The Miami Herald reports that “ex-Miami Mayor Maurice Ferre said he will make an announcement “the modern way” on Wednesday about whether he is running for the U.S. Senate. Does that mean an e-mail? A pod-cast? Facebook?”

Earlier today, the Herald reported that Ferre “appears close” to announcing a bid for the U.S. Senate in 2010. “His friends and political allies are trying to assemble a campaign team, and he’s asked to speak at the Florida Democratic Party’s convention in Orlando next weekend.”

Ferre says he will announce Wednesday [Miami Herald]

Idag så var jag och en kompis förbi Hallwylska museet för att gå på uställningen av originalkreationer av kända italienska modeskapare.  Det var stora namn som Versace, Pucci, Valentino , Capucci och Ferré mfl. De för det mesta vackra klänningarna hade burits av bla Lady Diana, Audrey Hepburn och Jackie Kennedy.  Spannet var stort, allt från färggranna saker från 80-talet till stilrena underverk från 50-talet.

This week I was overwhelmed with loads of great eBay finds. Ebay used to let people keep 100 items in their watchlist. Then they bumped it up to 200. This week, I could have easily filled up a 300-limit list. Here’s a few:

Auctions This Week

Rory Beca Maxi Dress. $109. Ending soon!

Alexis Hudson Twinkle Handbag. Retailed for $400. Currently just $27.98 with less than a day to go. STEAL.

Custo Barcelona Dress. I love this. Currently $31 with under a day remaining.

Prada Lipstick Skirt. $22 with 3 days left.

Tahari Dress. $0.99 with 2 and halft days left.

Akris. Cashmere. Aqua. Perfect. $49 with less than a day left.

Gianni Versace Butterfly Skirt. Only $12.50 with less than 3 days to go.

Alexander Wang top. $100, no bidders, 3 days left.

AKA New York top. Just $2.25 with 2 days left.

Helmut Lang Pewter Boots. $66.01. Less than a day left.

Versace Belt. $26. A day and half to go.

This Jean Paul Gaultier skirt… gorgeous. $169 with 4 days left.

Zara Shirt. $24.99. 3 days and 16 hours left.

Gianni Versace Top.  $19.99 with no current bidders, 3 days left.

Cynthia Rowley Dress. $10.49 with just under 2 days left.

Nanette Lepore Blazer. Currently only $9.99 with less than a day left. This is like getting away with crime.

BCBG Patent Leather Handbag. I am so not into red bags, except for this one. $84.99. 2 days left.

Anlo Denim Pencil Skirt. Retailed for about $220. Currently at $0.99 with a day to go. This has a reserve price but still has major bargain potential.

Karen Zambos dress. $59. 4 days left.

Guillaume Hinfray Corcodile Heels. $52.02 with 2 and half days remaining.

Nanette Lepore Caplet. $19.99 with 4 days left.

Bottega Veneta always does the coolest handbags. This one is currently $64.97 with just over 3 days left.

12th Street by Cynthia Vincent top. $9.99 with about 3 days left.

This very cool Anthropologie handbag is $77 with 1 day to go.

Hussein Chalayan Jacket. $69.99 with a day left. The retail on this was over $700.

Vintage Lace-up Oxfords. $9.99 with 4 days left.

BCBG leather jacket and match skirt, $39. This is a STEAL. First of all this jacket retailed for about $400. I’ve seen it sell on eBay for $100. To get the jacket and the matching skirt for $39… Outrageous Bargain.

Diane von Fursternberg Maxi Dress. Currently $102 with 1 day left.

Rebecca Taylor Eyelet Blazer. $29 with no bidders yet and a day and half to go.

Karen Zambos Dress. $12.99, 7 days left.

Max Mara belt. $18.99 with 2 and a half days to go.

Development Blouse. $1.99 with no bidders and 4 days left. STEAL.

Moon Katz dress. $33 with just under 2 days remaining.

Rag & Bone Beige Jacket. Retailed for $495. Currently $0.99, 8 days left.

Tibi Short. I WANT THESE SO BAD! $30 with half a day left.

Erin Fetherston skirt. Retailed for over $795. Currently $18.50 with less than 2 days left.

Dior Sandals. $42. 2 days and 20 hours left.

Rene Lezard dress, $23.61 with less than 2 days left.

Longchamp Windbreaker. Retailed for $210. Currently $19.99 with no bidders, no reserve price, and a day and a half left. You can roll up the jacket and fit it in the included pouch which is the size of a small makeup bag. Nice.

Armani Dress. $19.50 with 2.5 days left.

Aoyama Itchome top, sold at Anthropologie. $9.99

Moschino safari jacket. Only $14.99 with 2 days left.

Alexander McQueen tank. $9.99 with a less than 2 days left.

Finally I found some Devotte shoes on eBay. There haven’t been many like this at all. Take advantage! Retail was $350. These are $49.99 with a day left.

Henrik Vibskov Leggings… “unisex”. $89.99 with less than 2 days remaining.

Cynthia Rowley Racerback Blazer. I want it. Retailed for $395. Currently $0.99 with 5 days left. Even with 5 days left, my eBay psychic powers are telling me this will be a bargain.

YSL Velvet Handbag. $29.99, just under 2 days to go.

Eva Fortune Dress. Retailed for $292. Currently $12.99 with no bidders, no reserve price, and about a week left.

Toga Pulla dress. $9.99 with 22 hours left. STEAL.

Ferre Belt. Fit for royalty. Currently $135.50 with just under 2 days left.

Vintage Andrea Polizzi for Rex Lester dress. $9.99. 2 days left.

Plinio Visona Hanbag. These normally retail for at least $400. Currently $44 with a day left.

Nanette Lepore Dress. $42.99 with a day and a half to go.

St. John knit skirt and jacket. $33 with less than 24 hours to go.

Max Mara boots. $26 with 2 days left.

Norma Kamali Dress. Retail $368. Currently just $11.50 with less than 2 days remaining.

Dries van Noten Skirt. Retailed for about $2000. Currently $1 with 7 days left.

Tracy Reese top. $9.99 with 22 hours left.

Azzedine Alaia heels. $142.49 with 2.5 days left.

Les Copains top. $18.99 with 2.5 days to go.

Chie Mihara handbag. Un-unwantable. $63.76 with 2 days left.

Walter halter. $15.99 with 22 hours left.

Tsumori Chisato-inspired belt. $39. 4 days and 10 hours left.

Alexander Wang Dress. Only $10.50 with 22 hours left. STEAL.

Tibi Dress. $99. 2 days left.

Christian Dior White Shirt. $25 with just under 3 days left.

Stiletto Skirt and Top. $19.50 with a day and half left.

Versace Sport handbag. $37 with less than 2 days to go.

Jean Paul Gaultier Overall Shorts. $24.99, no bidders yet, 5 days left.

Tibi Blouse. $20.50. 1 day and 20 hours left.

Max Mara navy leather flower belt. $26 with 2 days and 16 hours to go.

Jill Stuart Sunglasses. $23. 6 days left.

An ultra-chic Donna Karen Jacket. $22 with a day and half left.

YSL Dress. $15 with 7 days left.

Gemma Zanani top. Very “runway”. Retailed for $325. Currently only $19 ending very soon.

This BCBG leather tube top… wow. $49. 3 days and 14 hours left.

JUST MISSED IT….

Lilly Pulitzer Trench Coat. Retailed for $358. Sold for $68.99.

Robert Rodriguez Dress. Retail was $595. Sold for $59.

Philip Lim Linen Coat. This retailed for for $1,050 and sold for just $61. Insanity.

Dolce & Gabbana Leather Coat. $66.55.

Lafayette Sequin Skirt. Retailed for $199.97. Sold for $37.89.

Rory Beca Dress, $32.28.

The “Dream” List (a.k.a. the “I wish the price were lower” list)

Lanvin Coat. $475. This is easily one of the best coats I’ve ever seen on eBay.

Chloe Platform Shoe. $349. The silver back is killing me! I want it!

Dolce & Gabbana shoes. Pure entertainment. $1999 or best offer.

Vintage Christopher Ross Belt. $500.

The most drool-worthy bag ever. Dolce & Gabbana again, on “sale” for $1316.

These Marni sandals happen almost match the above bag perfectly. I guess that says alot about my favorite colors… at least for leather. $299.

$250 Etro Jacket. So much detail.

Alexander McQueen fleece-lined dress. Asymmetrical zipper. Love it. $160.

Changes Around the Turn of the Century

The end of the 20th Century saw the advent of minimalism and grunge, where shopping for fashion was viewed as politically incorrect. At the same time, it was a period of no limitations and turmoil between globalization, the War in Kuwait, unemployment, AIDS, and the constant provision of media-created “emotion” which went hand-in-hand with celebrity stalking. This emotional overload and negative view of overt consumption led to an increased interest in the eco-look and the spread of street fashion and athletic wear (including the Puma/Jil Sander and Adidas/Yamamoto collaborations). The market froze after 9-11, coming back with a sense of controlled vivacity, where people felt a renewed interest in self-expression. The trend of mix-and-match also emerged, allowing people to make their own way, far from the rules of the 80s Total Look.

Rampant consumerism came back, and most brands responded by producing products in lower price ranges to attract aspirational clientele seeking to buy into a luxury lifestyle. The proliferation of retail outlets from first-tier cities through third tier cities, together with mass media and global web communications ensured that people all around the world could access fashion and luxury. While an excessive consumption trend helped contribute to the credit crisis, it also helped to fuel the argument for conscientious spending, Corporate Social Responsibility (CSR) and ethical fashion.

Today, advances in technology for textile development are increasing exponentially through intelligent materials, with no signs of stopping (including micro, thermo-regulator, anti-stress and perfumed fibers, bio-protective fabrics, etc). The men’s fashion segment also continues to grow into the multi-category system paralleled with womenswear.

Among these market changes, the Italian system continues to evolve.

The Present & Future of Italian Fashion

What is “Made in Italy”?

Today, most of the remaining original Italian designers are reaching retirement, if they haven’t already. The whole of Europe is losing factory jobs in textiles and clothing as firms de-localize and imports increase, although Italy has seen this trend occur more slowly than others.

However, with ever-diminishing production occurring within Italy, and with the country’s most prominent design houses being handed over to the leadership of international talents or private investment firms (the latest is Safilo), it is difficult to say what “Made in Italy” means today. There is currently an ongoing dispute in Europe as to the relevance of “Made in” labels. Northern European countries have already lost the majority of their factories to delocalization, and do not want the “Made in” label, as their goods are imported.

Within the Southern European countries, where the remaining manufacturers are typically located, lobbyists push to maintain the “Made in” labels on garments. However, even in Italy, manufacturers are producing parts in China and law only requires that a portion of the product be made within Italy to be considered “Made in Italy.” In fact, there was great controversy last year when an exposé on shady production processes aired at dinner time in Italy. The news piece showed Chinese immigrants working in sweatshop conditions as leathersmiths for designer brands, though within the borders of Italy (Prato and Florence). This system was initiated so brands could maintain their localized production, though with arguably less-skillful workers. Some Italian manufacturers viewed this move as a way to keep a closer eye on the outsourced production, using the cheaper labor force while maintaining local facilities. (You can read an English write-up on the case here.)

A Dying Breed

Also suffering are the Italian production districts, evolved from generations of craftsmen with tacit knowledge of leather goods and textiles. These districts naturally developed into their own textile and leather goods pipelines, with separate small factories or workshops supporting one another through their own particular specialties. They created very attractive production communities, where brands and larger manufacturing companies could source work. Young Italians no longer want to follow their parents into production or craft-related vocations, and so the Chinese are coming to provide the labor necessary to get the job done. Meanwhile, the production pipeline of these districts is breaking down because the cost is forcing the bigger manufacturers and their brands to send work to Asia or Turkey… or it is being internalized with high-tech machinery and operators.

Today’s Italian production companies have grown smaller as imports increase, and knock-offs are a major force in destroying manufacturing innovation. However, even as their numbers dwindle, it was the Italian fabric weavers and leather workers who manufactured the most creative works, making Italy a key player in the international fashion scene.

In addition to the production side, on the creative end we’ve seen prominent Italian designers retiring. While other fashion capitols have a history of nourishing and promoting their young designers, in Italy, you typically must already have a name in place in order to be successful. Very few new designers have climbed the the ranks of Italian fashion since the late 80s. This adds pressure to the “Founder’s Dilemma,” which poses a challenge when a brand is built around a specific personality, and that personality is no longer involved with the brand. In the last year alone, two prominent Italian designs, Gianfranco Ferré and Valentino, left the fashion world and were skeptically replaced by young designers with mixed results.

Focus on Retail

Fashion companies have moved their focus downstream into retail, where experience shopping became the new communication tool. Italian brands have excelled in this retail model, rolling out branded temples to shopping in both developed and emerging markets. This had been a great model for generating revenue until the beginning of the financial crisis, which forced many retailers to close their doors, pack up and go home. In addition to creating more demand than most Italian manufacturers were able to economically provide, it also had the controversial effect of spreading luxury goods across such a vast environment that many began to ask if an item that could be found anywhere could still be considered luxury.

Question: if it’s no longer Made in Italy, and it’s available everywhere, does it still fit within the Italian model? Can it be considered luxury?

Digitally Challenged

In spite of having a historic foundation of market-savvy entrepreneurs who enabled Italian fashion to flourish, Italian companies have been among the slowest to evolve their business model in support of the digital age we will live in from this point on. YOOX has been working diligently over the last 2 years to expand their e-commerce services from fewer than 5 Italian brands to more than 20 by the year’s end. However, with such rapid growth of the company’s client group, complaints about disorganization and customer service, quality control issues and a general lack of bleeding-edge technology and brand imaging must be dealt with, in order to preserve the luxury status so carefully simulated in the physical retail environment.

A New Foundation

With the current state of the economy, many brands are struggling. Budgets are being pulled from fashion week and marketing to make ends meet. However, as new designers refuse to become celebrity circuses, and supermodels are an extinct breed, the system needs an infusion of excitement to revitalize the industry.

In the place of generations of craftsmen, a new group of technologically skilled, creative young people have emerged. Universities in Italy have provided a focus in research and development in new textiles and industrial techniques, as well as fashion design, e-commerce, brand management and marketing. The way I see it, Italian companies still have a chance at maintaining their Italian-brand viability if they focus on some key success factors which they maintain.

The following are my ideas of some key resources in Italian fashion and luxury, and how to utilize them:

• Italian heritage and family ownership of the majority of brands: market the origins of the brand and focus on the highest craftsmanship within the labels, and reign in investment in cheap production that dilutes the brand image (focus on the top of the brand pyramid, not the mass-market base). Nothing is worth damage to the brand.
• The last remnants of skilled Italian craftsmen, who have tacit knowledge passed down through the generations in addition to more recently acquired technical skills: groups like Altagamma would serve the industry well to promote these people, as they have a lot to offer in terms of passing down a great legacy. Since time is running out on this resource, it seems prudent to put some marketing muscle behind these artists, promoting their irreplaceable skills as something honorable and special, not “country” and uneducated.
• Students trained in textiles R&D and business innovation: there is an increasing market for ethical fashion, and Corporate Social Responsibility (CSR) will continue to grow as a concern for fashion and luxury consumers. These young graduates can help move the Italian industry forward to implement new techniques that are environmentally friendly and ethically sound. Italy can be a leader in this realm based on a heritage of innovation, the existing manufacturing infrastructure and the skills of its labor pool.
• A large labor pool of digitally-savvy, internationally minded young people who grew up in a branded environment: as the Luxury Society just reported, it’s time that the patriarchs of the European fashion and luxury sector took a moment to listen to their grandchildren. The necessary knowledge and capabilities required to move the Made in Italy industry into the future is ready and waiting (and currently underemployed).

Main point: The commitment to heritage in production is what boosted the Italian brands in the world’s eye. The reluctance of some of the most prominent brands to continue advancing with an evolving market may be the downfall of the Italian industry.

Italian Fashion Industry – Cycles of Development

Though some could argue otherwise, according to the experts in Italy, there are 4 primary phases or cycles of Italian fashion industry development.

1. 1950s-60s:  Industrial production systems are developed after WW2
2. 1960s-70s:  Economic and social change emerges, apparel system reacts
3. 1980s:  Democratization of fashion and surge of “Made in Italy” around the world
4. 1990s:  Brand concentration, financing revisions and mergers & acquisitions

The 1st Cycle: 1950s-60s

Prior to industrial developments in Italy, which occurred only after WW2, 90% of Italians were rurally employed. The elite acquired their luxury products from France, and Italian goods were considered “poor”. Most higher fashion was reserved for men, as women did not have as many black tie events to dress for.

At the time, the fashion industry in Italy was largely non-existent. With the high-end consumers buying their fashions from Paris, or having copies made by local tailors, some industrialists noticed a gap in the market supply, which called for functional, durable, high quality garments. To begin to meet this demand,  Italian company Gruppo Finaziario Tessile (GFT) took the first initiative to measure a wide sample of the Italian population to create national sizing system.

Italian Apparel Finds a Niche

In 1951, an Italian importer for American goods, named Gian Battista Giorgini, realized the the US market was also ready for something new and different from that offered by France. They had mass-produced garments, the elite could buy haute couture from Paris, and yet there was nothing in between. Giorgini used his US contacts for market research and development, and began to organize Italian designers, whom he encouraged to abandon their French knock-offs and pursue an affordable Italian style. With new production technologies from the States being imported into Italy as part of the recovery plan, and a large skilled workforce of women to operate the machinery, GFT and other Italian manufacturing firms such as Marzotto and Lebole developed the production end of the industry. As many of top producers had a background in men’s tailoring, there was still a strong industrial concentration in menswear, but the mass-production capabilities in the States would find their way into Italian womenswear production soon enough.

You could summarize that the beginnings of the Italian Fashion Industry were characterized by:

• Large manufacturing facilities
• Economies of scale (primarily the US market)
• Strong specialization

The 2nd Cycle: 1960s-70s

In most cultures, up until this point, children and adolescents had dressed as their parents dressed. In the States and the UK, pop culture shifted in the wake of the Baby Boom as young people struggled to develop a new identity and used fashion as a means to demonstrate their separation from the values of their parents’ generation. (England was becoming a hub for the new youth culture, inspiring fashion and trends around the world, in addition to American hippies.) Women had entered the workforce in increasing number, and no longer wanted to dress as housewives. Further, as there were fewer and fewer occasions for dressing up, people began to seek more informal clothing. Trends had begun to be driven by market needs, as opposed to the stylistic direction set in Paris.

Big Business Gets Smaller

At the same time, there were many social and union conflicts that helped create increased labor costs in developed countries, resulting in a surge of apparel imports from developing countries. The combination of these elements together with the oil crisis of 1974 and the Italian economic crisis of 1975 caused the big manufacturers to lose their hold on the mass market. There was no longer a one-size-fits-all model for fashion (and that was only the beginning, as we now know!).

As the big manufacturers in the States and elsewhere had maintained large scale standardized production even after consumer demand had decreased and diversified, the labor costs in Italy were falling and new small/medium-sized production companies were forming. Manufacturers began to outsource production in Italy, and even France began to rely heavily on the cheap yet skilled Italian labor pool for their pret-á-porter lines.

Designers Respond to a Changed Environment

A new generation of designers emerged in Italy, capable of working with industry partners to produce collections that were fashionable and more affordable than their French counterparts. (Consider Armani & Cerruti, Versace & Genny, or Soprani/MaxMara.) These designers had relationships with market-savvy business leaders, who ensured that the Italian form of fashion would meet the demand of developed markets. The Italian Fashion Week cycle, following on the heels of Paris, became increasingly popular to buyers and press who saw the potential of Italian fashion’s middle ground between haute couture (France) and mass fashion (the US).

In summary, this cycle of development in the industry of Italian fashion can be characterized by:

• New consumer values and lifestyles (youth, rebellion, rock, women in business, etc)
• Market segmentation (no longer one-size-fits-all)
• Increased demand for informal wear
• The decrease of influence from Paris and haute couture
• The increase of influence from London and the youth culture

The 3rd Cycle: 1980s

This was the decade where the world found Italy.

By the 1980s, Italy had little competition from other developed countries for quality textile production. However, developed markets were building a habit a rampant consumerism, with a renewed interest in fashion. The Italian style had gradually been gaining consensus, especially in the States, which had become the largest consumer market. Meanwhile, Italian industry was looking for new formulas to stay (or get) on top of the fashion game.

Total Look, Branding & Hollywood

A new type of relationship began to form between industry and the designers, which was more a partnership that a contractual business relationship. With the craze for “Total Look” taking the fashion scene by storm, designers began to throw their labels onto every conceivable product in their quest for notoriety and brand building.

Internationalization, mass media and the help of Hollywood brought Italian industry onto the main markets. For example, Armani exclusively clothed actor Richard Gere for his role in American Gigalo, bringing the brand notoriety throughout the States and abroad. You can see an early example of product placement with Armani’s menswear collection in the closet scene of American Gigalo, in the clip below:

Love for Licensing

Licensing agreements had become the method of choice for labels to expand their designer names into new product categories (including second and third lines, kids wear, athletic wear, homewear, eyewear, fragrances, etc.). The cooperation between industrial companies and designers, mainly based on these licensing agreements, was the key success factor to growth for the Italian fashion industry.

Fashion companies moved from product-specialization to develop multi-product capabilities through their licensees. In addition to manufacturing, licensees were used to handle distribution and retail activities for the licensor brands, while the brands in turn provided the design concept, the brand name and image.

Throughout the 80s, much of the Italian fashion system depended on licensing agreements for growth and for specialized production (after all, what does a ready-to-wear designer know about producing furniture or fragrances if he can’t rely on experience professionals to help him?). However, as the brands amassed capital, and learned from their licensees about best (and worst) practices, it became clear that licensing could be equally beneficial and detrimental.

Brands like Gucci were widely diluted through numerous licensees, all whom had a different idea of what the brand represented and how their designs should appear and retail. On the verge of bankruptcy, they needed to build capital and buy back their licenses, in order to impose a universal brand strategy throughout their comapnies.

Within the decade, four different groups of players on the Italian fashion scene had clearly emerged. They were:

1. Industrial companies (GFT, Marzotto, Miroglio)
2. Small to medium-sized industrial companies with product orientation (Max Mara, Zegna, Genny, Aeffe, Ittierre)
3. Designer/entrepreneurs who both design and produce (Missoni, Mila Shon, Mario Valentino)
4. Pure designers who take designs to production firms (Versace, Armani, Ferré, Moschino, Krizia)

By the end of the 1980s, Italian designers had entered into a new system of growth:

• Most remained family industries (Missoni, Prada, Versace, etc)
• Designers maintained direct control over their “first lines” (the highest line in their brand’s “food chain”  –   typically ready-to-wear)
• Brands developed second lines and brand extension, typically under general artistic direction of the original designer and through licensing agreements
• Brands developed direct control of distribution, taken back from licensees
• Focus was kept on retail, to create a unified harmony across a branded retail outlets

You could therefore conclude that the Italian model for the fashion industry, at this point, consisted of designers sketching models for the primary line, with manufacturing and additional product development farmed out to licensees, with the finished products then brought back under internal control for distribution and sales. Just ten years prior, licensees had handled everything but the initial design, brand name and image direction for the Italian brands.

Unlike France, Italy typically relied on lower-end textiles – not fragrances and accessories – to make the big money.

The 4th Cycle: 1990s

Towards the end of the 20th Century, the fashion system was undergoing many changes. The fashion system had become increasingly global in supply and demand, affecting Italian, French and American firms together.

New players were entering the field; for example, the luxury conglomerates. New market segments were being created as well, including the bridge segment, which spoke to a market beneath ready-to-wear but above mass fashion. Entry barriers into the industry had become increasingly higher, with great investments required in marketing (fashion show and advertising extravaganzas, parties, supermodels, etc) and retail. Retail itself was undergoing change through the introduction of the lifestyle concept, pioneered by American designer Ralph Lauren.

Fronting the Tab

In order to meet the new financing needs of the fashion system, many companies opened on the stock exchange. With this move came a market rush by the luxury conglomerates to acquire and reposition the Italian brands with marketable heritage. Much like the French houses before them, Italian brands were gradually having to transfer creative direction from the original designers onto new creatives.

As for the four groups of players on the Italian fashion scene, the 90s saw the following changes:

1. Industrial companies: begin to acquire brands – typically from past licensors, launch their own brands based on their acquired capabilities, or develop retail strategies (Aeffe/Moschino, GFT/Valentino, Exté, Max Mara, Zegna)
2. Designer/entrepreneurs: control production and distribution processes with the purchase of production facilities, utilize very few licenses (Versace, Dolce & Gabbana, Armani)
3. Multibrand Groups: conglomerates acquire brands and designer companies (LVMH, Gucci Group, Prada)
4. Pure designers: sell their companies to industrial or multibrand groups (Jil Sander, Valentino)

In “Short”

The Italian fashion industry really took off after WW2 with the help of technologies provided as part of the Recovery Plan, the entrepreneurship of business and manufacturing leaders who saw an opportunity, a newly-urbanized population of skilled textile workers, and a burgeoning demand for quality apparel and ready-to-wear.

The first phase of industrial fashion in Italy was made by a few concentrated, large-scale production facilities. As the economy turned south and many new market segments emerged, big business lacked the flexibility to diversify their business model, and small to medium-sized manufacturing companies took the lead.

Designers and their business partners (typically family) recognized the changing market as an opportunity, and developed partnerships with manufacturers who had once contracted work to them. Under this model, the designer became responsible only for the initial designs of his collection, while his business partners managed the brand and image, and licensees took care of the rest – from manufacturing through distribution and retail.

By the end of the 1980s, many brands had gained the capital and the knowledge base to buy back their licenses in specific product categories, as well as their distribution and retail systems. Some were able to purchase their own manufacturing facilities. The typical model now had the design company controlling the initial designs of the highest line and whatever licenses they had brought in-house, as well as their distribution and retail. Manufacturing was still typically licensed out.

During the final years of the 20th Century, the costs of running a fashion business had exploded with a need for mass marketing. Many companies went on the stock exchange to build capital investment. While some brands took control back from their licensees, others were acquired by luxury conglomerates. Some manufacturing leaders developed their own lines or acquired brands they had once licensed production rights from.

il y a le temps devant

il y a le temps à gauche

il y a le temps derrière

le temps à droite

et même le temps au-dessus

puis il y a Léo Ferré

Avec le temps…
avec le temps…
avec le temps, va, tout s’en va
l’autre qu’on adorait, qu’on cherchait sous la pluie
l’autre qu’on devinait au détour d’un regard
entre les mots, entre les lignes et sous le fard
d’un serment maquillé qui s’en va faire sa nuit
avec le temps tout s’évanouit
avec le temps…

avec le temps, va, tout s’en va
mêm’ les plus chouett’s souv’nirs ça t’as un’ de ces gueules
à la gal’rie j’farfouille dans les rayons d’la mort
le samedi soir quand la tendresse s’en va tout’ seule
avec le temps…

avec le temps, va, tout s’en va
l’autre à qui l’on croyait pour un rhume, pour un rien
l’autre à qui l’on donnait du vent et des bijoux
pour qui l’on eût vendu son âme pour quelques sous
devant quoi l’on s’traînait comme traînent les chiens
avec le temps, va, tout va bien
avec le temps…

avec le temps, va, tout s’en va
on oublie les passions et l’on oublie les voix
qui vous disaient tout bas les mots des pauvres gens
ne rentre pas trop tard, surtout ne prends pas froid
avec le temps…

avec le temps, va, tout s’en va
et l’on se sent blanchi comme un cheval fourbu
et l’on se sent glacé dans un lit de hasard
et l’on se sent tout seul peut-être mais peinard
et l’on se sent floué par les années perdues- alors vraiment
avec le temps on n’aime plus

avec le temps, va, tout s’en va
on oublie le visage et l’on oublie la voix
le cœur, quand ça bat plus, c’est pas la peine d’aller
chercher plus loin, faut laisser faire et c’est très bien

22/08/2007

Graziano Musella, candidato Sindaco del Popolo della Libertà per il Comune di Assago, sarà anche candidato alla carica di Consigliere Provinciale nel collegio di Milano-Rogoredo.

Ci congratuliamo con l’amico Graziano e ci auguriamo che in questo modo il nostro Comune potrà raggiungere, a maggior ragione, la piena rappresentanza politica che merita in tutte le sedi.

Adesso, non ci resta che sostenere in tutte le sedi Graziano Musella, Paolo Ferrè, candidato del Popolo della Libertà nel nostro collegio, e Guido Podestà, candidato Presidente della Provincia.

1. Gianfranco Ferre – Ferre, 100 ML EDP, 62,-USD*(Floral/Oriental)/50 ML EDP,45,-USD (NEW!)

Navegando por las paginas Francesas encontre en un archivo del FIGARO MADAME cortes de cabello para el INVIERNO 09 que acabamos de pasar las que vivimos por estos lares por aqui nomas pasando todo el atlantico y aqui de 24 modelos elegi apenas unos cuantos espero que les guste y animanse por uno de estos estilos

Dsquared

Me gusta mucho este tipo de corte de cabello pero para mi rostro de huevito que tengo, no lo podre intentar jamas!!! jejee

Margiela

Y el estilo del INVIERNO que no deben escapar es un buen lisado, mas liso que los tallarines cabello de angel lol

Anna Sui

Ferre

Lagerfeld

La segunda parte prontito y para este invierno si o si un lisado!!

Roberto Cavalli dress is currently only $35.88. The retail price was a hefty 850. Sick bargain.

Missioni Wedges which retailed for $595 are currently only $37.

Vintage Christian Dior Caftan. Currently just $26!

Insane Bargain Alert: Yves Saint Laurent Tulip Skirt which retailed for a whopping $2200 is currently just $95.

Development by Philip Lim Top. Currently at just $30!!!!!! (This had to retail at over $200)

GF Ferre Dress retailed for $895 and is only a measley $11.99 in auction right now. Would you like to have lunch or… a designer dress?

Tucker Silk Tunic, $100. (retails over $300).

Twelfth Streeth by Cynthia Vincent Dress is currently just $21.68. Unbearably tempting….

Nanette Lepore Dress currently just $23.60. UN-BE-LIEVABLE.

I couldn’t leave out this outstanding Victor & Rolf spring coat with metallic trim. Retail was $2800. It’s currently $145 on eBay. If you are bidding and win this, I am proud for you.

J’ai eu la chance d’assister jeudi dernier (26 mars) à la conférence de presse d’Iggy Pop qui se déroulait à Paris dans un hôtel prestigieux situé non loin du Louvre. Alors que la conférence n’avait pas encore commencé et que j’attendais, avec les autres journalistes présents, l’arrivée de la star du jour, quelle ne fut pas ma surprise de sentir une main tapoter mon épaule et d’entendre l’accent américain très reconnaissable de l’Iguane me dire “Hey man, hi, how are you?”. Je me retourne et effectivement c’était bien lui, Iggy Pop en personne, qui arrivait, très cool, dans la salle de conférence de l’hôtel. Sympa pour une première impression (oui, je dois l’avouer, je suis un peu fan…)

C’est mon collègue Gilles Verlant (de l’émission 80’s sur Classic 21) qui animait la présentation de ce nouvel album. Alors, me direz-vous, de quoi est consitué ce disque “Préliminaires”?

Pour résumer les choses, “Préliminaires” n’est pas un album rock d’Iggy Pop, on est ici très loin des sonorités survoltées des Stooges ou du dernier album en date en solo (“Skull Ring”). C’est le jazz et la chanson française qui ont influencé Iggy sur ce nouveau LP.

une des photos d'Iggy Pop que j'avais prises lors du TW Classic 2008

Le point de départ de cette nouvelle aventure, que l’on peut considérer d’une certaine façon comme un “concept-album” (oui, oui, Iggy l’a presque avoué! Pas mal pour un type que l’on considère parfois comme l’un des parrains du punk), c’est le bouquin de Houellebecq “La possibilité d’une île”. Iggy est tombé littéralement amoureux de ce livre et s’est lancé, tout seul, dans la réalisation de nouvelles chansons basées de près ou de loin sur cette histoire.

Oui, tout seul comme un grand, simplement ‘armé’ de sa guitare acoustique. Puis, le projet a évolué tranquillement. A une moment, il a été question d’habiller ces morceaux et pour ce faire, il a eu besoin de musiciens. Mais l’Iguane n’avait pas trop envie de se rendre en studio, de rencontrer des musiciens et donc … il ne l’a pas fait! Des musiciens ont enregistré leurs parties musicales dans leur coin et le tout a été envoyé, mixé et rajouté aux enregistrements initiaux. Pour la production de la galette, Iggy a recontacté son ami et ancien bassiste (des 90’s) Hal Cragin.

Alors, après écoute, ça ressemble à quoi? Et bien, et il ne l’a pas caché, l’atmosphère est assez semblable à celle d’”Avenue B”, l’album le plus introspectif et le plus personnel de la carrière du chanteur. C’est donc Iggy le crooner que l’on retrouve ici, l’Iggy “destroy” a semble-t-il pris quelques jours de congés. Cependant, ça reste un disque d’Iggy Pop et non pas de James Osterberg (il nous l’a précisé).

Perso, l’Iggy crooner me plait autant que l’Iggy “Raw Power”, donc c’est du très bon cru.

Iggy & Me après la conférence à Paris

Dernière chose, on y retrouve une reprise des “Feuilles Mortes”, classique de la chanson française qui avait été  interprété à l’époque par Yves Montand. Iggy se la joue francophile, et ça fonctionne! Il nous a avoué être un grand amateur de chansons françaises. A la maison, loin de la scène, l’Iguane se délecte en écoutant Brel, Gainsbourg, Ferré et même Piaf (mais bon, pas tous les jours, comme il l’a précisé non sans humour).

“Préliminaires” sortira le 18 mai prochain.

Ecoutez Iggy nous parler de ce nouvel album (chez lui, tranquilou, à la maison):

pour jouvencelle en chaleur et de l’histoire pour syndicaliste

La nu, néo, nouvelle chanson française ou cette adolescence éternelle pour gens sérieux.

À la confluence de la littérature pour jouvencelle en chaleur et de l’histoire pour syndicaliste, se situe cette nu, néo, nouvelle chanson élue produit du bon goût, fille du conforme et du naturel à la lisière de l’allèle récessive et de la maladie héréditaire.

Même si cette nu, néo, nouvelle chanson française apôtre du statut quo végétant dans son propre nombrilisme depuis toujours, attise les vocations bourgeoises et prolétaires – les uns fantasmant les autres – elle excite les plumes des pygmalions dispensant leur existentialisme pratique en 10 leçons et la romance politique pour les nuls.

cette fois-ci remercions le repli communautaire

Rapport de guerre et fiches de paie :

Loin de moi l’idée saugrenue de procéder à une quelconque instruction concernant la nu, néo, nouvelle chanson française et ses supposées vertus éventées de l’imposture qu’est son intelligence discount et de sa pop culture germanopratine ; elle me fatigue au plus haut point, mais le meurtre est prohibé dans l’ère aseptisée des hologrammes pour tous et du surmoi pour pauvre.

Un agencement maladroit de réflexes aussi pavloviens que militaires et de rattrapage scolaire des anecdotes des rapports buccaux génitaux entre la monarchie et la république, cela ne devrait pas représenter un pan entier de l’exception culturelle et encore moins une variante légitime pour juguler idéologiquement les autres genres musicaux sous de fallacieuses raisons nationalistes non assumées.

Chaque bout de terre en puissance, maquillée par un drapeau ensanglanté ou une prétention immobilière, pratique le protectionnisme à tous les étages. Mais au pays du siècle des lumières, des droits de l’homme et de la double peine, la culture reste la chose à vendre. Certaines idées viennent de l’hexagone mais elles se développent trop souvent à l’étranger, la nu, néo, nouvelle chanson française possède cette spécificité d’être non assimilable mais exportable, cette fois-ci remercions le repli communautaire.

contrôle social et sociologie sécuritaire

Poli-trique culturelle et portefeuille industriel :

Déplaçons la problématique de la nu, néo, nouvelle chanson française sur le terrain marécageux du structurel. Pour cela, une brève incursion dans l’inconscient collectif des programmateurs de salles de concert – ayant bien souvent raté leur carrière de colleurs d’affiches – qui, pour le bien de l’observation, porteront deux casquettes.

Premier couvre-chef : le réalisme économique selon le genre musical et le pedigree du tourneur. Le choix de la programmation s’effectue à partir de l’équation « prix de la place de concert calibré sur la fiche d’imposition du bassin de population et le pouvoir d’achat de celui-ci sur le site ».
À vrai dire je ne sais pas ce qui prime le plus dans les spéculations des programmateurs, le taux de pénétration du fanatisme chez le client de base ou la faiblesse classique de l’individu au sein du groupe qui le pousse aux comportements mimétiques dans un lieu clos, puis l’abonne à une consommation aussi compulsive qu’animale.

La seconde casquette porte deux noms : contrôle social et sociologie sécuritaire. Les populations à risque c’est-à-dire à faible revenu, ou celles et ceux voulant se travestir en pauvre de luxe durant une soirée ont pour réputation des pathologies criminogènes ou une narcophilie naturelle, voir les deux si affinité.

Pour ces gens pratiquant le Smic mais pouvant hypothéquer leur rein gauche pour un écran plat, des solutions alternatives ou tiermondistes sont mise en place. On pourrait toutes les réunir sous la bannière du « culte du carton pâte et amour des bouts de ficelles ».
Les choix sont légion : la conviction profonde du concert en plein air ou de la free party en outdoor au nom de la liberté totalitaire, la politique d’acculturation choisie avec les friches autonomes pilotées par les pouvoirs publics, la passion pour la contrefaçon dont jouissent les salles des musiques actuelles (S.M.A.C.) soutenues conjointement par la contre-culture officielle et le bureau des affaires culturelles de votre mairie la plus proche.

« C’était mieux avant »

Anciennes nouveautés et amnésie généralisée :

La chose la plus effrayante avec la nu, néo, nouvelle chanson française, c’est son obsession à penser et à attester implicitement que le passé c’est l’avenir.
Cette argutie est adoubée par le côté quasi messianique de toute éventuelle nouveauté ayant la couleur, l’odeur, le goût de… la nu, néo, nouvelle chanson française gardienne du temps qui passe, du tourisme social et lacrymal, des dictionnaires de l’ancien régime, instigatrice de la mythologie des alibis (Brel, Brassens, Ferré).

La nu, néo, nouvelle chanson française est censée combler le manque affectif des adorateurs du patrimoine et la nostalgie imaginaire des consommateurs anachroniques. Plus que le retour de la vraie nu, néo, nouvelle chanson française, c’est le comeback boiteux d’une certaine époque du bon vivre, des valeurs familliaro-chrétiennes, de l’espoir commun « d’un changement secrètement expansionniste », voici le mécanisme central du marchandising du « C’était mieux avant ».

la mascarade annuelle et révisionniste des Victoires de la Musique

Ghost post :

À partir du moment où l’on subventionne les monolithes de la culture nationale pour une minorité, pourquoi la nu, néo, nouvelle chanson française ne passerait-elle pas dans le domaine public ?

Il est vrai que face aux parts de marchés du R’n’B de sonneries de téléphone portable, au rock défiguré par trop de chirurgies numériques, à l’électro pour première communion ou bar-mitsva et le rap pour terroristes de bac à sable, cela serait une manière honorable d’admettre un certain protectionnisme et nous permettrait d’éviter la mascarade annuelle et révisionniste des Victoires de la Musique.

Si la thérapie conjugale pour roman photo et les fresques de fantaisie guerrière sont la chanson française, alors dites-moi ce qu’est la chanson étrangère ?

Giraffes and rats can last longer without water than camels

A raisin dropped in a glass of fresh champagne will bounce up and down continuously from the bottom of the glass to the top

A female ferret will die if it goes into heat and cannot find a mate

It’s estimated that at any one time around 0.7% of the world’s population is drunk

40% of McDonald’s profits come from the sales of Happy Meals

The “spot” on the 7-Up logo comes from its inventor who had red eyes. He was an albino

And as always,my favorite…….

  On average, 12 newborns will be given to the wrong parents every day