If you’re anything like us here at the Trendspotter, your collection of sunglasses is updated as often as you can find an excuse to do so. When it comes to guys’ sunglasses, the standard old athletic style is no longer your only option. Unlike women, who accessorize with jewelery and handbags, sunglasses have become an important part of a trendy accessory and a man’s outfit. So, looking the part by throwing on cool shades is one of a few opportunities to reflect one’s personal style. Seems as though this year, the sunglasses are coming roaring back into popularity in a big way. And we’ve spied a major trend to try this season are retro chic designs with mirrored lenses. That’s right, from the streets to the runways and back, mirrored sunglasses are back in action 90’s style. We can’t help but notice the plethora of mirrored styles modeled everywhere this season. Designers are going bolder than ever by introducing brightly coloured lenses in hues of blues, pinks, or purples feel fresh just in time for the new season. Whether you’re looking to channel a bit of that downtown cool-kid vibe or a glamour boy, the of-the-moment mirrored shade will provide an instant update from a simple polo shirt to a relaxed tux.
1.Le Specs Round Sunglasses With Mirrored Lens, 2. Westward Leaning Color Revolutions Acetate Square Sunglasses/Blue, 3. Marc Jacobs Sunglasses MJ 364S 06Q/89, 4. Ermenegildo Zegna Sunglasses SZ3249 589B A, 5. Costa Del Mar Sunglasses Cut Polarized UT 47 OGMGLP
Blue Suits & Jackets Trend
It’s no surprise when warmer months are around the corner, the colour preference in menswear becomes much more popular and acceptable. Well, this season is no exception. The high fashion designers are all about advocating colourful suits. If you are not one who does tailoring every day, perhaps a special occasion requiring a tailored attire can be an excuse to try this trend. And you’ll stand out for all the right reasons.Two of the biggest designers celebrating colour tailoring this season are Paul Smith and Gucci. Featuring colour suits in hues reminiscent of a Mediterranean summer, aquamarine blues and pastel turquoise suits and jackets created a colour palette that maintain the overall aesthetic understated and refined. Most blue suits offer a solid foundation for playful accessorising. Lending itself to a broad range of complementary shades, like purple or burgundy, blue tailoring demonstrates that colourful suiting can be toned down when paired with more restrained neutrals. When paired with white shirts, supper skinny tailoring offers a suit mod-like appeal. While a pale shade of blue gives even the most formally cut suit a playful air when put together with white loafers for a slick yet sophisticated summer feel. So there we have it. Both the high fashion and the streets are undoubtedly giving a nod to all hues of blue when it comes to tailoring this season. Will you?
Tangerine Bags Trend
Nothing makes a statement quite like tangerine or high-octane orange – a favourite shade among top designers this season. It has been declared the IT colour and the runways in Paris, Milan, New York and London were filled with it. Also known as red-orange, it is the ultimate way to wear bright bold colour this year. In men’s deparment, this bold colour trend has trickled down to the accessories department and the bags seem to have it. Fashion houses such as Salvatore Ferragamo, Hermes, Dolce & Gabanna and, Christian Dior definitely gave a convincing account why orange should be on your list this season. Paired with natural tones, like navy, grey, or white or juxtaposed to another one of the hottest trends this season – camouflage – tangerine is certainly striking yet really versatile statement colour to accessorise your outfit with . So, what about the shapes of the bags? Look for daytime clutches – medium in size – which are easy to carry, or opt for a top handle satchels, which offer both function and style.
If you’re anything like us here at the Trendspotter, your collection of sunglasses is updated as often as you can find an excuse to do so. When it comes to guys’ sunglasses, the standard old athletic style is no longer your only option. Unlike women, who accessorize with jewelery and handbags, sunglasses have become an important part of a trendy accessory and a man’s outfit. So, looking the part by throwing on cool shades is one of a few opportunities to reflect one’s personal style. Seems as though this year, the sunglasses are coming roaring back into popularity in a big way. And we’ve spied a major trend to try this season are retro chic designs with mirrored lenses. That’s right, from the streets to the runways and back, mirrored sunglasses are back in action 90’s style. We can’t help but notice the plethora of mirrored styles modeled everywhere this season. Designers are going bolder than ever by introducing brightly coloured lenses in hues of blues, pinks, or purples feel fresh just in time for the new season. Whether you’re looking to channel a bit of that downtown cool-kid vibe or a glamour boy, the of-the-moment mirrored shade will provide an instant update from a simple polo shirt to a relaxed tux.
1.Le Specs Round Sunglasses With Mirrored Lens, 2. Westward Leaning Color Revolutions Acetate Square Sunglasses/Blue, 3. Marc Jacobs Sunglasses MJ 364S 06Q/89, 4. Ermenegildo Zegna Sunglasses SZ3249 589B A, 5. Costa Del Mar Sunglasses Cut Polarized UT 47 OGMGLP
Blue Suits & Jackets Trend
It’s no surprise when warmer months are around the corner, the colour preference in menswear becomes much more popular and acceptable. Well, this season is no exception. The high fashion designers are all about advocating colourful suits. If you are not one who does tailoring every day, perhaps a special occasion requiring a tailored attire can be an excuse to try this trend. And you’ll stand out for all the right reasons.Two of the biggest designers celebrating colour tailoring this season are Paul Smith and Gucci. Featuring colour suits in hues reminiscent of a Mediterranean summer, aquamarine blues and pastel turquoise suits and jackets created a colour palette that maintain the overall aesthetic understated and refined. Most blue suits offer a solid foundation for playful accessorising. Lending itself to a broad range of complementary shades, like purple or burgundy, blue tailoring demonstrates that colourful suiting can be toned down when paired with more restrained neutrals. When paired with white shirts, supper skinny tailoring offers a suit mod-like appeal. While a pale shade of blue gives even the most formally cut suit a playful air when put together with white loafers for a slick yet sophisticated summer feel. So there we have it. Both the high fashion and the streets are undoubtedly giving a nod to all hues of blue when it comes to tailoring this season. Will you?
Tangerine Bags Trend
Nothing makes a statement quite like tangerine or high-octane orange – a favourite shade among top designers this season. It has been declared the IT colour and the runways in Paris, Milan, New York and London were filled with it. Also known as red-orange, it is the ultimate way to wear bright bold colour this year. In men’s deparment, this bold colour trend has trickled down to the accessories department and the bags seem to have it. Fashion houses such as Salvatore Ferragamo, Hermes, Dolce & Gabanna and, Christian Dior definitely gave a convincing account why orange should be on your list this season. Paired with natural tones, like navy, grey, or white or juxtaposed to another one of the hottest trends this season – camouflage – tangerine is certainly striking yet really versatile statement colour to accessorise your outfit with . So, what about the shapes of the bags? Look for daytime clutches – medium in size – which are easy to carry, or opt for a top handle satchels, which offer both function and style.
A look from The Row's fall 2016 collection. Photo: The Row
For spring 2016, not only did The Row designers Mary-Kate and Ashley Olsen move their show to Paris, but they also held it outdoors in a town 45 minutes from the city — a pretty extravagant stunt that made for some lovely photos and surely pleased those who were able to make it.
For fall 2016, they did the exact opposite, staging multiple small, informal presentations inside their West Village studio. There was no assigned seating, nor was there much production involved. Just a few models walking up and down the length of the cozy, beautifully decorated showroom as editors stood or sat in antique chairs on the sidelines; the Olsens, perhaps exhausted from the work they had put into the collection, actually sat on the floor. It was the most serene vibe we've experienced so far this week: It felt like we were just hanging out with friends, listening to Morrissey and looking at some clothes.
Those clothes, too, were very serene, consisting of monochromatic looks in a mostly neutral color palette. The silhouettes were loose and easy, and the coats — a big focus for this collection — were long and elegant, but not shapeless. Several had dramatic, wide lapels, and some were nipped at the waist and had an A-line shape. The materials were luxurious as ever: double-face cashmere, astrakhan and leather abounded. Towards the end of the collection, we saw the Olsens' version of embellishment: subtle, small embroidered circular motifs with a hint of sparkle placed sparsely on a top, pants, a coat and a dress. The designers also continued their new foray into footwear with an assortment of loafers and mules.
As we reluctantly headed back out into the hectic, arctic-feeling city, attendants appeared in front of the elevators with piles and piles of luxurious cashmere, which they passed out to everyone as they left. As if those few moments of warmth and fashion week serenity weren't enough, the Olsens also gave us fancy blanket scarves. This almost makes up for their declining to appear on "Fuller House."
A look from The Row's fall 2016 collection. Photo: The Row
For spring 2016, not only did The Row designers Mary-Kate and Ashley Olsen move their show to Paris, but they also held it outdoors in a town 45 minutes from the city — a pretty extravagant stunt that made for some lovely photos and surely pleased those who were able to make it.
For fall 2016, they did the exact opposite, staging multiple small, informal presentations inside their West Village studio. There was no assigned seating, nor was there much production involved. Just a few models walking up and down the length of the cozy, beautifully decorated showroom as editors stood or sat in antique chairs on the sidelines; the Olsens, perhaps exhausted from the work they had put into the collection, actually sat on the floor. It was the most serene vibe we've experienced so far this week: It felt like we were just hanging out with friends, listening to Morrissey and looking at some clothes.
Those clothes, too, were very serene, consisting of monochromatic looks in a mostly neutral color palette. The silhouettes were loose and easy, and the coats — a big focus for this collection — were long and elegant, but not shapeless. Several had dramatic, wide lapels, and some were nipped at the waist and had an A-line shape. The materials were luxurious as ever: double-face cashmere, astrakhan and leather abounded. Towards the end of the collection, we saw the Olsens' version of embellishment: subtle, small embroidered circular motifs with a hint of sparkle placed sparsely on a top, pants, a coat and a dress. The designers also continued their new foray into footwear with an assortment of loafers and mules.
As we reluctantly headed back out into the hectic, arctic-feeling city, attendants appeared in front of the elevators with piles and piles of luxurious cashmere, which they passed out to everyone as they left. As if those few moments of warmth and fashion week serenity weren't enough, the Olsens also gave us fancy blanket scarves. This almost makes up for their declining to appear on "Fuller House."
Alex Bolen has been CEO of Oscar de la Renta since mid-2004. Photo: Oscar de la Renta
By his own admission, Alex Bolen "never meant to become a garmento." Before his father-in-law, the late Oscar de la Renta, appointed him CEO of his namesake company in the summer of 2004, Bolen had spent 14 years on Wall Street. "It was a big surprise."
In the United States, de la Renta's name was as famous then as it is now, but the business has changed dramatically. Ahead of the house's fall show, we spoke with Bolen by phone about the company's transformation over the past 11-and-a-half years, why he's not obsessed with chasing younger customers and what it's like to work with de la Renta's creative successor, Peter Copping, who will be celebrating his one-year anniversary on the Oscar runway this Tuesday.
You became CEO of Oscar de la Renta in July 2004, when you were just 36, and the company was a $650-million business with no stores and quite a number of licenses. Where is the company now compared to then?
The business has really been dramatically reoriented. In 2004, our business was organized in a kind of designer 1990s licensing model, where the high-end runway product was not the driver of the business, but was very much a promotional tool to drive a lot of very lucrative licenses. Those licenses were not approached in a highly thoughtful way, other than how much income was generated by them. And it was, for Oscar, a great business model. But it's not a business model that in our estimation would stand the test of time — let's not forget that in the '90s there were many, many department stores in the U.S., and now there's only one left, and that's Macy's. So we had to reorient things. We decided we would focus more on the high-end women's ready-to-wear product, and make that the core of our business. We have built a series of retail stores around the world, and expanded our geographic footprint both through retail and wholesale. In 2004, somewhere between 96 and 100 percent of our business was U.S.-oriented, despite the fact that Oscar's name was known around the world. That seemed to me an opportunity, and it has been. Our business today is roughly 60/40 North America to the rest of the world. In 2004 our revenue was 100 percent wholesale, 0 percent retail, and now it's about 50/50.
For most brands, leather goods and accessories are where the money's at. But that's not the case for Oscar — you've said beforethe company's staple is $4,000 cocktail dresses. Is that a model you're trying to change?
It's not as if we haven't tried in accessories, but there was more authenticity, more brand logic to pursuing women's ready-to-wear. That's what Oscar did, that's what Oscar loved, what our brand was about — making beautiful dresses for day, evening, long, short. We do still aspire to having a robust accessories business — shoes, bags, those are works in progress. We'll get there.
What is currently driving company growth?
I would say our expansion internationally, and to a lesser degree our expansion in the U.S. The U.S. business is a very mature business, but it continues to grow. There's more we could do, but that is going to require a $50-$100 million solid sales increase to really move the needle. That's going to come from an accessories offering. I think in other parts of the world, notably Europe, the Middle East and Asia, there's a lot more we can do with the product as it exists today. Places like Japan, where we have typically not had business, are now generating important business. And they really love what [Creative Director] Peter [Copping]'s doing. In the very near term, the next year or two, much of our growth is going to come from continued penetration of international markets.
A dramatic blue gown leads the finale at Oscar de la Renta's spring 2016 show. Photo: Slaven Vlasic/Getty Images
What are the advantages and disadvantages of being an independent, family-run luxury business vs. being part of a big conglomerate like, say, Kering?
It's difficult for me to speak intelligently on what it's like to be part of a big conglomerate, because I don't really know. I can tell you what I perceive. I am envious of their ability to retain talent, because they have many brands under their umbrella, and when somebody is talented and is unsatisfied at Brand A, they can offer them an opportunity to work at Brand B, and I can't do that. I think that so much of our business is about recruiting talented people; certainly I spend a lot of my time on matters of talent. Without great people, we won't have a great business, it's as simple as that. We have some advantages in regards to talent in a certain way. We are a family business, and we are very non-bureaucratic. I, we, our family want to hire people who are outstanding at their jobs and let them do their jobs. If you would like to run your own show, that is something we can organize here. It requires the right sort of person, and somebody who is very self-motivated, but when we find those people this environment appeals to them.
For a luxury fashion brand, you were incredibly progressive in your embrace of live-streaming and social media, particularly Twitter and Tumblr. How has that investment played out for you?
In our business, it's important to embrace innovation. We try to figure out what is innovative in our industry — whether it's technology, 3-D printing, distribution, commerce or communication — and try to figure out if we can be an early adopter of those things. One other advantage of being a medium-sized business, or independent company, is that we can move more quickly. It's a way we can compete with some of our larger peers. I would say that with regards to social media in particular, that reflected a lot of [former SVP of Communications] Erika [Bearman]'s enthusiasm for that project. We still want to do that, I think it's a great way to communicate with new customers.
Our industry is obsessed with the pursuit of younger customers. I'm not sure we are so obsessed. We are obsessed with new customers, we are obsessed with more people understanding what our brand is about, but I don't know if that's necessarily young. Oscar used to say, I don't make clothes for children, and I would say we do make clothes for children, and he would say that's not the point. The fabrics we use, the way we cut, the techniques, there is a certain sophistication — a customer has to have tried other things to understand why we charge the prices we charge. It's not because we make off-the-charts margins, but look, we put a lot of work into what we do, to understand that comes with understanding of [clothes]. Does that really suit a young customer? I'm not so sure. Every day, a whole new group of people turn 35 — we want to talk to them more often. They have a lifestyle that lends itself to dressing the way that we build a collection of clothes. We don't want to be thought of as their mom's, or grand mom's brand, but I'm not sure we're designing with 20-somethings first and foremost in mind. We hope they're fans, hoping they're thinking when their life and budget allow, they'll wear Oscar.
In what other ways has technology changed the business, or the way things are done?
There's so many examples. We are now developing prototypes in our jewelry business using 3-D printers. Fabrics that used to need to be done by hand in Italy, we can now work with laser printing. Likewise in the sample room, pattern-grading can now be done on a computer. There's a billion things where small innovations create big changes in our production process. In our stores, the ability to have a global inventory system, so that if someone in [our] Madison Avenue [location] is looking to buy a blue dress that's not there, in a second we can find where it is in the world and how we get it to her.
Who is the Oscar de la Renta customer today?
The Oscar de la Renta customer is a woman who appreciates well-made, feminine product, who is very dressed up at all times in her life, day and evening, wants to look great, wants to feel great. Oscar always said that it was his job to help women lead easier lives, to solve their problems, to help them feel great. That is what we're trying to do with our product.
Peter Copping takes a bow at the Oscar de la Renta spring 2016 show in September. Photo: Slaven Vlasic/Getty Images
Has the Oscar customer changed since Peter Copping joined the company?
I think that Peter joined our company with his own loyal following, and so he's brought those into the mix. I think some of our business partners in Asia love Peter's aesthetic; at the same time, Peter's very much on board with the general mission of well-made, sophisticated, feminine product for women who like to dress up.
What is your working relationship like with Peter? I never got to see you work directly with Oscar, but I read that you two were quite jokey and you were often jumping in to make design suggestions.
Oscar and I had a bit of an ongoing comedy show, and I think that with Peter, we have a fantastic working relationship — we talk daily, we go over general things, what's happening with our lives in New York City. It is of course a bit different than with Oscar and me because Oscar was [my wife] Eliza's stepfather.
Can you talk to me a little bit about your red carpet strategy. Why is that important to you, how much do you invest in it?
I think that what we strive for is to really develop a relationship between the designer — Oscar in the past, Peter today — and the person they are dressing. I think that Oscar always tried to understand the customer. Whether it was a customer for the red carpet or the customer on a Tuesday buying a skirt on Madison Avenue, he really wanted to solve a problem, to see what she needed. When we can do that as Oscar did with Sarah Jessica Parker, that can be a great thing. I think that when it becomes transactional in nature, I'm not sure what the point is.
Alex Bolen has been CEO of Oscar de la Renta since mid-2004. Photo: Oscar de la Renta
By his own admission, Alex Bolen "never meant to become a garmento." Before his father-in-law, the late Oscar de la Renta, appointed him CEO of his namesake company in the summer of 2004, Bolen had spent 14 years on Wall Street. "It was a big surprise."
In the United States, de la Renta's name was as famous then as it is now, but the business has changed dramatically. Ahead of the house's fall show, we spoke with Bolen by phone about the company's transformation over the past 11-and-a-half years, why he's not obsessed with chasing younger customers and what it's like to work with de la Renta's creative successor, Peter Copping, who will be celebrating his one-year anniversary on the Oscar runway this Tuesday.
You became CEO of Oscar de la Renta in July 2004, when you were just 36, and the company was a $650-million business with no stores and quite a number of licenses. Where is the company now compared to then?
The business has really been dramatically reoriented. In 2004, our business was organized in a kind of designer 1990s licensing model, where the high-end runway product was not the driver of the business, but was very much a promotional tool to drive a lot of very lucrative licenses. Those licenses were not approached in a highly thoughtful way, other than how much income was generated by them. And it was, for Oscar, a great business model. But it's not a business model that in our estimation would stand the test of time — let's not forget that in the '90s there were many, many department stores in the U.S., and now there's only one left, and that's Macy's. So we had to reorient things. We decided we would focus more on the high-end women's ready-to-wear product, and make that the core of our business. We have built a series of retail stores around the world, and expanded our geographic footprint both through retail and wholesale. In 2004, somewhere between 96 and 100 percent of our business was U.S.-oriented, despite the fact that Oscar's name was known around the world. That seemed to me an opportunity, and it has been. Our business today is roughly 60/40 North America to the rest of the world. In 2004 our revenue was 100 percent wholesale, 0 percent retail, and now it's about 50/50.
For most brands, leather goods and accessories are where the money's at. But that's not the case for Oscar — you've said beforethe company's staple is $4,000 cocktail dresses. Is that a model you're trying to change?
It's not as if we haven't tried in accessories, but there was more authenticity, more brand logic to pursuing women's ready-to-wear. That's what Oscar did, that's what Oscar loved, what our brand was about — making beautiful dresses for day, evening, long, short. We do still aspire to having a robust accessories business — shoes, bags, those are works in progress. We'll get there.
What is currently driving company growth?
I would say our expansion internationally, and to a lesser degree our expansion in the U.S. The U.S. business is a very mature business, but it continues to grow. There's more we could do, but that is going to require a $50-$100 million solid sales increase to really move the needle. That's going to come from an accessories offering. I think in other parts of the world, notably Europe, the Middle East and Asia, there's a lot more we can do with the product as it exists today. Places like Japan, where we have typically not had business, are now generating important business. And they really love what [Creative Director] Peter [Copping]'s doing. In the very near term, the next year or two, much of our growth is going to come from continued penetration of international markets.
A dramatic blue gown leads the finale at Oscar de la Renta's spring 2016 show. Photo: Slaven Vlasic/Getty Images
What are the advantages and disadvantages of being an independent, family-run luxury business vs. being part of a big conglomerate like, say, Kering?
It's difficult for me to speak intelligently on what it's like to be part of a big conglomerate, because I don't really know. I can tell you what I perceive. I am envious of their ability to retain talent, because they have many brands under their umbrella, and when somebody is talented and is unsatisfied at Brand A, they can offer them an opportunity to work at Brand B, and I can't do that. I think that so much of our business is about recruiting talented people; certainly I spend a lot of my time on matters of talent. Without great people, we won't have a great business, it's as simple as that. We have some advantages in regards to talent in a certain way. We are a family business, and we are very non-bureaucratic. I, we, our family want to hire people who are outstanding at their jobs and let them do their jobs. If you would like to run your own show, that is something we can organize here. It requires the right sort of person, and somebody who is very self-motivated, but when we find those people this environment appeals to them.
For a luxury fashion brand, you were incredibly progressive in your embrace of live-streaming and social media, particularly Twitter and Tumblr. How has that investment played out for you?
In our business, it's important to embrace innovation. We try to figure out what is innovative in our industry — whether it's technology, 3-D printing, distribution, commerce or communication — and try to figure out if we can be an early adopter of those things. One other advantage of being a medium-sized business, or independent company, is that we can move more quickly. It's a way we can compete with some of our larger peers. I would say that with regards to social media in particular, that reflected a lot of [former SVP of Communications] Erika [Bearman]'s enthusiasm for that project. We still want to do that, I think it's a great way to communicate with new customers.
Our industry is obsessed with the pursuit of younger customers. I'm not sure we are so obsessed. We are obsessed with new customers, we are obsessed with more people understanding what our brand is about, but I don't know if that's necessarily young. Oscar used to say, I don't make clothes for children, and I would say we do make clothes for children, and he would say that's not the point. The fabrics we use, the way we cut, the techniques, there is a certain sophistication — a customer has to have tried other things to understand why we charge the prices we charge. It's not because we make off-the-charts margins, but look, we put a lot of work into what we do, to understand that comes with understanding of [clothes]. Does that really suit a young customer? I'm not so sure. Every day, a whole new group of people turn 35 — we want to talk to them more often. They have a lifestyle that lends itself to dressing the way that we build a collection of clothes. We don't want to be thought of as their mom's, or grand mom's brand, but I'm not sure we're designing with 20-somethings first and foremost in mind. We hope they're fans, hoping they're thinking when their life and budget allow, they'll wear Oscar.
In what other ways has technology changed the business, or the way things are done?
There's so many examples. We are now developing prototypes in our jewelry business using 3-D printers. Fabrics that used to need to be done by hand in Italy, we can now work with laser printing. Likewise in the sample room, pattern-grading can now be done on a computer. There's a billion things where small innovations create big changes in our production process. In our stores, the ability to have a global inventory system, so that if someone in [our] Madison Avenue [location] is looking to buy a blue dress that's not there, in a second we can find where it is in the world and how we get it to her.
Who is the Oscar de la Renta customer today?
The Oscar de la Renta customer is a woman who appreciates well-made, feminine product, who is very dressed up at all times in her life, day and evening, wants to look great, wants to feel great. Oscar always said that it was his job to help women lead easier lives, to solve their problems, to help them feel great. That is what we're trying to do with our product.
Peter Copping takes a bow at the Oscar de la Renta spring 2016 show in September. Photo: Slaven Vlasic/Getty Images
Has the Oscar customer changed since Peter Copping joined the company?
I think that Peter joined our company with his own loyal following, and so he's brought those into the mix. I think some of our business partners in Asia love Peter's aesthetic; at the same time, Peter's very much on board with the general mission of well-made, sophisticated, feminine product for women who like to dress up.
What is your working relationship like with Peter? I never got to see you work directly with Oscar, but I read that you two were quite jokey and you were often jumping in to make design suggestions.
Oscar and I had a bit of an ongoing comedy show, and I think that with Peter, we have a fantastic working relationship — we talk daily, we go over general things, what's happening with our lives in New York City. It is of course a bit different than with Oscar and me because Oscar was [my wife] Eliza's stepfather.
Can you talk to me a little bit about your red carpet strategy. Why is that important to you, how much do you invest in it?
I think that what we strive for is to really develop a relationship between the designer — Oscar in the past, Peter today — and the person they are dressing. I think that Oscar always tried to understand the customer. Whether it was a customer for the red carpet or the customer on a Tuesday buying a skirt on Madison Avenue, he really wanted to solve a problem, to see what she needed. When we can do that as Oscar did with Sarah Jessica Parker, that can be a great thing. I think that when it becomes transactional in nature, I'm not sure what the point is.
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