it was expected that design professionals would have high interest in design

Consumers’ perceptions might be influenced in several ways by

the coded sensory system contained in products’ visual aesthetics.

Product appearance is the first thing that connects a product with

a potential buyer followed by evaluations based on this sensory

connection (Hollins and Pugh, 1990). Due to their coded sensory

system, visual aesthetics have a symbolic function that can influence

product evaluation. Visual appearance is actively considered

in product comparisons and is a key determinant of purchase

satisfaction (Bloch et al., 2003). Visual product aesthetics are significant

elements of product categories regarded as extensions of

the self (e.g. dress) due to the role of the coded sensory system in

identity expression.

In general, consumers prefer visual over verbal processing

(Childers et al., 1985; Holbrook, 1986). Highly visual consumers

may weigh aesthetic elements higher than less visual consumers

when making product choices. Consumer groups vary in sensitivity

to visual product aesthetics. Bloch et al. (2003, p. 558) noted

that ‘based on training, experience, and career demands typical of

these individuals, it was expected that design professionals would

have high interest in design and consider visual aesthetics to be

highly central’. Indeed, a group of design professionals did score

significantly higher on the Centrality of Visual Product Aesthetics

scale than samples from the general population. In one study, the

most preferred perceptual modalities of a sample of US fashion

design and merchandizing students were interactive (oral communication),

followed by kinesthetic (body movement) and visual

(viewing pictures, images, objects or activities). Touching and

smelling objects (haptic, olfactory) were ranked low by students as

means to acquire information (Workman, 2000). Results of a

recent cross-cultural survey of fashion design and merchandizing

students indicated that students preferred interactive, visual and

kin esthetic modalities while haptic and olfactory modalities were

less preferred by students from all three cultures (Caldwell et al.,

2005). yanzic0525.

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Hernandez also lauded the advantages of partnering with a larger outfit

"When that television commercial featuring the Proenza Schouler for Target collection started airing, all of the sudden people across America saw who they were," recalled Michael Macko, vp and men's fashion director at Saks Fifth Avenue. "Maybe some of them didn't read Vogue, but they were all watching the TV and saw ads for the collection during American Idol."
Proenza Schouler's story epitomizes the primary benefit that a retail design partnership can reap: Mass publicity--often in the form of broad-scale marketing--for a name previously known only to fashionistas and, with that publicity, opportunities for growth. According to Hoover's, Proenza Schouler's total sales for 2006 were a rather anemic $2 million. This past July, Valentino Fashion Group bought a 45% stake in the label, and paid $3-7 million for it.
At the time of the equity purchase, fashion-industry bible Women's Wear Daily quoted Hernandez enthusing that "we now have a security net for our company. Our business has been growing exponentially, and to do that you need the proper funding."
Hernandez (who was not available for comment) also lauded the advantages of partnering with a larger outfit that could lend logistical and infrastructural help with manufacturing and distribution. Such is one of the primary reasons why designers elect to ink deals with a huge retail chains to start with.
Occasionally, a designer will create a line extension that it manufactures itself and sells in its own stores. These so-called secondary collections (discussed in greater detail to follow) have fiscal advantages of their own. In general, however, the high visibility that a luxe brand aspires to is most directly achieved via a mass-retailer partnership.  yanzic0522.
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while many brands with lower-tier collections retain their rarified perception with the public

Indeed, blowback from a lower-tier collection that damages the core label is hardly a theoretical event. According to the Luxury Institute survey, while many brands with lower-tier collections retain their rarified perception with the public, just as many do not. This unsettling truth is why some high-end designers have chosen to avoid selling to the masses altogether, opting instead to build their brands over time by increasing the purchase frequency within their dedicated customer demographic.
While that self-limiting strategy might seem to shut the door on the potential of building a multi-tiered, multibillion-dollar brand like that of, say, Ralph Lauren, it also means not losing one's status in a market that burns through designers like so much coal in a furnace.
A View from the Bridge
Before this spring, Proenza Schouler was a boutique women's apparel brand whose critical acclaim and Council of Fashion Designers of America honors had given the label considerable traction in the industry, allowing it to snare accounts with key luxury retailers such as Barneys New York, Neiman Marcus and Bergdorf Goodman. Proenza Schouler, however, was light years from being a household name in mainstream America.
That all changed in March, when design duo Jack McCollough and Lazaro Hernandez designed a special collection for Target. The media coverage and consumer fervor helped spur reportedly brisk sales of the clothing (Schouler's reps, along with several other privately held luxury brands contacted for this story, declined to comment on fiscal results). Target had suddenly nudged the brand into the national spotlight.  yanzic0522.
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it was unusual the designer did not take a bow at the end of the company's runway presentation in Los Angeles in October

Despite Cohen's outward support of Gardner, it was unusual the designer did not take a bow at the end of the company's runway presentation in Los Angeles in October. Asked at the time about Gardner's fate at St. John, Cohen said a "brand new" designer would be announced in about a month and sources indicated at the time that it would be a major name.
In addition to Wang, sources said St. John could be hiring three new male designers by March 1 to head up its various divisions. All three prospects hail from companies such as Louis Vuitton and Prada, although their names couldn't be learned. St. John plans to show its fall collection on March 22, as the last show during Los Angeles Fashion Week.
Wang, in the meantime, has been expanding her $300 million business on several fronts. In addition to her successful bridalwear line, she has a small but growing rtw and dress business, as well as numerous bridal-related licensees in a slew of categories. The company has been looking to add nonbridal licenses, particularly in sportswear, and has been in talks with Kohl's about a mass distribution deal that could be a multimillion-dollar contract for the designer. In fact, it also has been involved with talks with Haim Dabah, chairman and ceo of Regatta Pacific Alliance, for two years about doing a sportswear line for mass distribution.
Wang also plans to expand her rtw collection globally, and will show her fall line in Paris at the Hotel Meurice. yanzic0520.

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Dresses were cut close to the body in plaid gabardine or full-skirted in lace or metallic tweed, cinched with belts

Sweetface: Add "quick study" to Jennifer Lopez's title of actress/pop diva/designer. The tight Sweetface collection Lopez showed on Friday indicated the willingness -- not to mention the savvy -- to take her lumps and learn from them. After her much-ado-about-little extravaganza a year ago and a one-season hiatus from the runway, Lopez returned with a shrunken presentation. It pulsed with "I-still-have-much-to-learn" humility, all while she worked her superstar wiles to uber advantage, greeting her guests before the show wearing a politely sexy dress and pumps. "I wanted to do something more personal, so you can really see the clothes," she said.
With an Airstream trailer as the backdrop, out came her models -- each in La Lopez hair and makeup -- in an appealing dialogue between ladylike dressing and street-smart style, the former attributed to a Sixties obsession triggered by her work in the biopic "El Cantante." Dresses were cut close to the body in plaid gabardine or full-skirted in lace or metallic tweed, cinched with belts; outerwear ranged from a plaid swing coat belted in front to a shiny hooded vest trimmed with fur, and deep-ribbed, knit-cuff knits lent attitude to skinny jeans. The results were more polished than before, and twinkled with the glow of a still-new endeavor really coming together.
Matthew Williamson: Times are tough for designers who revel in all things bohemian. And Matthew Williamson seems to be having a particularly hard time of it. With its overly retro silhouettes, his perplexing fall collection resembled a casting call for extras in "The Ice Storm" -- a seeming attempt to turn tailored wool groovy. So, too, his usual strengths of color and print appeared to malfunction. His palette swung from excessively bright to dull and muddy. And a fluorescent Aztec print that ran throughout in silk dresses, bow blouses and flouncy skirts was appealing in none of the above. In all fairness, there were redeeming factors, namely those cashmere sweaters and boucl-and-lam coats and yes, there will always be a customer for beaded chiffon.
Cynthia Rowley: As the New Amsterdam Boys Choir performed a medley of reworked pop ballads, Cynthia Rowley was singing the blues. Channeling painter Yves Klein's yen for the color, she worked her flirty little pieces in every imaginable shade, only throwing in spots of red, gold and pink here and there. Some noteworthy looks included her pretty puff-sleeve blouses worn with cropped skinny pants, delicate lace dresses and a playful trapeze coat. Yet that color fascination seemed to be the designer's only focus, as the rest of the collection was incohesive: exaggerated cowl-neck dresses; an ill-fitting satin cocktail slip worn jumper-style over a knit top; an asymmetric-gone-haywire dress. Then there was the peculiar "Magical Mushroom" motif worked into all of her prints, and also etched into the gold-plated hardware. It all left us wondering if Rowley was spending too much time in "Wonderland."  yanzic0516.
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mired in conflict between youthful notions of glamour and the realities of modern dressing

Some of the recent fall collections were all about the pretty and polished, with designers turning out simple cocktail dresses, smart little jackets and great-looking patterned coats.
Chado Ralph Rucci: As always, for his Chado Ralph Rucci collection, Ralph Rucci showed detailed clothes with superb cut and craftsmanship in exquisite materials, albeit with his typical architectural pomp. Still, what distinguished this line from previous efforts was the sheer number of accessible clothes. His lemon-colored cashmere jacket and the deep forest green high-necked cashmere coat, for example, didn't suffer any of the Rucci tricks, but rather were enriched by a monotoned paisley embroidery. The snug, sexy sheaths with tiered lace overlay worked a light-handed flirtiness, a rare treat in a Rucci collection. And the black silk velvet off-the-shoulder gown reflected the best of his talents -- a perfect mix of cut, artistic flair and drama.
Zac Posen: Just ask Drew Barrymore -- growing up in the public eye can be a tough, slow process. Zac Posen, all of 25, continues to experience his own growing pains, mired in conflict between youthful notions of glamour and the realities of modern dressing. Caught in the middle: his overwrought fall presentation, too much by day -- the shoulders, the snakeskin, the ponderous silhouettes -- and by night -- full skirts, feathers and a pair of models wrapped so tightly they couldn't walk. Which is a shame, because Posen has made considerable strides. On the upside, a demure plaid dress, sporty jackets and skirts, a terrific peacoat, and for when the lady wants to be a vamp, a smartly cabled mink-and-lamb trenchcoat, all featured interesting -- but reasonable -- quirks of construction. And at night, when he controlled the urge to overflex his considerable technical muscles, he came up with a chic navy satin sheath and a terrifically effortless silver sack dress. But these looks needed some toned-down company. Would that Posen could relax, flip through a few celebrity tabloids, watch the starlets banter with Letterman, pay attention to the comings and goings of thirtysomething socials. Which is not to say he should design to the blandest common denominator. But like it or not, these are casual times, and most women just don't feel comfortable in highly complicated clothes.  yanzic0516.
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Since Los Angeles is the denim capital, there are so many brands here using the same facilities

David Lim, owner and designer of the Los Angeles-based denim-driven brand Kasil, said the February installment of Coterie is always a particularly busy show because fall is a big season at retail.
"Coterie has a reputation of being a juried selection and because of that, buyers at Coterie write orders more often than at other shows. Buyers tend to want to stock up their stores during fall," Lim said. "We always want to do our best there." Lim declined to provide a projected three-day wholesale volume, but said he would like to increase the number of specialty stores where his collection is offered.
At Coterie, he intends to build the brand up, while maintaining what he calls "the cool factor." One way of doing this is by sticking with smaller boutiques and forgoing the department store route.
The wholesale price range of Kasil denim is between $85 and $120. Corduroys, which wholesale for $85, are expected to be a big hit for fall. Kasil's cords come in chocolate brown, khaki and maroon. A small sampling of women's blazers made from 100 percent cotton will be introduced this season, wholesaling for $175.
The timing of the show was an issue for Lim, but since all of the merchandise is produced in Los Angeles, it wasn't the Chinese New Year affecting his schedule. Producing domestically brings its own unique set of circumstances.
"No matter how long you do it, it doesn't get any easier," Lim said. "Since Los Angeles is the denim capital, there are so many brands here using the same facilities and there are so many samples going through. If something comes out wrong, we have to take it back to the drawing board."
Alice Cheng, founder of the New York-based contemporary line A. Cheng, said she'd like to move into more department stores, but understands such a move takes time.
"Department stores like to look at you for a couple of seasons before they take you on," Cheng said. Currently, A. Cheng is available in 80 specialty boutiques in the U.S., Canada, Sweden and Denmark. Wholesale prices of the collection range from $98 for blouses to $200 for coats. Dresses wholesale for roughly $140.
This season, Diana Lee joined Cheng as co-designer. Lee previously designed her own collection of sweaters. With Lee on board, Cheng said the collection has grown by about 40 percent.
"Since the collection is now twice as big, I think we should do about $900,000 in wholesale volume for 2006," Cheng said, noting that the total was double last year's volume. yanzic0514.
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