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When the bump appeared we thought we\'d see less of Kate Moss — that vanity would keep her at home, that style followers would lose interest in documenting her every pregnant move. But no. There she is with her Kelly bag on the streets of London, in her Prada blouse going to a baby shower at Stella McCartney\'s, with her boyfriend on a yacht in the south of France. The reason? No one can throw an outfit together like Moss can. So many contemporary designers talk about "relaxed elegance" that it\'s practically a cliché. But very few living examples of it exist. Only Moss can put on a strappy Balenciaga dress and look as natural at an opening at London\'s National Portrait Gallery as she would in a pub. When photos of Moss wearing a curly wig appeared in magazines, British papers immediately predicted the return of the perm. After seeing her at a Christian Dior show, designer John Galliano, according to his assistants, said he was inspired by Moss as the new Marilyn Monroe. For her part, Moss has little to say about her personal style or anything else. In Harper\'s Bazaar\'s Best-Dressed of 2001 feature, several of the other women on the list named Moss as their style icon, or person whose closet they\'d most like to raid. Asked for her own style icon Moss replied, "No one." Asked her favorite accessory, she said, "A guitar pick." Hark, another trend?' para[1] = '
Image is everything? Not for a High-Street retailer, unless it can help shoppers create the one they want. Nobody does that better than Zara, the chain that one analyst calls "Armani at moderate prices." And nobody has more responsibility for maintaining this reputation than Jose María Castellano, CEO of Zara\'s parent, the Spanish textile giant Inditex. Castellano oversees the fashion group founded by the reclusive Amancio Ortega. Zara has revolutionized affordable fashion by responding to consumers\' wants, needs and whims faster than anyone else in the marketplace. Its army of trend spotters files daily e-reports on what\'s hot and what\'s not — in the streets, on the catwalks and in Zara\'s 500-plus outlets around the world. At headquarters in La Coruña, Spain, the data are analyzed to determine whether there\'s too much or not enough in the stores. More than half of Zara\'s manufacturing is done inhouse, which means that the company can quickly ramp up, cut down or even start making an item. By keeping its production base in northwestern Spain rather than in the Far East, Zara can get a design from drawing board to store shelves in as little as two weeks, compared to at least six for other retailers. Zara\'s capital-intensive formula means higher labor costs, but also unusually strong loyalty and brand recognition among fickle shoppers. And that means Zara can spend almost nothing on advertising. "The fashion world is in constant flux," Castellano has said. "We need to give consumers what they want." In a sector where designers are deified and editors are oracles, Zara has found success by actually putting the customer first.' para[2] = '
Flawless fashion instinct is just one of the things that sets W and Women\'s Wear Daily\'s Bridget Foley apart from other fashion journalists. Not only can she spot talent a kilometer off, but she can also write as well as the best of them, without having to resort to shock tactics or smarmy insults. Her voice and vision are apparent in every review Women\'s Wear Daily prints, as well as in the profiles she pens herself for the glossy monthly W — both crucial in shaping the views of retailers around the world. Foley is executive editor of both titles. "I try not to be cavalier," she has said about her reviews. "These designers work for months on a collection, and then we have 45 minutes or an hour and a half — if we\'re lucky — to write the review." Foley made our list because she represents the future of fashion journalists — people who can write with style about both the clothes and the business. And she hasn\'t lost her fascination with either, even though she has been covering them for Fairchild Publications for more than 17 years. "[Fashion is] an industry about change and nuance," she said. "But what I love is that it\'s also a way to view social history." She is largely responsible for W\'s successful relaunch in 1993. W\'s sales, for instance, are up 6.5% on the previous year, amid the toughest advertising market in decades.' para[3] = '
News that his boss, LVMH CEO Bernard Arnault, is getting serious about his fashion brands is good news for Carcelle. Although Carcelle has been instrumental in the running of LVMH since 1999 (he had previously worked for the Louis Vuitton brand after Arnault acquired it in 1990), his role took on new significance as the company decided to focus attention, and dollars, on his division and its stable of brands like Christian Lacroix, Donna Karan, Fendi, Kenzo and the big money earner, Louis Vuitton. "I don\'t think we should use the same strategies for each brand," says Carcelle describing his plans to revamp Kenzo, starting with a new store next to the LVMH offices at Paris\' Pont-Neuf. "We aim to give a more precise expression to each brand."' para[4] = '
Is it any coincidence that following the April 2001 appointment of Antonio Belloni as chief operating officer of LVMH things began to happen at the world\'s largest luxury goods group? That CEO Bernard Arnault announced the company would focus on its "luxury star brands" and start to reduce its stake in the money-draining auction house Phillips and focus on such trouble spots as DFS and the cosmetics retailer Sephora? The very things that LVMH\'s investors and financial analysts had been begging Arnault to do? We think not. And we\'re not alone. "I think that even if the restructuring doesn\'t happen as quickly as planned, at least Belloni has got Arnault thinking in the right direction," said one analyst. No wonder Belloni has since been promoted to group managing director.' para[5] = '
Everything old is new again. If you\'re of a certain age (say 30), you might have noticed that the clothes in the stores look a little familiar. Perhaps you\'re thinking that you\'ve worn these clothes before — Zac Posen\'s \'40s-style cinched-waist dresses, the Marc by Marc Jacobs \'70s corduroy blazers, the Gucci \'80s ankle-clenching trousers. This is not a great creative moment in fashion. Designers are continually mining the annals of fashion history to come up with designs for today. The keepers of those annals have a certain clout in the industry. Decades, a vintage shop in West Hollywood, stands apart from most thanks to the astute eye of its owner, Cameron Silver, and its location near the celebrities who have taken to wearing vintage over vintage-inspired. Having stars like Jennifer Lopez show up at high-wattage events in gowns they bought (yes, bought) may do more for the brand recognition of his store, but selling to designers in search of inspiration does more for his bottom line. Silver says about 60% of his sales come from designers. Some of those transactions are for genuine technical reasons — so a designer can illustrate a technique that\'s no longer used. But most sales are, as Silver says, because "designers are just hyper-stylists," more comfortable borrowing than sketching. Bringing little-known designers to the forefront is Silver\'s passion. He regularly organizes exhibitions of such talents. Next up, a December retrospective of Kaisik Wong, whose patchwork vests were the centerpiece of last spring\'s Balenciaga collection. This fall, the Decades boutique at Barneys New York will house a for-sale exhibition of "countercultural hand-painted clothing from the 1960s." Silver predicts one-of-a-kind pieces like these will be the next big thing. "It\'s a spectacular collection, and it will never happen again," he says. "Any designer who wants to see what will be selling six months from now should be there." The timing, set to coincide with New York\'s fashion week, is no coincidence.' para[6] = '
Let\'s not rehash the story of how Diego Della Valle changed the fortunes of his family\'s shoe business by designing fanciful creations for \'80\'s designers. Let\'s not talk about the Italian football team he created out of the remains of Fiorentina (called Fiorentina 1926 Florentina). Let\'s talk instead about why he\'s one of the most envied entrepreneurs in fashion. About how he built Tod\'s, a publicly-traded company worth almost $250 million, on the back of a pebble-sole driving shoe, a hobo bag, a Kelly-like bag a golf shoe and the like. Things that have been around since the dawn of classic dressing. "He raised luxury knockoff to an artform," says one fashion journalist. And not just with Tod\'s. In his most recent quarter he increased sales at Fay by some 30% and at Hogan by 11%. It\'s numbers like these in an economy like this that captured the attention of LVMH chairman Bernard Arnault. When Tod\'s went public in November 2000, LVMH bought 3.5%. And this March Della Valle was appointed to the LVMH board.' para[7] = '
In Fall of 1999, trend spotter Lidewu, or Li, Edelkoort published a small book to coincide with an exhibition on taste at the Bonnefanten Museum in Maastricht. The book spelled out the things that Edelkoort thought would be important in the future. "Handmade, human-crafted materials come to us as a present, to help us regain our balance," she wrote. Her examples: photos of thick wool, roughly knit sweaters and pants. At the same time the book was being distributed, Tom Ford was showing his Gucci collection for Spring 2000, featuring sparkling jersey pants and dresses with colored tights — nothing that looked handmade or human-crafted. Over at Louis Vuitton, Marc Jacobs was presenting logo-covered canvas trench coats — not the kind of thing grandma could whip up at home. But for this fall big, chunky knits were a key look on two cutting-edge runways: vests and jackets at Balenciaga and tops and scarves at Helmut Lang. This knack for knowing what\'s right — and when — has made Edelkoort the forecaster of choice not just in textiles, but also in automobiles, interiors, gardening and cosmetics. "It\'s not a mystical experience," she says. "The ideas I develop aren\'t my ideas. They\'re in the air ... It\'s how they\'re handled that is the creative part."' para[8] = '
He has been called "the most original and intriguing designer of his generation" by Suzy Menkes. But his work borrows unabashedly from those who have gone before. Not Cristobal Balenciaga, whose house he now designs for, but from Davy Crockett, Star Trek and Michael Jackson. While other designers\' idea of influence simply means bringing back, with nary a stitch out of place, Ghesquière\'s means bringing back and making modern. Green cargo pants as cool? Why not? His shy personality may seem at odds with his bold ideas, but when he came under attack from fashion journalists for copying — a little too closely — a vest from a little-known designer, Ghesquière didn\'t flinch from the fight. "I did it — yes," he told the New York Times. "This is how I work. I\'ve always said I\'m looking at vintage clothes."' para[9] = '
What would a city be without its department stores? Bergdorf Goodman, Galeries Lafayette, Liberty — these aren\'t just places to buy clothes — they\'re historical landmarks and tourist destinations. Vittorio Radice, the CEO of Selfridges, wants the future of the department store to be as glamorous as its past. So he has packed the Oxford Street store with new designer brands and whimsical exhibitions (Bollywood, anyone?), making it the retailer of choice for London\'s style setters. And he has hired a cutting-edge firm of architects, Future Systems, to design the Birmingham Selfridges that will open in 2003. "These buildings are cathedrals," he says of existing stores. And he wants more of them.' para[10] = '
Not all new designers are created equal. Some have connections, some talent, some personality, some drive. Alexander McQueen has all of the above. In spades. The son of a London taxi driver, he wasn\'t born with connections — they came when he sold the majority of his company to Gucci Group. His talent is beyond dispute; the signature dress from his fall collection — dubbed the milkmaid — sold out of New York stores before the temperatures dipped below 30° C and most shoppers were still looking for swimsuits. His cheeky personality makes for great quotes — he recently told the British pop culture magazine The Face that his new perfume would smell like sex. "It could smell like a man and a man having sex, a woman and a woman having sex, a man and a woman having sex, or a man and a dog having sex." And as for his drive? Well, it\'s been there all along, but now he\'s showing it off — talking openly about how he plans to give up runway theatrics in order to produce collections that sell. The combination makes us think Alexander McQueen will be the first next-generation designer to succeed in building his own name into a strong brand. The power of vision is apparent in his new New York City store, on Manhattan\'s West 14th Street. Gucci Group put up the money, but unlike the other brands the group is developing, McQueen didn\'t work with the de facto house architect Bill Sofield. McQueen hired his old friend William Russell and turned out a design that is every bit as creative and captivating as the clothes hanging in it.' para[11] = '
Talk about being in the right place at the right time. Leonid Strunin and Leonid Friedland, high school chums from Moscow, started selling folk art to tourists in 1992. They soon realized they\'d be better off selling to noveau riche locals instead. The next year they moved their merchandise upmarket and began to import jewelry from Chopard. Their company, Mercury, now owns the franchises for a Who\'s Who of fashion: Dolce & Gabbana, Gucci, Fendi, Armani, Chanel, Jil Sander and Prada. Coming next month: Yves Saint Laurent. What makes the two Leonids influential is that at a time when the world economy is shaky, luxury retailing in Russia is booming. This is significant, not just because the new market balances the designers\' portfolios, but because it is a sign of the way forward for luxury brands. In retail, global expansion can be far more profitable than new clothing lines or store concepts. And in many countries, particularly developing ones like Russia, the big players need strong local partners to navigate the local bureaucracy. Mercury is just getting started. In 2003, it is opening a shopping mall in Moscow\'s Bel-Air suburb that will carry all its current brands as well as a multibrand store of hot new designers.' para[12] = '
Anna stories abound. There\'s nary an editorial intern at the New York offices of American Vogue who can\'t tell a tale of Wintour\'s critical observations on a lost button, a "matchy-matchy" outfit or a mouth full of chewing gum. Not on the models mind you, but on her staff. The stories are funny because the subjects sound so trivial, but what they prove is that Wintour, who has edited the magazine since 1988, is uncompromisingly serious about fashion and looks. On her staff. In her magazine. And, of course, for herself. Each morning at 7 a.m. a hairdresser arrives at her West Village townhouse to style her famous bob. Each day she\'s perfectly turned out, in the current season\'s top fashions — without a loose thread to be seen. Wintour\'s attention to detail has not only mad American Vogue the most entertaining, best-researched and most beautiful of the glossy fashion magazines, it has put her in the media\'s top power seat. Who else could get the Italians and the French to reorganize their fashion-show dates to suit her tastes? Not the International Herald Tribune\'s Suzy Menkes, who complained bitterly about the changes. Who else could single-handedly make a designer\'s career — as she did with John Galliano? Who else, alone, could kill off a trend she didn\'t like — as she did with grunge? Such power in fashion breeds venomous jealousy, but this year even her fiercest critics are full of awe and admiration for her most recent show of strength. When Giorgio Armani threatened to pull his ads from Vogue because he wasn\'t happy with the magazine\'s content, pundits predicted a barrage of fawning editorial coverage. But Wintour didn\'t comply. She changed not a word even though Armani yanked his ads from Vogues around the world.' para[13] = '
When Fashion Types start to swoon about menswear (they call businessmen "suits" for a reason after all) you know that something spectacular is happening. The swooning began five years ago when Yves Saint Laurent hired a little-known designer called Hedi Slimane to design the men\'s collection. At a time when menswear was stuck in an \'80\'s time warp, Slimane reinvented and transformed the suit, making it elegant and skinny and very, very chic. Now as the creative director of Dior Homme, Slimane continues to make headlines — and sexy suits. Suits so sexy that female fashionplates are buying them for themselves. No longer style\'s poor brother, menswear, thanks to Slimane, is fun and riche again. Three well-received collections for Dior and numerous awards (one for emerging talent from GQ in 2001 and this year\'s International Designer of the Year Award from the Council of Fashion Designers of America) are solid evidence that the excitement generated by Slimane\'s work in menswear is not just a passing fad.' para[14] = '
Pop rocks! Or so said the swinging London fashion set when they got a look at the Spring/Summer 2002 issue of the biannual fashion magazine Pop, featuring Madonna on the cover bound in rope. Inside is a veritable Who\'s Who of fashion: Giorgio Armani, Dolce & Gabbana, Tom Ford, Stella McCartney, Marc Jacobs and Phoebe Philo all gave first-person interviews. Not a bad editorial lineup for a woman who made her name dressing models and putting them in front of the camera. Though this is the age of the stylist, only Grand has managed to make the switch from trendsetter to magazine editor with such finesse. Pop represents more than just the arrival of the stylist as editress, it represents the arrival of generation next in the fashion publishing world. The success of Pop led its parent company Emap to pull the plug on another experimental fashion bi-annual, The Fashion, edited by the capable but old-school Sarah Mower. More to the point, Grand\'s contemporaries are watching — and copying — her her every move.' para[15] = '
The name Helena Rubinstein used to be synonymous with well-powdered ladies of a certain age, until the marketing juggernaut that is L\'Oréal, headed by 56-year-old Owen-Jones, got hold of the fading cometics and skincare brand. L\'Oréal did to Rubinstein what it has done to the myriad personal-care brands that make up its stable, from the high-end Lancôme to the mass Maybelline: gave it a face-lift and then sent it, resplendent, out into the world. The whole world. Owen-Jones has taken L\'Oréal brands from their traditional European base to as far afield as China, thus transforming a once modest French firm into the world\'s largest cosmetic company. Along the way, he never lost sight of the truth that packaging is king. "Even at the low end," says Gucci\'s Domenico De Sole, "L\'Oréal can present everything with class."' para[16] = '
Burberry is on Claire Kent\'s mind. Which is good news for Burberry. Kent is the luxury-goods analyst for Morgan Stanley in London and has been covering the industry longer than anyone else in investment banking. Just as long as the industry has existed — or existed on the stock markets, anyway. Which is just one reason why the institutional investors in publicly traded companies like LVMH, Gucci Group, and now Burberry pay close attention to Kent\'s every word. The other reason is that she\'s often right. So when she issues a Luxury Goods Weekly report that says, "Burberry looks like a bargain," you can be sure that executives at the firm\'s London headquarters are rubbing their palms together with glee. And when she questions using "the World Cup effect" to explain a downturn in spending and lousy results, you can bet the executives who came up with that excuse are chagrined. Asked what gives her that edge, Kent says, "I am very interested in the industry. I think having a genuine passion helps. For the weekend I would chose to read about luxury companies, be it in a book or in a newspaper, whatever. And I\'ve had the advantage of doing it a lot longer than most."' para[17] = '
If you\'re looking for a new designer or top executive, then all you need to do is give Floriane de Saint Pierre a call. Although her name may not be familiar outside the fashion firmament, the ruling élite within the industry simply can\'t live without her. The 30-something Parisian, who admits she\'d "rather stay in the shadows," is head of the largest international search firm in the luxury field. A former Dior executive, De Saint Pierre specializes in recruiting talent for the world\'s leading fashion houses, including LVMH, Gucci Group, Calvin Klein and Burberry. "Our role is to help companies to grow faster," she says. "The key question we put to our clients is, \'What do you want to become?\' We then try to think out of the box." Although many of the matchmaker\'s pairings remain confidential, especially for ceos and other top managers, she has been responsible for the appointment of Christopher Bailey as design director at Burberry, Reema Pachachi as design director for the new jewelry brand at De Beers LV and Christophe Lemaire as creative director for Lacoste. And you can count on more collaborations to come. "There are some interesting things currently cooking," she teases.' para[18] = '
If the future of fashion is the young designer, then much of that future is in Pene\'s hands. Franco Pene, chairman of Gibo, the high-end Italian apparel manufacturer, has already helped designers like Viktor and Rolf, Marc Jacobs, Paul Smith, Helmut Lang, Hussein Chalayan and Michael Kors get off the ground by signing deals to make and sell the clothes they design. Selling young, avant-garde talents might seem to many to be a risky business, but Pene doesn\'t see it that way. "I am 100% convinced that the fashion business is constantly changing," he says. "Just because something has been successful in the past, it doesn\'t mean that it will remain so." Always up for a challenge, he is no longer just satisfied with creating stars for the deluxe groups to snap up, as has happened with many of those names he helped launch. So this fall Gibo will introduce its own in-house ready-to-wear line, designed by artist and illustrator Julie Verhoeven and called Gibo. "What we want to do today is create the Ferrari of the apparel business. This is our mission — to be No.1 in the world," says Pene.' para[19] = '
Let\'s get one thing straight: Karl did it first. Before Tom Ford worked his magic at Gucci, Lagerfeld had reinvented the house of Chanel. And he did it with one hand tied behind his back — the other was designing for Fendi, for Chloé and for his own label. He hasn\'t slowed down since. Though he no longer designs for Chloé, he does co-own a book store and publishing house, 7L, on Paris\' Left Bank,and he has teamed up with jeans-maker Diesel to do denim wear for its new Lagerfeld Collection. He has written a diet book, 3D, telling how he lost more than 40 kilos. And he\'s talking about opening a bar where he\'ll pour the drinks. Ask anyone in fashion why Lagerfeld is influential and they\'ll stutter "b-b-because he\'s Karl!" What they mean is, although he\'s one of the old guard — trained in the age when creativity was king, alongside the likes of Valentino and Yves Saint Laurent — he\'s still brimming with new ideas. Which is why, though he has been at Chanel for nearly 20 years, he is unlikely to leave. "We give him tremendous freedom," says Chanel CEO François Montenay. "He always wins against marketing." As any great designer should.' para[20] = '
Love him or hate him, John Galliano has had an influence on the fashion world that\'s impossible to deny. Haute couture as a crazy, fun-filled extravaganza of excess? Not before he came along and began deconstructing the bourgeois fashion house of Christian Dior. His designs have shocked and delighted and led others — most recently Julien MacDonald at Givenchy — to try the same stunts. They\'ve also had one unanticipated effect — they\'ve made the fashion industry impossible to parody. How do you top his Spring 2000 homeless collection featuring newspaper-clad models? A fashion-show invitation in the shape of a rabbit-fur purse complete with lipstick, money and pills inside? The trailer-park chic ad campaign he did with photographer Nick Knight? And what writer could possibly think up a character more delightfully flamboyant and more willingly outrageous than Galliano himself? Instead of getting stale, as many pundits predicted it would, the Galliano effect is working better than ever. Editors continue to rave about his collections, sales of his products for Christian Dior continue to climb — up 44% in the quarter ending July 17. And everyone with a haute couture business in Paris continues to watch his every move.' para[21] = '
She has pulled Belgian fashion out of the backwater and into the international arena, transforming Antwerp into the "alternative" fashion capital of Europe. "When I was young," she recalls, "I looked at Italy and France and thought, \'We could be as creative as they are.\'" Twenty-odd years on, she has achieved just this. As head of fashion at Antwerp\'s Royal Academy of Fine Art and founder of the Flanders Fashion Institute, Loppa has shaped some of the smartest minds working in fashion. Recent prodigies include Veronique Branquinho, Bernard Willhelm and the AF Vandervorst duo. But she is keen to point out that "there is more to fashion than just the garment." Last week she opened Mode Museum (MoMu), which will chart the history of fashion and currently has exhibits dating back to the 16th century. "The museum permits me to look past the garment and to broaden people\'s perspective of fashion today," says Loppa. "Fashion, is the language I use to express myself."' para[22] = '
He doesn\'t like using only skinny models. He doesn\'t want a retrospective. He hesitates even to define himself as a photographer. "Image-maker sounds pretentious, but it\'s closer to the truth," he says. Nick Knight is not only responsible for some of the best fashion photography to grace glossy pages — see Christian Dior and, coming this November, the new jewelry campaign with Iman for De Beers LV — he has done the kind of legendary, still-talked-about editorial work that photographers dream about. Knight could make our list simply for the top-notch photographers who came out of his studio, including Craig McDean and Sean Ellis. But we think the experimental work he does on SHOWstudio.com, the website he co-founded, will prove prescient in years to come.' para[23] = '
Ruffo is one of those favorites of fashion insiders. Since 1966 the company has been making leather clothing for a bevy of name designers like Versace. "There\'s nobody who hasn\'t approached Ruffo," says marketing director Joy Yaffe. But while being the leather maker of choice for the industry is nothing to sneeze at, profits are so much better if you can sell clothes in your own name. In order to show what Ruffo could do, its owner Giacomo Corsi hired Yaffe and launched an ingenious idea — hire a different designer each year to create a separate line under the name Ruffo Research. Ruffo Research would get the press and, if all went well, the more commercial Ruffo collection would get the sales. (Yaffe works with a New York stylist to find the designers.) Yaffe — and Ruffo — earned a spot on our list not just for the inventiveness of the fashions produced, but also because Ruffo Research is one of the best spotlights a young designer can hope to have. Do well, and the fashion world will follow your every move. Do not so well, and at least they know your name.' para[24] = '
The trouble with Tom is that there\'s just too much to say. The man can design, he can market, he can see the future. He\'s smart and he\'s charming and he\'s too darn good-looking for his own good. But none of these is the reason we put him on our list. Because, even though his designs for Gucci and Yves Saint Laurent are knocked off almost before they\'ve appeared on the runway, and even though every journalist in the world is angling for a way to sit down with him, and even though he\'s a bigger celebrity than many of those who wear his clothes, we don\'t think those things are really influential in the long run. Not nearly as influential as his other role — that of fashion\'s sugar-daddy. It\'s Ford who brought Stella McCartney, Alexander McQueen and Nicolas Ghesquière into the Gucci Group. It\'s Ford who, with CEO Domenico De Sole, decides which brands get bought and which don\'t. It\'s Ford who then decides which creative people stay at those companies and which are replaced. And just because a designer isn\'t bought by Gucci doesn\'t mean he hasn\'t benefited from Ford\'s largesse. Loans, office space and timely words of advice have trickled from Ford to the benefit of struggling new talents. "I know what talent needs to grow," Ford says. "Because I\'ve been there and I\'ve done it." And it looks as if he\'ll keep doing it. Ford\'s recent nomination as vice-chairman of the Gucci Group management board is another signal that he may take over as CEO, should De Sole retire.' // -- generate urls while ( i < 999 ) { // -- pick a number, any number ... var a = Math.round(Math.random() * 25) // -- Is the item a). available and b). an item at all ... if (avail[a] != 'no' && para[a] != null) { avail[a] = 'no' document.write ( para[a] + '


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