There are three types of guys you’ll see rocking suits with sneakers — The Post-Work Commuter, The Guy That Doesn’t Give A Damn and The “Style” Guy that gets the look. Hopefully, if this is a style that has piqued your interest, you’ll fall in line with the latter (to be honest, there’s probably five types of sneakers with suit wearers (See The Others At The Very Bottom Of This Post).
You may be inclined to reach for your high-top kicks as the weather starts to cool, this fall is time to consider rocking low-top sneakers with your suits. The generals keys to executing low-tops with suits are;
Keep the kicks basic (Save your BAPEs for next summer and dark denim). You want your suit to still get the same shine it would with a crisp pair of Oxfords
The silhouette of your low-tops need to be as sleek as your dress shoes
Flannel suits can be paired with suede or leather low tops
When in doubt, white, black or brown leather low-tops will satisfy your suiting needs
Heavier weights suit pants look with a cuff, complement your sneaker better than a regular hem
Of course, you can wear socks. It’s still relatively warm, so no-show or jay-bird free is the way for me
The Running Inspired Kicks
Navy & Red ML 565 MNR Sneakers – New Balance (c/o Exclusive To JD Sports UK) | Grey Flannel Custom Suit – Dragon Inside | Striped Sweater – J.Crew | Calder Chambray Work Shirt – Ernest Alexander | Plaid Pocket Square – The Tie Bar | Defender Watch – Fossil
One of the most common low-top sneaker & suit combination you’ll see in any metropolitan area is the “running” sneaker look. Most often worn by the guy (and women) that are on the go and hate they’re “work” shoes. It only makes sense that you’ll throw on some kicks that will help you get away from the office as fast as possible.
As much as you want to rock your beat-up kicks that you actually run those weekend 5 k’s, you should find a sneaker that is a bit more refined and haven’t seen so much mileage. New Balance have become a favorite for guys because they’re comfortable, stylishly minimal and the silhouette fall inline with they’re dress shoes. This pair is an exclusive from JD Sports UK.
Tips To Perfecting the New Balance Sneaker & Suit Look
The cut of your pants should be tapered slim from the knee down. As you can see in this look, the cut is tailored, not SKINNY. This pant taper will highlight your sneakers and avoid looking like someone’s normcore dad (you know the look I’m talking about)
Suede New Balance kicks pair best with textured suits (flannel, tweeds).
Are you a novice to this style? Opt for a pair of sneakers in Grey, Navy, or green. This colorways are neutral, but, rich enough to add some character to your look.
Khaki suits are also look damn good with a pair of New Balances. They give of a sporty vibe that khaki inherently showcases
There are three types of guys you’ll see rocking suits with sneakers — The Post-Work Commuter, The Guy That Doesn’t Give A Damn and The “Style” Guy that gets the look. Hopefully, if this is a style that has piqued your interest, you’ll fall in line with the latter (to be honest, there’s probably five types of sneakers with suit wearers (See The Others At The Very Bottom Of This Post).
You may be inclined to reach for your high-top kicks as the weather starts to cool, this fall is time to consider rocking low-top sneakers with your suits. The generals keys to executing low-tops with suits are;
Keep the kicks basic (Save your BAPEs for next summer and dark denim). You want your suit to still get the same shine it would with a crisp pair of Oxfords
The silhouette of your low-tops need to be as sleek as your dress shoes
Flannel suits can be paired with suede or leather low tops
When in doubt, white, black or brown leather low-tops will satisfy your suiting needs
Heavier weights suit pants look with a cuff, complement your sneaker better than a regular hem
Of course, you can wear socks. It’s still relatively warm, so no-show or jay-bird free is the way for me
The Running Inspired Kicks
Navy & Red ML 565 MNR Sneakers – New Balance (c/o Exclusive To JD Sports UK) | Grey Flannel Custom Suit – Dragon Inside | Striped Sweater – J.Crew | Calder Chambray Work Shirt – Ernest Alexander | Plaid Pocket Square – The Tie Bar | Defender Watch – Fossil
One of the most common low-top sneaker & suit combination you’ll see in any metropolitan area is the “running” sneaker look. Most often worn by the guy (and women) that are on the go and hate they’re “work” shoes. It only makes sense that you’ll throw on some kicks that will help you get away from the office as fast as possible.
As much as you want to rock your beat-up kicks that you actually run those weekend 5 k’s, you should find a sneaker that is a bit more refined and haven’t seen so much mileage. New Balance have become a favorite for guys because they’re comfortable, stylishly minimal and the silhouette fall inline with they’re dress shoes. This pair is an exclusive from JD Sports UK.
Tips To Perfecting the New Balance Sneaker & Suit Look
The cut of your pants should be tapered slim from the knee down. As you can see in this look, the cut is tailored, not SKINNY. This pant taper will highlight your sneakers and avoid looking like someone’s normcore dad (you know the look I’m talking about)
Suede New Balance kicks pair best with textured suits (flannel, tweeds).
Are you a novice to this style? Opt for a pair of sneakers in Grey, Navy, or green. This colorways are neutral, but, rich enough to add some character to your look.
Khaki suits are also look damn good with a pair of New Balances. They give of a sporty vibe that khaki inherently showcases
I am an avid Pinner (click my link up there to follow me) and if you use Pinterest too I’m sure you’ve seen all the cute ways girls are rocking tulle skirts! I scoured the internet for the perfect one and I finally found it! My new favorite skirt of all time is made by Space 46 Boutique. It’s exactly what I wanted and with a rainbow of color options and different lengths, (mine is the Wendy in dusty blush, 25″ length) you’ll find your perfect skirt too :)
I wore mine for this shoot for Love Luxe Life with a white cropped top and my Chanel candy necklace. The Chloe shoes I’m wearing are now considered vintage at nearly 10 years old, and they’re one of my all time favorite shoes. Perfectly pretty and girly!
I am an avid Pinner (click my link up there to follow me) and if you use Pinterest too I’m sure you’ve seen all the cute ways girls are rocking tulle skirts! I scoured the internet for the perfect one and I finally found it! My new favorite skirt of all time is made by Space 46 Boutique. It’s exactly what I wanted and with a rainbow of color options and different lengths, (mine is the Wendy in dusty blush, 25″ length) you’ll find your perfect skirt too :)
I wore mine for this shoot for Love Luxe Life with a white cropped top and my Chanel candy necklace. The Chloe shoes I’m wearing are now considered vintage at nearly 10 years old, and they’re one of my all time favorite shoes. Perfectly pretty and girly!
A look from Isabel Marant's fall 2016 collection. Photo: Imaxtree
With all the attention the '90s have gotten from the fashion community for the past several seasons, we forgot how fun the '80s were. Having only spent about a year of that decade alive, I'm referring more to pop culture's depiction of it, and it appears that we're going to start dressing like that again soon based on Isabel Marant's fall 2016 collection (Lanvin went there too, as did a few other designers, though more subtly). As upbeat '80s hits played in the elegant Place Colette near the Palais-Royal, attendees forgot all about the gloomy weather outside. Marant seemed set on making this show a fun one.
The '80s can be a tricky inspiration point to execute, but Marant did it the right way — without much of the tackiness that's often associated with that era of fashion. Hair was teased just the right amount, and several models' bouncy curls had me rethinking my decision to straighten my own. Plus, the fact that this was a fall collection helped keep things classy: patent leather miniskirts and pants were tastefully paired with wool knits and/or oversized, ankle-length coats. Preppy sweaters were layered over button-downs and Victorian-style blouses. Animal prints were balanced out by somber grays and plaids. Ruffly, partly sheer, black silk dresses looked romantic and luxurious while evoking an '80s dance club vibe.
A few of the bolder pieces, like a long, bright red patent leather coat with a studded belt or a shiny, red, skintight satin jumpsuit with a gigantic bow on one shoulder, won't be for everyone, but there were plenty of wearable pieces with commercial appeal. I'm also willing to bet that even for those of us who can't afford Isabel Marant, her '80s influence will still find a way into our wardrobes in the coming year. The designer does have a way of knowing just how women want to dress, after all.
A look from Isabel Marant's fall 2016 collection. Photo: Imaxtree
With all the attention the '90s have gotten from the fashion community for the past several seasons, we forgot how fun the '80s were. Having only spent about a year of that decade alive, I'm referring more to pop culture's depiction of it, and it appears that we're going to start dressing like that again soon based on Isabel Marant's fall 2016 collection (Lanvin went there too, as did a few other designers, though more subtly). As upbeat '80s hits played in the elegant Place Colette near the Palais-Royal, attendees forgot all about the gloomy weather outside. Marant seemed set on making this show a fun one.
The '80s can be a tricky inspiration point to execute, but Marant did it the right way — without much of the tackiness that's often associated with that era of fashion. Hair was teased just the right amount, and several models' bouncy curls had me rethinking my decision to straighten my own. Plus, the fact that this was a fall collection helped keep things classy: patent leather miniskirts and pants were tastefully paired with wool knits and/or oversized, ankle-length coats. Preppy sweaters were layered over button-downs and Victorian-style blouses. Animal prints were balanced out by somber grays and plaids. Ruffly, partly sheer, black silk dresses looked romantic and luxurious while evoking an '80s dance club vibe.
A few of the bolder pieces, like a long, bright red patent leather coat with a studded belt or a shiny, red, skintight satin jumpsuit with a gigantic bow on one shoulder, won't be for everyone, but there were plenty of wearable pieces with commercial appeal. I'm also willing to bet that even for those of us who can't afford Isabel Marant, her '80s influence will still find a way into our wardrobes in the coming year. The designer does have a way of knowing just how women want to dress, after all.
Manolo Blahnik and Rihanna. Photo: Dennis Leupold/Manolo Blahnik
Rihanna is adding another exciting project to her busy fashion plate. Less than a month after the singer and influential style star presented her first ready-to-wear collection in collaboration with Puma at New York Fashion Week, she and footwear legend Manolo Blahnik have announced a new joint project. Together they have designed a limited-edition capsule collection of six pairs of BadGalRiri approved shoes, priced from $895 to $3995.
As if demand for anything designed by Rihanna isn't high enough already (her Puma creepers sold out fast in September and the February releases are also proving popular), this capsule will only be available at three Manolo Blahnik stores —London, New York and Hong Kong — starting on May 5 in limited quantities. Now that's serious exclusivity.
The shoes are sexy in a signature Blahnik way with tall, thin stiletto heels and pointed toes. But Rihanna and the designer focused on denim as their core material, embellished by sequins and embroidery inspired by the singer's hand tattoos. And for fans of the singer's loud, statement-making style, she's delivered the truly outrageous "9 to 5" thigh-high stiletto boot complete with... a sparkly garter attachment? "Those boots are dangerous," Rihanna told British Vogue. "If you're trying to get back home to your bed, don't wear them boots! You will get kidnapped in those boots, those boots are trouble." You heard it here first, people. You have been warned.
Manolo Blahnik and Rihanna. Photo: Dennis Leupold/Manolo Blahnik
Rihanna is adding another exciting project to her busy fashion plate. Less than a month after the singer and influential style star presented her first ready-to-wear collection in collaboration with Puma at New York Fashion Week, she and footwear legend Manolo Blahnik have announced a new joint project. Together they have designed a limited-edition capsule collection of six pairs of BadGalRiri approved shoes, priced from $895 to $3995.
As if demand for anything designed by Rihanna isn't high enough already (her Puma creepers sold out fast in September and the February releases are also proving popular), this capsule will only be available at three Manolo Blahnik stores —London, New York and Hong Kong — starting on May 5 in limited quantities. Now that's serious exclusivity.
The shoes are sexy in a signature Blahnik way with tall, thin stiletto heels and pointed toes. But Rihanna and the designer focused on denim as their core material, embellished by sequins and embroidery inspired by the singer's hand tattoos. And for fans of the singer's loud, statement-making style, she's delivered the truly outrageous "9 to 5" thigh-high stiletto boot complete with... a sparkly garter attachment? "Those boots are dangerous," Rihanna told British Vogue. "If you're trying to get back home to your bed, don't wear them boots! You will get kidnapped in those boots, those boots are trouble." You heard it here first, people. You have been warned.
Trainers, despite their ties to modernity and forward-thinking design, aren’t immune to fashion’s cycles. Which means perfectly good kicks often get cut way too early, only to be brought back in a big way some years later.
Luckily for us, savvy brands have been diving deep into their archives and reissuing some of the classic silhouettes and styles that made fans giddy all those years ago (albeit with prices more than adjusted for inflation).
Heritage-heavy brands like Reebok and adidas Originals are obviously the go-to in this respect: the Bolton brand’s recent reissue of the beautifully understated Club C 85 flew out the door and the Germans’ never-ending hallway of footwear heroes has provided a tonne of old-school kicks for the refined sneakerhead to get wet over.
New Balance, too, have jumped on board with the ‘Bringback’ (*eye-roll emoji*) 990 – one of the comfiest trainers there has ever been – and the success of Nike’s Cortez will surely prompt more of the big guys to dip back into its back catalogue.
Trainers, despite their ties to modernity and forward-thinking design, aren’t immune to fashion’s cycles. Which means perfectly good kicks often get cut way too early, only to be brought back in a big way some years later.
Luckily for us, savvy brands have been diving deep into their archives and reissuing some of the classic silhouettes and styles that made fans giddy all those years ago (albeit with prices more than adjusted for inflation).
Heritage-heavy brands like Reebok and adidas Originals are obviously the go-to in this respect: the Bolton brand’s recent reissue of the beautifully understated Club C 85 flew out the door and the Germans’ never-ending hallway of footwear heroes has provided a tonne of old-school kicks for the refined sneakerhead to get wet over.
New Balance, too, have jumped on board with the ‘Bringback’ (*eye-roll emoji*) 990 – one of the comfiest trainers there has ever been – and the success of Nike’s Cortez will surely prompt more of the big guys to dip back into its back catalogue.
Scarves have been considered the most intriguing trend ever. Why? Because when you think about it, it’s literally just a simple rectangular piece of fabric. That being said however, this revolutionary accessory has been redeveloped over the years, with scarves evolving into a fashion statement rather than an economic tool to warm us up during the winter months. We now have so many styles of scarves that they can be used to complement any outfit in any kind of weather. Depending on the brand, scarves can either be cheap or extremely expensive, despite all of them serving the same purpose.
Large Scarves
These kind of chunky scarves are the perfect fashion accessories for winter. Due to their sheer thickness, it’s an obvious fact that you cannot tie these bad boys with the normal loop method, so it’s time to experiment. We recommend simply draping them over your shoulders or throwing one end behind you, that way it still highlights your fashion ensemble as a whole rather than detracting from it because everyone is staring at its enormous size. While large scarves are generally used in darker colours, that doesn’t mean you can’t play around with the brighter ones, especially if you’re looking to add a pop of colour to your wardrobe.
Statement Patterned Scarves
If you feel like something is missing with your outfit, a scarf is always a great addition to consider. That being said, if you already are wearing printed clothes, then perhaps a plain scarf would be a better choice. But if your clothes are all in one solid colour, then patterned scarves is the way to go.
There are a plethora of patterns to choose from including checks, cross hatch, striped – whatever style of scarf you think of, it has most likely already been produced. As a result, patterned scarves are ideal for any season. You can team them up with anything from denim jackets to sweaters, and coats. And if runways have taught us anything, it has shown us that scarves look absolutely astounding with blazers, transforming an entire outfit from being formal to being downright sophisticated and sexy.
Scarves have been considered the most intriguing trend ever. Why? Because when you think about it, it’s literally just a simple rectangular piece of fabric. That being said however, this revolutionary accessory has been redeveloped over the years, with scarves evolving into a fashion statement rather than an economic tool to warm us up during the winter months. We now have so many styles of scarves that they can be used to complement any outfit in any kind of weather. Depending on the brand, scarves can either be cheap or extremely expensive, despite all of them serving the same purpose.
Large Scarves
These kind of chunky scarves are the perfect fashion accessories for winter. Due to their sheer thickness, it’s an obvious fact that you cannot tie these bad boys with the normal loop method, so it’s time to experiment. We recommend simply draping them over your shoulders or throwing one end behind you, that way it still highlights your fashion ensemble as a whole rather than detracting from it because everyone is staring at its enormous size. While large scarves are generally used in darker colours, that doesn’t mean you can’t play around with the brighter ones, especially if you’re looking to add a pop of colour to your wardrobe.
Statement Patterned Scarves
If you feel like something is missing with your outfit, a scarf is always a great addition to consider. That being said, if you already are wearing printed clothes, then perhaps a plain scarf would be a better choice. But if your clothes are all in one solid colour, then patterned scarves is the way to go.
There are a plethora of patterns to choose from including checks, cross hatch, striped – whatever style of scarf you think of, it has most likely already been produced. As a result, patterned scarves are ideal for any season. You can team them up with anything from denim jackets to sweaters, and coats. And if runways have taught us anything, it has shown us that scarves look absolutely astounding with blazers, transforming an entire outfit from being formal to being downright sophisticated and sexy.
Floral prints are a timeless trend and were once reserved exclusively for feminine tastes. However that is all starting to change, with the trend making a seamless transition to men’s fashion. Floral prints are now fast becoming a bestselling style, with major labels such as Topman and Zara producing them in vast abundance.
It’s a general fact that fashion can be a touchy subject for some men. Many never take the avant-garde approach when it comes to fashion, with the majority of us preferring to stay within our comfort zones and dress subtly (blue jeans and a plain white t-shirt anyone?). But a unique characteristic that we love about floral prints is that it challenges the male status quo and encourages men to extend beyond their comfort zones. It’s different to say the least – it makes you stand out, and helps you to reinvent your sense of style by providing a fresh new perspective on fashion.
From vibrant blazers to collections filled with bright bloomy colours, floral prints are a definite trend this season. It seems that every high end brand has jumped on the bandwagon, especially the likes of Prada, Saint Laurent and our personal favourite 3.1 Phillip Lim, who stood out from the crowd by creating full floral outfits.
If you look closely every floral style follows a light and dark colour contrast, with the flowers purposely popping out from dark hues of the clothing. Considering how the style diverges from the male norm, it seems that this distinctive trend isn’t going to be ending anytime soon, demanding full attention as it takes the entire world by storm.
Floral prints are a timeless trend and were once reserved exclusively for feminine tastes. However that is all starting to change, with the trend making a seamless transition to men’s fashion. Floral prints are now fast becoming a bestselling style, with major labels such as Topman and Zara producing them in vast abundance.
It’s a general fact that fashion can be a touchy subject for some men. Many never take the avant-garde approach when it comes to fashion, with the majority of us preferring to stay within our comfort zones and dress subtly (blue jeans and a plain white t-shirt anyone?). But a unique characteristic that we love about floral prints is that it challenges the male status quo and encourages men to extend beyond their comfort zones. It’s different to say the least – it makes you stand out, and helps you to reinvent your sense of style by providing a fresh new perspective on fashion.
From vibrant blazers to collections filled with bright bloomy colours, floral prints are a definite trend this season. It seems that every high end brand has jumped on the bandwagon, especially the likes of Prada, Saint Laurent and our personal favourite 3.1 Phillip Lim, who stood out from the crowd by creating full floral outfits.
If you look closely every floral style follows a light and dark colour contrast, with the flowers purposely popping out from dark hues of the clothing. Considering how the style diverges from the male norm, it seems that this distinctive trend isn’t going to be ending anytime soon, demanding full attention as it takes the entire world by storm.
Ellie Goulding in Stella McCartney. Photo: Jason Merritt/Getty Images
We must admit that this year's Grammys red carpet was a nice little break from all of the fall collections we've been following at New York Fashion Week. There was Lady Gaga's ensemble, a dedication to the late, great David Bowie, custom-made by Marc Jacobs, along with Taylor Swift's brand new haircut that immediately drew comparisons to Anna Wintour. And although Bella Hadid isn't exactly a pop star, she still managed to make a head-turning impression as she walked alongside her beau The Weeknd. Musicians — natural performers that they are — really know how to make an appearance.
From Ellie Goulding's sparkling number by Stella McCartney to Selena Gomez's presentation gown straight off the runway, click through the gallery below to see who made the cut as Fashion best dressed ladies of the night.
Ellie Goulding in Stella McCartney. Photo: Jason Merritt/Getty Images
We must admit that this year's Grammys red carpet was a nice little break from all of the fall collections we've been following at New York Fashion Week. There was Lady Gaga's ensemble, a dedication to the late, great David Bowie, custom-made by Marc Jacobs, along with Taylor Swift's brand new haircut that immediately drew comparisons to Anna Wintour. And although Bella Hadid isn't exactly a pop star, she still managed to make a head-turning impression as she walked alongside her beau The Weeknd. Musicians — natural performers that they are — really know how to make an appearance.
From Ellie Goulding's sparkling number by Stella McCartney to Selena Gomez's presentation gown straight off the runway, click through the gallery below to see who made the cut as Fashion best dressed ladies of the night.
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.
.jpg)
