Keeping Counterfeiters on Their Toes

DesignersLA HATES FAKES!

Here's an update from LA's counterfeit sellers, and it's not just handbags....busted for clothes and anything counterfeit!

Keeping in tune with the recent busts in NYC. LA is now cleaning house, too!

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Keeping Counterfeiters on Their Toes
by Deborah Belgum, Senior Editor

California Apparel News

Private investigators and police target L.A.’s copycat sellers

Inside the dowdy downtown police parking garage, Kris Buckner leafs through a thick three-ring white plastic notebook that could easily be considered the official guide to the Los Angeles counterfeiting world. Page after page bears images of men, women and even teens suspected of selling every kind of cheap imitation imaginable, from bags and blue jeans to watches and wallets.

As Buckner, president of Investigative Consultants, rapidly shuffles through the pages, he zeroes in on today’s targets: two women and one man believed to be selling fake purses, jewelry and clothing at three different locations on Santee Alley, a four-block zone in Los Angeles’ Fashion District where merchandise is sold in open-air stalls sandwiched in between the back entrances of retail stores and wholesale showrooms.

“All three people have prior histories. They’ve already been served with cease-and-desist orders before,” notes Buckner, dressed in an oversize jacket and loose-fitting jeans and sporting a week’s growth of facial hair. The only clue to his true identity is the plastic badge looped around his neck with his photo and one simple word: “investigator.”

Buckner and his team of six men pile into two sturdy vans while four police officers climb into their black and whites to provide backup for today’s counterfeit raid in Santee Alley on Feb. 22. While Buckner and his group zoom in on their suspects, Los Angeles Police Officer Randy McCain and his colleagues hang back in their squad cars, waiting for the call. Within a few minutes, Buckner alerts them that the targets have been apprehended selling counterfeit goods.

McCain and the three other officers— Tracy Allen, Juan Hernandez and Lupita Sanchez—hurry as fast as they can. “When we do the alley, we have to get to the location in 15 seconds,” McCain says, noting that vendors of counterfeit clothing and other items bolt as soon as they see anyone in a uniform coming down the alley jammed with shoppers. Buckner and his colleagues have nabbed two women who allegedly are selling counterfeit purses and other fake items. A third suspect got away. The women are handcuffed and taken to the LAPD’s Central Division station at Sixth and Maple streets, where they will be booked and released on bail.

Buckner and his team start bagging the counterfeit items, which will be used as evidence to prosecute the women. Several other vendors, in fear of being arrested, bolted from their small stands, which cost as much as $600 a month for a small patch of real estate in front of a store. What is left behind—hundreds of fake purses, wallets, jewelry, T-shirts, CDs and DVDs—will be bagged with the other confiscated goods. Authorities with the Los Angeles Fashion District note that the few bad apples on the alley give the market a bad name. “The large majority, and I am talking 90 percent and plus range, are selling legitimate merchandise,” said Kent Smith, executive director of the Fashion District Businesss Improvement District. “It is unfortunate that we have a number of people who persist in selling these things.”

Finding the fakes

Counterfeiting in Los Angeles is big business. The city’s industries are harder hit than most across the country because this is the nation’s entertainment capital as well as a major fashion capital. The Los Angeles County Economic Development Corp. has calculated that copies of clothing, purses, shoes, watches, jewelry, compact discs, DVDs, toys, medicine and other items cost Los Angeles County businesses $5 billion a year and drain the economy of 100,000 jobs. Some $617 million of those fakes are attributed to clothing, shoes and accessories.

Nationwide, that figure mushrooms to more than $250 billion a year, with counterfeit clothing accounting for a good portion. To combat the pervasive crime, Los Angeles last year formed a multi-agency Anti- Piracy Task Force to make a long-term effort to combat knockoff artists selling fake goods. Their first target was Santee Alley, where some 50,000 items worth more than $8 million were seized and 26 people were arrested on Nov. 29. Another raid in January at the El Faro/Alameda Swap Meet near downtown Los Angeles resulted in 10 people being arrested for selling fake brand-name vitamins, blue jeans, jewelry, CDs and DVDs, said Detective Rick Ishitani of the LAPD’s vice squad.

The task force is taking a three-pronged approach to counterfeit crime, said Ben Golombek, a spokesperson for Los Angeles Councilmember Wendy Greuel, who heads the task force. The first step is to educate the public that buying counterfeit items is bad and aids gang members, terrorist groups and criminals. Also on the education list are Los Angeles County’s Superior Court judges, who are learning how counterfeiting affects the economy and why stiffer sentences and fines are needed. The second step is enhanced enforcement and more raids, Golombek said, so criminals realize the police and sheriff’s departments are taking these crimes seriously.

The third step is looking at changing policies toward counterfeiting, perhaps rewriting the city nuisance abatement ordinance that covers prostitution and drug sales to include counterfeit vendors. Meanwhile, police continue to work with counterfeit investigators such as Carlos Fernandez, president of the Intellectual PropertyEnforcement Co., a Pasadena, Calif., business with several apparel company clients, and Buckner, who counts 50 apparel clients among his 90 customers at his Lawndale, Calif., company. Over the years, Fernandez and Buckner have seen counterfeiters become more sophisticated and smarter.

“Fifteen to 18 years ago, counterfeit clothing wasn’t as complicated. They were basic, silk-screen embroidery products produced locally,” Fernandez said. “Consumers were happy with that level of counterfeiting. But nowadays, on all levels, the counterfeit merchandise is very complicated. It is almost identical-looking to the authentic merchandise. Because of that, a lot of apparel companies have had to implement security measures, such as a security thread, security stitching or a hologram that has all these security markings.”

Years ago, Ishitani, of the LAPD’s vice squad, observed that Levi’s was a popular knockoff brand. Now fake purveyors prefer True Religion, 7 For All Mankind, LRG and Rock & Republic denim labels, which sell for more than $150 a pair on the regular market, he said. Counterfeit jeans sell for around $40. That rings true for Deborah Greaves, the attorney who heads up True Religion’s anti-counterfeit efforts. “We have developed a nationwide network of people like Kris Buckner who have years on the street and are active in finding things,” Greaves said. “We are involved in educating law-enforcement and customs officers around the country to become more proactive in detecting counterfeit goods.”

One area that is difficult to tackle is the Internet. Greaves said her company takes down 600 eBay auction sites a week selling fake True Religion jeans. In the last six months, she estimated the company has taken $10 million worth of false True Religion clothing off the street. With figures like that, Buckner and his team will be spending more time cruising down Santee Alley, where lookouts memorize investigators’ license plates and vendors come and go. “It’s a strange world out here,” said Buckner, who knows just about everyone on the alley by his or her first name. “A very strange world.”

Google Answers: JUICY COUTURE

We found these posts on a "Google Answers" discussion board about Juicy Couture. It was an interesting read, and we thought you might like to read it, too!

QUESTION: We want to know how the two women of "Juicy Couture" (Pam and Gela) got their business off the ground. We know that they were not or iginally fashion designers and we would like to know how they got financial backing and how they got their designs made without a background in textiles, sewing, etc. How did they start their business?

This is about all we could find about the start of their company:

"Whatever excesses of fluffiness the two might indulge in, there is nothing fluffy about their work ethic. When they started off, Pam was a milliner who made press-worthy but unsellable hats, and Gela was a pregnant actress living in a one-bedroom apartment with her first husband, the musician Chris Nash. The two—who met while helping their friend Tracey Ross at a shop—collaborated on a line of maternity jeans and shirts called Travis (for Gela's now-teenage son). They got out of the maternity racket after a catsuit they designed in red, white, and blue was recolored by a chain of stores in yellow, tangerine, and lime-green ("hot dog on a stick," recalls Pam). The ugliness was too much to handle—"It was our biggest order; that was it, we had to get out," says Gela. Seven years ago, they started Juicy Couture, to make the clothes they wanted in their closets but couldn't find anywhere else: a non-vulgar scoop-necked T-shirt (Pam is a 32 D), a saucy tennis skirt, jeans that fit skinny curves. Th ey had $200, Gela's apartment, and a cleaning woman to help with the shipping (she now runs their warehouses). "My single girlfriends always ask me how to start a business," Gela says. "Men tell them they have to go to a bank, do a business plan, borrow $60,000 to $100,000. If I'd started a business $60,000 in debt, I wouldn't have been able to get up in the morning. We learned from our experiences, and we were lucky." " We weren't lucky," Pam says. "We worked our asses off ."

While that information is a start, it hardly gives any details about how they got started and how they got their designs made or even how they knew how to design. Every article about the company just lists all the celebs that wear their terrycloth sweatsuits. We know they had a maternity line and we are more interested in info about their current line but would not neglect early learning experiences with their maternity wear. I guess really early interviews might help as well.

I poured through article after article about Juicy Couture, going through several databases and finding virtually nothing about the early business financing of Juicy (formerly Travis Jeans) until I finally hit upon one article from the The Times in London. Unfortunately, it is in the Proquest Database (which you may have access to in your local library) and copyright restrictions prevent me from copying the article here. Therefore, I have provided a summary of the article below, along with other relevant articles and information about the origins of Juicy Couture:

An Overview of the Company, it's origins and early financing:

From Proquest: The women who made velour cool; [Final 1 Edition] Grace
Bradberry. The Times. London (UK): Apr 11, 2003. pg. 6

Summary:

Gela Taylor and Pam Skaist-Levy launched their business from home, starting off with $200. Though friends urged them to formulate a business plan and take out an $80,000 loan, the two women were rejected both suggestions. They were adamantly against borrowing money, noting that an $80,000 debt would not have allowed them to sleep at night. Instead, they had a revolving line of credit which permitted them to borrow and pay back their credit lines to zero so they did not assume outstanding debt. The women took their profits and continuously put them back into the business. Neither woman took a salary for the first two years.

Starting in the niche maternity jean market gave them the opportunity to start with an item of apparel that was neither seasonal or likely to falter due to decreased need. The market was narrow enough that they were permitted to learn from their mistakes on a small scale.

When the women launched Juicy Couture, they also started with another basic staple - the t-shirt - which they cut to fit a women's figure in a flattering and sexy manner.

One of the keys to their success, they believe, is designing clothing lines that do not fall out of fashion. They keep their brand strong by limiting sales to a select group of stores. While celebrity customers have certainly helped to drive the brand, the pair note that their items were selling out before the big names sported their label.

While the velour tracksuit is a huge success, they are quick to point out that it is not a new concept. The materials and cut of their designs are different, but it is simply their own spin on an item that has always been popular due to the comfort and functionality. Noting that most every person would love to be able to step out in their pajamas, the Juicy brand reconfigured the tracksuit with cut and color to make the item of sportswear more presentable.

Liz Claiborne is the current owner of Juicy Couture, having recently bought out 100% of the stock in Travis Jeans, which owns the assets to Juicy.

From "Juicy Couture: packed with Vitamin See," by Caitlin Ingrassia.
The TimesHerald-Record.

"Juicy Couture began in 1994 after friends Gela Taylor and Pamela Skaist-Levy shared their desire for the perfect T-shirt - a modernized version of a man's V-neck, with a better fit. Sensing a need in the market, the two took to their sketch pads and sewing machines and designed a dozen tight little tank tops."

The following articles are available on the Highbeam Research site. You may access the article if you want by taking out a "free, 7-day trial" at http://www.highbeam.com/library/index.asp

Since no portions of the articles can be copied I have summarized them below:

From "They've got the juice. (Pamela Skaist and Gela Nash and their women's apparel business, Juicy) Los Angeles Business Journal; 1/27/1997; Kanter, Larry.

Summary:

At the time the article was written, the business was located in an industrial business park in the northeast section of the San Fernando Valley. Large bolts of fabric and boxes of t-shirts awaiting shipment cluttered the office, according to the writer.

Skaist and Nash originally started their business designing maternity jeans under the Travis label. The simple design consisted of an oversized pair of jeans with the waist replaced by an expandable cotton panel. The two followed up with a line of lace nursing bras.

The duo then shifted their talents to re-designing the basic v-neck t-shirt under the label Juicy, using various fabrics and restyling the cut so it was more form-fitting to a women's body. The t-shirts sold in the range of $21-$30, with sales reaching approximately 1 million at the end of the first year.

At the time of writing, all of Juicy's clothes were, according to the label, "made in the glamorous USA". According to Nash, the two wanted to keep manufacturing within the country. Rather than employing teams of market researchers, the women prefer to operate on their own instincts, creating comfortable clothes they would wear themselves.

Some facts about Juicy:

Year Founded: 1994
Employees in 1994: 2
Employees in 1997: 8
Sales in 1994: $1 million
Sales in 1996: $5 million

From "Tee for Two: Designers Gela Nash-Taylor and Pamela Skaist-Levy hit it big with their colorful, form-fitting Juicy T-shirts.(Style)(Brief Article) People Weekly; 11/6/2000

Summary:

In order to create their curve-hugging t-shirts,($30 to $60), the two took a Hanes T-shirt and cut it to fit in sexy manner.

The following summary is from a 2003 interview in Women's Wear Daily, one month after Juicy was bought by Liz Claiborne Inc. The article is also available on Highbeam.

From "Juicy's New Squeeze: Claiborne."(Interview). WWD; 4/17/2003;
Jones, Rose Apodaca

Summary:

Pam Skaist-Levy and Gela Taylor currently remain co-presidents while Claiborne's owns 100 percent of Juicy Couture. The buyout is allowing them to finance additional product lines, from flip-flops to fur parkas. (For in-depth information on buyout figures, you will need to access the article)

Store owners are also looking forward to a more timely flow of Juicy goods to fulfill the frenzied demand. Juicy products are currently sold in over 840 specialty stores in the US and 280 department stores. Eight-percent of the company's sales are in Europe, 5% in Canada and 2% in Japan.

The simple ability to fulfill the current demand for Juicy products has some speculating that the business will double in growth within a year. A steady supply of existing and new product lines has retailers anticipating the plus side of the buyout.

New product lines are expected to include cosmetics, fragrance, footwear, handbags as well as the first namesake Juicy boutique. All of this is expected to take a good portion of the production out of the United States - a difference in the original company vision of keeping all production within the country.

At the time of writing, the Juicy staff numbered 200. The two women have already begun to envision a home collection, including designer furniture.

Recounting the beginnings of the company, the pair tell how they met at a friend's shop in 1994, soon hooking up to launch Travis Jeans. In 1996, their t-shirt business took off under the brand, Juicy Couture. Juicy Jeans followed in 1999, with a launch party headlined by Taylor's husband and his band, Duran Duran. The party attracted a celebrity A-list who have helped to boost the brand's image.

In 2001, the Juicy Couture tracksuit became a hit with its form fitting cut and wonderful array of colors. A men's line of clothing, a baby business, and the new house party launch of Down Dog Couture Yoga apparel has added to the Juicy line.

Skaist-Levy and Taylor speculate that they will be able to keep up with the increased pace now that Liz Claiborne has taken over, but they don't want to see the Juicy line flood every department store in the country. They still want to retain their specialty niche. Moreover, they are avoiding the calling to produce their tracksuits in sizes for larger women, only recently adding a size 8, and contemplating a size 10 to quiet the retailers.

Nor do they want to enter the teen or tween market. They figure that young girls can wait until they grow up to be fit into or afford the Juicy label. However, they are already aware that many teens are already buying the clothing intended for their mothers.

To sum it up, Skaist-Levy and Gela Taylor are hoping that, with the aid of Liz Claiborne as their parent, they will be able to make Juicy into the next American brand.

A freely accessible article from "Juicy Couture meets their match." PR Newswire; 3/20/2003 http://www.prnewswire.co.uk/cgi/news/release?id=99753

Some excerpts follow:

"Liz Claiborne Inc. purchase 100% of Juicy Couture on the same day the US edition of Vogue Magazine declares 'Juicy Couture just may be The Future of Fashion."

"In 1996, with a pair of scissors, a bag of T-shirts and $200 between them, Juicy Couture co-designers, Pamela Skaist-Levy and Gela Taylor created the Juicy phenomenon. "We had originally intended to make sexy basics for our friends as presents" claims The Juicy's (as Vogue
Magazine's April 2003 issue refers to them), however they soon realised how contagious Juicy fever would become. "Juicy Couture has completely revolutionised fashion," says Skaist -Levy. Not only did the world take notice of the tracksuits, but Liz Claiborne Inc. quickly recognised Juicy's appeal and the talented women behind the influential label."

"It's amazing because while we remain in 100% control of the vision of the company and the product, Juicy's design concept and quality will not change at all. It's the best feeling to have the financial freedom and the uninhibited creative control all at once - It will be 'Juicy Mania' like no one has seen before", states Skaist-Levy. "Liz Claiborne Inc.'s financial backing will allow us to go leaps and bounds over anything that we have ever done in the past. We are ecstatic", claims Taylor. "Finally with our new partnership we can add a great dimension to this Juicy world!"

"Having been introduced by mutual friends in 1994, P&G's first project was producing a line of maternity jeans called Travis Jeans, what would soon become Juicy Couture. Pam, previously a milliner, had a strong background in fashion, having studied at the Fashion Institute of Design and Merchandising; while Gela was an actress who had held numerous roles in films, on television and on the stage. Their common bond? "We could never find fashionable basics that were girly, flattering and sexy!", expressed P&G in unison. The Juicys launched their line of T-shirts that immediately flew out of every store that carried them. Based on this success, P&G applied their designs to revolutionising denim wear. Juicy expanded into the jean market with the launch of Juicy Jeans in 1999. For the actual launch, Duran Duran reunited for the evening and performed at an exclusive venue for a high profile guest list. This natural progression, led the duo to later introduce a line of cashmere sweaters and scarves inspired by the styles and trends of the 80's London punk rock scene and such icons as Johnny Rotten and the Sex Pistols. Building on this momentum, in Spring 2001, P&G created a new Juicy twist to affordable fashion by designing the Juicy Tracksuit. "Why can't women be comfortable while still feeling sexy and chic?" asks Taylor. "As I travelled across the country last year, speaking with women about fashion, the only thing united was an obsessive interest in Juicy velours -should the tracksuit go to a dinner party? The dog run? The school cafeteria? A date? The in-laws? A cocktail? (Answer: Yes to all of the above.)", asks Sally Singer, Fashion Features Director at Vogue Magazine."

"Juicy Couture retail success has been reinforced by the immense celebrity appeal. "We have been very fortunate by our celebrity support. All of these celebrities really get it - while they are sent the best in fashion whether from Gucci, Versace, or Dior, they still choose Juicy!", claims Skaist-Levy.... For Spring/ Summer 2003, P&G launched Juicy Couture largest and most
elaborate collection ever. With five new line extensions, Juicy has rounded out the collection, creating a 'Juicy lifestyle'. New introductions include:

Down Dog Couture Yoga, Menswear, Swim, Baby, Sleepwear and Accessories: While Juicy's national appeal is growing by the day, Juicy international recognition is mirroring that growth and in instances surpasses it. In October 2002, a Juicy promotion in Harvey Nichols in London broke a store sales record! That evening The Juicy's hosted a party at 'Home House' (where Madonna used to stay in London). Guests included: Matthew Williamson, Yasmin & Simon Le Bon, Jodie & Jemma Kidd, Kate Driver, Alison Loehman, Debbie Harry, John Taylor, and Nick Rhodes from Duran Duran. For their Milan launch, Juicy took out their first advertisement ever. The ad not only generated such a high level of interest, but drove their retailers to see additional record breaking sales in first day alone!

Read more....

More about Pamela Skaist Pamela Skaist is not as complete a novice in the fashion industry as
you might think. She is a graduate of The Fashion Institute of Design & Merchandising. The following excerpt is from a "cached" web page. If you want to view the page, please paste the URL into your browser) "Throughout the apparel world, FIDM alumni are in top positions in their specialty fields. Notable graduates include fashion designers Pamela Skaist-Levy (owner of Juicy Couture),.."

"Designs on the Future - FIDM Prepares Students for Cutting-Edge Careers." Downtown News.com From the Proquest Database - "Designer Friends Stumble Onto Success; [Home Edition] ROSE-MARIE TURK. Los Angeles Times (pre-1997 Fulltext). Los Angeles, Calif.: Oct 9, 1987. pg. 20

Summary:

The article highlights the start of Skaist's earlier career as a milliner while working her way through the Fashion Institute of Design and Merchandising. Skaist was prompted to make her own hats when an ailment caused temporary baldness. Unable to buy expensive hats, she was forced to buy cheaper versions and add her own trimmings. Urged by an instructor to make millinery her career, she started a business called "Helmet," designing one-of-a kind hats which she sold in a friend's boutique.

The hats took off from the start, with the first store ordering two dozen. Expecting only 5 hats per order, original orders were on the number of 15.

Skaist, who believes she was destined to be a designer, imagines her next venture to be a line of clothing called "Uniforms." (Little did she know what the future would hold :) "Juicy/couture. Style.com "Juicy Couture Dives Into Swimwear." For Release.com

I hope these articles provide a bit more enlightenment into how the Juicy Label got off the ground. Don't forget, the connections these women have to the LA scene certainly did not hurt, I'm sure, when it came to finding buyers for their sample products, especially since much of the interest was generated in celebrity launches wihin a home setting or invitation-only party.

However it is still an interesting success story and these two women are to be admired, don't you think??? Search Stratey on Goolge, Highbeam, Proquest and Ebsco for the terms;

Juicy Couture
Juicy Clothing
Travis jeans
Pamela Skaist
Gela Taylor

Early beginnings of "Juicy Couture"- details about getting it started I stumbled on this discussion page about the origins of Juicy Couture. I have to admit I'm a fan of the brand. I have no doubt the founders of Juicy Couture had original ideas and worked hard to make their product successful. I won't knock them and I wouldn't dare belittle their success, but having a good idea come to fruition might possibly have been made infinitely easier by having a rock star husband. Gela Nash-Taylor is married to a member of Duran Duran, John Taylor. The financial backing and celebrity connections sure didn't hurt launching and continually promoting the brand. There is no harm in that. A lot of people with good ideas would love the kind of backing and launch pad. And the Tracy Ross mentioned in one entry is the daughter of Diana. With friends like these, how could you fail? And why should you.

Designer Bio: Lee Angel Jewelry

from ShopBop

Over the past 18 years, Lee Angel's creator Roxanne Assoulin has grown into an artist, a friend, and a mother of three. In learning to balance her multiple roles, she has developed a deeper sense of simplicity, which inspired her to create Lee Angel. The designer's pieces are fun and relaxed; they celebrate the casual attitude that is predominant in today's society. The appeal of Lee Angel crosses all age and cultural boundaries, making the items the must-haves of every season.

~~~~~~~~~~~~~~~~

Lee Angel is not a Los Angeles Designer, but nonetheless, there's enough people in Hollywood and LA who adore Lee Angel Jewelry. We just had to add it to our blog! Enjoy!

LEE ANGEL designer jewelry expandable gold bracelet shown above. Lee Angel stretch bracelet with inlaid clear swarovski crystal stones. The Lee Angel bracelet measures approximately 2.25 inches wide with a 2.25 inch diameter. Lee Angel jewelry is found in the finest stores and boutiques worldwide. One size. Guaranteed authentic.

Dressed for Celluloid Success

Christian Bale

from Apparel News
Photography by Getty Images

Who: Costume Designers Guild
What: 10th annual Costume Designers Guild Awards
Where: Beverly Wilshire Hotel

The scene: With Hollywood awards season in full swing, the Costume Designers Guild (CDG) spent the evening recognizing the work of its own and paid tribute to the legacy of the industry’s brightest talent. A potpourri of costume designers, actors, agents and movie-studio executives was seen sipping cocktails and mingling before the awards ceremony began.

The event was hosted by Academy Award–winning actress and longtime supporter Angelica Huston, who wore a red Swarovski crystal–encrusted gown designed by Bob Mackie. Huston gave a poignant speech about the importance of costume design in film as well as the CDG’s efforts to promote artistry, technical expertise and the creative vision of its 700 members. “If costume designers went on strike, then we would all be naked, which might be kind of fun,” Huston said.

More than a dozen statuettes were handed out during the evening. Actress Katie Holmes, who was dressed elegantly in a silver satin gown with jewel-encrusted neckline, presented the “Swarovski President’s Award” to United Artists’ Chief Executive Officer Paula Wagner.

Actor Christian Bale bestowed the “Distinguished Director/Producer Award” to director James Mangold and producing partner Cathy Konrad (“3:10 to Yuma” and “Walk the Line”).

Actress Geena Davis gave the “Lacoste Career Achievement in Film Award” to costume designer Ruth Myers for her body of work, which includes her Oscar-nominated designs for “Emma,” “L.A. Confidential,” “Infamous” and “The Painted Veil.”

Emmy-winning costume designer Ray Aghayan, who lobbied for the Academy of Television Arts & Sciences to recognize the contribution of costume designers nearly three decades ago, received the “Career Achievement in Television Award,” which was presented by Bob Mackie.

The following costume designers were recognized for their contributions to films in 2007:

• “Excellence in Contemporary Film” to Julie Weiss for “Blades of Glory”
• “Excellence in Period Film” to Colleen Atwood for “Sweeney Todd: The Demon Barber of Fleet Street”
• “Excellence in Fantasy Film” to Ruth Myers for “The Golden Compass”
• “Outstanding Made-for-TV Movie or Mini Series” to Mario Davignon for “Bury My Heart at Wounded Knee”
• “Outstanding Contemporary Television Series” to Eduardo Castro for “Ugly Betty”
• “Outstanding Period/Fantasy Television Series” to Robert Blackman for “Pushing Daisies”
• “Excellence in Commercial Costume Design” to Deborah Ferguson for Capital One’s “Princess Kiss.”

—Claudia Schou, Contributing Writer

To Live And Thrive In L.A.

Juicy Couture's founders are spinning gold from Valley Girl "casual chic"

There are the conventional measures of success in business: healthy profits, high stock prices, happy employees. Then there's the way 44-year-old Gela Taylor and 41-year-old Pamela Skaist-Levy, the two women who founded Juicy Couture, the very L.A. line of clothes, measure success: "We had our biggest honor this year," says Taylor. "We're Barbies now." That's right. Mattel Inc. (MAT ) designed dolls based on the Juicy ladies, dressed in their signature sweat suits, pet dogs at their sides.

It doesn't get much better than that for this pair, who often do wear matching outfits, call each other "Fluffy," and can take much of the credit for bringing L.A.'s casual chic to the rest of the world. Juicy clothes are laid back, sometimes cheeky, and priced just this side of outrageous. Ripped jeans with a rhinestone heart on the front sell for $178; a hooded sweatshirt lined with rabbit fur goes for $395. And, although you won't hear this from them, paying more helps account for the 4% rise in U.S. apparel sales in 2004, to $173 billion, the first increase in three years. "People are identifying with that affluent celebrity lifestyle," says Marshal Cohen, an analyst at market researcher NPD Group Inc. "Everybody wants to go to the gym with Madonna, or at least look like they did."

WORKING OUT WELL
Juicy couture is also a rare example of a corporate takeover that has worked. Liz Claiborne Inc. (LIZ ) acquired the company in April, 2003, for what Skaist-Levy calls a juicy price: $53 million plus an additional sum based on future earnings, which Claiborne estimates could reach $92 million. Juicy Couture has become one of Claiborne's fastest-growing divisions. Since the deal, Juicy revenues have quadrupled and are nearing $200 million. And while the number of retailers that carry the brand remains steady (1,400 worldwide), Juicy has been able to get into swimwear, shoes, sunglasses, jewelry, and handbags. Sweat suits, the item that made them famous and is now knocked off by everyone from Wal-Mart Stores Inc. (WMT ) to Prada, make up half of Juicy's sales, down from 70% two years ago.

In October, Juicy opened its first store, in Las Vegas. Sales top $1,000 per square foot, three times the industry average. Five more stores are planned this year. "The backing from Claiborne has allowed them to move into new markets much faster," says Frederick Schmitt, an investment banker at Sage Group LLC in Los Angeles who helped negotiate the sale.

Another plus: Claiborne took over tasks the founders weren't so fond of -- accounting, manufacturing, and distribution -- and left the designing and marketing to them. This is part of Claiborne's strategy of buying fledgling retailers' brands to compete with discount and specialty stores. Acquisitions helped Claiborne's earnings climb 12% last year, to $313 million, on sales of $4.6 billion.

The relationship has had its rocky moments, though. Last year, Claiborne Executive Vice-President Angela Ahrendts got word that Juicy was planning to give away condoms with its men's blazers. She didn't think that exactly jibed with Liz Claiborne's more traditional sensibility, so she called Taylor and Skaist-Levy to "get inside their thought process." Which was: It seemed funny. Ultimately the pair gave up on the notion because it proved impractical, they say, not because of any corporate kibosh. Now Ahrendts can magnanimously say of the two: "Anything the consumer sees, they control. Their inspiration is totally their own."

WHAT ARE "MARGINS"?
Taylor and Skaist-Levy are still totally into their ditzy Valley Girl image. Frank Doroff, top women's sportswear buyer at Bloomingdale's, says Taylor pretends not to know financial terms such as margins and dollars per square foot. Taylor adds: "I asked him: 'Do you have a department store dictionary?"' Doroff says it's endearing, and sounds like he means it.

The pair have also introduced a little Paris Hilton-esque attitude into the conservative Claiborne organization. At a corporate retreat two years ago, Taylor and Skaist-Levy were asked by a colleague if they would ever design a moderately priced line. They looked at each blankly. Then Taylor replied: "What's that?"

The Juicy founders met at a mutual friend's clothing store in Los Angeles 16 years ago. Taylor was a struggling actress with a baby on the way. Skaist-Levy, a fashion school grad, was designing hats. Their first creation was maternity blue jeans: They spent $200 adding elastic to some old Levi's and sold them at maternity clothes stores. After a photograph of actress Melanie Griffith in their jeans appeared in Glamour, sales took off. Now their approach to celebrity endorsements is a little more calculated. Juicy Couture spends nothing on traditional advertising, preferring to send thousands of free outfits to the famous as well as to fashion editors and stylists every year. "Anybody can buy an ad in Vogue," Skaist-Levy explains.

Maternity jeans aside, it was their reinvention of the sweat suit in 2001 that got the world's attention. It was cut to show off curves, came in pastel colors and plush fabrics such as velour and terry cloth, and cost about $200. Later, they splashed the word "Juicy" across the rear end. Celebrities such as Britney Spears and Jennifer Lopez wore the sweat suits everywhere. Taylor says she realized they had created a fashion phenomenon one afternoon while standing on Rodeo Drive in Beverly Hills: Women on all four corners were wearing their sweats. "It was what we call a major Juicy sighting," she says.

The fashionistas, of course, may one day tire of Juicy Couture, especially if it's available everywhere. A few years ago, Barneys New York (JNY ) dropped Juicy, sensing it had lost its exclusivity. The store added the line back fast, though. "Our customers kept asking for it," says Terence Bogan, the women's sportswear buyer at Barneys.

The Juicy take on these shoppers is simple enough. At the company's warehouse, Skaist-Levy holds up a mini-handbag, intended to hang from a belt loop or one of their bigger purses. "Our customers are addicted to stuff," she says. "They need stuff on top of their stuff."

That's why the pair say they'll never retire. "It's going to be Juicy Geriatric," Skaist-Levy says. And their Barbies will be wearing robes and slippers.

Milan fashion turns full circle

from thewest.com.au

Colours screaming Florida and unabashed sexuality ripped through Milan fashion week as designers paid homage to free-sprited women, from the flappers of yore to today’s princesses of excess. Extravagant designs and iridescent shades were omnipresent as retro styles, from the low-waisted dresses of the Roaring Twenties to the psychedelic oversized prints of the 1970s, set the runways alight.

Flamboyant Italian designer Roberto Cavalli said his 2008-2009 autumn-winter collection was for young girls who rummaged through attics, junk shops and old vinyl records to seek individual style.

A thumbs up from Generation Now would be his greatest compliment, he said. “I love it when a little girl of 14-15 says ’How do you do it Mr Cavalli? You make me feel like a rock star,’” he said. Flamingos served as the leitmotif on blouses and flowing organza dresses were splotched with blobs of peach, tangerine and emerald green, enlivening an already eye-popping floral backdrop.

Cavalli also went for winter-warming tartan suits, leopard print dresses and mini skirts in python, felt and denim. Vests were either cropped or extra long with fox or Mongolian fur details. Accessories included chunky charm bracelets, earrings dangling to the collarbone, fur purses, oversize owl, toucan and flamingo pendants, and tights in leopard and abstract prints.

Iconic son of the soil Giorgio Armani, best known for his soft deconstructed suit, stuck to conservativism, working off a palette of essentially black and grey but showcasing his trademark excellence in tailoring, detail and cuts. His models wore high-waisted flowing grey slacks with giant bows tied at the side and flowing almost to the knees, teamed with ballerina shoes and large sunglasses. A black cocktail dress for the Emporio Armani label was a show stopper, flaring from the waist down into rings of tight coils held together as though by magic.

But Armani toyed with quirky elements: polka-dotted tights in lavender and purple, baby-pink clutch handbags, and a stole dotted with pom-poms. Designer duo Frankie Morello for their part opted for Amy Winehouse-like shock value, saying they were offering “rehab” for rich, beautiful women fallen victim to “alcohol, drugs, sex, fame, boredom and self-centredness.” Their repertoire went from a black T-shirt with the brazen message ’I love Poppers’ to a pink shirt with a multi-layered hood proclaiming the wearer to be “Belle de Jour” -- a tribute to a particularly sultry role played by their muse, French actress Catherine Deneuve.

Funky elements were omnipresent: giant Casper eyes on hats and pink pillbox hats -- immortalised by Jackie Kennedy during her White House years. Models click-clacked on imitation croc stilettos with metal heels, and there were shades of bondage with layered black patent leather skirts that had a latex feel. For Italian label Kristina Ti, Sunday’s show was a tribute to the flappers of the 1920s who shed corsets, girdles and long hair and smoked in public, marking a milestone in women’s long march to equality. Designer Cristina Tardito also went for low-waisted flapper dresses and caps, Charleston-style shoes, bracelets adorned with Art Nouveau animals, and Empire-waisted dresses with the hemline tied in a bow in front.

She turned the Boudoir bag almost into a briefcase by expanding its proportions and jazzed up the classic Twenties-style dresses with puffed sleeves by injecting contemporary shades such as electric blue, melange grey and poppy red. Tardito said her inspiration was the erotic writer Anais Nin, who became American author Henry Miller’s lover, forming with him and his partner June one of the most famous love triangles of modern literary history. “Nin ... wrote about sex like a man, using a pseudonym at first and then revealing herself at the right moment -- just like each of us should do still now using the weapons of mystery to whet the prey,” she said.

MILAN

KOOBA metallics: Mirror mirror on the wall

Which is the fairest Kooba of all? Mirror metallics are of course! The mirror metallic leather Kooba handbags are as stunning in person as they are in the photos. Kooba has a way of designing a large bag with style and finesse. The minimalist design, smooth edges and couture details make Kooba a brand of choice.Take the gold mirror metallic Kooba leather handbag above. Secure twist turn lock closure, shoulder straps, lined interior with lots of extra pockets. And, room for all you'd need to carry.

Here's the same design in silver mirror metallic leather. The Kooba handbag has just enough detail to give make it an eye catcher on anyone's shoulder. The top stitched quilting is a nice compliment to the smooth mirror metallic leather body.

Here's more about Kooba
from LoveToKnow

Kooba handbags act as an unequivocal bait for hot Hollywooders. They've been seen toted around by stars like Mischa Barton, Lindsay Lohan, Courtney Cox, Julia Roberts, Jennifer Garner, and many, many more. Moreover, Kooba has been featured in numerous fashion and celebrity magazines such as People, Lucky, and Cosmopolitan. But what makes these handbags so popular amongst A-list celebrities is a little more than just carrying the presence of a fresh new design.

Kooba is amongst a group of moderate luxury designers whose prices remain typically under 1000 dollars, but materials and craftsmanship can rival high profile designers like Louis Vuitton and Fendi. The official Kooba site promises that every bag is crafted using "soft Italian leather" and "the finest hardware". You won't find poor stitching or chipped hardware anywhere in Kooba's repertoire.

Styles aren't overly abundant, though. In Kooba's collection you will find:

• Shoulder Bags
• Handbags
• Totes
• Clutches

For the most part, that's about it. However, unless you're a plane-hopping socialite, the average Kooba consumer will be looking for pieces to dress up her work and after-hours attire.
Kooba handbags are luxury quality, but the overarching style of these bags is ever so slightly rustic. Leather is colored and textured while the designs are boxy, slouchy, riveted and/or covered in antique hardware. Kooba is a far cry from the gleaming classic designs of Chanel or the avant-garde flamboyant styles of Dolce & Gabbanna. Kooba handbags carry a touch of everyday casual. They are the perfect accessory for jeans, heels, and a suede blazer.

Don't expect ultra-girly, subtle, or flashy cutting-edge spotlight-craving handbags from a designer like Kooba.

Do expect, however:

• A wide color palette that sticks to muted tones
• A serious lack of pink Woven designs Lots of vintage-textured leather
• Bullets and rivets
• Pockets Buckles
  

Casual and completely without frills, these are coffee house bags, shopping bags, date-at-the-movies bags, and handbags that are not suited for upscale evening events. But the unassuming quality of Kooba handbags is what makes them so perfect for everyday activities. If you're looking for a bag to make your office wear more trend-setting, or maybe you just need the perfect lunch date accessory, then Kooba's array of shoppers, totes, and clutches will grant all the sophistication and adaptability you need.

For Spring, Kooba is going big and bulky. The Natasha Tote is an enormous fashion success, emphasis on the enormous. This vast, yet stately, tote is a perfect weekender or picnicking accessory. Perhaps too formidable for the workplace, you can make the Natasha tote your trusty travel companion; it's the ideal size for an in-flight carry-on! Books, maps, cosmetic bags, practically any of your everyday items can fit into this lush stretch of patent leather. Though it comes in either white or black, the white color will definitely liven up your spring wardrobe.

Delving into effective business accessories, the Kooba Parker Shoulder Bag is a boxy, pockety patent piece of fun. With suspender pants or pencil skirts, this bag puts a kick into your professionalism with its almost Marc Jacobs-like pocket appearance. But most importantly, it's tall enough for you to tote around your favorite celebrity tabloids, yet wide enough for a truckload of lip gloss. Of course, Kooba's sensible color schemes keep your options limited to caramel and black leather, but the patent texture is eye-catching enough as is

A Hollywood Favorite: CHANEL Handbags on SALE!

When was the last time you found a sale for Chanel handbags online? Bet, never! Until NOW! Here's a place you can get gorgeous Chanel handbags and accessories below retail. Don't have time to shop? Well, that's OK. Click here and let your fingers do the walkin'.....

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About CHANEL......
Gabrielle Coco Chanel (1883–1971) and The House of Chanel
from MetMuseum Timeline of Art History

Early Success

Among the key designers who made a bold and lasting impression on women's fashion in the twentieth century, Gabrielle "Coco" Chanel (1883–1971) deserves special recognition. Born in Saumur, in the Loire Valley of France, Chanel survived an impoverished childhood and strict convent education. The difficulties of her early life inspired her to pursue a radically different lifestyle, first on the stage, where she acquired the nickname "Coco," and then as a milliner.

With the help of one of the male admirers who would provide key financial assistance and social connections over the course of her career, Chanel opened her first shop in Paris in 1913, followed by another in the resort town of Deauville. Selling hats and a limited line of garments, Chanel's shops developed a dedicated clientele who quickly made her practical sportswear a great success. Much of Chanel's clothing was made of jersey, a choice of fabric both unusual and inspired. Until the designer began to work with it, jersey was more commonly used for men's underwear. With her financial situation precarious in the early years of her design career, Chanel purchased jersey primarily for its low cost. The qualities of the fabric, however, ensured that the designer would continue to use it long after her business became profitable. The fabric draped well and suited Chanel's designs, which were simple, practical, and often inspired by men's wear, especially the uniforms prevalent when World War I broke out in 1914.

As her fashion-conscious customers fled Paris at the beginning of the war, Chanel's boutiques in Deauville and Biarritz flourished. Chanel's uncluttered styles, with their boxy lines and shortened skirts, allowed women to leave their corsets behind and freed them for the practical activities made necessary by the war. Elements of these early designs became hallmarks of the Chanel look (1975.7; 1984.28a-c; 1976.29.7) Chanel took great pride as a woman in designing for other women, and by 1919, at the age of thirty-two, she enjoyed huge success, with clients around the world. Soon after, she relocated her couture house in Paris to 31 Rue Cambon, which remains the center of operations for the House of Chanel today.

A Style Icon

Chanel's own lifestyle fueled her ideas of how modern women everywhere should look, act, and dress. Her own slim boyish figure and cropped hair became an ideal, as did her tanned skin, active lifestyle, and financial independence. Throughout her career, Chanel succeeded in packaging and marketing her own personal attitudes and style, making her a key arbiter of women's taste throughout the twentieth century.

The designer's passionate interests inspired her fashions. Her apartment and her clothing followed her favorite color palette, shades of beige, black, and white (1978.165.16a,b; 1984.30). Elements from her art collection and theatrical interests likewise provided themes for her collections (C.I.65.47.2a,b). When Chanel attended a masquerade ball dressed as a figure from a Watteau painting, she later reworked the costume into a woman's suit (C.I.54.16.1a,b). She hired Russian émigrés from her circle of friends to work in her embroidery workshop, creating designs to her exacting specifications. Known for a relentless drive for perfection, whether in design or fit, and strong opinions in all matters of taste, Chanel backed her clothing with the authority of her personal conviction.

Chanel continued to create successful looks for women through the 1920s and '30s. In 1926, American Vogue likened Chanel's "little black dress" to the Ford, alluding to its almost universal popularity as a fashion basic. In fact, the concept of the dress suitable for day and evening did become both a staple for Chanel throughout subsequent seasons and a classic piece of twentieth-century women's wear (1984.28a-c). The designer also used colorful feminine printed chiffons in her daywear designs (1984.31a-c). Evening ensembles followed the long slim line for which the designer was known, but also incorporated tulle, lace, and decorative elements that soften and romanticize the overall look of the garment (1978.165.16a,b; C.I.46.4.7a-c).

The Closure and the Comeback

Despite her great success, Chanel closed the doors of her salon in 1939, when France declared war on Germany. Other couturiers left the country, but Chanel endured the war in Paris, her future uncertain. Following the end of the hostilities and resolution of some personal difficulties, Chanel found she could not idly stand by and observe the early success of Christian Dior, whose "New Look" prevailed in the postwar period. While many admired Dior's celebration of femininity, with full skirts and nipped-in waists, Chanel felt his designs were neither modern nor suitable for the liberated women who had survived another war by taking on active roles in society. Just as she had following World War I, Chanel set out to rescue and reinvigorate women's fashion.

The designer faced challenges in this endeavor: securing finances, assembling a new staff, seeking out new fabrics, competing at age seventy against a new generation of designers. Chanel's comeback collection of couture debuted in 1953 (1976.370.2a-c). Although it was not a critical success, the designer persevered. Within three seasons, Chanel was enjoying newfound respect. She updated her classic looks, reworking the classic tweed designs until wealthy women and celebrities returned to the showroom in droves. The Chanel suit became a status symbol for a new generation, made of solid or tweed fabric, with its slim skirt and collarless jacket trimmed in braid, gold buttons, patch pockets, and—sewn into the hem—a gold-colored chain ensuring it hung properly from the shoulders. Chanel also reintroduced her handbags, jewelry, and shoes with great success in subsequent seasons.

The Legacy Continues

Following Chanel's death in 1971, several of her assistants designed the couture and ready-to-wear lines until Karl Lagerfeld (born 1938) took over the haute couture design in 1983 and ready-to-wear in 1984. Lagerfeld, like Chanel at the time of her comeback, looked to past designs for the secret to his success. His designs incorporated signature Chanel details, tweed fabrics, colors, gold chains, quilt-stitched leather, and the linked "CC" logo. In later collections, Lagerfeld became more irreverent, deconstructing some of the ladylike polish of Chanel's 1960s looks. Playing with the fact that Chanel's favorite jersey fabric had been used for men's underwear at the turn of the twentieth century, Lagerfeld even incorporated men's T-shirts and briefs into his designs (1993.104.2a-c). Nonetheless, Lagerfeld's ability to continuously mine the Chanel archive for inspiration testifies to the importance of Gabrielle Chanel's contributions to women's fashion in the twentieth century.

Living In A Juicy World

from Carnegie Mellon Today
Alumna heads trend-setting fashion empire

If the world seems to be getting juicier, it may not be due to global warming. It may be due to global wearing—of Juicy Couture, the white-hot fashion empire launched by a Carnegie Mellon alumna.

Juicy Couture is everywhere. It’s casual and cocktail; sunglasses and shoes; men, women, and children. It’s equal parts class and sass—and stores can’t get enough of it. Reese, Gwyneth, Madonna, Brad, Kevin, and Ben all wear Juicy. But Juicy’s more affordable than many other labels, so the soccer mom next door wears it, too.

It began modestly. Gela Nash-Taylor—who was Gela Jacobson when she graduated from Carnegie Mellon as a drama major in 1978—was pregnant and couldn’t find maternity clothes she liked. So she and her good friend Pam Skaist-Levy bought loads of plain vintage jeans. Using their design sense and a lot of hard work, they transformed the jeans into a successful line of maternity wear.

By 1997, having learned the basics of the fashion business, they were ready to tackle something larger—but they didn’t go the standard route. Nash-Taylor recalls, “People say you have to go to a bank, do a business plan, and borrow $60,000 to $100,000. If I’d started a business $60,000 in debt, I wouldn’t have been able to get up in the morning.

“I don’t know if that’s the difference between men and women, or between business majors and acting majors—but Pam and I didn’t want that kind of debt.”

Instead, the entrepreneurs launched Juicy Couture with $200 of their own money and a revolving line of credit. They didn’t take a salary for two years; they plowed profits back into the business; and they repaid loans almost instantly. “The bank was irritated,” says Nash-Taylor wryly. “They didn’t make much money from us.”

Juicy Couture is different from many companies in another way: it does no formal market research. The founders create and sell what they want to have in their own closets, and in the closets of their husbands and kids. (Nash-Taylor is married to Duran Duran bassist John Taylor; he designs the logos for the Juicy men’s line.) "We know what we like," says Nash-Taylor.

And clearly they know what their customers like. Juicy Couture’s lines have expanded quickly, but thoughtfully. Women loved the casual "lifestyle clothes," so the company added men's and kids’ lines—along with accessories, swimwear, and watches. The founders didn't want to wear other designers' clothes at night, so they launched Couture Couture—basically "Juicy after dark" cocktail and evening wear. This summer, their first fragrance will debut. And this year, 17 new free-standing Juicy Couture stores will join the four already open. "We have so many ideas and plans," says Nash-Taylor.

In 2003, Liz Claiborne bought the company for a reported $53 million and a percent of future sales, but Nash-Taylor and Skaist-Levy are still the heart of Juicy Couture, with responsibility for creative direction as well as day-to-day operations.

What's Happening Los Angeles Designers?

From Apparel News

Hollywood Fashion Biz Ponders Return to Work After WGA Strike
by Andrew Asch, Retail Editor

It’s been a winter of discontent for costume designers, boutiques and other fashionbusinesses that provide wardrobes for television shows. The 3-month-old Writers Guild of America strike put many of their livelihoods on hold and cost Los Angeles County $1.4 billion in lost business, said Jack Kyser, chief economist for the Los Angeles County Economic Development Corp. But the costume designers and other Hollywood fashion businesses may be going back to work soon.

A breakthrough in strike negotiations on Feb. 1 may signal an end to the labor conflict, possibly in the next couple of weeks, according to reports in The New York Times and other national news outlets. However, costume designers and other fashion companies doing entertainment business might not get back to work for a month, said retailer Danny Marsh, even if the strike is resolved before the broadcast of the 80th Academy Awards ceremony on Feb. 24.

“Everyone is excited that the strike might be over,” said Marsh, owner of boutique Sy Devore, located in Los Angeles’ Studio City neighborhood. More than 25 percent of the store’s income comes from “studio services,” selling clothes to costume designers for television shows such as “Grey’s Anatomy,” “Ugly Betty” and “CSI: Miami.” “It will take 30 days to get back to normal,” Marsh said. “And I don’t believe the strike is over until it’s over.”

Other costume designers familiar with scheduling for television projects said the call back to work might come earlier or later than 30 days. It all depends on when scripts for the upcoming pilot season are approved. Costume designers need scripts to get an idea of what a show’s characters would wear, said Mary Rose, president of the 740-member Costume Designers Guild. “If you don’t have a script, you can’t do anything,” she said.

The strike has impacted anyone with a connection to the suffering entertainment industry, from restaurants to car valets. Business for the Los Angeles fashion designers who produce gowns for the awards-show season has also been hit.

Many celebrities refused to cross WGA picket lines at awards shows, and gala celebrations for the Jan. 13 Golden Globe Awards were cancelled in lieu of a low-key press conference. A representative for the Academy Awards said the event will go on, strike or no strike. But designer Kevan Hall said the Golden Globes cancellation put a damper on the awards season, which also includes the Grammy Awards, scheduled for Feb. 10.

“We only lost the Golden Globes, but it felt like we lost more,” Hall said. His red-carpet fashions have been worn by celebrities such as Katherine Heigl, Drew Barrymore and Felicity Huffman.

Los Angeles–based designer Octavio Carlin said the weak awards season might cost him more than 50 percent of his business this year. “One year ago, we were so busy. This year, nothing is happening. No one is going out,” Carlin said.

Some of Hall’s clients have dropped by his studios for fittings for their Academy Awards dresses despite rumors of some festivities being cancelled. Otherwise, the designer said his business was going on as usual. He continues to sell gowns, with retail price points ranging from $2,000 to $4,500, at high-profile boutiques such as Stanley Korshak in Dallas.

Yet, if awards shows cancel their festivities, Hall said he might miss out on the extra business generated from the awards-show publicity. When Felicity Huffman wore his gown to accept an Emmy Award in 2005, retailers and women from around the world contacted him to buy the dress. He said he received more than 15 inquiries from Dubai alone after the awards show.

With awards-show celebrations losing some of their sizzle, fashion houses have found other ways of making money. Los Angeles–based Lloyd Klein did the wardrobe for the video of Paula Abdul’s song “Dance Like There Is No Tomorrow.” The design house also has hosted private fashion shows at its headquarters to increase sales interest.

The lackluster awards season has not affected the marketing business of producing gifting suites. Although not associated with awards shows, gifting suites are scheduled for the days leading up to the events. The suites offer companies a chance to distribute their products to celebrities who are in town for awards shows.

Kari Feinstein has produced several gifting suites over the past five years. This year was not expected to be different, she said. “No one thought the Golden Globes were going to be cancelled. They thought it was going to be worked out. So we went forward with it,” she said. Feinstein is the owner of Feinstein/McGuiness PR. More than 35 companies contracted with her company to be represented at her Golden Globes lounge, which took place Jan. 10–11 at the Social Hollywood nightclub in Hollywood.

A few companies dropped out of the lounge because of the labor struggle. Because Golden Globes festivities were cancelled, she renamed her event “Winter Style Lounge.” More than 400 people visited, and Feinstein opened up the guest list to include some hairstylists, makeup artists and craftspeople who were unemployed because of the strike.

Television costume designers suffered heavily during this strike, said Rose, president of the Costume Designers Guild. More than 400 of the 740 members of her union have been out of work. Other businesses have been hurt. Los Angeles–based Kato Sewing Machine Co. makes 75 percent of its income from renting sewing machines and dress forms to costume designers. The business plummeted during the strike, said owner Alvin M. Kato.

Fashion boutiques serving neighborhoods with a high population of TV-industry professionals have cut back on their inventory. Studio City–based Sy Devore cut its Spring orders by 50 percent. They made the reductions in October because they knew the strike was coming. “If business stays the way it is, I’ll have to cancel some more goods,” Marsh said. “But if business changes, I can fill up the store again.”

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California on the Schedule at N.Y. Fashion Week
by N. Jayne Seward, Fashion Editor

NEW YORK—More than 20 California designers are participating in New York Fashion Week this season. (Shows officially began on Feb. 1, although Band of Outsiders/Boy kicked off the week early on Jan. 31.)

Among the West Coast labels showing in the tents at Mercedes-Benz Fashion Week and at independent venues around New York are Development by Erica Davies, Rock & Republic, Juan Carlos Obando, Twelfth Street by Cynthia Vincent, Monique Lhuillier, Rodarte, Koi Suwannagate, Katy Rodriguez, Marchesa, L'Wren Scott, Tadashi Shoji, Jenni Kayne and Trasteverine. Making headlines, Max Azria is the first American designer to show three collections during New York fashion week. Azria’s lineup includes BCBG Max Azria, Max Azria and the newly relaunched Herve Leger by Max Azria collection. The Academy of Art, San Francisco hosted a conceptual and innovative group show of recent graduates. In addition, there were several former Angelenos, including former Trovata partners Sam Shipley and Jeff Halmos, who showed their Shipley & Halmos label. The lineup also includes the latest iteration of Halston, under the direction of Tamara Mellon, Marco Zanini and celebrity stylist Rachel Zoe.

California Apparel News and ApparelNews.net will be running coverage from the New York shows over the next two weeks.

Academy of Art, San Francisco

San Francisco is shining a bright light on its upcoming design talent, and the Academy of Art University proved the city has plenty to offer in the way of innovation. The University’s School of Fashion presented the work of recent graduates on Feb. 2 during Mercedes-Benz Fashion Week in New York. “We are honored to be showing for the fourth time in the Bryant Park tents,” said Dr. Elisa Stephens, president of the university, in a prepared statement. “We view this opportunity as part of our commitment to launch the careers of our graduates,” she added. The runway debut allowed the school to showcase the talents of recent grads to prospective companies and press attending New York Fashion Week. And for those in attendance, the designs were less “design school” than an innovative showcase. Collections included a range of innovative fabrics, knitwear and conceptual, architectural designs. The show had plenty of variety. Futuristic styling, intricate construction and silver metal design work were utilized by fashion designer Sherise Eways and jewelry designer Melissa Christensen in a series of chic suits and dresses that kicked off the show. Colorful geometric prints and M.C. Escher–inspired artwork freshened up prints on wool, cotton and faux fur in textile-design major Young Jun Ryu’s collaborative menswear collection. Innovative knitwear by Juhee Chung was stunning, made in metallic yarns that were crafted into sculpted, geometric dress silhouettes and elaborate cardigans with braided treatments. Jee Hyoung Jang utilized quilted textiles to create architecture-inspired spatial designs, and Soo Jung Sung utilized paper-coated fabrics by Ivanka Georgiev to create stylish trench coats and dresses. Architectural structures created by BoKyung Cha were added to modern sophisticated silhouettes such as a black wool coat with cylinder-shaped folds. The effect was undeniably an ode to the avant-garde.

Max Azria

An independent spirit pervaded the Max Azria Fall ’08 collection. Created by husband-and-wife design team Max and Lubov Azria, the label is an artistic outlet for the duo. The collection was presented at Mercedes-Benz Fashion Week on Feb. 4 at Bryant Park. Eclectic, yet poetic, the collection played on elements of contrast with a quirky sensibility. Azria’s free-spirited muse marched to the beat of her own drummer. Feminine silhouettes, transparent fabrics and corsetry juxtaposed menswear-inspired coats, harem-style pants and boxy, knit sweaters. Organic yet structured; feminine yet masculine—those were the dichotomies created by the Los Angeles–based label. Dresses and coats were made in unexpected fabrics such as a silk gauze that revealed hosiery and a garter belt beneath translucent layers. Bra tops were casually layered over sheer dresses for sensual touch, and luxe furs were used to make dresses and chic, voluminous coats. Exquisite pleated details, flirty ruffled necklines and hand-molded felt caps topped off the look.

Rock & Republic

Rock & Republic is known for sex appeal, and this season, creative director and owner Michael Ball sent it into overdrive. The Feb. 2 show, which debuted at Mercedes-Benz Fashion Week in New York, was aptly dubbed “Noir.” The collection, mostly in black with hints of gray and splashes of purple, was certainly on the dark side. Anyone familiar with the work of newly employed Vice President of Design David Cardona could sense a newfound sophistication. The Cardona touch was evident. Inspired by the film-noir style of the 1930s and ’40s, the designer turned out red-carpet gowns fit for sexy divas in slinky purple and inky-black jersey fabrics. Cutouts and slit-to-there slashes left little to the imagination. The collection flirted with sex and power themes at the root of film noir’s mysterious look. Men and women walked down the runway in skin-tight tailored suits and chic black-leather trench coats—all topped with fedoras. A dark undercurrent to the collection had a futuristic “Blade Runner”-meets-“The Matrix” edge. Exaggerated collars, chubby fur coats, chunky cable knit sweaters and military-esque styling personified the look. Almost absent to the collection was denim—save a few pairs of black waxed-denim jeans that were barely distinguishable on the runway. Of course, it wouldn’t be a Rock & Republic show without some theatrics. Ball employed the Treefort Recordings orchestra to perform live music throughout the show.

BCBG Max Azria

Max Azria debuted his BCBG Max Azria collection on Feb. 1, the opening day of Mercedes-Benz Fashion Week in New York. The show was one of three staged by the Los Angeles company at Bryant Park this season, each highlighting a different collection: BCBG Max Azria, the company’s core brand; Max Azria, its upscale designer collection; and Hérvé Léger by Max Azria, a relaunch the French label owned by Azria. The three shows gave Azria the distinction of being the first American designer to show three collections during New York Fashion Week. For BCBG Max Azria, the designer translated a strong vision for the independent, modern woman. For Azria, the key to dressing this season seems to demand one have her own sense of style. Whether headed to the office or a night on the town, an individual look is the key to modernity. Tonal, demure silhouettes felt empowered yet fluid in bamboo, silk charmeuse and jersey fabrications. The collection—in shades of nude, cream, sand, dark gray and taupe— was off-set with more-serious, somber shades of mauve, dark plum, midnight, teal and cranberry. Feminine yet architectural dresses, trench coats and mini cocktail numbers were given new proportions and exaggerated details. Cocoon-shaped jackets, elaborate draped collars and pleated asymmetric capes updated classic silhouettes. Azria experimented with hand-stitched details, pleating and rosettes to create a diaphanous, organic feel to the collection.

Hervé Léger by Max Azria

Hollywood, get ready. Max Azria has relaunched the Hervé Léger collection, and the “bandage dress” has been reborn. Already spotted on a number of starlets such as Kate Bosworth, Beyoncé Knowles and Victoria Beckham, the form-fitting dresses have been a blowing out at retail. Holding a runway show in New York was the obvious next step to relaunch the line. While the French fashion house was acquired by BCBG Max Azria Group nearly 10 years ago, Azria began reinventing the brand last year. While updating the look, Azria is also continuing the design heritage of the house by utilizing its signature banding construction to shape and sculpt the female form. For Fall 2008, Azria modernized the signature look through the use of a sophisticated color palette and linear surface treatments such as ribbon appliqués, beading and sequins—effects inspired by French abstract painter Pierre Soulages. Azria also incorporated the banding technique into wool jackets, cashmere cardigans and waist treatments on trousers. Provocative corsetry added unapologetic sensuality to the collection while feather headbands and transparent gloves created a youthful, romantic edge. All in all, the look was elegant yet sexy and oh-so-modern.

Development by Erica Davies

Erica Davies has come into her own. The British-born designer presented Development by Erica Davies alongside her eponymous collection for the second time in New York, on Feb. 2. The show, held at the Waterfront (formerly The Tunnel), echoed the modern bohemian feel of its location. An urban bohemian look was created by mixing modern, refined silhouettes with colorful Romanian gypsy-inspired prints. Davies said she also tried to add a British rock ’n’ roll feel to the mix. “Erica Davies was the gypsy, and the British girl was Development. That’s how I converged the two of them,” she said. The collection played on the juxtaposition of hard and soft elements. The colorful flowing silk chiffon dresses of Erica Davies contrasted Development’s muted collection infused with sharp tailoring—a technique Davies mastered as creative director for Tyler, Richard Tyler’s diffusion line. Menswear-inspired peacoats and trousers were softened with flirty ruffled collars, oversize sweaters and flowing chiffon dresses. Hard-edged necklines, racer backs, porcelain-like studs and black bugle-bead detailing lent a futurist edge. Styles were accessorized with the recently launched collection of Development shoes, a new venture for the company, which is also planning to launch handbags in the near future.

Juan Carlos Obando

Known for his conceptual approach to design, Juan Carlos Obando created an intriguing yet contrasting theme for his Fall ’08 collection. “Liz Goldwyn vs. Frank Miller” set the stage for a dark-edged and futuristic yet timeless collection. The Colombian-born designer held his second presentation in New York on Feb. 2 in a space in midtown Manhattan. The designer created an impressive 14-piece collection that continued the use of signature design elements, such as the hanger dress, waxed-cotton fabrics, gathered necklines and braided trims. “I wanted to do something new, but I didn’t want to walk away from what I do, which is drape beautiful, knotted, twisted, hand-tucked, hand-sewn gowns,” Obando said. The designer said he wanted to create a collection for the “Super Hero” women of today—minus the cartoony innuendo. Elegant ethereal gowns were a sharp contrast to new short mini shapes. Obando added an element of modernity with bias-panel gowns that played on color blocking in black, nude and green. Standout pieces included an austere gray gown with expertly crafted hand-folded sleeves, a purple coat made from 120 yards of hand-sewn silk chiffon strips and a hand-beaded PVC/sequin nude dress with an organza feather cape. Asymmetric lines, exquisite fabrics and futuristic studded belts characterized the collection.

Katy Rodriguez

Hard futuristic lines and a decidedly sexy look defined Katy Rodriguez’s Fall ’08 collection. Rodriguez’s dark direction was a sharp contrast to the soft 1960s-inspired silhouettes that debuted at Gen Art’s Fresh Faces in Fashion in 2006. The vintage retailer-turned-designer showed her collection Feb. 1 at the Mark Seliger Studio in Manhattan. The collection, titled “Birds and Other Secret Machines,” was inspired by a melding of nature and industry (e.g., birds, modern architecture and machines). Rodriguez added a sexy, almost-bondage feel to cocktail sheaths and sophisticated A-line shapes with intricate seaming and patent-leather panels. Exaggerated shoulders and body-conscious silhouettes characterized the look. Rodriquez infused the collection with patent-leather trims, color blocking and zippers for an extra edge. Daring Hollywood divas may opt for styles such as a black wool suit made with dramatic pointed shoulders, a striking red cocktail dress with intricate diagonal seaming or a black leather jacket paired with black leggings.

The Staying Power of Juicy Couture

By Frank Kuzniacki

It is hard to argue against the staying power of Juicy Couture. Just when you think what could possibly be done to update the styling; the new line proves hotter than the last. Shows like Entertainment Tonight, Access Hollywood and Desperate Housewives are walking advertisements for Juicy. The dangling "J" on the zipper is one of the most recognized fashion statements. It's one of the few, if any, lines where lines that can be worn by mom and daughter.

Since being acquired by Liz Claiborne a few years back, the line has branched out in all directions and offers some of the most unique and sought after fashions and accessories. Quite the American success story for a designer of track suits, "Juicy Loves Martha" T-shirts and ruffled tube dresses. The signature logo boasts their two terriers holding a shield with three hearts and the "Love P&G" for the two creators, Pam and Gela. The classic Juicy banner, crown and the slogan "Made in the Glamorous U.S.A" and stands as one of the most recognizable in the fashion industry. Juicy Couture's success in the fashion industry has been largely due to their relationship with the Hollywood crowd. Juicy made a strategic move when they invited Madonna, Jennifer Lopez, Cameron Diaz and now Eva Longoria to don the Juicy Couture designs.

What is overlooked with Juicy tracksuits is just how good they are made. Many other fad lines are made overseas and rely solely on the label to sell it. Not Juicy, made in the USA, and made well. Maybe even too well. They are almost indestructible, and wash after wash has no effect on color or fit. The stitching is perfect and the fabric maintains that snug fit and looks just as great as the first time worn. The imported velour, terry cloth and cashmere fabrics are second to none. The new dazzling colors and updated style changes are the main reason women return to add more, and more. I'm hard pressed to conjure up any casual clothing line that has stood this test of time while providing the same high quality and stand-out style. Each season the classic velour hoody gets redone into bold new colors and styling features such as puffed shoulders, rib-knit sleeves, satin ribbons and crinkled silk ruffles. The variety of sumptuous colors such as English Rose, Lady (Periwinkle), Plonk (Burgundy) and Top Hat (Charcoal) each have a distinctive hue which separates them from the bland colors of other lines.

In addition to the women's line, Juicy has branched out into children's and men's clothing as well. The Juicy accessory line now includes handbags, duffel bags, jewelry, gloves and scarves. How can the true Juicy addict resist the Juicy pet coat? The handbag line has been a huge success. Priced more in the Coach range, then the upper Louie and Gucci bags, the bags are more oversized and boldly don the classic logo. Most of the smaller accessories such as wallets, scarves, jewelry and gloves come Juicy boxed and make great gift giving. After all my skepticism, Juicy is here to stay and re-does itself each and every season without compromising the quality and chic style women have come to love.

Where stylish and unique swim wear, clothing and accessories are just a click away.

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Melie Bianco Handbags We Love

There's so much we love about Melie Bianco handbags, from the modern edgy styles to the eco-friendly materials and extremely affordable prices, we can't help but love this chic line. Plus she is a designer that hails from Los Angeles which means not only do we like her style but we are happy to honor her on this blog. Here's just a few of our favorite Melie Bianco handbags:

Distressed Paten Carry On - Style S8-78YW


Out with the old, in with the new. Made from ultra soft patent leather-like material, the MELIE BIANCO distressed patent carry on in vibrant yellow is truly the epitome of style for spring. The yellow hue, which happens to be THE color of spring, contrasting black trim, modern design and slight sheen is everything you need to update your look for this coming season. Truly versatile, this style can be worn as a shoulder bag or satchel depending on how you want to finish your look. Handbag measures about 13 x 10 x 4 inches with hand held handles or a long shoulder strap. Shop MELIE BIANCO handbags starting at $56 now.

V Trimmed Gathered Hobo - Style S827CHA


If you crave comfort in your handbag than the MELIE BIANCO V trimmed gathered hobo is sure to please. Melie knows what she's doing when it comes to designing the perfect handbag that will take you from day to night and keep up with your busy lifestyle. Always unique and never disappointing, this Melie Bianco hobo is one of our favorites because we love the gathered top, stylish v opening, silver metallic color and comfortable hobo shape. Handbag measures about 15 x 13 inches with a shoulder strap drop of about 9 inches. Shop MELIE BIANCO handbags now.

Convertible Clutch - Style S8211GN

If we had to choose just one MELIE BIANCO handbag (luckily we don't) it would be hard but we'd have to go with the MELIE BIANCO convertable clutch with raw edges in green. True to the brand's motto of giving you the most bang for your buck, Melie Bianco designed two purses in one when she created the convertable clutch, which can be can be used as a tote, satchel or folded neatly in half and carried as a clutch bag. What's not to love about this bag? From the gorgeous hue that will make you green with envy to the gold trim and gold toned strap, we'd pay way more than this bag retails for it because it's worth every penny. Melie Bianco handbag measures about 16 x 16 inches with a single shoulder chain strap. Shop MELIE BIANCO handbags now.

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So next time you are browsing online for your next designer handbag and gasping at the $1k+ prices, consider getting two (or three) Melie Bianco handbags that won't break your wallet but are sure to boast your wardrobe and look!

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