand knowledge of this every day! I see the toll that preparing for a runway show takes on a small company, financially and creatively. I see the stress and anxiety caused by continual concerns about cash flow and even meeting payroll weekly. Yet we persevere. And we thrive.
Ralph and Calvin and Tommy and Michael and Marc and Coach make the front pages and they put on spectacular shows in creative venues, with all the top models, their design and creative and marketing teams are huge and well-funded. No one complains about attending their shows. Is it money that dictates how a brand is perceived? Shouldn’t we, as an industry, be more astute than this? Smoke and mirrors won’t resonate forever with the modem consumer. We see at retail how brand loyalty is eroding. I’m certainly not denigrating these iconic American brands. I’m only asking for the industry to look deeper into the back of the house of the American fashion dynamic.
And now we’re embarking on building similar creative machines, emulating LVMH Moët Hennessy Louis Vuitton, Kering and Richemont, utilizing shared services and leveraging talent and resources. Tapestry and Kors and my own private equity platform, Interluxe, are buying design companies! Are they all going to nurture them? Build them? Support them? I hope so. But if we’re going to compete on this level, we need new leaders with long-term vision. Leaders who are willing to invest in artistry and talent without any hope of profit for years. Visionary leaders who understand the business of fashion. Can we do this? Can we mentor our best talent and create global brands again? Will these companies give the brands a runway long enough to really find out if they can and will succeed on a global level?
But even this path won’t change the entrepreneurial spirit of the American fashion industry. New designers continue to emerge, with little or no funding to help them along. This is what makes us so special. My office is a revolving door of bright, new talent.
I’ll end where I began. We are different here. And it’s time we stood up and applauded what makes us so unique, what makes the world adopt our style and capitalize on our inspirations — what makes the world dress like Americans. Look to NYFW for what we do best. Look to other venues for different things, fantastic in their own right. But please, please give our valiant workers in fashion a break!
Gary Wassner is chief executive officer of fashion factoring company Hilldun Corp. and chairman of Interluxe Holdings, which has investments in Jason Wu, A.L.C. and Mackage.
WWD.com
perhydrol
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Oh poor kids of New York, they don't have the budget blah blah blah, it's so ridiculous to say things like that because you don't really need a big show and a big budget to show something fresh and creative. It doesn't have to be like reinventing the wheel but NYFW is the easiest fashion week to skip right now. It still doesn't have any kind of impact on fashion, almost like it's stuck in a 'department store' kind of thing in 2012.
And please, don't make European fashion the one that is driven by copycats just because denim is American because we all know how much NYFW loves Helmut, Phoebe and Nicolas.
And please, don't make European fashion the one that is driven by copycats just because denim is American because we all know how much NYFW loves Helmut, Phoebe and Nicolas.
bc collector
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What a massive waste of ink...the whole article hinges on a wrong assumption: that money creates ideas, whereas, in fact, it's exactly the opposite. I don't think Rick Owens (to name an American) ever had such big budget to begin with, but that was compensated by his huge talent, a very strong style identity and the support he secured from key figures in the industry along the way. Sure, he met Michele Lamy and his Italian financial and manifacturing backers, but that happened BECAUSE of his talent, and not the other way around.
jeanclaude
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1.When you say this first:
"Give some of our more creative designers a $2 million budget along with all kinds of governmental support to design and stage a show! Let Jason Wu and Christian Siriano and Nili Lotan and Ulla Johnson and Proenza Schouler and Prabal Gurung and Cushnie and Amiri and The Row and Rodarte and John Elliott go wild."
2.And after that, then you say this:
"But if we’re going to compete on this level, we need new leaders with long-term vision. Leaders who are willing to invest in artistry and talent without any hope of profit for years. Visionary leaders who understand the business of fashion. Can we do this? Can we mentor our best talent and create global brands again?"
3. What we can get from this rant? That it´s no wonder why NYFW is so f.u.c.k.e.d when people like him is unable to identify talent (and lack of it).
4. Flappers dresses invented by American designers???... Gary, can you hear that? It´s just the corpses of french designers Jean Patou and Coco Chanel, rolling on their respectives graves when you claim something like that...
"Give some of our more creative designers a $2 million budget along with all kinds of governmental support to design and stage a show! Let Jason Wu and Christian Siriano and Nili Lotan and Ulla Johnson and Proenza Schouler and Prabal Gurung and Cushnie and Amiri and The Row and Rodarte and John Elliott go wild."
2.And after that, then you say this:
"But if we’re going to compete on this level, we need new leaders with long-term vision. Leaders who are willing to invest in artistry and talent without any hope of profit for years. Visionary leaders who understand the business of fashion. Can we do this? Can we mentor our best talent and create global brands again?"
3. What we can get from this rant? That it´s no wonder why NYFW is so f.u.c.k.e.d when people like him is unable to identify talent (and lack of it).
4. Flappers dresses invented by American designers???... Gary, can you hear that? It´s just the corpses of french designers Jean Patou and Coco Chanel, rolling on their respectives graves when you claim something like that...
Benn98
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UPDATE: NYFW: MEN’S UNLIKELY TO SURVIVE PAST NEXT WEEK
written by Charles Manning January 31, 2019
Rumor has it the end is near for the great experiment that is (or was) NYFW: Men’s.
According to multiple sources, the CFDA is expected to make an official announcement to this effect as early as next week, after the handful of designers showing under the NYFW: Men’s banner present their Fall 2019 collections. “Men’s will move to June and run side by side with women’s resort,” said one source, who spoke with The Daily Front Row on the condition of anonymity. “It’s not ‘over,’ but just won’t be subsidized by the CFDA and won’t have a hub.”
NYFW: Men’s had a promising start a few years ago, but never really took off. With a roster made up almost entirely of small, independent, niche brands, NYFM: Men’s failed to attract the attention, money, or prestige of its women’s counterpart.
The Daily Front Row reached out to the CFDA for a statement and will update this post if and when we receive a response.
UPDATE: Last night, the CFDA has issued the following statement:
We are currently focused on the upcoming Men’s shows happening next week. Men’s is currently scheduled at the same time the first week of June and coincides with the NYFW June dates that started last year which featured designers such as Alexander Wang, Saint Laurent, Narciso Rodriguez and other designers showing at the same time.
Fashionweekdaily.com
written by Charles Manning January 31, 2019
Rumor has it the end is near for the great experiment that is (or was) NYFW: Men’s.
According to multiple sources, the CFDA is expected to make an official announcement to this effect as early as next week, after the handful of designers showing under the NYFW: Men’s banner present their Fall 2019 collections. “Men’s will move to June and run side by side with women’s resort,” said one source, who spoke with The Daily Front Row on the condition of anonymity. “It’s not ‘over,’ but just won’t be subsidized by the CFDA and won’t have a hub.”
NYFW: Men’s had a promising start a few years ago, but never really took off. With a roster made up almost entirely of small, independent, niche brands, NYFM: Men’s failed to attract the attention, money, or prestige of its women’s counterpart.
The Daily Front Row reached out to the CFDA for a statement and will update this post if and when we receive a response.
UPDATE: Last night, the CFDA has issued the following statement:
We are currently focused on the upcoming Men’s shows happening next week. Men’s is currently scheduled at the same time the first week of June and coincides with the NYFW June dates that started last year which featured designers such as Alexander Wang, Saint Laurent, Narciso Rodriguez and other designers showing at the same time.
Fashionweekdaily.com
jeanclaude
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The problem is not the size of those brands. The problems is those brands were basic, boring; or just mere carbon-copies of famous ones (Off-White, <cough, cough>...).
No big news here. If its female counterpart is boring as hell, which is the main dish here, it´s no wonder why this is happening!
Lola701
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And also, the « new guard » that was supposed to be the future of American fashion has become a huge disappointment.
So now, NYFW is only relevant thanks to the big « advertisers » brands. Thank god they have Tom Ford, Marc Jacobs, Michael Kors & Ralph Lauren.
And I would add that NYFW seems to be very focused for the American market. It’s difficult to stand out in the international market with so many basic clothes.
Benn98
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They're fighting a two front war, Lola. They don't have the international shopper, and they don't have the American one either. Best start on the homefront first, and then look to sway Europe.
The only American campaign presence in British and European magazines are really Ralph Lauren and Kors. MJ doesn't actually advertise beyond perfumes (only in the UK), and TF almost sell without campaigns. I don't think people look at TF and think, oh this is American. He's got that universal appeal. Can't say the same about the rest.
So without campaign presence, it's even harder for American brands to be editorialised or kept in the global fashion conversation. Why would the editor of Vogue Spain shoot Monse or Eckhaus Latta? She must first appease her blue chip advertisers by showing their wares, and if by any chance there happens to be a gap, start pushing Spanish brands. And I'm using Spain as an example because out of all the European editions, they have the greatest reach.
I actually think that Gary Wassner hit some home truths with his little soapdish rant. I agree with him about the funding challenges, I agree that when you evaluate the meteoric rise of Jacquemus or JWA and try to find an American equivalent (in any sense), you'll probably come up short. I agree that beyond Anna, Nina and Gan, all the other American editors are suckers for Euro brands. And I very much agree that key design movements from NY and London often goes through some sortsort of luxury conduit, and by the time it's shown in Paris or Milan, it's all of a sudden 'innovative, refreshing, *insert generic fawning superlative*'
What American fashion does have over everyone else is access to celebrities. Zendaya wearing a Monse look to a Spiderman press-call can land up in every corner of the world. But even there too, access is limited with so many brands tying spokespersons down with iron clad endorsements. Looking at you, Louis Vuitton.
In the current issue of Vogue Australia, the back cover/4th cover (most expensive ad page in a magazine due to its exposure) went to an Australian designer. That is such a powerful statement because LV and the like would not think twice to take up such prominent advertising. Especially for a burgeoning luxury market like Australia. Something American, and British, editors could certainly learn from.
Benn98
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What Should Tom Ford’s Top Priorities Be at the CFDA?
Designers share views on New York Fashion Week, the CFDA Fashion Awards, NYFW: Men's, and programming.
By Lisa Lockwood and Jean E. Palmieri on March 20, 2019
Designers reacted positively Wednesday to the news that Tom Ford has been elected chairman of the CFDA — and had a lengthy “to do” list of the challenges he faces when he takes over in June.
While they praised the work Diane von Furstenberg has done over the last 13 years — working with Steven Kolb, chief executive officer of CFDA — to galvanize the American fashion industry, they say they are looking forward to Ford’s tenure and what he’ll do to bring a more global perspective to their businesses.
New York Fashion Week remains one of the thorniest issues on Ford’s plate, and a few women’s wear designers had ideas on how he could make changes to the semiannual event. NYFW: Men’s presents another problem, and some believe it got off on the wrong foot. They are hoping Ford, who has a luxury men’s business, can improve the event and have some impact to help the men’s business gain more respect.
Continuing the work the CFDA has started on diversity, sustainability, body image and other important issues remain paramount, they stressed.
But while the designers laid out the welcome mat, they had a lot to say about the tasks ahead for Ford:
Prabal Gurung: “To have Tom Ford helm the CFDA as a face and active player in crafting the future of American fashion is really exciting and impactful. He comes from such a strong background working with global brands and has done a wonderful job of building his own here in the U.S. Tom Ford has the ability to really empower American fashion on the global scale — I hope we can build more conversation and alignment and opportunity for U.S. designers in London, in Paris, and in newer markets like the Middle East.
“Likewise, American fashion has really been at the forefront of diversifying what the fashion industry looks like, on building a more inclusive community through visual representation and dialogue, and I’d like to see some of these values shared with and spread throughout Europe and beyond. He has the power and the sensibility to be able to bridge this gap, so I’m really hopeful and excited to see what the future holds.”
Norma Kamali: “I think it’s great [about Tom]. I think Diane did an amazing job for more years than she wanted to. I think a new perspective is always good, and reinventing at this time is not a bad idea. We’re all very optimistic and it should be good.
“My fantasy is a two-pronged concept [to NYFW]. One is, we show our collections to the buyers and press in more intimate venues. Then, the Shed is a perfect place to do twice a year, a major knockout fashion show where everybody participates. There can be two shows a day, and industry have tickets, and outsiders have tickets. People get dressed up for it. The collections can go up on WWD, then you see the full line in showrooms or smaller venues. Every designer contributes a certain number of styles for what they’re doing that season. It’s a mega-mega-mega fashion show, a super event. That would be fun. We have the Shed now, it’s a perfect venue for this. It would energize us to be in a different kind of venue and it would get a lot of people to see the shows. It’s more inclusive and more democratic.
“Everybody is going through it [disruption], not just our industry. It’s time for change and reinvention and not doing what we did before, because it’s not working — none of it. I think Tom will be global, which is critical. I work with Asia and Europe all the time and we do FaceTime; there’s a way to make it work. I’m sure he’ll be available to come to New York periodically, and if he’s not, he can FaceTime. He sees us, we see him. I don’t think location is an issue anymore, it’s just making sure we’re moving in lots of interesting directions.”
As far as current programming about issues such as diversity, she said, “Nothing is 100 percent. Our industry has more objectification of women and so does the beauty industry. It’s a work in progress. All of our meetings have conversations about it. It’s not something we’re not talking about and not addressing. As an industry, fashion and beauty, and I’m guilty, too. I’ve made body image, fitness and health critical in my brand. We all realize that nothing is the same, and everybody has to be included, that means gender fluidity, and all those phrases that are in the conversation.”
Nicole Miller: “Everybody’s gung ho. Everybody thinks it’s a good choice. Diane did a remarkable job and the CFDA now has all these seminars and workshops for fashion company employees. It’s so great, the labs, there’s so much going on these days. I think it’s great to have someone who has international global presence. [Tom] clearly has that presence and those contacts.”
Rebecca Minkoff: “I think the more he can take a look at all the designers that belong and really figure out: how do you not just serve the 1 percent, and how do you make sure every designer gets the tools they need or access to mentors or resources or funding? We’re all facing different challenges. How do you figure out programming that really ensures that all members feel they are getting a benefit of being a part of the membership? While the awards are critical, how do you make them a more inclusive experience so that you have more women and people of color being represented, not the same candidates? How do you make that an experience that uplifts and elevates designers that are maybe less in the headlines? It’s time to take the awards and turn it on its head. It’s not a popularity contest anymore, or some sort of list. There are so many talented designers, there are so many talented women and so many people of color that just don’t get put on that list. It’s a shame because it’s the Council of Fashion Designers of America, and it’s not being represented that way to me.
“We had a really great experience being back [at NYFW} for the first time in a year. It’s not easy. Every designer needs different things. There isn’t one formula that works now, like it did before. It’s how do you create a fashion week or fashion experience so each person can play by their own rules and it’s supported? I still feel very strongly about the buy-now-wear now. It’s taking the temperature of what people showing really need and how best to support it. That would be a great place to start.
“I think the programming looks great, I’ve been remiss in not being able to take advantage of it. But some of my staff have, and they found it helpful. It’s a good start. How can you approach it so if you’re working all day, how do I get away? Is it a webinar? If we’re all working, how can we take advantage of it?
“He [Ford] is a very successful man who has a very successful company so I don’t really feel qualified telling him what to do. I think a town hall with all the designers to hear us out, so it starts out with a place of listening [would be good].”
Marcus Wainwright, Rag & Bone: “It’s not for me to say what he should focus on. I don’t know Tom Ford that well, but he’s a guy with an opinion, for sure. He’s going to know probably exactly what he wants to do. I don’t think it will be a massive change in direction, but a change in leadership is something that will reinvigorate the CFDA board.
“His global perspective is probably going to be the way he thinks about it. The CFDA is obviously the Council of Fashion Designers of America, and they should focus on American fashion. There may be a more inclusive approach. American designers play an important role in global fashion, not just American fashion. I think the CFDA has had an amazing run under Diane. I think she’s done a fantastic job reinvigorating the CFDA and opening it up to more designers, getting a lot more members on board, and it’s become a much more powerful organization. Simultaneously, the world has changed in that timeframe. The way fashion works and the relevance of the fashion show versus Instagram. There’s been a shift for sure, not just in America, but everywhere. He’s a master of many things. He’s a fantastic brand marketer. If he brings that to the CFDA, it will be a huge benefit. One thing I expect him to focus on is the global nature of American fashion."
Adam Lippes: “At first I was surprised, because frankly I didn’t think of him as being part of the American fashion community, although I certainly know he’s American. But giving it some thought, I love the fact that he has been a huge success, twice or maybe three times. He has designed and built brands here and in Europe. I think that gives a world dimension that we need here. I see how my business is doing internationally, which is incredibly, and he can really bring that to the CFDA. And he’s a star. Everything about him is kind of a star. We should be led by a star.
“I haven’t taken advantage of the programming. I talk to a lot of designers my age. We spend time together. Rosie [Assoulin], me, Jason [Wu], but not through the CFDA, but on our own. We talk about distribution and places we make things. We really have each others’ backs. I feel very connected to the community, it’s kind of on our own, not through the CFDA.
“I think the Shed will be an incredible part of Hudson Yards. I’m really excited to see it done. I show in my home in Brooklyn Heights. I like to show the clothes where they live. I also understand the needs of the editors and stores who are running around like chickens with their heads cut off. They come to you and their whole idea is when can they leave. If we can find a space that’s inspiring on its own and is not just a tent thrown up and big air conditioning boxes outside, that people can customize and make into something that reflects their brand, I think it might really work again for us. And I would be excited to be part of that.”
Yoehlee Teng: “I think he has to motivate and engage the entire membership…it’s very key that we’re losing ground as far as our standing globally. He’s a very savvy guy, so I’m sure he can figure it out. I think it’s a great move, and that a new perspective is needed.”
Tommy Hilfiger: “I think Diane did an amazing job during her tenure at the CFDA. She will be a hard act to follow but if anyone can take it to the next level, Tom Ford can. He’s the perfect candidate with his great successes in fashion and entertainment.”
Stan Herman: “It was the perfect time for him. He’s not a grandstander and he’s one of the major names, and he’s interested. He’s still based in California but that will add to the diversification of the CFDA. Diane was very happy with the choice. I’m proud that he was interested and I’m very proud he’s in the line, which [besides himself] includes such designers as Bill Blass, Oscar de la Renta, Norman Norell and Perry Ellis.”
Kenneth Cole: “I have always admired Tom’s commitment to fashion and community. His experience, international perspective, and dedication to the industry make us fortunate to have him as the next CFDA chairman. I am looking forward to the strides I know he will make to further the global impact of American fashion. I know I speak on behalf of many when I thank Diane for her transformational oversight and dedication to the CFDA for the last 13 years.”
Stacey Bendet, Alice + Olivia: “Diane von Furstenberg has done an incredible job guiding the CFDA and the industry, with a vision through turbulent times of change. Tom will hopefully continue the incredible work she has done in addition to bringing excitement and innovation to the industry!”
Nanette Lepore: “I’m so excited to have Tom Ford as chairman of the CFDA; he brings a fresh dose of glamour to American fashion. More importantly, Tom is politically liberal and understands the divide in our country — I’m hoping he will approach his new role with the same compassion and understanding. There is a big disparity in the CFDA between people who have very large businesses and some who have very small companies. With his kind of approach, he’ll be able to understand all sides of what he’s dealing with at the CFDA.”
Robert Geller: “I am very excited about the announcement. It is difficult for us to know what to expect from Tom. He is obviously very well-known as a designer and filmmaker, but it will be interesting to see what he will do as the head of the CFDA.
“Being a men’s wear designer, I think that it is heartbreaking to see what has happened to New York as a fashion capital. I feel that in men’s wear there was a real moment, around 2011-2012, that felt like the U.S. was producing this crop of interesting designers that had the potential of becoming something special. The CFDA took the initiative to create a men’s week in New York City, and I believe that it was a good idea.
“Men’s shows were on the women’s schedule, months after the sales seasons in Europe had passed. We ended up either showing our collections to buyers months before the runway show, or being left with empty budgets from stores after our shows. NYFW: Men’s became a venue-based event. The CFDA and their sponsors created a one-stop experience to house all types of designers from Siki Im to Joseph Abboud. It mixed the avant-garde with the hyper-commercial. I think this was to its detriment. Press and buyers who came in to see what this new men’s week was all about saw a whole lot of brands that do not necessarily belong on the runway, got bored and never came back. Very quickly, designers decided to go to Paris, where they knew all of the important people in the industry would be.
“I believe that the effort by the CFDA was pure and good, but the individuality of the designer needs to be celebrated and fashion just really is not democratic in that way.
“I hope that Tom Ford will see this and find a way to support American designers in a way that will give them the freedom to create amazing and exciting shows, to attract the world to come back to New York City. It’s New York City after all. It shouldn’t be so hard to get people to come here.”
Joseph Abboud: “It was time for a change. A new face with new ideas was needed for that role. Tom has a sense of men’s wear and that’s important. Men’s wear doesn’t get its due and has always been the stepchild, so having someone who knows there’s validity in what we do is important.
“Steven Kolb is fair and thoughtful and I think they’ll work well together. He brings a lot of value to the organization and is very supportive of young talent, and I hope Tom will be, too.
“But he needs to give an eye to men’s wear — men are half of the population — and not just focus on the celebrity of women’s wear. I hope Tom speaks to the men’s wear designers to get their ideas and perspectives as well.”
Todd Snyder: “I think it’s a good thing. Diane was very involved and she’s a legend. She sat in on meetings and her perspective was amazing. She was a celebrity and Tom brings that same level of celebrity to the role, but he has a different perspective.
“He has his own company, but he’s also worked for someone else and having that experience can help everyone out.
“Diane doesn’t have a men’s line and Tom obviously does, so he can relate and it should help push ideas around. Whether there will be a separate men’s week or not is a question mark but we don’t just need an advocate. Everybody is loving Paris right now, and it’s just not America’s time right now. There are some real leaders in men’s wear — Thom Browne and Virgil Abloh — but they’re in Paris [at the shows], not here. Men’s wear at the CFDA has always been considered a bit of a stepchild and hopefully having Tom will help change that.”
Nick Graham: “I’m very excited about Tom becoming the head of the CFDA. He’s a global superstar and his experience and knowledge should be of enormous benefit to the membership. It’s amazing what Diane achieved under her leadership, and I’m sure Tom will take the organization to another level entirely. American fashion needs to be taken more seriously around the world, and what better dressed and talented ambassador could we possibly have?”
“I first became a member of the CFDA in 1992, and it forever changed my career. It’s an organization that does so much, and its constant evolution, is, like fashion, necessary.”
Ariel and Shimon Ovadia, Ovadia & Sons: “We feel that Tom Ford’s appointment as chairman of the CFDA is a great step forward for American men’s wear designers. Tom has succeeded on a global level in both men’s wear and women’s wear and has a lot of knowledge to share. We hope to see him pushing men’s wear as a high priority.”
WWD.com
Designers share views on New York Fashion Week, the CFDA Fashion Awards, NYFW: Men's, and programming.
By Lisa Lockwood and Jean E. Palmieri on March 20, 2019
Designers reacted positively Wednesday to the news that Tom Ford has been elected chairman of the CFDA — and had a lengthy “to do” list of the challenges he faces when he takes over in June.
While they praised the work Diane von Furstenberg has done over the last 13 years — working with Steven Kolb, chief executive officer of CFDA — to galvanize the American fashion industry, they say they are looking forward to Ford’s tenure and what he’ll do to bring a more global perspective to their businesses.
New York Fashion Week remains one of the thorniest issues on Ford’s plate, and a few women’s wear designers had ideas on how he could make changes to the semiannual event. NYFW: Men’s presents another problem, and some believe it got off on the wrong foot. They are hoping Ford, who has a luxury men’s business, can improve the event and have some impact to help the men’s business gain more respect.
Continuing the work the CFDA has started on diversity, sustainability, body image and other important issues remain paramount, they stressed.
But while the designers laid out the welcome mat, they had a lot to say about the tasks ahead for Ford:
Prabal Gurung: “To have Tom Ford helm the CFDA as a face and active player in crafting the future of American fashion is really exciting and impactful. He comes from such a strong background working with global brands and has done a wonderful job of building his own here in the U.S. Tom Ford has the ability to really empower American fashion on the global scale — I hope we can build more conversation and alignment and opportunity for U.S. designers in London, in Paris, and in newer markets like the Middle East.
“Likewise, American fashion has really been at the forefront of diversifying what the fashion industry looks like, on building a more inclusive community through visual representation and dialogue, and I’d like to see some of these values shared with and spread throughout Europe and beyond. He has the power and the sensibility to be able to bridge this gap, so I’m really hopeful and excited to see what the future holds.”
Norma Kamali: “I think it’s great [about Tom]. I think Diane did an amazing job for more years than she wanted to. I think a new perspective is always good, and reinventing at this time is not a bad idea. We’re all very optimistic and it should be good.
“My fantasy is a two-pronged concept [to NYFW]. One is, we show our collections to the buyers and press in more intimate venues. Then, the Shed is a perfect place to do twice a year, a major knockout fashion show where everybody participates. There can be two shows a day, and industry have tickets, and outsiders have tickets. People get dressed up for it. The collections can go up on WWD, then you see the full line in showrooms or smaller venues. Every designer contributes a certain number of styles for what they’re doing that season. It’s a mega-mega-mega fashion show, a super event. That would be fun. We have the Shed now, it’s a perfect venue for this. It would energize us to be in a different kind of venue and it would get a lot of people to see the shows. It’s more inclusive and more democratic.
“Everybody is going through it [disruption], not just our industry. It’s time for change and reinvention and not doing what we did before, because it’s not working — none of it. I think Tom will be global, which is critical. I work with Asia and Europe all the time and we do FaceTime; there’s a way to make it work. I’m sure he’ll be available to come to New York periodically, and if he’s not, he can FaceTime. He sees us, we see him. I don’t think location is an issue anymore, it’s just making sure we’re moving in lots of interesting directions.”
As far as current programming about issues such as diversity, she said, “Nothing is 100 percent. Our industry has more objectification of women and so does the beauty industry. It’s a work in progress. All of our meetings have conversations about it. It’s not something we’re not talking about and not addressing. As an industry, fashion and beauty, and I’m guilty, too. I’ve made body image, fitness and health critical in my brand. We all realize that nothing is the same, and everybody has to be included, that means gender fluidity, and all those phrases that are in the conversation.”
Nicole Miller: “Everybody’s gung ho. Everybody thinks it’s a good choice. Diane did a remarkable job and the CFDA now has all these seminars and workshops for fashion company employees. It’s so great, the labs, there’s so much going on these days. I think it’s great to have someone who has international global presence. [Tom] clearly has that presence and those contacts.”
Rebecca Minkoff: “I think the more he can take a look at all the designers that belong and really figure out: how do you not just serve the 1 percent, and how do you make sure every designer gets the tools they need or access to mentors or resources or funding? We’re all facing different challenges. How do you figure out programming that really ensures that all members feel they are getting a benefit of being a part of the membership? While the awards are critical, how do you make them a more inclusive experience so that you have more women and people of color being represented, not the same candidates? How do you make that an experience that uplifts and elevates designers that are maybe less in the headlines? It’s time to take the awards and turn it on its head. It’s not a popularity contest anymore, or some sort of list. There are so many talented designers, there are so many talented women and so many people of color that just don’t get put on that list. It’s a shame because it’s the Council of Fashion Designers of America, and it’s not being represented that way to me.
“We had a really great experience being back [at NYFW} for the first time in a year. It’s not easy. Every designer needs different things. There isn’t one formula that works now, like it did before. It’s how do you create a fashion week or fashion experience so each person can play by their own rules and it’s supported? I still feel very strongly about the buy-now-wear now. It’s taking the temperature of what people showing really need and how best to support it. That would be a great place to start.
“I think the programming looks great, I’ve been remiss in not being able to take advantage of it. But some of my staff have, and they found it helpful. It’s a good start. How can you approach it so if you’re working all day, how do I get away? Is it a webinar? If we’re all working, how can we take advantage of it?
“He [Ford] is a very successful man who has a very successful company so I don’t really feel qualified telling him what to do. I think a town hall with all the designers to hear us out, so it starts out with a place of listening [would be good].”
Marcus Wainwright, Rag & Bone: “It’s not for me to say what he should focus on. I don’t know Tom Ford that well, but he’s a guy with an opinion, for sure. He’s going to know probably exactly what he wants to do. I don’t think it will be a massive change in direction, but a change in leadership is something that will reinvigorate the CFDA board.
“His global perspective is probably going to be the way he thinks about it. The CFDA is obviously the Council of Fashion Designers of America, and they should focus on American fashion. There may be a more inclusive approach. American designers play an important role in global fashion, not just American fashion. I think the CFDA has had an amazing run under Diane. I think she’s done a fantastic job reinvigorating the CFDA and opening it up to more designers, getting a lot more members on board, and it’s become a much more powerful organization. Simultaneously, the world has changed in that timeframe. The way fashion works and the relevance of the fashion show versus Instagram. There’s been a shift for sure, not just in America, but everywhere. He’s a master of many things. He’s a fantastic brand marketer. If he brings that to the CFDA, it will be a huge benefit. One thing I expect him to focus on is the global nature of American fashion."
Adam Lippes: “At first I was surprised, because frankly I didn’t think of him as being part of the American fashion community, although I certainly know he’s American. But giving it some thought, I love the fact that he has been a huge success, twice or maybe three times. He has designed and built brands here and in Europe. I think that gives a world dimension that we need here. I see how my business is doing internationally, which is incredibly, and he can really bring that to the CFDA. And he’s a star. Everything about him is kind of a star. We should be led by a star.
“I haven’t taken advantage of the programming. I talk to a lot of designers my age. We spend time together. Rosie [Assoulin], me, Jason [Wu], but not through the CFDA, but on our own. We talk about distribution and places we make things. We really have each others’ backs. I feel very connected to the community, it’s kind of on our own, not through the CFDA.
“I think the Shed will be an incredible part of Hudson Yards. I’m really excited to see it done. I show in my home in Brooklyn Heights. I like to show the clothes where they live. I also understand the needs of the editors and stores who are running around like chickens with their heads cut off. They come to you and their whole idea is when can they leave. If we can find a space that’s inspiring on its own and is not just a tent thrown up and big air conditioning boxes outside, that people can customize and make into something that reflects their brand, I think it might really work again for us. And I would be excited to be part of that.”
Yoehlee Teng: “I think he has to motivate and engage the entire membership…it’s very key that we’re losing ground as far as our standing globally. He’s a very savvy guy, so I’m sure he can figure it out. I think it’s a great move, and that a new perspective is needed.”
Tommy Hilfiger: “I think Diane did an amazing job during her tenure at the CFDA. She will be a hard act to follow but if anyone can take it to the next level, Tom Ford can. He’s the perfect candidate with his great successes in fashion and entertainment.”
Stan Herman: “It was the perfect time for him. He’s not a grandstander and he’s one of the major names, and he’s interested. He’s still based in California but that will add to the diversification of the CFDA. Diane was very happy with the choice. I’m proud that he was interested and I’m very proud he’s in the line, which [besides himself] includes such designers as Bill Blass, Oscar de la Renta, Norman Norell and Perry Ellis.”
Kenneth Cole: “I have always admired Tom’s commitment to fashion and community. His experience, international perspective, and dedication to the industry make us fortunate to have him as the next CFDA chairman. I am looking forward to the strides I know he will make to further the global impact of American fashion. I know I speak on behalf of many when I thank Diane for her transformational oversight and dedication to the CFDA for the last 13 years.”
Stacey Bendet, Alice + Olivia: “Diane von Furstenberg has done an incredible job guiding the CFDA and the industry, with a vision through turbulent times of change. Tom will hopefully continue the incredible work she has done in addition to bringing excitement and innovation to the industry!”
Nanette Lepore: “I’m so excited to have Tom Ford as chairman of the CFDA; he brings a fresh dose of glamour to American fashion. More importantly, Tom is politically liberal and understands the divide in our country — I’m hoping he will approach his new role with the same compassion and understanding. There is a big disparity in the CFDA between people who have very large businesses and some who have very small companies. With his kind of approach, he’ll be able to understand all sides of what he’s dealing with at the CFDA.”
Robert Geller: “I am very excited about the announcement. It is difficult for us to know what to expect from Tom. He is obviously very well-known as a designer and filmmaker, but it will be interesting to see what he will do as the head of the CFDA.
“Being a men’s wear designer, I think that it is heartbreaking to see what has happened to New York as a fashion capital. I feel that in men’s wear there was a real moment, around 2011-2012, that felt like the U.S. was producing this crop of interesting designers that had the potential of becoming something special. The CFDA took the initiative to create a men’s week in New York City, and I believe that it was a good idea.
“Men’s shows were on the women’s schedule, months after the sales seasons in Europe had passed. We ended up either showing our collections to buyers months before the runway show, or being left with empty budgets from stores after our shows. NYFW: Men’s became a venue-based event. The CFDA and their sponsors created a one-stop experience to house all types of designers from Siki Im to Joseph Abboud. It mixed the avant-garde with the hyper-commercial. I think this was to its detriment. Press and buyers who came in to see what this new men’s week was all about saw a whole lot of brands that do not necessarily belong on the runway, got bored and never came back. Very quickly, designers decided to go to Paris, where they knew all of the important people in the industry would be.
“I believe that the effort by the CFDA was pure and good, but the individuality of the designer needs to be celebrated and fashion just really is not democratic in that way.
“I hope that Tom Ford will see this and find a way to support American designers in a way that will give them the freedom to create amazing and exciting shows, to attract the world to come back to New York City. It’s New York City after all. It shouldn’t be so hard to get people to come here.”
Joseph Abboud: “It was time for a change. A new face with new ideas was needed for that role. Tom has a sense of men’s wear and that’s important. Men’s wear doesn’t get its due and has always been the stepchild, so having someone who knows there’s validity in what we do is important.
“Steven Kolb is fair and thoughtful and I think they’ll work well together. He brings a lot of value to the organization and is very supportive of young talent, and I hope Tom will be, too.
“But he needs to give an eye to men’s wear — men are half of the population — and not just focus on the celebrity of women’s wear. I hope Tom speaks to the men’s wear designers to get their ideas and perspectives as well.”
Todd Snyder: “I think it’s a good thing. Diane was very involved and she’s a legend. She sat in on meetings and her perspective was amazing. She was a celebrity and Tom brings that same level of celebrity to the role, but he has a different perspective.
“He has his own company, but he’s also worked for someone else and having that experience can help everyone out.
“Diane doesn’t have a men’s line and Tom obviously does, so he can relate and it should help push ideas around. Whether there will be a separate men’s week or not is a question mark but we don’t just need an advocate. Everybody is loving Paris right now, and it’s just not America’s time right now. There are some real leaders in men’s wear — Thom Browne and Virgil Abloh — but they’re in Paris [at the shows], not here. Men’s wear at the CFDA has always been considered a bit of a stepchild and hopefully having Tom will help change that.”
Nick Graham: “I’m very excited about Tom becoming the head of the CFDA. He’s a global superstar and his experience and knowledge should be of enormous benefit to the membership. It’s amazing what Diane achieved under her leadership, and I’m sure Tom will take the organization to another level entirely. American fashion needs to be taken more seriously around the world, and what better dressed and talented ambassador could we possibly have?”
“I first became a member of the CFDA in 1992, and it forever changed my career. It’s an organization that does so much, and its constant evolution, is, like fashion, necessary.”
Ariel and Shimon Ovadia, Ovadia & Sons: “We feel that Tom Ford’s appointment as chairman of the CFDA is a great step forward for American men’s wear designers. Tom has succeeded on a global level in both men’s wear and women’s wear and has a lot of knowledge to share. We hope to see him pushing men’s wear as a high priority.”
WWD.com
Benn98
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Love how almost everyone is saying that Diane did such a great job, yet come up with such long lists of issues which Tom should focus on. So she sucked then? Obviously. Call a spade a spade, at least.
I agree with Marcus, and especially with Adam regarding programming. What the CFDA lacked was a support system, and not just from a financial pov. It would be interesting to see how Tom will go about it.
I do wish WWD would've asked younger designers on heir thoughts. Tommy, Kenneth and Rag & Bone are established and functional brands doing fine. I'm more interested to find what requests someone like Carly Cushnie, Sander Lak, Kerby or Laura and Fernando will have. Brands who could benefit most from the kind of support the CFDA can provide.
I agree with Marcus, and especially with Adam regarding programming. What the CFDA lacked was a support system, and not just from a financial pov. It would be interesting to see how Tom will go about it.
I do wish WWD would've asked younger designers on heir thoughts. Tommy, Kenneth and Rag & Bone are established and functional brands doing fine. I'm more interested to find what requests someone like Carly Cushnie, Sander Lak, Kerby or Laura and Fernando will have. Brands who could benefit most from the kind of support the CFDA can provide.
Lola701
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Lool!
I mean, i’ve never really understood her contribution to the CFDA. I guess she was a great help for the likes of Wang or Proenza Schouler...
NYFW is such a mess that I wonder what is he going to do. Tom is very decisive so I think that he might be a little bit controversial.
But yes, it would have been better to have the opinion of the young, new and diverse guard.
I guess now, DVF can focus on her brand.
Benn98
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Tom Ford on Melania Trump (and the Future of American Fashion)
The new chairman of the Council of Fashion Designers of America never said that thing about Melania Trump — and says American designers must look outward.
By Vanessa Friedman
March 20, 2019
On Tuesday the designer and filmmaker Tom Ford was the second-highest trending topic on Twitter for a reason that had nothing to do with the actual news he was making.
He was trending because of a quote that had been attributed to himstating Melania Trump was a “glorified escort” and that he was refusing to dress her. His office, however, was quick to point out that he had never said any such thing. Rather, in a 2016 interview on “The View,” he said that (at one pre-campaign time) he had been approached to dress Mrs. Trump, but he declined because she wasn’t “really his image” and besides, he believed the first lady should wear American and wear affordable — and his clothes were neither of those things.
This matters not so much because it is yet another example of the nefarious ways false information spreads over the internet (though it is that) but because on Tuesday Mr. Ford also became chairman of the Council of Fashion Designers of America, the industry lobbying group, watchdog and, occasionally, scapegoat.
That makes him the effective face of the industry. And that means that what he says, or what he is said to have said, and what he stands for, will become even more fraught, because he no longer simply speaks for himself, but for American fashion. He succeeds Diane von Furstenberg, who held the post for 13 years, making her the second longest-serving leader in the group’s history (her predecessor, Stan Herman, lasted 16 years).
The lack of racial diversity at many fashion brands is still very much an issue; Calvin Klein, once a tent pole of American style, just announced it was closing its designer-led Collection line; there’s a general sense of an identity crisis at New York Fashion Week as young designers jump ship for other cities or decide to sit seasons out; and everyone is worried about the future of department stores, once the style conduits to the country. Not to mention the fact that fashion still has a somewhat fractious relationship with the current presidential administration.
“Diane approached me and then Anna approached me and then Steven approached me and then Diane approached me and then Anna approached me and then Steven approached me,” said Mr. Ford, referring to Ms. von Furstenberg; Anna Wintour, the editor of Vogue and artistic director of Condé Nast; and Steven Kolb, chief executive of the CFDA.
“I was courted for awhile,” Mr. Ford said. The hard sell reflects both the seriousness of the job and the complications of taking it on at this time. They put a heavier onus on what could be a ceremonial position, and mean it will be incumbent on Mr. Ford to articulate some sort of way forward for the industry and the CFDA’s 495 members.
As to what, exactly, that way forward might be, however, he declined to go into detail until his term officially starts in June, after the organization’s annual fashion awards (nominations were just released, and the fact that Sander Lak of Sies Marjan is in the running for women’s wear designer of the year, when last year he won emerging designer, reflects the general confusion). What Mr. Ford would say was that he felt his international background — his years as creative director of Gucci and, later, Yves Saint Laurent from 1990 to 2004, his time based in London with his own brand from 2010 to 2016 — would inform his message.
“I think the key to the future of American fashion is to become more international and more global,” Mr. Ford said. “Having recently returned to America, one of the things that struck me the most in every industry and in American life was how isolated America was and how inward looking. I’ve always thought of myself as an international designer, designing to a global market, and I think that American fashion needs to think that way. Even if you’re just starting a business you have to be immediately thinking about what’s going to help you be marketable to the world, and not just to America.”
And even more than that — not just to New York. Although the CFDA is based in Manhattan, Mr. Ford, who has been a member since 2000 and has won seven CFDA awards, including the lifetime achievement prize in 2014, has no plans to move, or to be in the city more than the “four or five times” a year he currently visits. He also has no plans to make himself an example of a designer who recommits to New York Fashion Week on a long-term basis.
“I have a global business and sometimes I may need to show in another country,” he said (he has shown in London and Los Angeles). “Sometimes I may need to show in Asia; I may need to show in Europe. I was very honest and upfront about that. But I think the CFDA is an American thing and not so much a New York thing.
“Arguably New York is the center of a certain America, and I realize part of the CFDA is organizing and — I don’t want to say policing — New York Fashion Week. But it is also encouraging American designers to be successful and part of that is embracing the fact we live in a big world,” he said.
It’s an interesting statement, and one that verges on the political in a time when the fight over a border wall has been one of the defining discussions of the year. Under Ms. von Furstenberg, the CFDA lobbied for greater intellectual property protections for designers, embarked on a model health initiative, raised the volume on the conversation about diversity and inclusion, and brought new American designers to Paris for a fashion week showcase. Now it is up to Mr. Ford to choose his issues and decide how to direct his new cast.
“I’m pretty steel-willed,” he said.
NY Times
The new chairman of the Council of Fashion Designers of America never said that thing about Melania Trump — and says American designers must look outward.
By Vanessa Friedman
March 20, 2019
On Tuesday the designer and filmmaker Tom Ford was the second-highest trending topic on Twitter for a reason that had nothing to do with the actual news he was making.
He was trending because of a quote that had been attributed to himstating Melania Trump was a “glorified escort” and that he was refusing to dress her. His office, however, was quick to point out that he had never said any such thing. Rather, in a 2016 interview on “The View,” he said that (at one pre-campaign time) he had been approached to dress Mrs. Trump, but he declined because she wasn’t “really his image” and besides, he believed the first lady should wear American and wear affordable — and his clothes were neither of those things.
This matters not so much because it is yet another example of the nefarious ways false information spreads over the internet (though it is that) but because on Tuesday Mr. Ford also became chairman of the Council of Fashion Designers of America, the industry lobbying group, watchdog and, occasionally, scapegoat.
That makes him the effective face of the industry. And that means that what he says, or what he is said to have said, and what he stands for, will become even more fraught, because he no longer simply speaks for himself, but for American fashion. He succeeds Diane von Furstenberg, who held the post for 13 years, making her the second longest-serving leader in the group’s history (her predecessor, Stan Herman, lasted 16 years).
The lack of racial diversity at many fashion brands is still very much an issue; Calvin Klein, once a tent pole of American style, just announced it was closing its designer-led Collection line; there’s a general sense of an identity crisis at New York Fashion Week as young designers jump ship for other cities or decide to sit seasons out; and everyone is worried about the future of department stores, once the style conduits to the country. Not to mention the fact that fashion still has a somewhat fractious relationship with the current presidential administration.
“Diane approached me and then Anna approached me and then Steven approached me and then Diane approached me and then Anna approached me and then Steven approached me,” said Mr. Ford, referring to Ms. von Furstenberg; Anna Wintour, the editor of Vogue and artistic director of Condé Nast; and Steven Kolb, chief executive of the CFDA.
“I was courted for awhile,” Mr. Ford said. The hard sell reflects both the seriousness of the job and the complications of taking it on at this time. They put a heavier onus on what could be a ceremonial position, and mean it will be incumbent on Mr. Ford to articulate some sort of way forward for the industry and the CFDA’s 495 members.
As to what, exactly, that way forward might be, however, he declined to go into detail until his term officially starts in June, after the organization’s annual fashion awards (nominations were just released, and the fact that Sander Lak of Sies Marjan is in the running for women’s wear designer of the year, when last year he won emerging designer, reflects the general confusion). What Mr. Ford would say was that he felt his international background — his years as creative director of Gucci and, later, Yves Saint Laurent from 1990 to 2004, his time based in London with his own brand from 2010 to 2016 — would inform his message.
“I think the key to the future of American fashion is to become more international and more global,” Mr. Ford said. “Having recently returned to America, one of the things that struck me the most in every industry and in American life was how isolated America was and how inward looking. I’ve always thought of myself as an international designer, designing to a global market, and I think that American fashion needs to think that way. Even if you’re just starting a business you have to be immediately thinking about what’s going to help you be marketable to the world, and not just to America.”
And even more than that — not just to New York. Although the CFDA is based in Manhattan, Mr. Ford, who has been a member since 2000 and has won seven CFDA awards, including the lifetime achievement prize in 2014, has no plans to move, or to be in the city more than the “four or five times” a year he currently visits. He also has no plans to make himself an example of a designer who recommits to New York Fashion Week on a long-term basis.
“I have a global business and sometimes I may need to show in another country,” he said (he has shown in London and Los Angeles). “Sometimes I may need to show in Asia; I may need to show in Europe. I was very honest and upfront about that. But I think the CFDA is an American thing and not so much a New York thing.
“Arguably New York is the center of a certain America, and I realize part of the CFDA is organizing and — I don’t want to say policing — New York Fashion Week. But it is also encouraging American designers to be successful and part of that is embracing the fact we live in a big world,” he said.
It’s an interesting statement, and one that verges on the political in a time when the fight over a border wall has been one of the defining discussions of the year. Under Ms. von Furstenberg, the CFDA lobbied for greater intellectual property protections for designers, embarked on a model health initiative, raised the volume on the conversation about diversity and inclusion, and brought new American designers to Paris for a fashion week showcase. Now it is up to Mr. Ford to choose his issues and decide how to direct his new cast.
“I’m pretty steel-willed,” he said.
NY Times
