Fur is an unethical product and designers who wish to use it in their collections, or those who wear it, must take responsibility for the way that their product has been produced [Learn more].
I wanted to point out out such subject because today was the third and the last day of the 8th Leather & Fur Fair held in Istanbul, Turkey. According to the(ir) website “All Eyes are Turned to the 8th Istanbul Leather Fair!”
… and I can’t help asking that REALLY?!!
Such organizations unfortunately take place in some other parts of the world as well. So, I have made some compilations to show what those eyes do not want to see: the real cost of fur !
There are some videos (English, Finnish, Italian, French) and reports (English, Finnish, Itailan, French) that I want to share with you, the conscious consumers. They were partly prepared by animal defenders and Fur Stop, and includes striking facts about the fur industry.
Remember PETA's fur campaign in nineties: “We’d rather go naked than wear fur" which was also supported by models like Naomi Campbell and Cindy Crawford (who somehow(!) gave up this fight after a while).
But I believe that even if we lost, and probably will lose many, like Naomi or Cindy, ethical responsibility in fashion will be gaining more and more importance.The recent fifty years changed the question from “How can we sell or consume more?” to “How can we sell and consume more consciously?” Hoping that developing technology and the ethical philosophy would be more intensively combined by the industry, therefore we will encounter with more than design experiences providing us, the consumers, with more product stories to become more conscious [Read more].
- to be continued. -
How many bags do you think a woman wants to have? Of course, countless! Let’s face it a woman will never have enough handbags. Then the question is which handbag a woman wants the most. And here is the top ten determined by the research of Digital Luxury Group .
The research is basically based on more than 130 million Internet searches and looks for the most saught-after bags. Yes, there are Gucci, Chanel and Louis Vuitton made the Top5 as expected but there are a few interesting brands as well. Moreover, one should be warn that you cannot see the ones like Fendi or Balenciaga on the list.
2012’s top 10 most searched luxury handbag brands begins with the Python Gia Satchel model byMichael Kors. It is followed by classic Q-lil ukita bag of Marc Jacobs and the oversized Alexa leather bag by Mulberry. In the seventh place, of course we have a Hermes! An orange Birkin bag is the most searched model for this brand. And then a very vintage model comes to the scene: the Nylon Messenger bag by Prada which seems still to be so fashionable for a woman’s complete style.
An unexpected brand, Longchamp appears surprisingly at the fifth turn. While it is the cheapest among others, or may be not considered as luxury as others, Le Pliage Medium Tote is the most searched fifth bag according to the luxury handbag study. It seems the luxury consumption trends are really changing. Gucci made it to the list with another vintage piece, 1973 model Leather Shoulder Bag. With no doubt, it would be a valuable investment for a wardrobe!
Getting closer to the top3, Chanel’s Black Quilted Lambskin Classic 2.55 Flap Bag with a price around 4.800 dollars, who could deny this piece if she has the purchasing power. At the end, we are talking about a classy, french and a timeless Coco piece which perfectly suits your special evening combination.
The authentic Damier Ebene Duomo Bowling Bag by Louis Vuitton is at the second place. Featuring a gold hardware, single zip closure and a spacious interior, this classic piece would be great for a daily use of luxury. Surprisingly the winner of the most searched handbags list is the Legacy Leather Medium Candace Carryall byCoach. The reason for searching for it must be the desire of carrying all the stuff within an elegant and timeless leather design architecture.
The results on the research have also interesting determinations about the country based handbag consumption trends. The UK, for instance, is the most handbag crazy among all countries. It is the country having the most handbag searches per person. The consumers from the UK also have a very nationalistic perspective so that the most saught brand was Mulberry for the country. On the other hand, the French are also mostly keen on French brands like Longchamp.
When it comes to the Hermes ’ Birkin bags, different countries have different interests of colors to buy. The French searched for the black, for instance, while Americans prefers orange to look for. Another surprising fact is about Japan where the brand Louis Vuitton handbags are in top 5 of the country. However, it is connected with that Louis Vuitton is an old brand there. According to the Economist, eighty five percent of Japanese have already had a LV product.
The winner in the handbag category seems to change from year to year. But the thing is to maintain a timeless reputation and at this point I believe in that no model can surpass Chanel classics. Selected as also one of the most expensive handbags, Chanel’s classy, shining and serious stance will always stay timeless.
Fashionbi.com / October 16, 2013.
No one can deny the Louis-XIV’s saying: “Fashion is to France what the gold mines of Peru to Spain.” Even if we know that fashion is as much of an interest by Italians as much as for the French, or that the fashion actions are a more kind of an obligation in the east side of USA than in the center of Paris, the french originality should be given a special coverage.
Looking at the historical background, it is difficult to define a typical French clothing as a national case of the country during the fifteenth and the sixteenth centuries. The Franc Kingdom was not yet France, as the country we know today, for that time and considering the medieval times trying to find any sign of a national consciousness would be in vain.
The first time when we can truly mention the origins of the French style encounters to the time of Louis VIII. Even then, the French fashion was limited to the palace and some aristocrat fractions. The tailors working for the palace clothing were firstly discovered at the end of eighteenth century. Most of them had settled in Palais-Royal which was the entertainment and culture centre of the regency period. That location was optimally operational due to the closeness to the customers for that time, but Palais Royal was in addition a strong symbol of the alliance of fashion and its potency for the upcoming years. The existence of fashion artificers had then become well accepted.
The nineteenth century was the period for French fashion to expand its effects. With the help of the huge economic development, France became to have more social categories therefore new types of clothes and designs. Haute couture was firstly created in 1857 by the care of Empress Eugenie. Moreover, the image of creation, emotion, and aesthetics capacity, started to expand abroad by using the power of literature, painting, music, architecture and sculpture. In this way, clothing fashion was supposed to be firstly pointed out and then adopted. At the end, the artistic creations of nineteenth century provided this context. Another tool to expand french fashion was of course an experted media. But the fashion media was not an innovation of nineteenth century for France. The oldest newspaper publication La Galerie des modes et costumes français is dated 1778.
By the twentieth century, Paris had become the worldwide capital of fashion. The french fashion, skimming thefrench originality up to that time, was getting a new mission: introducing the french style to the world. The velocity of the style expansion formed by haute couture did not decreased during the war times but also had kept its increase. At the second half of the century, the fashion was industrialised and ready to wear culture existed. None of the French industrialists would take the risk of printing any other origin rather than Paris.
The French style was followed by the foreigners. For seventy years, firstly the Europe and the USA; later on by 1950s, the South America; and by nearer times, Japans as well as the journalists, consumers, artists, stylists and of course the imitators from anywhere came to Paris to look for fashion.
By the eighties, France started to accept fashion as both an education area and a national value to be maintained by a museum culture. Fashion was also accepted by the government executives, and the politics and industrial environment started a collaboration. During the same years however, the french style started to lose its value just because it became difficult to keep the originality in such a world where anyone can reach recent trends via the technological developments and where there existed the new idea to protect own culture. Intensive and uncontrolled international sociologic mess and the economic factors special to France are shown as the two main, for instance.
But still, we accept that it has its own characteristics, right? French fashion is still not only about necessity or trend, but creating a sense of style to be timeless. To the French, as the most influential French designer, couturier and icon, Gabrielle “Coco” Chanel once said, “Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.”
The basic characteristics of the French fashion industry are also following this attitude. It gets its legitimacy from the high-end, highly creative segment first. For the clothing segment, which covers the 20 percent of the French market, no second or young lines are offered, as a way of preservation of individuality. So the industry mostly grows through accessories, cosmetics and fragnances as the specific product categories to focus on. But at this point, the technological innovations, which were mentioned before as the danger of the originality, seem to work for helping the industry to develop strongly. And for its digital future, French luxury is now faking to protect its custom niche.
As Stephane J.G. Girod, Ph.D., research fellow from Accenture, highlights that French fashion acquired and sustained its international legitimacy thanks to systematic coorperation between industry players, the media, non-governmental institutions and the French state.
According to news from the comScore , for instance, retail sites reached 84.5 percent of the online audience in France by June 2013. And this had made the french online retail market is the third largest in Europe for the month. Even so, the famous French conglomerate Kering Group attracted more visitors than Amazon.com, meaning a huge success.
Moreover as in the Chanel example, the pack is led in digital communications with a minimum effort like Twitter feed of Lagerfeld, iPhone applications as well as e-Newsletters and fan pages in social media. Chanel is one of the leading digital media user in not only French but also world fashion.
Thus, even if it seems to lose something, French fashion continues to keep its originality. The difference is only about keeping pace with new technologies of the era to reach the customer.
On Fashionbi.com / October 2, 2013