[NEWS] The Business of Fashion, Part III: Image by Alice Tse

"The Business of Fashion, Part III: Image"
Sponsored by CFDA and GenArt
February 22, 2005 by Alice Tse

The Moderator:
Trey Laird is the President and Executive Creative Director of Laird+Partners, a full-service design, advertising and branding company, which he founded in 2002. The company launched as agency-of-record for Donna Karan International, its worldwide licensees, and the Gap division of Gap, Inc, and has since added Nautica, Estee Lauder, Diageo, Cadbury Schweppes, and Conde Nast to its client roster. For the ten years prior to forming his own company, Laird worked with Donna Karan International as Executive Vice President and Corporate Creative Director, where he established an in house creative agency, winning many advertising and design awards, and steered retail design. He started his career with the Arnell Group.

The Panelists:
Reed Krakoff is President and Executive Creative Director of Coach. Prior to being named to his current post in 1999, he was Senior Vice President and Executive Creative Director for the company. Krakoff is credited with leading the creative renaissance at Coach that strengthened an already formidable brand image and contributed to increased sales of Coach products throughout the world. Prior experiences include design positions at Tommy Hilfiger and Polo Ralph Lauren. Krakoff is a two-time winner of the CFDA’s Accessory Designer of the Year Award – in 2001 and 2004.

Dawn Mello is President of Dawn Mello & Associates LLC, a luxury market consulting company with an international client list from both the retail and manufacturing sectors. Mello began her career at Bergdorf Goodman where she rose from Vice President and Fashion Director to President over the course of fourteen years. In 1989 she moved to Milan to join Gucci Group as Executive Vice President and Creative Director Worldwide, where she hired a young designer named Tom Ford. She is widely credited with reviving the brand. In 1994 she rejoined Bergdorf Goodman as President, leaving five years later to start her own company. In 2001, Mello was the first recipient of the CFDA’s Eleanor Lambert Award.

Zac Posen is a native New Yorker who places the craft and construction of fashion over the glamour of the business. After graduating from London’s Central Saint Martins College of Art and Design he launched his collection to considerable critical acclaim. His womenswear line is sold at over 100 retailers worldwide, including Bergdorf Goodman, Barneys, Neiman Marcus, Le Bon Marche and Harvey Nichols. Posen won the CFDA’s Swarovski’s Perry Ellis Award for Ready-to-Wear in 2004.

Mary Alice Stephenson is a fashion editor, television producer and style commentator. After sixteen years working for magazines such as Vogue, Allure, Marie Claire and Harper’s Bazaar, she now manages her own consulting firm and a client list that includes Intel, ABC, Miramax, New Line Cinema, Old Navy, Givenchy Beauty, and some of Hollywood’s biggest celebrities. Stephenson also maintains her position as Contributing Fashion Editor at Harper’s Bazaar and styles for numerous international fashion publications. A partner in Madwood TV, she is an executive producer and stars in “I Luv This” a fashion, beauty and lifestyle show coming to ABC television this spring.

Lynn Tesoro is a Founding Partner of HL Group, a marketing and communications consulting firm. Clients include Krug Champagne, Vera Wang, David Yurman, W Hotels, Lela Rose, Jeffrey Chow, and Reebok. Tesoro previously served as Senior Vice President of Corporate Communication and Marketing at Polo Ralph Lauren, dealing with media relations, special projects and Collection advertising. She was also Global Vice President of Communication and Special Events at Calvin Klein Inc. Additionally, Ms. Tesoro worked with Georgio Armani Fashion Corporations as its Director of Public Relations and Sales Promotion.

♥ ♥ Crowds of designers, students, and eager GenArt members filled the CUNY auditorium for the final CFDA/GenArt Seminar this past Tuesday. Moderator, Trey Laird led into the night’s topic by asking, “How many people own an iPod, know of someone who owns an iPod, or has heard of an iPod?” A sea of hands immediately went up in the air. He then asked, “How many people own a Dell DJ, know of someone who owns a Dell DJ, or has even heard of a Dell DJ?” Only one hand rose. He pointed out that although both the iPod and Dell DJ launched at the same time; one product made an emotional connection with the consumer while the other did not. One product enjoyed tremendous success because it had the right image.

Why Image is important --
“Talent is not enough anymore…your image is that special quality that separates you.”

HOW TO CREATE AN IMAGE
When asked about how to create an image, Mr. Laird noted that building an image is a cumulative process. It includes numerous components – the designer(s), people, company, place and more. “It takes time and few get it right.” Reed Krakoff reminded the audience that each brand is different and each situation is different. There is no one specific way. He was fortunate to be a spectator and watch the Tommy Hilfiger brand develop. At Coach, he underwent a lot of trial and error with some failed lines but emphasized, “It’s all about learning.” As the creative person you have to see beyond transaction-oriented buyers and think, “What can this brand become?” Mello advised young designers to use two key resources to help build an image -- young editors and retail store buyers.

Zac Posen created a buzz long before he had a collection and seemed to have crafted his image overnight. Mr. Laird asked him to share about the first stages of his career. Posen revealed that in the beginning, he did not have a PR company but instead relied on word of mouth by outfitting others and giving his clothes to models. He states, “It’s important to interact with the fashion community. A young designer is the face of the company, live the lifestyle!” A member of the audience then asked Mr. Posen, “When is the right time for a designer to launch a big campaign to make a mark?” Posen replied, “If you feel confident in the product, you make it the time.” Ms. Stephenson mentioned that March and September are two big months for magazines. A designer should pitch designs directly to the editor about 2-3 months beforehand. Lynn Tesoro cautioned the audience not to jump the gun when approaching editorials. A designer should know beforehand what makes the product special and what makes him or her special."

HOW TO GET PRESS
Mary Alice Stephenson was asked to advise young designers on how to get the attention of editorials. She pointed out that there are more young designers versus editors. “Don’t wait for us to come to you, you got to come to us.” However, three things young designers should already have are:

1. Knowledge of the Community
Designers should know their customer – who they are, where they want to see the clothes, what magazines they read
Designers should know the magazine people – know the job titles, know the editor’s names

2. A Good Look Book
You have more of a chance with a look book than calling editors to come see you. You don’t need to spend a lot of money on a look book.

3. Passion
Lynn Tesoro added that the best thing a designer can have is a strong point of view that builds the brand’s core values.

CONSISTENCY IN IMAGE
The panel was then asked to advise on how to stay true (to your image), but always offer something fresh. Krakoff said change is important, but even with the need to sell; the product has to be real. Dawn Mello felt that instinct is a key element and that designers should “go with gut instinct, because in life it works.”

Finally, each panelist was asked to name a company/designer that has shown a consistent point of view and has stayed true to their image. Ralph Lauren and Coach were the top choices of the panelists, as well as Kate Spade, Target, Martha Stewart, Dolce & Gabbana, Gap, Prada, and Apple. Each reiterated the importance of having products and imagery that work well together. Ralph Lauren didn’t just create a company; he created a culture. As Krakoff mentioned earlier in the evening, “Everything you do is to enhance the brand.”

CELEBS
When asked to comment on celeb power, no one could deny that it exists and it can give a designer a huge boost in his or her career. Ms. Stephenson encouraged designers to use all the resources available. “Most celebs love working with young designers, but you have to get to them.” But Ms. Tesoro also warned; celeb power can work both ways. She expressed concern that some designers are not ready for such an undertaking. She would rather see them focus themselves on putting together a great trunk show; not getting a suite at the Oscars. However, in the case of Ralph Lauren, he could not establish a name in eveningwear until he was touched with a little star power of his own. After Gwyneth Paltrow wore his pink gown to the Oscars, his name became synonymous with eveningwear. “It’s a powerful tool that has to be targeted, focused and managed.”

A duo design team posed the question, “How can small young designers compete with celebs when trying to secure investors for financial backing?” Mello was quick to point out the importance of good strong support system. You need to have a strong team first, then a strong patron (perhaps a celebrity). Develop a thick skin, keep going back and don’t take no for an answer. Lynn Tesoro replied, “You are not competing; just stay true to what you want.” Mary Alice Stephenson suggested that the designers should “think outside the box.” Seek out the Director of Public Relations of technology or beauty companies and write letters to them. Trey Laird reminded everyone that retail stores are also key players. Designers should continue to build good relationships with stores because “one store can make the difference.”

When asked about asked about the issue of knock-offs and copyrights, Reed Krakoff shared some wisdom and found humor in the subject. Unfortunately, there is no way to prevent copycats. He drew reference to the case between Louis Vuitton vs. Dooney & Bourke, where the court ruled in order to win a case you have to prove that the consumer is confused at the time of purchase and buying a product they think is something else. But he stated smiling; “Only ideas that get knocked off are brilliant,” noting that only top selling bags are sold on the tables of Canal Street vendors. “The consumer is hugely intelligent. They know the difference. If you have a brand that is strong enough and identity is linked, I wouldn’t worry,” added Zac Posen.

MERCHANDISING
A Parson student asked, “Should you target the wealthy so your business can grow?” Zac Posen responded, “(You) always have to think about expanding your price point. It is important to think about key factors like fit, fabric, and price.” If the product is special, a consumer will undoubtedly be willing to spend the money. Mr. Krakoff added, “When the price and product are right, people will pay.” The consensus was when an item is appropriately merchandised, it will be bought. The designer must think about how to make the product great yet also give thought to price point.

Continuing on the subject of merchandising, another audience member asked,“When designing, how much thought is given to displaying on the floor?" “Again, design with all things in mind...consider all things,” Reed Krakoff answered. Design and shelf appeal go together. It is a never ending pursuit of making something right. If a designer has given thought to the shelf appeal, stores are likely to be more receptive when approached with a product and design plan for merchandising. Both Ms. Tesoro and Ms. Mello also noted that retailers are important and advised targeting the fashion directors instead of buyers.

The evening concluded with Mary Alice Stephenson noting, “It’s a great climate for new designers because so many different avenues exist.”