Vetements’ Guram Gvasalia, Buyers Say Highsnobiety Story is Fake News

According to buyers and Guram Gvasalia, Vetements’ chief executive officer, the idea that the brand’s popularity is waning is, well, fake news.
On Thursday, Highsnobiety published a piece with multiple unnamed sources claiming that the brand, which is designed by Demna Gvasalia, who is also the creative director at Balenciaga, is losing favor with consumers and retailers. The variety of unnamed sources, who were identified with nebulous descriptions such as “one buyer” or a “former shop manager,” contributed the lack of sales to Vetements moving its headquarters to Zurich, lack of newness and inflated pricing.
In a statement sent to WWD, Guram Gvasalia said the independent company is actually outperforming market expectations and showing over 50 percent growth in comparison to the previous year.
“It is sad to see the state of journalism today. In the era of click-baits, using the name of our company in the article is a click-bait itself, and even more so when it’s mentioned in a negative headline,” he wrote. “To the disappointment of all the haters, we would like to declare that Vetements is in the strongest creative and financial state it has ever been. We are definitely not going out of business and the speculations about

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Buyers Dub Milan a Strong Season

MILAN — Retailers felt Milan Men’s Fashion Week hit the mark, despite the changing — and shrinking — calendar.
Bruce Pask, men’s fashion director at Bergdorf Goodman and Neiman Marcus, said that while Gucci and Bottega Veneta, for example, have moved to the city’s women’s fashion week and were noticeably absent, “Milan was a strong season filled with great showroom appointments and some very memorable shows. It was a very rich season, especially following a very successful Pitti Uomo.”
Mario Grauso, president of Holt Renfrew, concurred. “Milan was quick and easy. Prada over-delivered and everyone else felt consistent and business as usual,” he observed.
The city, according to Karen Vernet, director of men’s fashion at Printemps, “remains a strong fashion week for both established brands like Prada and Dolce & Gabbana, and up-and-coming ones like Palm Angels and Sunnei, even if we expected a stronger presence of new designers and brands. We also missed having shows from key men’s players like Moncler and Salvatore Ferragamo.”
Among the main trends, retailers said, were:
• great outerwear;
• corduroy and updated British traditional men’s wear patterns such as tartan, houndstooth and Prince of Wales;
• textured surfaces and velvet;
• fluid tailoring, and
• military details and a rich color palette.
Here, a roundup

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Buyers Seek Standouts With Identity at Paris Men’s Trade Shows

PARIS — It was all about having a strong identity at the recent spring 2018 men’s trade shows here. Homespun, cultural references, vintage and surf styles and streetwear were selling well, with buyers seeking standout items and new discoveries to complement their core designer offering and differentiate themselves, rather than seeking out specific trends.
“Trends are hard to build a business around these days,” observed Chris Thomas, director of retail for Melbourne, Australia’s Service Denim Stores. “We’re looking for accessories to accentuate our core offer that have a point of uniqueness in the Australian market,” he said. “The ability to be unisex is important, too.”
Indeed, more and more brands were showing what they described as “unisex” collections as the trend for outsize gender-neutral garments continues to gain traction. Labels that tapped into heritage styles and techniques, especially from Japan and France, were also popular, as were new takes on performance wear.
Brands showing at Tranoï, Man and Capsule, held over the weekend during Paris Men’s Fashion Week, said foot traffic had been relatively slow, although key buyers had walked through, with a strong presence from Asian, especially Japan, and U.K.-based retailers.
Paul Craig, co-owner of The Bureau, a multibrand men’s store in Belfast,

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Sportswear Drives Upbeat Paris Season for Men’s Buyers

PARIS — If the Paris men’s wear shows proved anything, it’s that the sportswear trend is set to run and run — pardon the pun. Tracksuits, sneakers, hoodies, graphic T-shirts, anoraks, zip-up jackets and even surf gear were among the key trends that energized buyers at the spring collections.
“The well-tailored formal attire has been retired to the back of the closet, only to be replaced by a plethora of athletic apparel,” said Tom Kalenderian, executive vice president, general merchandise manager of men’s and Chelsea Passage at Barneys New York. “Call it what you will: ‘street’ or ‘active’ — regardless, it is becoming standard issue for every man’s wardrobe.”
Despite a heat wave on the first two days of the collections, retailers felt an upbeat vibe in the French capital, and many were happy to loosen the purse strings. Footwear was especially strong, they noted.
“The footwear trend of the moment is the runner, often built on a ‘sock’ construction and in amazing color combinations reminiscent of rich Indonesian patterns in a pop color palette,” said Kalenderian.
“We feel really energized by what we’ve seen here in Paris,” said Dean Cook, men’s wear buying manager at “There’s a lot of creativity here and that

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Buyers Upbeat at Paris Men’s Trade Shows

PARIS — With Japanese buyers back in force, a positive energy pulsed through the men’s trade fairs, Capsule, Man and Tranoi, held here in tandem with the men’s runway shows. While spends were flat on-year, buyers’ moods were upbeat.
“This is a good time in men’s wear,” said Wanda Colon, chief merchandising officer at Unkwn, an urban concept store targeting Florida’s 18-25 set.
“This show [Capsule] is a good integration of what’s happening in fashion now – a mix of very high with accessible, what big box stores are trying to do,” she continued. “To cultivate this youthful feeling, not necessarily young, but savvy, very active on social media. A lot of brand energy right now is coming from that. And stores are chasing these young, alternative independents because they’ve seen the energy and buying power of this customer.”
Trading on the youth influence as a launchpad, Capsule showed four labels voted into the show by followers of Tranoi curated Atelier, a space for young designers, at its inaugural Carreau de Temple show.
Wish-listing “craftsmanship, innovation and scarcity” for Magasin, the men’s concept store which opened in Los Angeles last March, Josh Peskowitz singled out ongoing proportion play, an outdoors direction and layering,

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The New Rules of Marketing and PR: How to Use News Releases, Blogs, Podcasting, Viral Marketing and Online Media to Reach Buyers Directly

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‘Dallas Buyers Club’ Makeup Artist On Matthew McConaughey’s Tan And Jared Leto’s Pink Lipstick

Five minutes into watching the Oscar-nominated film “Dallas Buyers Club,” I wanted to bury my tear-stained face in a bag of salty movie theater popcorn.

The movie’s depiction of the AIDS crisis has sparked some emotionally charged reactions from the lesbian, gay, bisexual and transgender community as well. But as a beauty editor, I was also caught up in the dramatic physical transformations of actors Matthew McConaughey and Jared Leto. Months later, I am still awestruck by makeup artist Robin Mathew’s ability to create such convincing rashes and lesions on a $ 250 [supplies] budget.

So, how exactly did she do it? Mathews recently dished about her “Dallas Buyers Club” beauty secrets.

Spoiler alert: Read on to find out how this professional snagged an Oscar nod thanks to her ingenious use of grits, MAC lipstick and a lot of tanning products.

dallas buyers club

What was it like working with the most tanned man in America, Matthew McConaughey, and Jared Leto, an actor who is no stranger to makeup?

Both Matthew and Jared were amazingly supportive of this makeup process, and they were 100 percent involved. They realized how important it was that they look like, you know, like they had these different stages of full-blown AIDS. And it was difficult because the only time the camera wasn’t rolling was basically during our lunch breaks and makeup changes.

The director, Jean-Marc Vallée, shoots without any camera or lighting setup. So we didn’t have a grip or lighting department. The camera was always ready to roll in 5 minutes. We just shot, shot, shot and never stopped. For them to actually say, hold on a second. We gotta take 45 minutes, or whatever it was to do this important makeup change, really was a great deal of help and support. And I’m so grateful for that, and it make a big difference in the film, I think.

What type of research did you conduct to really nail down the aesthetics?

We were lucky through the production to hook up with Dr. David Hardy, an infectious diseases specialist. He really talked me through what the physical stages of AIDS looked like.

There’s three common physical traits we see with people with full-blown AIDS — they get extremely skeletal in the face; they get a rash called seborrheic dermatitis, which is kind of a rosacea-colored, patchy, flaky dry rash; and then, of course, lesions. So it was so important that they look like they were really sick. Like they were AIDS patients … pure realism. It couldn’t look like makeup and it couldn’t look like a Hollywood version of AIDS. It had to be real, which goes along with this director’s style of shooting, and I’m so excited after viewing the film that we accomplished that.

dallas buyers club

How were you able to pull off such a huge feat with just a $ 250 materials budget?

I have no idea how we were able to shoot the entire film with the $ 4.5 million dollar budget that we had. It’s 100 percent the most under-budgeted film I’ve ever done. After looking back, scrounging around, and begging and pleading for supplies from people, then calling in favors and even using food products in the place of prostheses, I wouldn’t have it any other way. I’m so glad that we had the money that we did because we wouldn’t have got the realistic looks we were able to get. There’s such raw, gritty detail to a lot of the makeup in the film.

We were looking at the pictures, and I said, normally I would use a prosthesis for this, but what can I substitute? It looked like grits and cornmeal on top of other makeup products. So I hand-painted underneath and then I applied a makeup-effects product to make the skin look taut, dry and wrinkly. As that dried, I pressed in grits and cornmeal to make a pustule rash. We first tested it on Matthew, and he loved it and was a big advocate for it. I thought it would be the end of my career.

What was the makeup process like transforming Matthew and Jared throughout the film?

Both Matthew and Jared came to us 40 pounds thinner than they normally are, so they were pretty darn skeletal to start with. But because we would shoot so out of sequence, we would have to change them back and forth from their sickest looks to their healthiest looks many times in a day. To do that, I used products that take the red out of the skin, and I used that all over their face and bodies to make them look pale. Then I started with a contour color, a dark makeup shade, and I contoured every bone that I could find in their face or every part of their body that was showing in the costume that they were wearing that day. As they got more sick and skeletal, I just continued that contouring process further by looking at photos and where I couldn’t see the bones, I actually drew them in. Also, I drew tons of veins on their face and hands when they were at their final stages. I’d add highlight to the bones as well.

To make them look healthy, like they had gained 20 pounds, for Matthew I gave him a slight tan and I’d reverse highlighting and contouring. So everywhere I had gone in before to make them look skeletal and done the dark makeup underneath the bone and light makeup on top of the bone to make it protrude, I did the opposite. For Matthew, I also used dental plumper, these four little pieces that clip on his upper and lower teeth, and they have a bit of dental material that pushes cheeks out from the inside to make them look fuller.

My key makeup artist and I spent four and a half hours contouring every bone on their bodies for their scenes. She started on the back, I started on the front and we just went to town.

dallas buyers club

Why did you use tanning for Matthew’s character, Ron Woodroof?

It was actually Matthew’s idea and it wasn’t necessarily to make him look heavier, but healthier. He totally came up with it. Obviously it’s the opposite of pale, but Matthew and Jared had so many levels of sickness to show the different stages of AIDS throughout. [For] one of the first levels of sickness for Matthew, when he showed up in the morning on set … we didn’t do anything to him. He was super skinny and had stayed out of the sun for months, so he wasn’t anywhere as tan as he normally is. The next level would be to make him pale, so I’d start with the highlighting and contouring. But as a person, he realized he looked healthier when he had a bit of a tan, and it was his idea to add that back in.

I did it all by hand with a tanning product because, again, up to five times a day I’d have to change him back from his sickest look to his healthiest look. So anything I did had to be completely removable instantly.

dallas buyers club

Can you tell me about that bright pink lipstick Jared’s character, Rayon, wore?

I adore that lip color myself and I can tell you it’s a MAC color. That look is actually inspired from the ’60s actress Jane Forth. There is a pretty famous photo of her where she almost has identical makeup on. That, of course, is when Rayon is her healthiest and heaviest. She’s not quite the hot mess she ends up toward the end of the film.

I especially liked waxing off all her eyebrows and being able to do those fun looks where the eyeshadow comes up on the brow. I came up with the idea that Rayon would be influenced by her mother, the first female she probably had contact with in the beauty world. And Rayon would be influenced by actresses of the ‘60s because that’s when her mom was in her heyday. So I choose Jane Forth, actress Brigitte Bardot, model Twiggy and there was also a shout out to Serena from “Bewitched.” Because this was set in 1985 and Rayon is a cool cat, she was also inspired by actresses and singers of the ’80s. So there was also a nod to Dolly Parton and a Pat Benatar look as well.

dallas buyers club

Were there any scenes in the film that were particularly emotional for you?

Absolutely. Watching the film after so many times, there were scenes where I just couldn’t help but burst out crying — two of them being when Rayon is looking at herself in the mirror right before she dies, and she’s putting on makeup to try to cover up her lesions. She says, I’m going to be a pretty, pretty princess no matter what I do when I meet you. And then the scene in the hospital when she says, I don’t want to die.

Both Jared and Matthew were so into their characters … they were their characters. With Matthew, there were times he was talking to [actress] Jennifer Garner’s character about getting treatment and he actually got so scared that he started crying. And it’s not in the script or the film.

They were very emotional times throughout shooting, but we shot so quickly that we didn’t have time to think about it. We just dealt with the emotions and kept shooting.

This has been edited for clarity and length.
Style – The Huffington Post
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