Thursday, July 27, 2017

The Price of Transparency

Candice Wang may live in Shanghai, but she rarely shops there. Instead, when the 27-year-old fashion writer travels to Europe and Japan each year for work, she tacks on an extra week of holiday with the intention of replenishing her wardrobe. “I like travelling abroad because there are more choices,” Wang said.

But even as the selection of brands available in China broadens, there is another major factor driving Wang’s decision to do much of her shopping abroad. “I find some things in Shanghai, but the price is too high including tax,” she said. “I’d rather buy them abroad and ship them back to China.” Wang certainly isn’t alone. Exane BNP Paribas estimates that travellers account for about 50 percent of global luxury goods sales.

Of course, the Internet has made it easier than ever to comparison shop across every region of the world and find the best prices. “They’re shopping with a smartphone and receiving the information in symmetry,” said David Zhao, founder and chief executive of Chinese multi-brand e-commerce site Shangpin, which sells labels like Alexander Wang and Stuart Weitzman. “People don’t want to be treated as idiots.”

On Louis Vuitton’s e-commerce site, simply clicking on the “change location” button quickly reveals how the same item is priced differently in different markets. Vuitton’s monogrammed Speedy 30 bag retails for €760 in France, or about $854 at current exchange rates. In the United Kingdom, the price is about the same: $863. But the further one travels from Europe, the pricier the bag becomes. In the United States, the price is $970, a 12 percent markup. In Japan, it’s $1,046, a 21 percent hike. In China, it’s $1,138, or 32 percent more expensive. In Brazil, the same Speedy 30 costs a whopping 53 percent more at $1,322.

Meanwhile, Bottega Veneta’s classic intrecciato shoulder bag costs $2,550 in the United States, $2,600 in Europe, $2,936 in Hong Kong and $3,073 in Japan. Not as wide a range, but enough to make a difference to price-conscious consumers.

Global transparency of prices is an industry game changer. Massive tourist dollars moving from one continent to another, just for bargaining in luxury, means that 2016 has been an earthquake, pricing-wise.

Exchange rates — in particular, a weak euro and a weak yen — have made pricing differences between some regions even more pronounced. But currency fluctuation is only one of the factors at play here. Local taxes play a major role — especially in China and Brazil, where imports valued up to $3,000 are slapped with a tax of 60 percent. What’s more, some brands have traditionally charged higher prices in international markets where they believe consumers will pay.

There can often be as much as a 60 to 70 percent pricing delta from Europe to China, according to consulting firm Bain & Co. “Global transparency of prices is an industry game changer,” said Federica Levato, a partner at Bain. “Massive tourist dollars moving from one continent to another, just for bargaining in luxury, means that 2016 has been an earthquake, pricing-wise.”

Of course, there is emotional value to shopping away from home. While the strength of the American dollar has made it slightly less attractive for those in Mexico, for instance, to cross the border for shopping trips, there is still a sense of pride that comes with buying something in the US. “Plus, if you go to Liverpool [department store] in Mexico City, you just can’t compare the experience to something like Barneys,” said Fflur Roberts, an analyst at Euromonitor International. “Shopping abroad will always be aspirational. It’s far more attractive for someone who lives in Mexico City to fly to New York and shop on Fifth Avenue, regardless of what they can buy at home.”

Prices of Louis Vuitton Speedy 30 Bag Around the World (USD)


The pull is even stronger in Europe, home to many top luxury brands. “It’s authenticity, it’s experience, it’s the fact that if I buy a handbag for my sister at Chanel in Paris, that’s worth a lot more than having bought it in China,” said Philip Guarino, director at China Luxury Advisors. Shoppers in emerging markets also feel like they’re being sidelined when it comes to product selection. “People will say that they’re convinced there is more variety elsewhere than what’s presented on the shelves in China,” Guarino adds.However, price plays a major role.

In China alone, 81 percent of consumers planning a holiday abroad intend to shop while vacationing, according to a recent report released by Global Blue, a tax-free shopping company, which tracked 27 million tax-free shopping transactions and surveyed 5,000 Chinese travellers for the study. To be sure, a significant slice of sales to travellers — about 12 to 13 percent — happen at duty-free shops at airport malls. But buying abroad is increasingly linked to underlying price differences across regions.

“In the past five or 10 years, many brands have consistently increased the prices in their product offering. An iconic bag can cost more than 2.5 times what it cost 10 years ago,” Levato explained. “This is very visible to the customer because the iconic bags don’t change. By shopping in a more affordable market, the consumer can see that they’re getting a little bit more value for what they buy. It’s a key point.”

Indeed, for those eager to pay less for luxury goods, the difference in price between shopping in Europe and shopping at home can easily offset the cost of a flight and a few nights in a hotel (especially when factoring in value added tax (VAT) return, which can range from 17 percent to 27 percent).

Then there are those who turn to grey market shopping agents, known in China as daigou, who procure goods from abroad at lower prices. These agents charge a fee, of course, but the price difference is great enough for the transaction to be worthwhile for  both parties. Daigou accounted for $7.6 billion in sales in 2015, according to Bain.


For luxury brands, the impact of increased pricing transparency can carry financial burden. For the past decade, major luxury players — including Gucci, Louis Vuitton, Burberry and Zegna — have opened dozens of stores in local markets like Brazil and Russia. But nowhere so aggressively as China, where new wealth creation has driven impressive demand for luxury brands in recent years, making it a key market. Mainland China is home to 890,000 high-net-worth individuals (HNWIs) — up from 760,000 the previous year — with a combined wealth of $4.5 trillion, according to Capgemini’s 2015 World Wealth Report.

But the sheer number of Chinese consumers now shopping abroad has forced many major luxury brands to reconsider their local retail networks. According to a report from Bain, Louis Vuitton closed four stores in China in 2015, and opened one. Zegna closed four stores and opened zero. Gucci closed five stores and opened one. Burberry closed two and opened zero. Bottega Veneta closed six and opened two.

They’re shopping with a smartphone and receiving the information in symmetry. People don’t want to be treated as idiots.

The Chinese government’s crackdown on gifting, which began in 2013, has also contributed to the woes. What’s more, it’s extremely expensive to operate stores in China. “In China, retail rents are very high, which means [brands] need to keep enough of a markup to offset the costs of renting,” Shangpin’s Zhao explained. “They need to think about lifetime growth, and whether bringing a brand into a new country will [eventually] result in a return on investment. It’s a difficult decision to make.”

And yet, tapping international markets is vital to the health of luxury brands, which can’t rely on Europe’s more affordable prices to make up for losses abroad. While many makers of luxury goods were buoyed by European tourism, consumption has slowed in the first half of 2016, in part because of the terrorist attacks in Paris and Belgium. Indeed, Global Blue reported that Chinese tax—free shopping dropped in March 2016, falling 24 percent from the previous year.

There’s more. In April 2016, the Chinese government increased fees on packages shipped from abroad, and vowed to tighten custom controls so that those working in the grey market will have a more difficult time bringing large quantities of luxury goods into the country. For instance, tariffs on watches ordered from overseas businesses jumped to 60 percent, up from 30 percent. Jewellery taxes rose to 15 percent from 10 percent. New laws have also made it more difficult for those travelling abroad to withdraw large wads of cash with their UnionPay cards. While the lines of Chinese tourists gripping euros outside Louis Vuitton in Paris are unlikely to disappear completely, how much cash they’re holding may decrease. Starting in January 2016, the annual UnionPay limit on cash withdrawals abroad was reduced to 100,000 yuan (about $15,328).

So how are brands adapting?

Some are harmonising their global pricing. In 2015, Chanel announced that it would adjust its prices to make them even across markets, enticing consumers to shop locally. Chanel’s quilted flap bag, for instance, costs $4,800 euros in Paris at current exchange rates, $4,900 in New York and $4,567 in Beijing. “Last year, in 2015, we did something really strong for our customers. We harmonised our prices everywhere in the world except in Brazil — for customs reasons — but we did that in China. That’s important because that’s a very strong sign we give to the customers. We are building the brand for the next 20 years, not for the past 20 years,” Bruno Pavlovsky, Chanel’s president of fashion, told BoF on a recent trip to China. “At the moment we’re quite happy with China. With double-digit growth, our customer base is growing, our boutique business is growing, and I think that the brand is quite well perceived by the Chinese customers.”

Others take a more straightforward approach. For example, Hermès says it will not adjust prices so that they are even in every markets. However, the company does not raise prices in markets where it believes consumers will pay more, either. “We don’t have a strategy of price; we don’t use pricing as a marketing tool,” Hermès chief executive Axel Dumas told BoF in November 2015. “Our price reflects the cost of production, the manufacturing costs. It’s important that the price reflects the reality… We are not proposing a new country where we invest a lot and discount the other one. We always try to have a balanced way of investing.”

“If you price a collection with an Excel spreadsheet only looking about spread and the currency exchange, you’re never going to be successful because the consumer is going to be dragged by that,” said Yves Saint Laurent chief executive Francesca Bellettini in an exclusive interview with BoF in April. “What I believe is that first of all you need to price your collection relevant for the market and with the perfect balance of value for money. Consumers don’t want to be fooled around anymore. There is always going to be exchange rates and there is always going to be travelling. There is also a consumer that likes to bargain when they travel, by culture and by definition. So given that places are different, a little bit of spread is healthy.”

For some brands — especially accessible luxury brands, like Tory Burch — who operate in still-new markets like China with local franchise partners, controlling prices is much more difficult. “It’s easier for someone like Chanel to balance prices because they directly own their stores,” Zhao said. “They control everything.” As a wholesale partner to many aspirational and high-end brands, Zhao works with his Western counterparts to offer more reasonable prices via Shangpin, whose customer base shops 82 percent of the time on mobile.

But for those who harmonise prices across the world, how often should it happen? Once yearly, twice yearly, once a week or day-by-day, like the price of oil? For luxury brands that operate through their own channels with zero wholesale or franchise partners, this isn’t out of the question. Eschewing physical price tags — either by forcing the consumer to interact with the sales associate or installing a price-check kiosk in each outpost — would allow for dynamic pricing, although it wouldn’t necessarily fix things. Says Levato, “There is no secret recipe that will work for every brand.”

Has Cara Topped Kate As Britain’s Highest Earning Model?

Cara Delevingne might have retired from modelling to pursue a career on the silver screen, but she has topped a new estimated list of Britain’s highest-earning models thanks to continued lucrative work with Chanel, Rimmel and Puma.

The 24-year-old model, who hung up her runway stilettos in 2015, reportedly earned £8 million last year, according to a recent survey, which looked at catwalk day rates and commercial deals. If the statistics are true, it will mean that Cara Delevingne not only earns roughly £22,000 a day, she has taken the crown from Kate Moss, who is said to have earned £5m in the last year.

While Kate Moss has profitable contracts with Equipment and Rimmel, she lacks the social media influence of Cara Delevingne. The model-turned-actress has over 40 million Instagram followers, which is a powerful incentive for brands looking to push products to a larger audience, particularly the Instagram generation. Moss joined the platform in September 2016 via her modelling agency, and has 630,000 followers, in comparison.


Rosie Huntington-Whiteley, who is also a keen social user with 7.6m Instagram followers, allegedly beats Moss, with an estimated £6.5 million in annual earnings. The new mother, who welcomed her first baby, Jack Oscar, with fiancé Jason Statham last month, continues to enjoy a fruitful lingerie design contract with Marks & Spencer’s Rosie For Autograph line, and Autograph make-up.

David Gandy, the only male model in the new list, comes in fourth place, with a reported annual salary of £4 million, thanks to contracts with Marks & Spencer underwear and Dolce & Gabbana fragrance.

If the study is accurate, fifth place is awarded to Naomi Campbell with an annual salary of £3 million. Georgia May Jagger, Edie Campbell, Jourdan Dunn, Erin O’Connor and Lottie Moss follow, respectively.

First Look At The New Helmut Lang

SOME things you need to know about Helmut Lang: this man exerted total control over fashion in the Nineties. He was one of the first designers to embrace the internet, broadcasting his new show online in 1998. He was responsible for New York Fashion Week moving from the end of the month-long fashion show schedule to the beginning. He was obsessively attentive to detail. He ushered in a decade of minimalism. A generation of fashion editors grew up aspiring to own a black Helmut Lang suit and gold-tipped shoes. Then, in 2005, he quit.

Helmut Lang the man now lives as an artist in East Hampton. Helmut Lang the brand, however, is about to get a serious reboot. At its helm is Dazed and Confused’s editor-in-chief Isabella Burley, operating under the title “editor-in-residence”. Burley, the chief executive Andrew Rosen outlined in March, will oversee all creative aspects of the brand, and will sign up individual designers to work on solo collections, beginning with Shayne Oliver of Hood By Air.


Sounds like a strange set-up? Burley spoke exclusively to Vogue on Wednesday as phase one of the Helmut Lang relaunch got underway. Here are five things to note:


The original Helmut Lang logo is making a comeback

“The typographic language around the entire brand was crucial to the approach. One of the first things I wanted to do was bring back the logo, given that we’re trying to ignite the spirit of the past. I want Helmut Lang to be an authority on Helmut Lang.”

Key “heritage” pieces from the archive are being re-released from September

“There are a lot of people who really want to fall back in love with Helmut Lang. The intention is to celebrate those great archival pieces, reignite the conversation, and introduce Helmut Lang to a new generation of kids so that they can respond to the legacy in their own way. The in-house design team and the creative team that I lead were in constant dialogue about the items to be re-released. We really wanted it to be gender-fluid, unisex pieces. ‘Volume 1’, comprising 15 pieces to be released in September, is a base, and then we will have additional volumes updated every four months as an evolving investigation into the archive. We want to keep it surprising.”

Shayne Oliver’s first collection will be unveiled on the catwalk on September 11th

“The idea of appointing different designers to work on projects was borne of the notion of how Helmut as a legacy has influenced a new generation of designers. Shayne is the first of an on-going series, with a show in September, a first drop in November and then the runway drop in January. We’re keeping it fluid in terms of the timelines – there won’t be a new designer every season necessarily. Each collaborator will work in a very different way so it’s about allowing them that space.”

The new campaign by Ethan James Greene includes writers, models and thinkers

“Ethan has a group around him that he’s curated in a beautiful way. There’s a real mix of cultural thinkers and writers, then also cult Helmut muses like Alek Wek. I liked the idea of pairing her with someone like the model Dara who is much younger, and then putting them alongside Traci Lords. A lot of people won’t remember that Traci was on the cover of Details Magazine in May 1995 wearing custom pieces made for her by Helmut. I loved the idea of Traci being an unexpected Helmut Lang muse and inviting her back into the brand.”

A unifying Lang aesthetic will shine through

“I really see [the rotation of designers] as a strength. The brand has such strong roots, there’s a very clear aesthetic, there’s a lot for people to respond to. It goes back to my role here at Dazed: you put a magazine together every month with different cover stars and treatments through out the year, but it still looks like Dazed. That’s part of the excitement.”

London To Host Orla Kiely Exhibition

The Fashion and Textile Museum will stage a fashion exhibition next year showcasing the work of Orla Kiely, the museum has announced today, as part of its 2018 summer exhibitions calendar.

The retrospective, entitled Orla Kiely: A Life In Pattern, will be the first exhibition dedicated to the Irish designer in the UK, including the original paper sketches for her signature ‘Stem’ graphic, created in the 1990s, which has evolved to feature on everything from mugs and dresses to notebooks and even cars. Featuring over 150 patterns and products - alongside collaborations with photographers, film directors and architects - the exhibition will examine in detail the power of decoration and the role of ornament and colour as part of the changing aesthetic of the 21st century.


“Over the past 20 years we have built an archive of fashion, accessories and homeware rooted in our signature style,” said Kiely. “With the exhibition, we will be bringing it all together under one roof in a celebration of design, print and colour that has become the Orla Kiely brand.”

With unique access to the brand’s archives, the exhibition offers a privileged insight into the Kiely’s world. “It is very exciting and an enormous privilege through which we can show the dynamic power of design while looking positively to the future with a clear vision and global identity established,” the designer continued.

Orla Kiely: A Life In Pattern follows the likes of previous fashion exhibitions presented at the the Fashion and Textile Museum, including this summer’s Anna Sui retrospective, The World Of Anna Sui and a number of must-see fashion exhibitions taking place in London this summer. To mark the announcement we tapped the brand for an exclusive visual diary of its past in pictures.

Orla Kiely: A Life In Pattern will take place from May 25 – September 23 2018 at the Fashion & Textile Museum.

Michael Kors Is To Buy Jimmy Choo For £900 Million

Michael Kors is to buy British luxury shoe and accessory brand Jimmy Choo for £900 million, reports The Guardian. At auction, bids came from a host of competitive international names with the luxury goods brand coming out on top.

The US-based business has agreed on a sum of 230p per share, with board directors - who currently own 1.3 per cent - agreeing to the "fair and reasonable" terms of acquisition. Additionally, unless a third party presents an additional offer, this agreement is "final and will not be increased."

The founders of Jimmy Choo - Tamara Mellon and Jimmy Choo - are no longer involved with the shoe brand, whose strappy stilettos have reached cult status. In April this year, majority shareholder JAB Luxury placed the business on the market and will sell its six per cent hold to focus on other areas of growth.


While changes are being made financially, Pierre Denis, who has run Jimmy Choo since 2012, will remain at the helm with creative director, Sandra Choi, staying in her role also. Choi is expected to gain £2.2 million for her stake in the business, Denis £6.2 million.

Speaking of the acquisition, Michael Kors himself described the new partnership as "ideal", while chief executive, John Idol, added: “Jimmy Choo is known worldwide for its glamorous and fashion-forward footwear. The company is a leader in setting fashion trends. Its innovative designs and exceptional craftsmanship resonate with trendsetters globally. We believe that Jimmy Choo is poised for meaningful growth in the future and we are committed to supporting the strong brand equity that Jimmy Choo has built over the last 20 years.”

Pat McGrath And Adwoa Aboah Join Vogue

Incoming British Vogue editor-in-chief Edward Enninful made headlines when he announced Kate Moss, Naomi Campbell, Steve McQueen and Grace Coddington as contributors, and today a crop of new names join the ranks.

Internationally renowned British make-up artist Pat McGrath has been named beauty editor-at-large, while Val Garland, Sam McKnight, Guido Palau and Charlotte Tilbury have all been confirmed as contributing beauty editors. Jessica Diner returns to the title as beauty and lifestyle director, too.

British model and activist Adwoa Aboah joins as contributing editor, while former Vogue staffer and W photography director Caroline Wolff has been appointed editor-at-large and Johan Svensson is named creative director.


“All inspirational and highly-regarded in their individual fields, I’m really excited to see my vision for the British Vogue team come to fruition," Enninful said this morning. "I’m very much looking forward to working with everyone on forthcoming issues.”

The fashion team welcomes Poppy Kain as senior fashion editor; Jack Borkett as fashion editor; Josie Hall as senior fashion assistant; and Jane How, Joe McKenna, Max Pearmain, Clare Richardson, Sarah Richardson and Marie-Amélie Sauvé as contributing fashion editors. Kate Phelan remains as senior contributing fashion editor.

Also new to the masthead are Claudia Croft, acting fashion features director; Olivia Singer, executive fashion news editor; and Anders Christian Madsen, fashion critic.

Thursday, July 20, 2017

Ibiza style: Destination – Balearean Beach Babes


Unlike the speakeasy vibe of its sister bars in New York and London, Experimental Beach Ibiza is all light and bright, designed in homage – with a nautical nod – to its breathtaking Balearic location. Arrive at this hidden destination by yacht or via the dusty off-road route through the iconic salt flats of Ses Salines, keeping your beach apparel fuss-free and chic. Think nonchalant French-girl cool blended with Ibiza’s bohemian vibe.


Azuri Fringe Kaftan

Featuring a stunning fringe and metal detail plunge neckline with an adjustable drawstring under the bust.

Soak up the morning sun in a white Seona Metal Detail Bikini by luxury resort wear label Evarae – the perfect partner to laidback Ibiza beach lounging. The built-in cups and cross back offer major sports luxe appeal, providing the perfect support for diving into the sea, be it from your yacht or the pontoon jetting out into the Med. Later, cover up with the short, playful Evarae Azuri Fringe Kaftan and take respite from the heat over lunch on the restaurant terrace.


Lazy afternoons here are all about sipping rosé and watching the kaleidoscope of colours from the sky reflected in the sea. As the sun makes its descent into the horizon and evening beckons, switch things up by teaming your bikini with elegant navy Evarae Seona Palazzo Pants. An elegant layer of thin necklaces and a dusting of trinkets provide the necessary slither of jewellery – et voilà! The Ibiza night awaits.