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DAILY EDITION 14 JUNE 2016 1

Fashion. Beauty. Business.

Signing OnProenza Schouler has named Judd Crane of Selfridges chief executive officer. PAGE 3

Rocky’s New RoadA$AP Rocky is one of four faces in Dior Homme’s latest ad campaign. PAGE 14

Stuart Vevers embraced James Dean and his counter-cultural ilk this season for a Coach collection that was an ode to Americana across a variety of decades, and the Fifties in particular. He added an arty dash to wardrobe classics such as this silk shirt and Baracuta-style jacket, with help from Gary Baseman, who painted, printed and patched original artwork, based on kitschy icons and vintage wallpaper patterns, across the collection that effectively closed the four-day London men’s showcase on Monday. Vevers also tapped into the city’s latest love affair with printed silks, graphic plaids — and youth culture — for spring. For more on London’s men’s collections, see pages 4 and 5.

FASHION

American Graffiti

Vince Adds TwoThe contemporary brand has tapped a head of retail stores and a brand director. PAGE 3

CONTINUED ON PG. 10

CONTINUED ON PG. 6

● Retail employees were among the 50 people killed in the worst shooting in U.S. history.

BY VICKI M. YOUNG AND SHARON EDELSON

The fashion industry on Monday expressed sympathy and outrage over the mass shooting in Orlando, Fla., as cities nationwide stepped up security in the wake of what has been called a terrorist attack.

As the Orlando police, the Federal Bureau of Investigation and other law enforcement agencies searched for clues to the worst shooting in U.S. history, Target Corp. said Monday that two of its employ-ees were among the 50 people killed. At least 53 others were wounded.

“Like millions of Americans, the Target team is mourning the horrific violence that took place in Orlando over the weekend,” a spokeswoman for the retailer said. She added: “Sadly, we confirmed this morn-ing that two of our team members were tragically killed in the attack. Since that time, we have been in contact with their families to offer our heartfelt condolences and have brought in on-site counseling resources for our team. Yesterday and today, the teams in the victims’ stores gathered to remember their colleagues. To stand together as one team, we are

BUSINESS

Fashion Outraged By Fla. Shooting;Police Up Security

● “Frontier(less) Retail” is from the Innovation Group of J. Walter Thompson Intelligence and done in partnership with WWD.

BY ARTHUR ZACZKIEWICZ

A decade of technological innovations, coupled with shifts in consumer behavior, has fundamentally changed how, where — and even why — people shop.

Borderless transactions, “click and collect” shopping and buying and a shopping journey that can begin and end on a smartphone, tablet or in a store are just some of these changes. Looming on the horizon is a fully integrated and truly seamless consumer shopping experience that leverages artificial intelligence as the age of the Internet of Things becomes fully realized.

These are some of the key insights from

RETAIL

State of Retail Report Shows Market in Flux

FOR MORE INFORMATION, PLEASE CONTACT PAMELA FIRESTONE, ASSOCIATE PUBLISHER

AT 212 256 8103 OR PFIRESTONE@WWD.COM

SKIN DEEP

Miami SwimShow Preview

+ The Latest in

Intimate Apparel

G O E S

Issue: July 13 Ad Close: June 29

Materials: July 4

An Advertising Opportunity

14 JUNE 2016 3

● He will take over the role in early September.

BY SAMANTHA CONTI

LONDON — Judd Crane has been named chief executive officer of Proenza Schouler, suc-ceeding Ron Frasch, who had been serving as interim ceo since last June, WWD has learned.

Crane will take over the role in early Sep-tember. An announcement is expected later this week.

He was previously director of women’s wear and accessories at Selfridges in London, where he worked for four years overseeing buying and merchandising for all product cat-egories including ready-to-wear, leather goods, shoes, jewelry, travel and kids.

A rising star at Selfridges, he also oversaw the refurbishment of the store’s designer women’s wear floor and was a champion of British talent at the store.

Prior to that he was senior merchandising director at Pedder Group, the accessories division of the Lane Crawford Joyce Group in Hong Kong, where he was responsible for significant businesses across Asia, including

Hong Kong, China, Taiwan, Thailand, Indone-sia and Singapore.

Designers Jack McCollough and Lazaro Her-nandez called Crane “a world-class merchant who instinctively understands and shares our vision of how we see the brand developing in the coming years. He has the impressive leadership skills and the ambition needed to drive the business during its next phase of growth and we are very much looking forward to having him on board.”

Crane said he’s looking forward “to devel-oping the business strategy that will enable the brand to realize its tremendous potential.”

As reported earlier this month, McCollough

and Hernandez are revamping their approach to handbags and accessories, with plans to double accessories sales, which presently represent half of the overall business, over the next two to three years.

The designers have introduced two new design families, and are aiming to rekindle interest in their once-hot PS1 range, releasing a more luxe update on the design. It will hit retailers in January.

The private equity firm Castanea Partners, of which Frasch is an operating partner, took a minority stake in Proenza last June.

Frasch, former chief merchant at Saks Fifth Avenue, succeeded Shirley Cook, the brand’s founder ceo, on an interim basis last year. At the time of the investment, Proenza was said to have revenues approaching $85 million and the investment was meant to power up further the growth of the hot U.S. brand. The business has more than 250 points of sale in more than 20 countries and 10 freestanding stores.

Frasch and Castanea’s managing partner Brian Knez sit on the board, along with former Burberry Group ceo Rose Marie Bravo, Irving Place Capital ceo John Howard and Theory Inc. ceo Andrew Rosen. In 2011, Howard and Rosen led a group of investors that bought a 50 percent stake in Proenza Schouler from Valentino Fashion Group and others.

Asked last year by WWD whether building their sales volume up to $1 billion was a goal, Hernandez said, “Our partners and investors want us to keep growing and growing and growing. It’s the way people run businesses today. You don’t plateau — ever.”

● Filling the posts were critical as the brand restores its DNA.

BY DAVID MOIN

In two key appointments, contemporary brand Vince has named Terence Bogan, senior vice president of retail and Tomoko Ogura, vice president, brand director, WWD has learned.

Both executives have track records in high-end retailing.

Bogan will oversee the Vince retail business including merchandise assortment, store oper-ations and visual merchandising. He will work closely with brand cofounders Rea Laccone and Christopher LaPolice to ensure strategic store placement and improve the customer experience.

Bogan was vice president of women’s wear at Holt Renfrew, and earlier spent nearly 18 years with Barneys New York, working for the

Co-Op stores, which are now defunct, Barneys outlet stores, and held a variety of executive positions, ending as vice president and divi-sional merchandise manager of women’s wear. He was integral in building Barneys contempo-rary/luxury brands category, which included Vince. Bogan began his career at Saks Fifth Avenue as a management trainee.

Ogura will lead the marketing, public relations and creative teams and work with wholesale, retail, e-commerce and interna-tional business development teams to elevate the visual presentation of Vince product across all platforms. In addition, “she will closely liaise with footwear and accessories partners ensuring a consistent creative message across all product categories,” the company said.

Ogura joins Vince after nearly 12 years at Barneys New York where she oversaw fashion merchandising and brand development and helped nurture new designers. As senior fashion director, a position she held for over four years after holding merchandising and

fashion roles, Ogura identified seasonal trends, analyzed selling patterns, worked with design-ers to develop exclusives and conceptualized fashion stories for digital campaigns. She also acted as “brand ambassador,” by participat-ing in industry panels and hosting events on behalf of Barneys.

“They have been long supporters of Vince and drivers of its past success in their prior roles,” Brendan Hoffman, chief executive offi-cer of Vince, told WWD. “Late next month, we will ship the first collection that recaptures the DNA of Vince, so the timing couldn’t be better to have Terence and Tomoko help lead the efforts to grow the brand again.” The line will be the first developed by the brand’s founders since they returned to the company last fall as consultants. Aside from bringing back the founders, restoring the DNA entails utilizing factories and fabrics that haven’t been used for some time, among other efforts.

Hoffman noted that while Bogan and Ogura take on responsibilities that were held by executives that left the company, the jobs have evolved with additional responsibilities “to best fit the brand we are becoming,” Hoffman said.

RETAIL

Vince Fills Two Critical Roles

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BUSINESS

Proenza Schouler Names Judd Crane CEO

They Are Wearing: London Collections: Men Spring 2017 ● WWD went off the runways and onto the streets and sidewalks for the best looks from London Collections: Men.

● Tony Awards Red Carpet Arrivals 2016

● Sibling Men’s Spring 2017

● Moschino Resort 2017 Show in L.A.

● Valentino Resort 2017

Global Stock TrackerAs of close June 13, 2016

ADVANCERS

DECLINERS

Elizabeth Arden Inc. +2.29%

Abercrombie & Fitch Co. +0.91%

Ascena Retail Group Inc. +0.71%

Debenhams Plc +0.51%

Safilo Group SpA +0.15%

Iconix Brand Group Inc. -8.04%

Shanghai Metersbonwe -8.03%

Anta Sports Products Ltd. -5.86%

Lotte Shopping Co. Ltd. -5.84%

Macy’s Inc. -4.93%

TOP 5TRENDINGON WWD.COM

● The move comes after repurchasing convertible bonds increased the amount of shares in the market.

BY DEBRA BORCHARDT

Iconix Brand Group Inc. is cutting its 2016 diluted earnings per share guidance as a result of share increase due to the repurchase of convertible notes.

The GAAP earnings guidance was reduced

by 4 cents to a range of 71 cents to 86 cents. The non-GAAP earnings forecast was cut by 9 cents to a range of $1.06 to $1.21. The Capital IQ estimate was for GAAP earnings of 87 cents and non-GAAP earnings of $1.20.

Iconix entered into a separate, privately negotiated agreement with certain holders of approximately $105 million of the company’s 1.5 percent convertible senior subordinated notes due March 2018. In exchange for the notes, the holders will receive cash payments of $35.2 million and roughly 6.8 million shares.

“We are very pleased to have negotiated the opportunistic repurchase of a portion of

our outstanding convertible notes at what we believe to be an attractive discount,” said Dave Jones, chief financial officer at Iconix. “Given the repurchase price of the notes, we were able to retire a future debt obligation for significantly less than its face amount. This debt reduction, combined with the issuance of equity, allows us to enhance our financial flex-ibility and fulfills one of our principal goals of proactively reducing our leverage over time.”

Iconix Brands stock plunged 8 percent to $7.09 and has lost over 70 percent of its value during the past 12 months. The company has struggled with executive changes and an investigation by the Securities and Exchange Commission. This latest move is seen as an effort to get control over the large debt that has been hanging over the company.

BUSINESS

Iconix Cuts EPS Guidance

Proenza Schouler’s PS1+

4 14 JUNE 2016

The Reviews

Coach 1941Stuart Vevers took his nostalgia for big-screen America and the open road a step further this season with a collection that was awash in original artwork and pop culture classics — the Hawaiian shirt, rodeos, smiley faces and fuzzy dice.

Fascinated by the purity and timelessness of work wear, the counter-cultural charms of James Dean — and New York punk and hip-hop — Vevers teamed with artist Gary Baseman to give some American classics an arty, rebel’s spin.

Baseman drew and painted on bomber, biker, varsity and shearling jackets — as well as T-shirts and trousers — conjuring dinosaurs here and Smiley faces there. He worked cowboy hats, bucking broncos, hibiscus flowers and distorted skulls onto them via patches, embroidery or printed motifs for silk fabrics.

“He even did the tattoos on models’ legs,” said Vevers after the show. “Gary’s been with me the past few days, and was painting until 7 this morning. I wanted this collec-tion to feel very spontaneous.”

Separately, Baseman has also customized 10 totes and 10 jackets that went live on the Coach site earlier Monday. The capsule he created for Coach also includes limited-edition printed bags and T-shirts.

Vevers’ color palette came straight from “American Graffiti” with a focus on red, burgundy, mustard and olive hues, and he also worked plaids into the collection — via boxer shorts that peeked from under waistbands and a crosshatch pattern on trousers and shirts.

Silhouettes, too, had a Fifties feel, thanks to narrow trousers — some with zips at the ankle — or wider, low-slung ones. Embellishment came in the form of long, lush fringes, leopard print patches on jackets or dangling leather dinosaur skeletons on a multitude of bags.

Vevers took his bow dressed in a gray marl Mickey Mouse T-shirt from his very own archive, in homage to America’s enduring matinee idol. The brand is set to start selling Disney x Coach 1941, a collaboration that will go live on coach.com and in Coach stores on Friday. — SAMANTHA CONTI

Alexander McQueenThe brand hit the hippie trail this season with a mix of slim, Sixties-inspired tailoring and looser silhouettes inspired by intrepid travelers and India’s glamorous maharajas. The brand didn’t stage a show or presenta-tion this season as its creative director Sarah Burton is on maternity leave, but that did not diminish the impact of this dreamy, romantic collection.

Silhouettes ranged from the fitted — as in eight-button, double-breasted Savile Row suits with thick stripes — to the roomier and more exotic. The latter included a striped silk djellaba, coats covered in a sun-bleached black-and-white leopard print, and a jacket with a high collar, and raw-edged embroidery. A heavy, navy blue cotton coat with military-style frogging down the front had a similar Sgt. Pepper spirit.

There was rich embellishment and pattern every-where, from the tea-stained picture postcard and wild an-imal print splashed across short-sleeved shirts and a silk twill trench; to dark paisley suits shot through with Lurex threads; to matte metallic embroidery on velvet dinner jackets, and metal and sequin sparkles on long coats.

A misty landscape print with hummingbirds spread across tailored clothing, while golden embroidered sunflowers blossomed on velvet slippers, an olive twill trench and the patch pockets of a short jacket. At times, the petals looked as if they were in decay, and peeling off the fabric — a signature decadent McQueen touch. — S.C.

SiblingThe Sibling show was as bold and racy as usual. But designers Cozette McCreery and Sid Bryan raised their game, adding women’s to the runway and employing ever more labor-intensive knitwear techniques.

The designers, who earlier this month announced plans to unite their men’s and women’s collections, said they were more relaxed than ever to them side by side in Paris in January and June.

“Our retailers were demanding it, and it helps our fac-tories, too. The lead times are realistic,” said McCreery following the show. “We’ve also begun selling through our own web site, so it means we can get clothing to the customers faster.”

They certainly won’t want to wait for this collection to arrive: Beefy male models — another Sibling signature — wore knitted boxer or swim shorts, many adorned with colored lightning bolt intarsias and other jaunty patterns. Matching cardigans were long and swingy, with some iced in transparent sequins.

Cricket/fisherman knit hybrids came cropped right under the breasts — of men and women — and were paired with low-slung trousers. Other sweaters were oversized and came with fuzzy-looking hand-tufted leaves, zigzags and leopard spots, all handmade and of the duo’s creation.

Women and men both got to wear knitwear that resembled delicate white lace. McCreery and Bryan worked it into long transparent dresses with ruffles around their short sleeves, and tops with cutout lace 3-D embellishments.

Bryan said the inspiration for the lace pattern was a tablecloth from a Fifties German magazine, and the technique used was handmade filet crochet. “An insane amount of work,” he said.

It was worth the effort. — S.C.

Pringle of ScotlandPringle’s collection was inspired by a fusion of early 20th-century and Eighties dress, or as Massimo Nicosia put it: “The idea of watching ‘A Room with a View’ while flipping through a copy of ‘The Face.’”

What unites those two eras is a dandy-ish, romantic sensibility, which Pringle’s men’s wear design director channeled into his roughed-up denim, lightweight knits, textured cotton sweatshirts and soft military jackets.

He re-tooled some youthful staples — based on the wardrobes of bands like the New Romantics — working wilted and crushed flower embroideries onto blue jeans and scribbling on them with a black ballpoint pen.

There was a scruffy, youthful edge to the collection, which also featured an oversized sweater knitted from a caged paper yarn, and sweatshirts woven from coarse cotton. Softer yarns, meanwhile, were knitted to make cropped military jackets or crocheted onto the collars of a twill trench.

Stripes were everywhere, from nautical sweaters to regatta jackets to shirts that were embellished with cutout flower patches made from the same, matching cotton poplin.

Pringle chose not to stage a show in London this season, opting instead to present at Pitti only. — S.C.

Christopher KaneTerrorism and violence are unfortunately becoming the new normal as seen in the weekend’s nightclub mas-sacre in Orlando, Fla., and the hooliganism that marred at the opening Euro 2016 match in Marseilles, France.

Christopher Kane said he witnessed his own share of gang behavior and stadium slugging while growing up in Glasgow, Scotland. He is also fan of crime dramas, par-ticularly forensic ones — no surprise given his fascination with scientific themes.

Cue “Law and Order,” the name for his spring collection that spanned parkas printed with firing range targets, T-shirts splashed with thermal imaging, and prison smocks in the same pink tones meant to keep inmates calm.

The combination of vibrant print and oversize shapes added up to a graphic cool, but were in no way meant to glamorize violence, Kane stressed. Indeed, giant pansy motifs on sweaters — a carryover from Kane’s women’s resort collection — resembled the swirling colors of those thermal surveillance images on oversize sweatshirts and Windbreakers.

The collection also included homespun gingham checks, cut into crisp and square shorts and shirts, just like the ones Kane’s childhood friends wore on TV nights. “Crimewatch and casual,” he said. — MILES SOCHA

Coach 1941

Alexander McQueen

Sibling

Pringle of Scotland

Christopher Kane

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JosephHead men’s designer Mark Thomas and his team have been busy developing the character of the Joseph man. Inspired by traditional work-wear such as military uniforms or overalls, this polished line made for life in the city echoed the women’s resort collection.

“This season we really see this new, quite re-laxed and unfussy collection with lots of summer layering. Everything is either washed or treated as a finished garment to give this feeling of something that is quite relaxed,” Thomas said.

The brand took it up a notch with technical details and a neutral palette of white, blue, khaki, clay, steel and ochre.

Zipper details were prevalent, on a bomber jacket done in a linen and cotton mix, or affixed to the shoulders of a sweater.

Sheepskin was washed or broken-in to give it an aged effect for a reversible jacket and vest, while traditional argyle patterns were reworked: The brand played with scale and blended large and small diamonds on sweaters and T-shirts. There was a whiff of workwear in a cotton jacket with white top-stitching details and a trench done in lightweight parachute cotton.

During its presentation, the brand screened a three-minute film called “Everyman.” The short opened with a contemplative man starting his day in the bath. He then travels across various parts of London — including Oxford Circus and a park — dressed in a range of clothing from the collection.

He dons looks such as a trench over blue jeans, a mustard knit sweater over navy trousers, a cream vest over a white T-shirt, and a green overcoat with a crisp white shirt. — LORELEI MARFIL

Mihara YasuhiroWith its red vinyl banquettes and Elvis Presley crooning on the loudspeakers, the underground bowling alley in Bloomsbury could make you think you had stumbled into Milwaukee, where TV se-ries “Happy Days” was set. Mihara Yasuhiro had turned his Americana fixation to the Fifties and its most stereotypical hangout — and outfits, from souvenir jackets to campus sweaters.

Yet the Japanese designer took an experimen-tal approach, cross-breeding dungarees with kha-kis for jarring, extremely asymmetric pants and extending bowling shirts into robelike dusters.

There was a sly, streetwear approach to the rampant branding — the collection’s inscruta-ble slogan, “No Club Lone Wolf,” was plastered everywhere — and attention-getting details such as jumbo plastic zippers on stadium coats and warm-up jackets. The latter, layered under a beige trenchcoat, was a direct echo of Burberry’s fall runway.

This was Yasuhiro’s London debut, having de-camped from Paris and Tokyo fashion weeks. His quirky clothes dovetailed with such key trends as retro plaids and languid layers. — MILES SOCHA

Alex MullinsUp-and-coming London talent Alex Mullins continued to work with graphic shapes and innovative fabric techniques, and his first runway show felt fresh and genderless.

“I wanted to start with something really pure, and I had this idea of the elements of this rose garden with ripples and petals, but feeling really industrial, which is why I did a lot of the workwear references,” the designer said. “It is based around how we can replicate a replication of a replication with the advent of the Internet I suppose. So, taking something really simple and doing it lots of different ways.”

He also worked with digitally painted graphics, as in a rose petal print scattered across a cream cotton shirt with oversize pockets, or pink and white petal appliqués for other shirts. He also did flower and fish illustrations and translated meme graphics on shirts.

Mullins also sent out more oversize silhouettes than in past seasons, as in roomy trousers and shorts in a palette of rose pink, sky blue, white and brown.

Like so many other London designers this season, Mullins also sent a few women’s looks down the catwalk. A standout was a deconstructed white denim dress printed with an enlarged image of a bouquet of flowers. Mullins said women’s “opens up a whole new category of textiles for me, and ideas that I can manipulate.” — L.M.

Katie EaryDon’t be fooled by the bright colors, quirky fish prints and peppy stars that ran through Katie Eary’s spring collection — this was a confident outing inspired by some pretty dark themes. Eary had been reading Irvine Welsh’s new novel, “The Blade Artist,” which revisits the char-acters from “Trainspotting,” this time when a reformed Begbie returns to Edinburgh from Los Angeles after the murder of his younger son. Except his Damascene con-version is superficial and he’s soon back to his twisted, nasty ways.

“I wanted to compare Begbie to barracudas,” she explained after the show. “Barracudas are such evil little f--kers; they look so beautiful on the outside but they have these sharp teeth and all of the deflection in their scales. That is basically what Begbie is doing all the time, always deflecting.”

This meant lots of Eary’s signature loud prints in sporty shapes, still moving in a slightly more grown-up direction by way of a refined palette and less outright sexual innuendo. Pajama references were nice, especial-ly the peach and blue barracuda shirt with matching silk robe, which was worn with a smart pair of navy trousers and Ellesse sliders. Elsewhere, one hoodie wittily com-bined rows of fish with a square of stars in an approxi-mation of the Stars and Stripes flag; this was worn with a pair of silk trousers in a mélange print of stripes and fish. — JULIA NEEL

Liam HodgesModel casting was varied at Liam Hodges, who focused on developing his man this season and aimed his collection at a various range of people as opposed to a specific type.

Working with American label Dickies, Hodges pushed boundaries for spring, taking the traditional men’s workwear uniform and incorporating playful finishes and experimental silhouettes. He juxtaposed military hues using two-tone combinations of beige and white or olive and military green on shirts and trousers.

Embellishments such as loose white ties or patches inspired by quality control stamps were affixed on jackets, sweatshirts and shorts. Consider a military green bomber jacket with an enlarged “I’m OK” patch across the back, worn with sweat shorts in black and military green.

Workwear influences were also translated in a deconstructive and raw manner in the form of a cotton sweatshirt with visible seams and patches with a slogan such as “Refining Content, Calibration in Process.”

He experimented with shapes in an asymmetrical silhouette, as seen on a drape sweatshirt with elongated sleeves paired with sweat shorts in green or blue. — L.M.

Kiko KostadinovKiko Kostadinov’s show notes state that he takes an “antidecorative” approach to design, and aims to “sub-vert ideas of utilitarian dress.”

To wit: this Bulgarian-born, London-based designer, who garnered buzz in February with his Central Saint Martins master’s collection, played on functional shapes in a deliberately no-frills color palette.

The inventiveness came in Kostadinov’s deft tweaks of these familiar silhouettes — a beige boiler suit had sharp lapels and oversize chest pockets, while a Boy Scout-style outfit came equipped with a wide, cotton tool-belt. There were also crisp cotton trenchcoats, and youthful suits. The latter came in lightweight cotton and sported subtle utility details — zippers at the ankles that created a slight flare, and belts at the waist. The designer also fashioned protective cloth hats that knotted around the models’ heads.

The presentation — held in a dark, warehouse space lit by columns of fluorescent lights — marked a slick debut for this promising designer. — NINA JONES

KTZWhich way are the winds blowing in streetwear, now that high fashion has copped the bomber jacket and sneakers? Looking for clues on the tightly packed benches at the KTZ show, one could spot any number of coveted names, from Vetements and Palace to Off-White and KTZ.

Logos still rule, and KTZ’s Marjan Pejoski disguised many as handwriting and arranged in checkered pat-terns, or embedded them in busy foulards, an emerging London print trend. His came in black-and-white and were worn head-to-toe, splashed on leggings, shorts, parkas, sweatshirts and — occasionally — face masks.

Excepting the bright new Pantha du Prince track “Lichterschmaus” that ricocheted through a dank night-club under an East London bridge, this was a dark-heart-ed collection, tinged with S&M harnesses, black leather and other tarlike textures.

Pouchlike pockets with dangling laces will be a sig-nifier of this collection, which also pointed to workwear shapes as a new frontier. Don’t worry, the black hoodie lives on, here stretched past the knee with extra sleeves to knot around the hips. — M.S.Ph

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The Reviews

6 14 JUNE 2016

a 136-page state of the retail industry report — titled “Frontier(less) Retail” from the Innovation Group of J. Walter Thompson Intelligence and done in collaboration with WWD. The report includes an extensive consumer survey, trends and insights on digital commerce and omnichannel retailing as well as the emerging trends in experiential retailing. Consumer insights in the report were culled from the U.S. and the United Kingdom.

The report uses case studies and perspectives from retailers, brands and tech companies to weave a perspective on the retail industry today as well as where it is headed. The study also includes a “deep dive” on China as well as retail developments in Seoul, Bang-kok, New Delhi and Dubai, among other markets.

Lucie Greene, worldwide director of The Innovation Group, said the inspiration behind the report “is that the current retail landscape seems to be just that — borderless, blurred and amorphous, with collapsing boundaries everywhere.”

Greene said the physical store and the digital realm “are set to merge in new ways with the introduction of artificial intelligence, virtual reality and the Internet of Things.” But technology is also reshaping how consumers connect to one another as well as how they expe-rience shopping.

“Interactions are in flux too, as digital interfaces become increasingly intuitive, touchable and tactile thanks to new cognitive technology and haptic inter-faces, and even conversational — with help from Amazon Echo and Facebook Messenger,” Greene said in the report. “Geographic territories are becoming increasingly meaningless as retail goes truly global — seen as Amazon and Alib-aba spar in each other’s territories.”

Greene said that the idea of what a product is has also changed. A product, “which once simply meant a solid, tangi-ble entity, is in free-fall.” The shopping experience is more “nebulous” she said.

The market itself is in a state of flux. The researchers of the report noted that Baby Boomers are shopping more like Millennials: having experiences, know-ing the narratives behind a product and being more values-driven in their purchasing has now transcended the act of buying stuff. At the same time, consumers are seemingly fixed in a permanent state of frugality even while mass retailers “dabble in luxury,” the report said.

“It’s not just enough to have a product or a service,” Greene told WWD. “Con-sumers want meaning. And authenticity and transparency are key.”

At the forefront of many of these changes is Amazon, which has essen-tially redefined the retail model. “Ama-zon has become the gravitational center of e-commerce to a degree not seen before, setting a baseline for what con-sumers expect from online shopping,” the researchers said. “The tech giant increased its U.S. e-commerce sales by $23 billion in 2015 compared to 2014, accounting for 60 percent of all online sales growth.”

Consumers polled for the report backed up those sales figures. Of those polled, 83 percent of U.S. shoppers

and 82 percent of U.K. consumers had shopped on Amazon in the past year. The survey also revealed that 70 percent of U.K. consumers and 80 percent of U.S. ones said they “prefer to shop at Amazon over other online retailers, with this number rising to a peak of 88 percent among U.S. Millennials,” the authors stated.

The researchers said in the “age of

the omnichannel consumer, digital is infused throughout the buying process, and it’s difficult to separate e-commerce from shopping in general.”

This digitally infused experience is getting an added dimension with AI. The report cites The North Face as an “early mover in AI-powered retail.” The brand partnered with digital commerce firm Fluid to create a tool that is powered

by IBM’s Watson “cognitive computing technology.”

“Using natural language, online shop-pers respond to a series of questions about what they’re looking for, and the tool gradually narrows down the available options to suit,” the authors, said adding that AI is no longer “the stuff of science fiction and it is poised to disrupt nearly every industry over the next decade by supplementing human intuition.”

David Rose, chief executive officer of Ditto Labs, which is a “visual listening” company, said in the report that tradi-tionally, “advertisers look at the people who have purchased something, and they say, oh, what age are they, or what ethnicity are they? They only look at a couple of facets of those people. What’s really interesting about AI is you can look at a million things about someone and then try to find people who are most like that person, across a million different variables.”

Rose said this allows retailers and brands to take a more “psychograph-ic-based approach” where companies reach out to consumers who are likely to already have an affinity for their goods or service.

The researchers urged retailers to investigate the AI market, and noted that consumer expectations are already anticipating its application at retail. According to consumers polled for the report, “72 percent of U.S. Millennials believe AI will be able to predict what they want.”

Other notable trends in the report include:

Digital immersion, and what it means from a consumer engagement perspective;

The evolution of physical stores, and the role of virtual and augmented reality;

Generational “flattening” and Gen Z’s emergence at retail;

Borderless buying, fulfillment trends and the “experience economy;”

Case studies on Nike, Kodak and Sam-sung, among others;

Luxury brands and e-commerce in China

“I think what this report shows is that this is a very dynamic time to be in retail,” Greene said. “And it’s a time that is creating new opportunities for companies and brands.”

State of Retail Report Shows Market in Flux CONTINUED FROM PAGE 1

By the NumbersWhat Consumers Are SayingAI Shopping: “I would appreciate if a brand or online retailer used AI

technology to show me products that are more likely to interest me.”

Demographic: % of respondents who agreed:

U.S. U.K.

Gen Z 60% 51%

Millennials 70% 62%

Gen X 56% 44%

Boomers 2% 26%

Chinese E-commerce: “I have purchased an item online in the past year from…”

Site: % of respondents

Taobao 85%

Tmall 85%

JD.com 70%

Amazon 42%

Suning 33%

Dangdang 29%

Walmart.com 12%

Vanci 9%

eBay 8%

Other 2%

14 JUNE 2016 7

● The executive was a marketing mainstay who guided the store chain into social media and the digital world.

BY DAVID MOIN

In 2011, Justin Bieber gave Martine Reardon, then a senior marketing executive at Macy’s, a scare during his appearance at the Herald Square flagship to launch his fragrance.

“He was on top of the charts and we had young women sleeping outside Herald Square for three nights. They wanted to be the first to meet him,” Reardon recalled. “He was going to do a little wave-by and instead he decided to actually go outside into the crowd. Security guards didn’t know it. We didn’t know it. I had to literally pull him in by the neck so he didn’t get mauled by the women.”

Orchestrating celebrity collaborations and appearances and major merchandise campaigns, be it a Karl Lagerfeld capsule collection or an American promotion, has been a big part of Reardon’s job at Macy’s. Last May, in a brief and highly controlled appearance with no surprises, Lady Gaga unveiled her Love Bravery limited-edited collection done with her sister Natali Germanotta, Sir Elton John and designer Brandon Maxwell. Twenty-five percent of each purchase from the collection supports the Born This Way Foundation, champi-oned by Gaga, and the Elton John AIDS Foundation. “That was a trifecta...It hit on all cylinders — fashion, celebrity and giving back,” Reardon said.

Macy’s has also staged launches with Mar-tha Stewart, Tommy Hilfiger and Donald Trump, among others, and in January 2015 launched its Thalía Sodi collection with the first-ever Facebook collection launch via a live-stream fashion show. The show aired on Thalía’s Facebook page and was viewed by millions. Reardon met Justin Timberlake very early in his career when he was just starting out with ’Nsync. “We discovered them as they were up-and-coming and brought them to Macy’s for a back-to-school event, and then had them in our Thanks-giving Day Parade. Just a few months later they hit the Top 10 in the music charts and the rest is history. There is also something I worked on with him for this fall, so I jokingly said, ‘You are coming back home to your Macy’s family.’

“There are so many more…watching Jes-sica Simpson grow and become a mom and find her love Eric [Johnson], we were the first to launch Sean Combs’ brand at Macy’s and our continued relationship with him, meeting with Karl Lagerfeld in his office in Paris, Taylor Swift, Beyoncé and her mom Tina, and my close bond with Thalía.

“We’ve worked with a tremendous amount of celebrities. The challenge has always been to try to find a new way to launch a new brand,” said Reardon.

Last month, 54-year-old Reardon, a fixture at Macy’s for decades, serving as chief marketing officer since 2012, left the company. She was one of the retailer’s most visible and popular executives, ranked by Forbes in 2015 as eighth among the 50 most influential chief marketing officers. She

was also inducted into the Mobile Hall of Fame by Mobile Commerce Daily, and she received a Matrix Award presented by New York Women in Communications.

Leaving Macy’s “was probably the hard-est decision of my life,” Reardon told WWD.

Her departure happened within weeks of senior marketing executives also leav-ing Neiman Marcus, Chico’s, Kohl’s and Hudson’s Bay Co., suggesting the cmo slot had become a hot seat. Retail marketing positions can turn over rapidly in periods of weak traffic, with performance sometimes tied to the success or lack of success of seasonal campaigns and the ability to woo new customers.

But Reardon said her decision wasn’t due to the pressures in an increasingly challeng-ing retail environment. Instead, she had longings for a lifestyle change. Board work, charitable causes, consulting and spending more time with friends and family are in her immediate future.

“It’s pretty simple. It’s been an amazing run — three decades of building this incred-ible brand. It was a privilege. I loved it,” Reardon said in an interview after leaving Macy’s.

Yet at the same time, “It was like a drug for me. It was hard for me to put some balance in my life. I couldn’t pull myself away. I devoted my life to Macy’s. It was my family, my child. Now it’s time to focus on me and relax. I have never really taken any significant time off. I have been working since I was 16. It’s really time to just think about Martine.”

Chief executive officers look for modern skill sets in their chief marketing officers as businesses rapidly evolve both their digital and in-store experiences and shift adver-tising to new media. Reardon, however,

adapted. She was instrumental in transition-ing Macy’s traditional bricks-and-mortar retail business into social media and the dig-ital world, and early on she foresaw the rise of mobile shopping. She was involved in a wide range of activities, from getting Macy’s connected with location-based services like Shopkick, adopting QR codes, beacons, live-streaming, as well as leading macys.com, advertising, creative development, brand public relations, cause and tourism marketing, media planning and consumer insight efforts and data analysis.

She and her 1,300-person marketing team also supervised Macy’s big three signature events — the Thanksgiving Parade, Flower Show and Fourth of July Fireworks.

Reardon believes there’s room for a fourth mega-event and that Fashion’s Front Row, a cause-related fashion show for the masses held for the first time at The Theater at Madison Square Garden last September, could be it. “It is in motion. This is only year

two and it’s going to be fantastic,” she said.She stressed that she didn’t succumb to

the pressures of the job, which certainly intensified as Macy’s and other retailers straggled through 2015.

“I would never use the word ‘pressure’ for the reason I left,” Reardon said firmly. “I have said many times that I had this dream job. Is there a responsibility to get results? Absolutely. I was a results-driven executive. If I didn’t have that responsibility, I would not have enjoyed the job as much.”

It did become more complex, with the proliferation of data, new technologies, new types of competition, shifting consumer shopping patterns that must be understood and Macy’s trying to capture more of the Millennial generation.

“The amount of research and data we

used to make better decisions relating to the consumer has for the last two years escalated exponentially,” Reardon said. “The mobile device has almost been liber-ating for the consumer. Having that device in her hand, whether she is traveling on a subway or bus, or sitting in a doctor’s office, means she is always busy with something. We better be wherever she is and provide whatever she wants.

“I do think we need to differentiate ourselves a little more,” Reardon added. “The wonderful world of the Internet has given the customer the opportunity to shop anywhere she wants. We have to make sure the product is really differentiated and innovative.”

While Amazon is grabbing market share, Reardon said, “Everybody is a competitor, not just Amazon. But we have a huge advan-tage. We have 800 locations where we can personalize the experience for the con-sumer. It’s all about the product, being able

to touch and feel it, to try it on, and all that surrounds the product, and then being able to get a bite to eat — that makes the expe-rience really gratifying to the consumer. Amazon is just an online experience.”

Shopping, she observed, must be more entertaining, kind of like the way she remembers it growing up. “My mom was an avid shopper and very fashionable. She would take me to Abraham & Straus on Saturdays,” which, coincidentally, is where Reardon started her career, first as an intern and later in the executive training squad. “We’d spend the day shopping and eating lunch in the Garden Room on the fourth floor, and just having a great day...Creating an incredible experience is what’s going to make consumers use their discretionary spend in our stores.”

RETAIL

Martine Reardon on Celebrities, Long Hours and Leaving Macy’s

Martine Reardon and Thalía Sodi

8 14 JUNE 2016

Resort Now

Alice + OliviaStacey Bendet’s resort capsule collection was both a collaboration with, and a celebration of, artist Jean-Michel Basquiat — her whimsical hand applied to his explosive collages.

Not only did the palette of Basquiat’s paintings anchor the eclectic, beautifully vibrant lineup, but repros of his portraits, doodles and handwritten notes were digitally printed onto duchess satin ballgown skirts and dresses. And if that weren’t enough of a visual punch, Bendet added sequin beading and embroidery details onto the artwork, “to make it feel as real as possible,” she said. A moto jacket was playful and kitsch, featuring Basquiat’s scribbled words (including a crossed-out “Madonna”) and iconic elements, like a golden crown. so that customers feel like they’re owning a piece of art. The collection also referenced Basquiat’s personal style, giving it an Eighties feel. A sweater over button-down shirt and stonewash jeans was an interpretation of the artist’s “uniform,” while sweaters with elongated arms played on his habitually stretched-out knits (from letting his dog pull on his leash during walks).

Bendet’s well-tailored evening offerings for evening were considerably more minimal in palette; stand-outs included dresses with glass embroidery and a jacket that could be worn as both a cape or vest. The playful accessories included a black-and-white doodle print on a clutch that glowed in the dark.

All of the Basquiat-inspired pieces will be numbered like prints or sculptures, and half the proceeds from their sales will be donated to the CFDA young talent initiative. — ANDREW SHANG

Markus LupferMarkus Lupfer looked to the jungle and the creatures that inhabit it for a “pretty-meets-tough” collection aimed at the lady who is “maybe a bit London, a bit cooler; she wants to feel pretty but also tough,” as the designer said. To that end, “we did a lot in unexpected combos, like the silk with utilitarian cotton, or two different silks mixed together.”

Lace played a big role — as in a pleated skirt with a hidden slit done in a bold magenta hue — while tonal needlepoint embroideries popped on traditional military jackets or trenchcoats in the shape of bees, birds or snakes. Lupfer further worked the bee motif in a Lurex jacquard for a cropped jacket and a dress and as hand-beaded embellishments for blouses. He also blended leopard-print and tropical banana leaf shapes and recast them into a camouflage print for shorts and tops. It all amounted to a series of what the designer dubbed “playful, but confident” looks. — LORELEI MARFIL

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Holly FultonFor her first foray into resort, Holly Fulton wanted to return to her roots. So she looked at some of her old graphic prints for inspiration, and came up with five new patterns for the collection.

Among the highlights was a hand-drawn, cartoonish print of a woman (reminiscent of a Twenties flapper) on cotton dresses, sweatshirts and silk scarves. The lineup also featured cocoon coats, Sixties-inspired bandeau tops and playful, ruffled skirts in a black and white or red gingham material — a blend of silk and synthetic fabrics that created a shiny, crumpled effect, reflecting the designer’s vision of easy luxury. Crisp cotton A-line maxi-dresses were beautifully structured, while trousers were loose and flared. Pleated skirts, created with a Scottish kilt manufacturer, were paired with soft cashmere striped tops, part of an ongoing collaboration with knits specialist John Smedley.

Embellishment continued to be a focus for Fulton, who experimented with wood, using it in flowers sewn with multicolored threads onto dress necklines, as well as in accessories (a key category for her label). Crys-tals and organza floral appliqués decorated surfaces throughout the collection as well. — NATALIE THEODOSI

Markus LupferHolly Fulton

14 JUNE 2016 9

Mother of PearlMother of Pearl creative director Amy Powney always likes to offset the label’s signature frills with some contrasting element, “to prevent things from getting too twee.” This season, she toughened things up by channeling Nineties grunge, as captured in the light-filled images of British photographer Mark Borthwick. She also saw Stella Tenant — whose androgyny and punk style made her one of the era’s top super-models — as a muse, whipping up micro-floral printed shirts and dresses that she paired with clunky sandals, creepers and floral-printed sneakers.

For the softer side of the collection, Powney referenced Victorian boarding school uniforms (think “Picnic at Hanging Rock”). It lent a maid-enly charm to the looks, especially the gingham dresses and overalls. Pearl-embellished sheer tulle blouses and ruffled trousers were another nod to traditional schoolgirl garb, particularly nightgowns. — KRISTI GARCED

Resort Now

I’m Isola MarrasAntonio Marras joined the circus for his young and feminine I’m Isola Marras resort collec-tion. Images of trapeze artists combined with flowers and Ferris wheels in an exquisitely patterned silk dress with a romantic ruffle on the side — a motif that also appeared in a lightweight coat worn with a coordinated skirt — while elsewhere, a polka-dotted ruffle snaked around a candy-colored dress with a posterlike motif. Another print, inspired by vintage circus posters, was plastered on the front of a silk tunic dress festooned with polka dots and stripes. Huge stars were sprinkled throughout the collection, including on a fluid flared midi-skirt and a sleeveless top — a more graphic-pop take on the theme.

The lineup also offered more sporty pieces styled with an urban feel, such as a jersey sweatshirt layered over an oversize white shirt. —ALESSANDRA TURRA

Warm“The South of France meets the South Pacific,” was Winnie Beattie’s description of her and Tracy Feith’s first pre-collection for their nascent label Warm. It was based on a beach-girl-grows-up phi-losophy — though no matter how adult one gets, the beach demands a certain laid-back ethos. Beattie said they want to steer away from a “bohemian” image, but still it was built into the loose shapes of schmatta dresses fancied up in Hawaiian printed silk; shirts with woven baja necklines and Swiss dot shirts and dresses trimmed with striped sweatshirt cuffs.

Warm’s version of bohemian is nothing to be ashamed of. Besides, Beattie and Feith expanded on it with a tiered black-and-white tie-neck dress in ruffled silk jacquard stripes and a cotton twill “tux-edo” with a great wrap jacket and matching patch pocket pants. —JESSICA IREDALE

GiambaIf it ain’t broke, why fix it? At Giambattista Valli’s little sister label, Giamba, frilly minidresses and separates — always with a dash of naughty — are par for the course. This season, though, Valli was thinking about “cool Snapchat girls” and “West Coast girls,” giving his colorful lineup a whimsical mood that was decidedly less punk than past seasons.

The designer served up plenty of his signature romance with ruffled blouses, lacy skirts, pleated silk chiffon minidresses with macraméd bibs, and a tiered, floral-embroidered high-neck lace gown in bubblegum pink. But he toughened up the frills a bit with an element of playful sport: Think flamingo- or cheetah-printed silk bombers and denim jackets; rainbow-patterned crochet knit tops; jacquard trousers covered in clovers and more flamingos; and even an itty-bitty skirt covered in parrots. —K.G.

Mother of Pearl I’m Isola Marras

Warm

Giamba

10 14 JUNE 2016

encouraging our team members across the country, including our headquarters location, to gather their teams [Tues-day] morning for a moment of silence.”

According to press reports, other vic-tims worked at Gucci, Calvin Klein and Perfumania. The fashion world began tweeting and posting on Instagram on Sunday and continued into Monday.

Prabul Gurung tweeted, “Hate and intolerance took its full force in Orlando. Heartbreaking. Prayers are with the victims’ families and all those affected by the shooting,” while Marc Jacobs said, “Our thoughts and prayers go out to all in Orlando.” Michael Kors tweeted, “Sending love and prayers to #Orlando and all of the friends and fami-lies affected by today’s tragedy.”

Many other designers also showed their support on social media sharing the rainbow colors, including Brian Atwood, Donna Karan, Nicole Miller, Coach’s Stuart Vevers, Jason Wu, Tory Burch and Tommy Hilfiger.

The gunman, identified as Omar Mateen, was shot and killed by Orlando police around 5 a.m. Sunday morning after a three-hour standoff.

President Obama in his address on Sunday called the tragedy “an act of terror,” and said of the shooting, “This could have been any of our cities.”

The incident at Orlando had law enforcement in key cities keeping tabs on developments in the investigation.

Police in several major metropoli-tan cities elected to go to “high alert” in areas where there tends to be large gatherings, such as tourist attractions. They also are increasing patrols and surveillance in areas connected to the LGBT communities.

In New York, Mayor Bill de Blasio said Sunday that the police have not received any “credible threats” against the city or its LGBT institutions. Law enforce-ment officials have been on high alert since Sunday, and there is an additional police presence in high-traffic areas and certain LGBT locations both in Manhat-tan and in the outer boroughs. De Blasio said it was clear the incident was about “hatred toward the LGBT community.”

On Monday the NYPD was still “closely monitoring” the developments and remained in contact with the local law enforcement authorities in Florida, as well as the FBI.

In Boston, police there offered resources and assistance to their coun-terparts in Orlando. The city was the site of a terrorist attack in April 2013 during The Boston Marathon.

The Chicago Police Department said they were stepping up patrols around the city’s North Side and in its Boystown area, which is one of the largest and oldest LGBT communities in the nation. The CPD emphasized that there is no intelligence of a threat against the com-munity, but only that they were acting “out of caution.”

The city of San Francisco is sched-uled to hold a LGBT Pride celebration on June 25. The San Francisco Police Department, which has been holding meetings to plan security measures for the event, said it would hold more meetings. Additional patrols have been placed in areas such as the Castro

District, an LGBT community, and at high-traffic locations around the city.

In Los Angeles, police on Sunday were on high alert at the L.A. Pride parade in West Hollywood. Police in the city arrested a 20-year-old man from Indiana — heavily armed with assault rifles, high-capacity magazines and ammuni-tion — who was headed to the parade. It was later determined that there likely was no connection to the Orlando shooting.

Law enforcement officials in some cit-ies overseas, such as London, also have increased patrols at major local venues, as well as at key LGBT establishments. A spokesman for the Metropolitan Police

of London said LGBT liaison officers are working their networks to determine how to best support the communities. Law enforcement and military officials in France have remained on high alert ever since the terrorist attacks in Paris last November, and security has been heightened since the beginning of the Euro Cup soccer tournament last week.

Locally in Orlando, reaction on Sunday was swift to enhance security measures at the major tourist venues. Walt Disney World, Universal Orlando and SeaWorld placed metal detectors at their gates.

“The safety of guests and team members is our highest priority,” said

a spokeswoman for Universal Orlando on Monday. She added, “Our property is patrolled 24 hours a day, seven days a week. Law enforcement officials always have and will continue to maintain a strong, ongoing presence [at the park].”

The Universal Orlando spokeswoman also said, “We’re trying to keep the guests safe.” She said further: “All personal items are subject to inspection, that goes for guests and team members. We started this a while ago, but it’s more important now.”

“Our thoughts and prayers are with all of those touched by the unimaginable events that occurred in Orlando,” said a spokeswoman for SeaWorld Parks and Entertainment. “The safety of our ambassadors, guests and animals has always been our top priority. Our security teams work closely with law enforcement and we have enhanced security measures at all our parks. Like other major attractions and law enforce-ment agencies in the area, we do not comment on the details of our security measures in order to maintain their effectiveness.”

“Our primary focus is on supporting local authorities and elected officials as they respond to this horrific incident,” said Visit Orlando president and ceo George Aguel. “The outpouring of sup-port from across the globe, the robust efforts from law enforcement and our commitment to providing a safe envi-ronment to visitors gives us confidence that we will remain a destination of choice for visitors.

“The tourism community and local authorities have always worked closely on a comprehensive approach to secu-rity to ensure a safe environment for visitors,” Aguel added. “Over time, the measures have evolved with a particular focus on prevention, using technology and effective sharing of information. Safety remains a top priority for the destination.”

Over at The Mall at Millenia, Michele Jacobs, corporate director of market-ing and operations for The Forbes Co. centers in Florida, said, “The safety of our guests and employees is always the highest priority for The Mall at Millenia. This horrific incident has had a tremen-dous impact on the Orlando community. Our hearts go out to all who have been touched by this senseless tragedy. While there are no known threats at this time, we remain in contact with local and fed-eral authorities and will remain vigilant for the safety and emotional well-being of our guests and employees.”

The Mall at Millenia is about five miles from where the shooting occurred, according to a Macy’s sales associate on Sunday. Macy’s is an anchor tenant, and this individual said that Orlando police had a visible presence at all mall entrances.

“As a result, of this weekend’s tragic event, we have taken additional mea-sures including increased security, both visibly and behind the scenes,” said John Stein, director of marketing and sales, I-Drive 360, a new $250 million entertainment destination and home of the Orlando Eye, the largest observation wheel on the East Coast. “We are also working in close collaboration with local law enforcement officials, which visitors will see a greater presence throughout the International Drive resort area. Visitor traffic is consistent with this time of the year.”

A spokeswoman for Uniqlo USA said, “As we prepare to open our first store in Orlando, we wish to extend our heartfelt thoughts and sympathies to the Orlando community during these tragic and difficult times.”

Fashion Outraged By Fla. Shooting;Police Up Security CONTINUED FROM PAGE 1

Tory BurchTommy Hilfiger

Bloomingdale’s

Target

Opening CeremonyDonatella Versace

Jason Wu

J. Crew

14 JUNE 2016 11

● L’Oréal USA and Organovo Holdings Inc. are close to commercializing the creation of skin tissue.

BY RACHEL BROWN

L’Oréal USA and Organovo Holdings Inc. are a year to 18 months away from com-mercializing the practice of creating skin tissue with a 3-D bioprinter.

The two companies struck a deal last year to be the first to bring 3-D bioprinting to the beauty industry. The technology

would advance L’Oréal’s in vitro product testing capabilities, an area its subsidiary Episkin, which uses cells from mammary and abdominal samples to reconstruct the human epidermis, has been a leader in for more than a quarter century with cell cul-ture processes developed in the Nineties for mass production.

“A long time ago we made this decision to not work on animal models and to work on more predictive models and tissue engineered skin,” said Guive Balooch, global vice president of L’Oréal’s Tech-nology Incubator, an arm of L’Oréal that’s been working with Organovo. “This kind of innovation allows us to do that, allows

us to test a lot of different molecules and to see the effect in terms of toxicity, safety and even efficacy of the molecules. So, it’s really an important adventure. Episkin has made a huge effort over the past 25 years and, now, as you’re able to do new things with printing technology, this will bring us I believe to the next level.”

Speaking to an audience of around 30 European journalists visiting the Technol-ogy Incubator’s office in San Francisco last week, Balooch elaborated that L’Oréal USA and Organovo are focusing initially on keratinocyte models for its 3-D printed skin tissues, but models incorporating melanocytes to analyze formulas on differ-ent pigments are being produced. The 3-D printed skin tissue will be sold to compa-nies across the beauty and pharmaceutical segments.

“Today, it’s not that personalized that we could print everybody’s skin, but the idea is, in the future, if you could modu-late the amount of pigment and things like that, you could have a whole array. We’re doing a lot of research around how we can do new models and work around custom-izing the models,” said Balooch. “There is a lot of customization that can be done with this type of technology.”

In addition to helping companies avoid animal testing, 3-D printed skin tissue could minimize the cost and duration of product evaluations. Balooch declined to disclose the price of purchasing L’Oréal USA and Organovo’s 3-D printed skin tissue, but did suggest the pace of product testing could ultimately quicken. “It will help us to increase reliability and repeat-ability, although we are very good today at Episkin in doing that. When we want to create new models, this could be a faster way to do that…As of today, I’m not sure that it will improve necessarily the speed, but the goal would be that it should over time,” he said.

Outside of bioprinting, Balooch

expounded that 3-D printing opens up numerous possibilities for L’Oréal. “If I told you to choose which Starbucks color you wanted your eye shadow to be and then I used a 3-D printer to print that, for example. Using 3-D printing allows us to do things like that, to be able to build 3-D structures faster and more customized,” he said, emphasizing, “When it comes to mass customization, speed, innovation and supply chain, these technologies are really the future.”

L’Oréal’s Technology Incubator is also moving forward with projects involving augmented reality apps, custom makeup from Lancôme Le Teint Particulier and My UV Patch, a stretchable and adhesive skin sensor it has released under the brand La Roche-Posay. L’Oréal’s augmented reality app portfolio is growing in two to three months with the launches of Nail Genius and Essie Dressing that facilitate virtual try-ons of nail polish colors from L’Oréal Paris and Essie, and it’s expanding custom-ized foundation products by rolling out Lancôme Le Teint Particulier to 50 doors globally next year. Currently, Lancôme Le Teint Particulier is only available at Nord-strom stores in Seattle and Torrance, Calif.

To date, Makeup Genius, the inaugural augmented reality app from L’Oréal’s Technology Incubator, has registered 20 million-plus downloads in more than 60 countries. Balooch noted that a majority of consumers interacting with the app return to it on a regular basis and often rely on it for purchases, not simply product exper-imentation. “We see a lot of people who use the technology that convert to buy,” he said. Turning toward upcoming aug-mented reality apps, Balooch continued, “Hair color is obviously on the roadmap as well, but hair color is very complex because you have on average 100,000 fibers on your head that are all moving in different directions. So, today, that’s still not there.”

BEAUTY

3-D Printed Skin Tissue Comes Closer to Reality

● Apple Pay will be available on web sites, in addition to redesigns for Apple Music, News and Photos.

BY MAGHAN MCDOWELL

SAN FRANCISCO — Minnie Mouse has broken through the Apple Watch “glass ceiling” and iPhone messages are getting a dose of Snapchat-like embellishments.

Those are just a couple of the highlights from Apple’s annual developer’s confer-ence here, which also detailed a number of forthcoming software updates for the Apple Watch, Apple TV, Mac and iPhone.

Major updates include redesigns of Apple Music, News and Photos, and the word that Apple would be opening up Siri to developers and bringing the digital assistant to Macs. It’s also bringing Apple Pay to the web, meaning that retailer web sites will be able to add a “Pay With Apple Pay” button and customers will not have to enter credit or debit card information. The purchase will be authenticated with the Touch ID feature on an iPhone or an Apple Watch. Previously, Apple Pay was exclu-sively available for apps.

This will help make the mobile web more reflective of the seamless experience on mobile apps, said Time Inc. digital pres-ident Jen Wong. She said the company has affiliated experiences that link out and that it would be interesting to “close the loop” on intent generated through their content.

Immediately following the news, Demandware shared that it would offer Apple Pay to clients of its e-commerce platforms in Safari on the iPhone, iPad and Macs.

Apple News, which now has 60 million users, will get a fresh design and a new section called “subscriptions,” which lets

users reach stories from their favorite publications.

This, Wong said, showed that Apple was in tune with the needs of publishers in that they are making a place for premium — i.e. paid — content on Apple News. She said Time continued to test which type of con-tent performs the best on Apple News.

Apple Music is also getting a new look in an effort to be more intuitive and easy to navigate.

The Apple Watch, which added a new face with Minnie Mouse to match that of Mickey, will get the third version of its operating system, which includes faster

load times for apps and improvements to how it feels to navigate the watch, includ-ing more support for developers in using Apple Pay in apps. These updates will be coming in the fall, and come at a time when consumers are still getting comfort-able using the Watch’s various functions, including the shopping journey.

According to recent research from GPShopper, for example, customers said although they would be hesitant to make a purchase on Apple Watch, they would prefer to use it for loyalty programs and coupons while shopping.

The updated iPhone operating system, iOS10, will offer options to customize and enhance Messages, which is the most frequently used iOS app. New options (that will no doubt be welcome news for the Snapchat generation) include the ability to “emojify” messages, handwritten mes-sages, “invisible ink” that appears only with the swipe of a hand and animations that take over the full screen.

Apple TV, which now has 1,300 video channels and 6,000 native apps, will come with improved search and a companion iPhone app that mimics and builds on the capabilities of the Apple TV remote.

While introducing the conference, Apple chief executive officer Tim Cook said there were more than two million apps on the App Store and that they had been downloaded 130 billion times and that $50 billion had been paid to developers.

He also introduced an iPad app that teaches programming and that was created with children in mind. “Our North Star,” he said, “is about improving people’s lives by creating great products that change the world.”

RETAIL

Apple: Major Updates to Operating Systems on the Way

Apple is making the largest update to its iPhone operating system with iOS10.

Lancôme Le Teint Particulier is one of several projects spearheaded by

L’Oréal’s Technology Incubator.

12 14 JUNE 2016

El Museo del Barrio’s latest exhibit calls attention to a fashion illustrator from its own neighborhood.

“Antonio Lopez: Future Funk Fashion,” which opens June 14, has been 15 years in the mak-ing. “Curators in the past had gone to the archive but nothing developed until just last year,” explained cocurator Rocio Aran-da-Alvarado. The show incor-porates work from the Antonio Lopez estate in New Jersey and from private collectors, including designer Narciso Rodriguez. It’s the most comprehensive exhibit of Lopez’ work to date, featuring more than 400 of his illustra-tions and creative projects.

Lopez was born in Puerto Rico in 1943, but grew up in East Harlem after his family moved to America when he was seven years old. He attended P.S. 107, before moving on to The High School of Art and Design. “He lived in East Harlem pretty much his whole life,” noted Aranda-Al-varado. Lopez passed away in 1987 at the age of 44 from AIDS complications.

While attending FIT, Lopez met Juan Ramos, who would become his lifelong partner and creative collaborator. “It was always really collaborative,” said Aranda-Alvarado. “I don’t think people realize how much Juan was kind of the idea man. He would go and buy the books. He would say ‘OK, we need an idea

for a commission that we got for a particular store,’ and they’d go to Rizzoli and buy books.”

The young fashion illustrator was given his first job while still attending the Fashion Institute of Technology — he was hired by John F. Fairchild, then editor in chief of Women’s Wear Daily. In addition to illustrating for many publications — WWD, The New York Times, Interview during Andy Warhol’s reign — Lopez was also frequently commis-sioned by fashion brands. Many of those projects are on display in the exhibit, including a series of campaign images drawn for YSL (spelled out by illustrated bodies), Versace and Chloé — the latter images commissioned by Karl Lagerfeld in the early Eighties. Lopez and Ramos were longtime friends of the designer, and were put up by Lagerfeld

when they moved to Paris in 1969. “He found a place for them to stay,” explained Aranda-Al-varado. “There were two differ-ent addresses in Paris. I think one of them was Karl Lagerfeld’s mother’s building, and their studio space was there.”

Lopez is well known for his drawings of female models,

coined “Antonio’s Girls,” and he developed close relationships with many, including Pat Cleve-land, Grace Jones, Tina Chow and Carol Labrie. He was partic-ularly interested in representing women of color, who were often marginalized within the fashion world, and aimed to highlight them from an angle of strength.

“He was working on these really powerful figures of women,” said Aranda-Alvarado, gesturing to a wall of black-and-white illustrations. He met many of his muses in context of his daily life. “He met Grace Jones on the subway, and they started talking. It usually began with a conversation, with him asking if she could come pose with him at his studio,” she explained. “He met Jerry Hall out dancing at a club called Club Sept in Paris, and she was wearing a crazy gold lamé outfit that her mom had made for her specifically to go dancing in. He was immedi-ately attracted to her, he asked if he could draw her and she came back to the studio. So that was sort of the way it always devel-oped, and they became really good friends.”

Lopez culled much of his inspiration from music, notably disco, and a wall showcases re-cords from his private collection. A playlist compiled by Bill Cord-erjo, who was his regular DJ, will play throughout the exhibit. The musical references carry over into Lopez’ work. “The fashion images show hip-hop and urban style influence,” said Aranda-Al-varado, gesturing to a series drawn for Missoni in the Seven-ties. “You can see the hands are making the popping moves of breakdancing,” she continued. “Who knows if they even knew. You would have to know popping as a style of dance and what it looks like.”

The back room of the ex-hibit showcases the “future” aspect of Lopez’ work. “By the early Sixties, he and Juan were interested in Science Fiction and they had a series they called Space People,” explained Aranda-Alvarado. “Throughout the Seventies and Eighties they kept returning to this theme of the future world. So there are a lot of women that have these radical hairdos or these con-traptions that they’re wearing,” she continued. “They listened to a lot of R&B. That coupled with his interest of people who are marginalized from the fashion in-dustry made him think about this utopian future where science fiction and racial equality sort of mixed.”

“Antonio Lopez: Future Funk Fashion” is on view through Nov. 26. — KRISTEN TAUER

A First Look at ‘Future Funk Fashion’The exhibit features more than 400 works by illustrator Antonio Lopez.

Cocurator Rocio Aranda-Alvarado.

“He did a particular kind of image over and over again where he turned the human figure into a shoe.”

Work from the “Antonio Lopez: Future Funk Fashion” exhibit.

Illustrations for Chloé.

An illustration of “Antonio’s Girls.”

Work for YSL.

“This is a series for Missoni. You can see the hands are making the popping moves of breakdancing.”

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● The French brand’s winter campaign features four personalities with a rebellious streak.

BY MILES SOCHA WITH CONTRIBUTIONS FROM LORELEI MARFIL

PARIS — Known for his eclectic and daring fashion sense, A$AP Rocky assumes a more couture guise as one of four faces of the latest Dior Homme campaign.

“I really like his personal style and taste. He’s a real fashion lover,” said Dior Homme creative director Kris Van Assche. “He feels like fashion really influences his own work, and he has strong opinions on that.”

Indeed. Interviewed at the London men’s shows, which wound up on Monday, the rapper talked about his equal affection for elite, more formal brands — and those with an urban edge.

“I mean, it’s dope when you can mix it. It’s all about taking two worlds like streetwear and high-end and kind of mashing them together,” A$AP Rocky told WWD. “But when it comes to Dior, it’s just prestige and elegance in my opinion. It’s almost like Coco Chanel was for the lady.”

Van Assche’s latest campaign, photo-graphed by Willy Vanderperre, also spotlights filmmaker Larry Clark, young French actor Rod Paradot and model Dylan Roques.

Asked how he selects his campaign faces, Van Assche said it’s simply a matter of “talents that inspire me. They come from different universes and different countries.”

The men share an important characteris-tic — subversiveness. “A rebellion side,” Van Assche explained in an interview. “I also think of them as being free spirits.”

Clark, for example, who has delved into

youth culture in such films as “Kids” and “The Smell of Us,” figured on Van Assche’s mood board for the Dior collection featured in the campaign, paraded on a vast set with stylized half-pipes and other skateboarding ramps.

Paradot won acclaim for his role in “Stand-ing Tall,” which won him a César for most promising actor. He accepted the statue, the equivalent of an Oscar in France, wearing Dior Homme and overcome with emotion.

Roques, meanwhile, walked exclusively

for the French brand during the last Men’s Fashion Week in Paris, and went on to be Van Assche’s fit model.

“He’s the muse of the season. The collec-tion kind of grew on him. Through fittings, you are always influenced by the boy you’re working with,” the designer explained.

At 20, Roques exemplifies the “young French street attitude, but also chic,” Van Assche said.

Vanderperre’s Dior effort, styled by Olivier Rizzo, follows a fall Dior Homme campaign lensed by Karl Lagerfeld and featuring actor Rob Pattinson. (Lagerfeld shoots the so-called pre-collections, while Vanderperre captures the runway togs.)

In a funny coincidence, Pattinson and his singer girlfriend FKA Twigs turned up at a party in London on Sunday night hosted by

designer Jonathan Anderson and A$AP Rocky, who collaborated on a capsule range for the J.W. Anderson brand.

Van Assche noted that Lagerfeld’s Pattinson spots “makes the picture even more com-plete” in terms of Dior Homme’s embrace of different types of men. “I’m trying to push this idea of diversity within one point of view, one style,” he said.

Asked if anything unusual or amusing happened on the shoot, given the fiery and diverse personalities, Van Assche chuckled and offered: “Let’s just say it was not a boring day. It was a fun day.”

The ads are slated to break in Men’s Non-No in Japan on July 11, and then appear in Australian and South Korean editions of GQ, followed by Leon in Japan and Elle Men in China.

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A$AP Rocky, Larry Clark Pose for Dior Homme

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First Time WinnerKate McAleer has been named the winner of the inaugural Tory Burch Foundation Program’s pitch competition.

She was awarded a $100,000 grant investment for her business, Bixby & Co., based in Rockland, Maine, which produces American made organic and vegan friendly candy snack bars. McAleer was among the 10 women entrepre-neurs who attended a three-day workshop at the Tory Burch offices in New York where they participated in a pitch competition to present their business plans before a judging panel of success-ful entrepreneurs and leaders.

“It was an incredibly tough decision because all of our fellows are quite extraordinary and delivered compelling presenta-tions,” said Tory Burch, founder of the Tory Burch Foundation and chairman, co-chief executive officer and designer of Tory Burch, LLC. “We were extremely impressed with the quality of Kate’s product and her vision for growing her business. She has a big dream and bold ambitions; we look forward to seeing how she will use this investment to build on her

success so far.”Laurie Fabiano, president of

the Tory Burch Foundation, added, “Kate has reinvented candy by making it just as delicious, but with less sugar and more natural ingredients and packed with pro-tein. We are so proud of her hard work and we know she will be an incredible ambassador for other women entrepreneurs.”

McAleer said, “To win this national competition is a validator of tremendous hard work and focus to impact change and

embrace my ambition to reinvent candy. Through this program I now have access to new doors to new networks and experiences that will impact growth. This is truly life-changing.”

She plans to use the $100,000 grant investment to expand her product line.

The Tory Burch Foundation Fellows Competition, launched in 2015, is a year-long Fellowship Program that offers women access to education, mentoring and networking opportunities. The initiative identified 10 women entrepreneurs to be Tory Burch Foundation Fellows and become ambassadors for other women entrepreneurs while providing an opportunity for them to compete for a $100,000 grant investment in their business. — LISA LOCKWOOD

Sitting In CoachSam Claflin was among the front row stars at the Coach men’s spring 2017 show, along with Kate Moss and her new lodger Nikolai von Bismarck, Johannes Huebl, David Gandy, Robert Konjic, model Jordan Barrett, Oliver Cheshire

and artist Gary Baseman, who provided many of the collection’s graphics.

Claflin said he had just finished shooting on a film and was plan-ning a restful summer enjoying a different kind of role: fatherhood. He and his wife, actress Laura Haddock, welcomed their first child last December. “I’m not going to do anything except be a dad. I am having a couple of days to do some meetings and then I’m hav-ing the summer off to be with my wife and my baby. Laura is working so I will be the stay-at-home dad and husband.”

Jack Guinness and Nick Grim-shaw were riffing on the front row, cracking jokes like a TV comedy duo at the show, where on every seat was a nine-inch Tyrannosaur skeleton key chain made from leather, a reference to the dino-saur sweaters in the collection.

“I think they’d make a nice pair of earrings,” said Guinness, hoisting one of the football-sized dinos in the air to consider it. “Or, I’m always losing my house keys; they’d be harder to lose if they were attached to a T-Rex, don’t you think?”

“Not sure if they’d slip into the back pocket of your jeans, though,” Grimshaw said. “Might be a bit hard to get in and out in a rush.”

Grimshaw had spent the morning in the hairdresser’s chair, refreshing his bleach-blonde crop

in time to host the L’Oréal Colour Trophy Award later that night. “I have to go back again this after-noon because [L’Oréal] said they didn’t want me to have the darker roots, but I wanted roots — they look punky,” he said.

Guinness also had hosting duties planned for the closing night of the London men’s shows. “I am going to be compèring the ka-raoke party that [GQ editor] Dylan Jones and Samuel L. Jackson are throwing at Abbey Road Studios for One for the Boys,” he said.

“I had a long talk with Dylan last night and we just talked about the best songs to sing. It doesn’t seem

like there are any rules. It feels like ‘Fight Club’; there are no rules. It’s like a singing throw-down,” he add-ed. “I want people going from the get-go. You know when everyone’s scared to sing at the beginning but then everyone gets wankered and you can’t get people off [the microphone]? I want it to be like that, but from the beginning. I don’t want Dylan singing ‘A Whole New World’ in the corner by himself at the end of the night.”

Hollywood lifestyle consultant Andrew Weitz had his doubts about whether such an early loss of inhibitions would be possible. “I think it’s going to take a huge amount of booze for people to get up and sing, at probably around 11 o’clock when people are wasted,” he predicted. “Although, it might happen a little bit earlier over here. I notice the British have a habit of starting on the drinks earlier in the evening than we [Americans] do.”

“Can I? Can I?” exclaimed Moss backstage after the show as she fingered through a lineup of runway bags that were on the floor. Before anyone could say a word, she’d emptied the stuffing out of a black tote with a smiley face and dripping paint, and made it her own, sticking her other bags right inside it. “It’s a bag inside and bag inside a bag – I love it,” she said as she mugged for the cameras beside Stuart Vevers. — JULIA NEEL

Fashion Scoops

Kate McAleer

Stuart Vevers and Kate Moss