Creating a bespoke-inspired, ready-to-wear footwear brand is something of a tall-order.Cobbler Union is the brand-name and creating footwear that truly pays homage to the skilled cobblers of old and today, plus offering guys luxury-quality shoes at half the price of their competitors is their game. As a bespoke-inspired brand, each collection is made in limited runs. Each shoe is hand-crafted by a small group of cobblers to make sure every detail is properly executed.
The shoes are made in Spain, which is where one of the co-founders resides (the other is in Atlanta, Georgia). Being in such close proximity to where the shoes are produced, Cobbler Union has the ability to oversee the entire process. I was recently in Atlanta and had the opportunity to meet up with the Head of Marketing for Cobbler Union, Stephen Beehler. After hearing the way Stephen spoke about the shoes, the brand and the heritage of what the founders draw their inspiration, there was no way I couldn’t share the brand with everyone. Just from viewing the collection online (which is where they’re shoes are solid primarily) I’m honestly floored at the high level of craftmanship. I’ve put in my first order and the Guillaume II boots should be arriving soon– I’ll post a full run-down on next week.
Without going into too many technical details, my favorite feature of many of their shoes is the Fiddleback Waist on the Sole (see middle pair of shoes in the picture above or clickhere). If you were looking about the best way to describe their shoes, think of each pair as art that you can wear on your feet. If you get the itch to flex your creative muscle, Cobbler Union offers Made-To-Order shoes too (you could create your own collections). Below are my three favorite pair, but, be sure to head to the Cobbler Union site to see the full collection.
Guillaume II
Jean Pierre II
The Chukka III
Visit http://Cobbler-Union.com to check out the amazing collection and to learn moreabout this passionate brand.
Creating a bespoke-inspired, ready-to-wear footwear brand is something of a tall-order.Cobbler Union is the brand-name and creating footwear that truly pays homage to the skilled cobblers of old and today, plus offering guys luxury-quality shoes at half the price of their competitors is their game. As a bespoke-inspired brand, each collection is made in limited runs. Each shoe is hand-crafted by a small group of cobblers to make sure every detail is properly executed.
The shoes are made in Spain, which is where one of the co-founders resides (the other is in Atlanta, Georgia). Being in such close proximity to where the shoes are produced, Cobbler Union has the ability to oversee the entire process. I was recently in Atlanta and had the opportunity to meet up with the Head of Marketing for Cobbler Union, Stephen Beehler. After hearing the way Stephen spoke about the shoes, the brand and the heritage of what the founders draw their inspiration, there was no way I couldn’t share the brand with everyone. Just from viewing the collection online (which is where they’re shoes are solid primarily) I’m honestly floored at the high level of craftmanship. I’ve put in my first order and the Guillaume II boots should be arriving soon– I’ll post a full run-down on next week.
Without going into too many technical details, my favorite feature of many of their shoes is the Fiddleback Waist on the Sole (see middle pair of shoes in the picture above or clickhere). If you were looking about the best way to describe their shoes, think of each pair as art that you can wear on your feet. If you get the itch to flex your creative muscle, Cobbler Union offers Made-To-Order shoes too (you could create your own collections). Below are my three favorite pair, but, be sure to head to the Cobbler Union site to see the full collection.
Guillaume II
Jean Pierre II
The Chukka III
Visit http://Cobbler-Union.com to check out the amazing collection and to learn moreabout this passionate brand.
I’m not a huge Oscar watcher… in fact, I didn’t watch the Oscars, I just watched the red carpet pre-show. I just wanted to share some of my favorite looks of the night with you. I have to be honest though, I didn’t love very many looks. There were a lot of beautiful women, don’t get me wrong! There just wan’t a whole lot of wow.
But speaking of wow- Mila Jovovich definitely wowed in Elie Saab. It was her first time presenting at the Oscars and she sure made a great first impression!
I almost always love what Michelle Williams is wearing and last night was no exception. She’s so CUTE! She just looks and seems like such a sweetheart. Like we could totally be friends ;) Here she is in Louis Vuitton looking as sweet as ever. Loving the brooch. Perfect touch!
Octavia Spencer looked so spectacular in Tadashi Shoji! What a great choice for her figure- I love it! Cream was really big this time at the Oscars. It so classic and pretty…
Another stunner in cream, Rooney Mara steps out of her usual severe black to wear this gorgeous dress by Givenchy Couture. I love this dress. I feel like it could be an amazing wedding dress btw!
Glen Close!! Wow mama, look at you. This is so great! Perfect shape, lovely color and totally age appropriate. I hope I look half as good…
George Clooney showed up with his own golden trophy. Stacy Keibler looking fantastic in Marchesa. Her dress fits so well and looks like liquid gold.
One of my absolute favorites of the evening was Viola Davis in Vera Wang. This photo doesn’t do it justice I’m afraid. The color against her skin tone took my breath away. It was so perfect!! Her body is killer and this dress hugs it perfectly. Love love love!
This is a little better idea of the color…
And finally, my other favorite was actually behind the scenes. Giuliana Rancic knocked it out of the park with this TDF Tony Ward dress. Obsessed!
I’m not a huge Oscar watcher… in fact, I didn’t watch the Oscars, I just watched the red carpet pre-show. I just wanted to share some of my favorite looks of the night with you. I have to be honest though, I didn’t love very many looks. There were a lot of beautiful women, don’t get me wrong! There just wan’t a whole lot of wow.
But speaking of wow- Mila Jovovich definitely wowed in Elie Saab. It was her first time presenting at the Oscars and she sure made a great first impression!
I almost always love what Michelle Williams is wearing and last night was no exception. She’s so CUTE! She just looks and seems like such a sweetheart. Like we could totally be friends ;) Here she is in Louis Vuitton looking as sweet as ever. Loving the brooch. Perfect touch!
Octavia Spencer looked so spectacular in Tadashi Shoji! What a great choice for her figure- I love it! Cream was really big this time at the Oscars. It so classic and pretty…
Another stunner in cream, Rooney Mara steps out of her usual severe black to wear this gorgeous dress by Givenchy Couture. I love this dress. I feel like it could be an amazing wedding dress btw!
Glen Close!! Wow mama, look at you. This is so great! Perfect shape, lovely color and totally age appropriate. I hope I look half as good…
George Clooney showed up with his own golden trophy. Stacy Keibler looking fantastic in Marchesa. Her dress fits so well and looks like liquid gold.
One of my absolute favorites of the evening was Viola Davis in Vera Wang. This photo doesn’t do it justice I’m afraid. The color against her skin tone took my breath away. It was so perfect!! Her body is killer and this dress hugs it perfectly. Love love love!
This is a little better idea of the color…
And finally, my other favorite was actually behind the scenes. Giuliana Rancic knocked it out of the park with this TDF Tony Ward dress. Obsessed!
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.
Ralph Lauren fall 2016 during New York Fashion Week: The Shows. Photo: JP Yim/Getty Images
After announcing its aim to reevaluate the format of New York Fashion Week back in December, the CFDA released its study results with Boston Consulting Group on Thursday morning. Over the course of six weeks, the two organizations conducted nearly 50 formal interviews with industry insiders — mostly designers, but also retailers, members of the press, influencers and corporations who are regularly involved in the fashion space.
While the study expanded in depth on the conversation that's already surrounding the traditional twice-yearly format, the CFDA hasn't exactly come up with a solid solution, but rather a clear call for change. Their results highlight the industry's main challenges, or "recurring ideas," such as in-season relevancy, newness perceived by consumers and creative burnout among designers.
CFDA study. Photo: Screengrab
The study also provides a few potential models for designers, both young and established, to choose from, such as intimate presentations four to six months before the collection's deliveries; biannual, in-season activations geared towards consumers; or offering capsule collections available immediately after a traditional runway show. Other alternative solutions, include merging men's and women's collections; merging main and pre-season collections; or adopting the timing of the pre-collection calendar (December and June).
Another challenge that the CFDA addresses in the study is the industry's favor towards shifting delivery dates later to better match with the seasons. (Perhaps the poor sales on last year's inventory of winter coats was a red flag.) The association's "strong call for action" involves a targeted dialogue specifically between brands and retailers.
CFDA study. Photo: Screengrab
Although the ideas and models addressed by the CFDA aren't entirely new and have been practiced by designers — and have been covered by many outlets (includingFashionista) in the past — it's good that the association has carried out a more formal approach to these issues and is offering its designers options and the resources to carry out those decisions. A concluding statement in the study says, "Ultimately, it is up to the brands to decide what works best for them, and the CFDA will support designers as they experiment and define what is right for their collections."
Judging from the myriad of formats that designers adopted this past New York Fashion Week — from Rebecca Minkoff's consumer-facing runway show to "see now, buy now" capsule collections by Michael Kors and Proenza Schouler, among others — experimentation is already underway and will surely continue. According to the CFDA's study, they want to "alleviate the pressure for designers and brands to conform to a singular model." So it's only a matter of time for these brands, and New York Fashion Week as a whole, to figure out what will actually stick.
Ralph Lauren fall 2016 during New York Fashion Week: The Shows. Photo: JP Yim/Getty Images
After announcing its aim to reevaluate the format of New York Fashion Week back in December, the CFDA released its study results with Boston Consulting Group on Thursday morning. Over the course of six weeks, the two organizations conducted nearly 50 formal interviews with industry insiders — mostly designers, but also retailers, members of the press, influencers and corporations who are regularly involved in the fashion space.
While the study expanded in depth on the conversation that's already surrounding the traditional twice-yearly format, the CFDA hasn't exactly come up with a solid solution, but rather a clear call for change. Their results highlight the industry's main challenges, or "recurring ideas," such as in-season relevancy, newness perceived by consumers and creative burnout among designers.
CFDA study. Photo: Screengrab
The study also provides a few potential models for designers, both young and established, to choose from, such as intimate presentations four to six months before the collection's deliveries; biannual, in-season activations geared towards consumers; or offering capsule collections available immediately after a traditional runway show. Other alternative solutions, include merging men's and women's collections; merging main and pre-season collections; or adopting the timing of the pre-collection calendar (December and June).
Another challenge that the CFDA addresses in the study is the industry's favor towards shifting delivery dates later to better match with the seasons. (Perhaps the poor sales on last year's inventory of winter coats was a red flag.) The association's "strong call for action" involves a targeted dialogue specifically between brands and retailers.
CFDA study. Photo: Screengrab
Although the ideas and models addressed by the CFDA aren't entirely new and have been practiced by designers — and have been covered by many outlets (includingFashionista) in the past — it's good that the association has carried out a more formal approach to these issues and is offering its designers options and the resources to carry out those decisions. A concluding statement in the study says, "Ultimately, it is up to the brands to decide what works best for them, and the CFDA will support designers as they experiment and define what is right for their collections."
Judging from the myriad of formats that designers adopted this past New York Fashion Week — from Rebecca Minkoff's consumer-facing runway show to "see now, buy now" capsule collections by Michael Kors and Proenza Schouler, among others — experimentation is already underway and will surely continue. According to the CFDA's study, they want to "alleviate the pressure for designers and brands to conform to a singular model." So it's only a matter of time for these brands, and New York Fashion Week as a whole, to figure out what will actually stick.
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."
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.
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