Christopher Kane sells 51% Majority Stake to Luxury Group PPR, joins roster including Balenciaga, McQueen, Stella McCartney and Yves Saint Laurent

Posted by Melanie Rickey, Fashion Editor at Large

Christopher Kane

It's been tough keeping this one quiet, but at the stroke of midnight today, January 15th 2013, at last the news became public (my lip has been buttoned for ages). Christopher Kane the 30-year-old Glasgow born designer has sold a 51% stake of his business to the PPR Group in order to develop his business into a global luxury fashion brand.

This is brilliant news for a designer who graduated eight years ago with his Fashion MA from Central Saint Martins, and became an instant critical and commercial success. It makes today a very good day for British fashion and the education and grant system that supports and nurtures young talent, including not least the NEWGEN scheme which launched Chris into London Fashion Week for his first colour-popping show in September 2006, for S/S S2007. (Although sadly, if Christopher Kane was looking for a university place in England today, his 18 year old self would not be able to afford the fees.)

Even better, Kane will not be moving his catwalk shows to Paris; he stays in London.

In aligning with PPR Group (Printemps-Pinault-Redoute) Kane joins an impressive portfolio of luxury brands jockeying for 21st Century domination including Balenciaga (with newbie Alexander Wang as creative director), Stella McCartney, Alexander McQueen and Yves Saint Laurent with Hedi Slimane at the helm. His achievement is particularly sweet given the biggest fashion rumour connected to his name over 2012 was that he may be heading up design at Balenciaga following his departure from Versus, and the departure of Nicolas Ghesquiere from Balenciaga. "The Balenciaga thing wasn't a bad thing" Kane told Style.com, "but I had to make sure I denied that straightaway so that the PPR investment in my business didn't look like a consolation prize."

If this still leaves you slightly baffled as to its significance for Kane and the wider fashion picture, here are a few reasons why this is important news. Fans of Christopher Kane can rejoice in the knowledge that the Dalston, East London based designer will now be able to A) open stores globally over time, B) launch leather goods (woop!) C) spend more time creating his signature collection and less time on paperwork and the running of what was very much a family business with a small team of close confidantes.

"He is still the one and only graduate who was ever awarded New Gen funding right out of college," says Sarah Mower MBE the BFC Ambassador for Emerging Talent who discovered Kane while he was still at university. "We took a risk, which was stunningly well rewarded with his first neon-bandage show in Holland Park in September 2006 - one of the best London fashion shows ever and one which not only launched him, but marked the beginning of the wave of creativity and self-confidence which has transformed London in the eyes of the world." As head of the New Gen who has nurtured Kane from day one, Mower is also understandably pleased that he is staying loyal to his homeland. "I'm thrilled that Christopher has no thought of showing anywhere but London. That fact is the absolute proof and endorsement of how this city has been transformed as the international platform for new ideas."

For Kane and his business partner and sister Tammy Kane this means they needn't worry financially for a long time to come. Selling 51% of your company to one of the world's most powerful luxury groups is a mahoosive payday. Alexander McQueen is rumoured to have got £30 million in 2000 when he sold a 51% stake to the Gucci Group (as the fashion arm of PPR was still called then when it was co-run by Tom Ford).

It is worth noting that what Christopher has pulled off is even more impressive than it looks, as PPR group has not backed a young designer for a decade. Indeed, this is the very first fashion acquisition actively made by PPR chairman Francois-Henri Pinault; all the previous acquisitions were made under the leadership of Tom Ford and Domenico de Sole.

Francois-Henri Pinault described Kane as “ A truly great talent who in just a few years he has built a very distinctive and exciting brand with a unique DNA." For his part Kane told  US Vogue "Tammy and I have been dreaming of what we would do since I was about nine years old...we instinctively feel that PPR understand what we’re about and how we can grow- not headlong, but step by step. It’s fantastic to have that sense of security.”

I'm so proud of Christopher and Tammy and utterly delighted for them. They have been building their brand cleverly and diligently from day one, and it really couldn't happen to nicer people. Onwards!

SS13: HEDI SLIMANE AND SAINT LAURENT, WHAT SAY YOU, WORLD?

Posted by Bethan Holt, Fashion Junior at Large

Paris Fashion Week was billed as the battle between Raf and Hedi. Which designer would deliver and show us a new way to dress, a new version of what they're known for while staying true to the codes of the houses they're designing for? It was sad that it had to be a "battle" in the first place, couldn't both designers propose something unexpected and fresh without it being a head-to-head thing? Maybe those would be different propositions but choice is no bad thing.

Well, it's turned into something quite different. Raf's collection for Dior was generally much loved and without drama.  Hedi Slimane's debut collection for Saint Laurent is a different story. There was  major pre-show hype, some upset caused by super controlling behaviour from PRs, heaps of praise from Slimane's mentor and Yves Saint Laurent's partner Pierre Bergé as well as Kate Moss ("Gorge!") then lukewarm reviews from fashion editors which led to the publication last night of a slightly bizarre letter from Hedi (well, it was posted on his Twitter page) to New York Times' Cathy Horyn branding her "a stand-up comedian" as well as making sly digs at her book, her style and how Dior might give her a 2-for-1 tickets whereas "she will never get a seat at Saint Laurent". Ouch.

The whole episode has opened quite a can of worms about how Saint Laurent have handled Hedi's debut - or perhaps how Hedi himself has chosen to direct it - as well as whether it really matters commercially if a collection gets a so-so verdict from press. What would the reviews have said if editors noses hadn't been put seriously out of joint from the pre-show diktats and seating issues? Or do editors really let these things affect them? Was the collection properly good, or a stab in the dark from a menswear designer out of his depth in the womens' arena?

And what sane designer would refuse to take questions post-show from Sarah Mower of US Vogue, Suzy Menkes of the New York Times, Lisa Armstrong of the Telegraph and Laura Craik of The London Times? And why not?

We've gathered all sides of the story into one place....

THE LOVERS

Pierre Bergé: "Sublime... He respected the codes of Saint Laurent."

Diane von Furstenberg: "I completely identify with that look, and I think he did a great job"

Kate Moss: "I want it all"

Alison Mosshart: "It's the best thing ever"

Harrods' Marigay McKee told Vogue: "He delivered a slick collection fusing his contemporary silhouette with rock-meets-Seventies-inspired styles that echoed an iconic era of the house drawing heavily on the archives. This strong aesthetic reflects the continued demand for a more pared-back look, which has been prominent over the last few years - with many women buying less, and picking clever investment pieces that can be mixed and matched. The focus was very much on the cut, fit and fabrication, and this was a collection that is perfect for our customer."

Betty Catroux, Yves Saint Laurent muse: "He is our saviour... I love the fact he has the same attitude as Yves Saint Laurent, a lot of things in common with him, he understands his times totally."

THE NOT-SO-GREAT-ERS

Robin Givhan, The Daily Beast: "Slimane’s silhouette looks to be so unforgiving that it could be a financial liability to a brand trying to build its clientele"

Jess Cartner-Morley, The Guardian: "But the show left viewers with a hankering for more of the Slimane-stamped skinny tailoring which dominated the first few exits, and fewer of the dress-and-cape outfits. An industry who arrived at this show preparing to be scandalised at how Slimane ignored the YSL heritage left wishing he had imposed himself just a little more"

Tim Blanks, Style.com: "It seemed that witchy seduction was the agenda of the evening. A bizarre way to stake a claim to one of fashion's most unimpeachable legacies, maybe, but it felt perfectly in tune with what one could legitimately claim to be Slimane's California obsession"

Lisa Armstrong, The Telegraph "The problem was, that like quite a bit of this collection, the accessories were slightly underwhelming... Crucially, what was lacking was the frisson of the unexpected - that challenging jolt that only a really strong show delivers"

HYPE AND CONTROL

Imran Ahmed, Business of Fashion: "It was the latest in a series of bizarre communications from a PR team whose attempts to control communication about YSL — whether coming directly from the brand itself or independent media outlets — seems obsessive...

"When we explained our thinking, namely that no designer can claim that every single collection is a commercial success, and politely declined to change the article, we were informed via email: “Don’t correct, fare [sic] enough, we won’t collaborate on any kind of project in the future"

Lisa Armstrong, The Telegraph: "For starters, there was the seating. Or the standing, with some journalists admitted only right at the back. ("Don't worry", soothed the PRs, "you'll be standing with your peers") . Then there were the instructions about the change of name. Sorry, names"

Lisa Armstrong, The Telegraph: "I would love to be able to watch his evolution at this house. Judging by his apparent fear of any kind of objective criticism, however, I fear I won't be allowed back"

Laura Craik, The Times- in an open letter to Hedi Slimane "All the things you seem to love and value — music, fun, sexiness — require freedom. You have yours. I have mine. Without it, we are nothing. So please, don’t ban me from your next show, because I really want to see it. We all do. We like you, even though you treat us like a bitch"

WHAT CATHY HORYN SAID

"I was not invited. Despite positive reviews of his early YSL and Dior collections, as well as a profile, Mr. Slimane objected bitterly to a review I wrote in 2004 — not about him but Raf Simons"

"And that was the problem: the collection was a nice but frozen vision of a bohemian chick at the Chateau Marmont. Or in St. Tropez. Mr. Slimane’s clothes lacked a new fashion spirit"

"I had the impression from the clothes of someone disconnected from fashion of the past several years. If so, that might be an interesting perspective. But there wasn’t something new to learn here"

THE HEDI LETTER

Some have said that Hedi's twitter account could have been hacked by a stirrer and these may not be the words of the man himself. However, nearly 24 hours later no denial has been issued nor has the tweet been removed. 

From Hedi Slimane on Twitter- click to read more easily

THE TWEETS

Laura Craik ‏@LauraCraik

Had a really weird dream last night that I was in Zara circa 2008.

Jess Cartner-Morley ‏@JessC_M

Word for word RT@TeleFashion: Backstage at YSL :no questions no photographs. us: can we breathe? Pause: yes you can breathe

Jim Shi ‏@jimshi809

From hot dogs 2 Hedi, is it just me or did the fashion industry just get really, really dark & scary all of a sudden? Why all the hate? #PFW

stuart emmrich ‏@StuartEmmrichNY

Hedi Slimane's odd behavior is creating more headlines than his somewhat underwhelming first show for YSL: http://bit.ly/Padk2q#PFW

Page Six ‏@PageSix

Did Saint Laurent's Hedi Slimane refusal to seat top editors front row in Paris fuel bad reviews? http://nyp.st/PVDenB

Alexandra Shulman ‏@AShulman2

@YSL fallout an example of what happens when you try to overly control the media. Generally everyone is more generous to first collections.

susiebubble ‏@susiebubble

Is it me or has there been a lot of feuding this fashion month - upset PRs, banned journalists, open letters - thank f it's nearly over.

Images from Style.com

PFW SS13: WHAT CLUES IS HEDI SLIMANE GIVING US?

Posted by Bethan Holt, Fashion Junior at Large

You have to hand it to Yves Saint Laurent/ Saint Laurent, they're getting us thinking. Ahead of Hedi Slimane's first show next Monday at Paris fashion week, the brand has been slowly leaking images from SS13 advertising campaign before anyone has even seen the collection and way before any other label is revealing theirs. Not that the images really give anything away- the first three which have appeared since the beginning of September mostly show flashes of a tattooed, manly body. Very much the kind of body you might find hanging out on the beach in LA where Slimane is basing himself. Yesterday though, the first picture of an actual piece of clothing emerged via the brand's twitter (still YSL not SLP). It shows the same tattoo guy but this time he's accompanied by a lady in a loose-ish black dress with deep v-neck and a thin tie across the chest, revealing a flash of nipple. This is the world's first taste of the new look Saint Laurent- apart from a few sketches of the Resort collection which were apparently not authentic anyway. Alongside the campaign images, of which there are to be 15 by December, the Twitter feed has also revealed the new store concepts which look very shiny, stark and clean.

What do you think we can expect next Monday? And what about the campaign itself, effective to advertise a fashion brand with virtually no fashion?  A fine salute to Slimane's alternative occupation as a photographer? Or shall we jut shut up about the whole thing and wait and see?

THE CAMPAIGN

THE NEW STORES

Images via twitter.com/YSL and HighSnobiety.com

STEFANO PILATI OUT AT YSL, HEDI SLIMANE OR RAF SIMONS IN?

Posted by Fashion Editor at Large

Hedi  (via: wwd)

Suzy Menkes has acted like she has known for months; and finally it has been made official by the house: Stefano Pilati is leaving Yves Saint Laurent. His contract is up in one month, and the suits at Pinault-Printemps-Redoute have not renewed his contract. Though on a positive note, his Paris show next week (March 5th) will be his swansong; cue sobs and weeping from the fashion press and an outpouring of emotion similar to the scenes at Jil Sander this weekend. I will also expect a highly collectible collection. 

So why is Stefano out? The informed thinking in Paris is that the PPR bosses didn't think his work was up there in the brilliance stakes, and his collections occasionally seemed very laboured; anyone remember that disastrous scene in The September Issue? They also allegedly didn't like the way Stefano conducted himself socially, with a general implication that he was back to his old ways (he has been open about his drink and drug habits in the past, like in this interview with Vice). Or perhaps after eight years as Creative Director of Yves Saint Laurent, and with founder of the house Mr Saint Laurent long since dead, it is simply time for fresh energy to inject new life into the reputation of the house, which in turn will boost sales.

Commenting on the announcement, Yves Saint Laurent Chief Executive Officer Paul Deneve said 'We are all at Yves Saint Laurent grateful to Stefano for his important achievements in advancing the mission and success of this historic and treasured fashion house.' 

Kate and Stefano Pilati (via Fashionista) 

It is expected that one of two men will take up the post at Yves Saint Laurent. The favoured contender has long been Hedi Slimane the highly creative designer, photographer and art director who ran YSL menswear with a very specific vision from 2001 to 2007. He is in line to oversee the entire creative side of Yves Saint Laurent, an opportunity he hinted he has been waiting for. 

Raf Simons sheds a tear as he takes to the runway for his second encore at his last Jil Sander show at the weekend 

Also now in the frame is 44 year old Belgian modernist Raf Simons who is leaving Jil Sander this week following news that Jil Sander herself is to return to the label. Rumour has it he was fired because industry gossip about him leaving for Dior had gone into overdrive, and Simons in fact has no job to go to. Whatever the truth of the matter, the fashion industry seems mired in the thought that Mr Simons is headed to Christian Dior. But though it is an outside possibility, just how PERFECT would the art and architecture minded designer be for the house of Yves Saint Laurent? Personally, I would camp out to be among the first to own a Raf Simons for Yves Saint Laurent piece. I don't think I would feel the same about a Raf Simons for Dior item; and I'm sure I'm not alone in this.  

What Stefano does next will also be something the fashion world will wait for with interest. Stefano is a totally lovely and talented man, and I am sure he can emerge with his head held high from all of this.   

THE WEEK IN FASHION: FEBRUARY 6th-10th

Posted by Bethan Holt, Fashion Junior at Large, with assistance from Joshua Drew

New York Fashion Week is well and truly under way, but there's plenty of news from all corners of the fashion world keeping us entertained this week....

The Queen by Karl (image www.metro.us)

Editor-in-chief was the new title given to Karl Largerfeld last week. The creative director of luxury French house Chanel turned his cutoff leather gloves to editing one of France’s biggest national newspapers, Metro, demonstrating once again his infamous superhuman abilities.

Karl's sketch commenting on the troubles in Syria (image www.metro.us)

After recently promoting his KARL by Karl Lagerfeld collection for Net-A-Porter (in a unique interview in which Karl interviews himself) we were glad to see the German designer being interviewed by a third party once more. Among Karl's list of favourite places to shop and eat were controversial comments about Adele, which proved a hot water topic amongst tweeters worldwide as Lagerfeld described the singer as "too fat." Another controversial Karl comment (JD) We hasten to add that Mr Lagerfeld has since apologised!

Miu Miu's London bags (image from graziadaily.co.uk)

 All the major fashion cities- New York, London, Milan and Paris- went head to head this week as Miu Miu spoiled us with more of their fab accessories, just in time for fashion weeks. The collection comprises 46 styles in everything from ostrich  and python skin to brocade and glitter. Very nice, but naughty with pieces starting £1,295 (JD)

New York bags from Miu Miu (image from graziadaily.co.uk)

Talking of amazing accessories, YSL's Cruise video is a delectable three minutes of fashion and accessory p*rn...

You're safe with LV (image from telegraph.co.uk)

Louis Vuitton is getting sexy. With the release of the most exclusive contraceptive to date, the LV condom is taking the brand's sexy kudos even higher heights than THAT AW11 fetish show. Would you take Vuitton to bed?

Another batch of magazine covers for us to mull over. We're mostly loving Victoria Beckham on iD, a completely unexpected match made in editorial heaven....

image from telegraph.co.uk

 Fabulous Kate Moss in Erdem on W

image from telegraph.co.uk

 Despite the dodgy reviews of his debut SS12 show, Kanye West confirmed that he'll be back at Paris in a few weeks to show his second collection. On top of that, it looks like the rapper turned designer might be ready for a diffusion range. he was apparently spotted having lunch with Phillip Green this week. Naturally, this has fuelled rumours of a Topshop collaboration.

Kanye West SS12 (image from catwalking.com)

While everyone on Twitter was complaining about the number of English people who are now willing to stay up for Super Bowl, my theory (from the evidence of my twitter feed, so biased perhaps) is that everyone was staying up for Madonna's half time show. She didn't disappoint with her Givenchy costume. The performance was pretty awesome too.

Riccardo Tisci's sketches for Madonna's costume (www.vogue.co.uk)

All Madonna images from dailymail.co.uk

And one of our favourite looks for NYFW yesterday comes from label to watch, Creatures of the Wind. Happy Weekend!

Creatures of the Wind AW12 from cat walking.com

ADVENT DAY 21: I WANT OPYUM

Posted by Melanie Rickey, Fashion Editor at Large

YSL 'Opyum' high heel pump, £440 at Yves Saint Laurent

While out in central London this morning doing the last of my Christmas shopping I couldn't resist popping into Yves Saint Laurent. YSL is the label that most closely resembles my high fashion ideal. If it were possible on a journalist income, which it most definitely isn't, YSL would dominate my wardrobe. 

Nevertheless, the black interior of the brands' Old Bond Street store has cocoon like qualities which swiftly lulled me into a trance while flitting between cabinets of (relatively) affordable and striking costume jewellery and recessed areas displaying shoes and bags. To give you an idea, a large gilt pendant on thick black rope was £365 at YSL, while across the road at Prada a fairly standard diamante necklace with rose motif cost an astronomical £870.  

I had absolutely no intention of purchasing anything at YSL until, upstairs, I came across a new line of shoes from its cruise collection.  One of them is above. It is an elegant pump called Opyum (the brands most famous fragrance is called Opium) and it was love at first sight. Heads up: elegant shoes with refined silhouettes are back in favour for spring as fashion's first adopters are slowly moving away from the platforms, wedges and chunky blingy shapes of the last few years.

So, darn it that the Opyum range, in store for just six days so far, and offered in slingback and with different toe tip colours, was already low on stock. 

I did what I had to do. They are available to buy online if you click the link above.

“Did they know why they knew? Not at all. But 

they Knew!” 

― Malcolm Gladwell, Blink

British singer/songwriter/musician Anna Calvi is on my radar for 2012. Her eponymous debut album was shortlisted for the 2011 Mercury Prize, and as we close the year both Frida Giannini of Gucci and Karl Lagerfeld are citing her as an inspiration, and she features in this months French Vogue.  Calvi's music is an acquired taste but her look is straight from a Helmut Newton photograph. I love this video for the track "I'll be Your Man." 

YVES SAINT LAURENT: L'AMOUR FOU

Posted by Bethan Holt, Fashion Junior at Large

It seems like barely a week goes by in the world of fashion without some new comments about the huge pressures faced by designers; after McQueen and Galliano there is definitely a sense of unease about the way the creative minds at the helm of big fashion houses can cope with the deadlines they are always up against.

YSL with Pierre Bergé (image from changefashion.net)


A clip from L'Amour Fou- click to see full screen

 Thus when I watched 'L'Amour Fou', the new documentary about the life of Yves Saint Laurent, this weekend, these debates came to mind once again as Laurent's partner, Pierre Bergé, described the designer's fragile mental health and tumultuous relationship with drugs and alcohol during the 70s, 80s and 90s. Directed by Pierre Thoretton, this wasn't so much a tale of pressure, depression and addiction, but a love story. Everyone needs a Pierre Bergé in their life.

Yves Saint Laurent with his models

©Pierre Boulat Courtesy Association Pierre & Alexandra Boulat

This is a documentary about Yves Saint Laurent but you hardly hear his voice at all. The commentary of his career is provided instead by Bergé (whom YSL first met at the funeral of Christian Dior) and Laurent's muses Betty Catroux and Loulou De La Falaise. That in itself is illuminating; Bergé is the supportive lover, scorned during the worst of his partner's troubles while Catroux paints herself as a partner in misery for the designer with whom she would often discuss the hellishness of life. 

Yves with Betty Catroux (from houseofmcnairy.com)

 The documentary was made after Yves Saint Laurent's death and even begins with scenes from his funeral. From the outset, therefore, he is a ghostly presence rather than a protagonist. So this is a huge contrast to something like 'The Last Emperor' in which Valentino is categorically the star. But I wouldn't say that's a downfall to the film at all because those who knew him best paint an enchanting image one of the most gifted designers ever. It also makes the moments when archive footage of YSL is shown all the more poignant; one of my favourites is an interview in which he states his favourite quality in a man is 'body hair' and that earthly happiness is 'a full bed'.The combination of anecdotes and archival footage depict Saint Laurent as funny, eccentric and charming during his best times. 

Yves Saint Laurent in 1969 (image from hautefashionafrica.com)

 However, I came away from 'L'Amour Fou' feeling like Pierre Bergé was the best thing about it. It's not often that the supporting act gets a look-in but Yves Saint Laurent could never have been the fashion game changer he was, at least not so successfully, without Bergé. In his own right, Bergé has achieved an awful lot, particularly in the fight against AIDS. He has been appointed a UN Goodwill Ambassador and has been a longtime supporter of the political left in France.

Bergé at the funeral of Yves Saint Laurent in June 2008

 The film is structured around the sale of the couple's vast collection of art, lovingly amassed as soon as they became wealthy enough to do so. One of YSL's most famous designs is the Mondrian inspired dress but when that was created, Bergé remembers that actually owning a Mondrian was a distant dream for the couple. In parts the film becomes a little slow as it somewhat dryly shows shots of all the art which is to be sold off, only adding to the eeriness of YSL's absence. But then the ending is a quite astounding montage of the auction, Bergé looks on as much of the material gain of his life with Yves is sold off to buyers willing to pay millions. The proceeds from the sale are divided between The Pierre Bergé-Yves Saint Laurent Foundation, Bergé himself and a number of the charities which the couple supported. And what clinches this as a love story? Bergé's analogy that many would see the auction as him purging the evidence of his half century with Saint  Laurent but for him those millions are nothing compared to the sharing of a life, and the ending which came with Saint Laurent's death. For lovers of fashion and great love stories, this is a must-see.

L'Amour Fou is released today in the UK. Buy it here. Clip courtesy of Studio Canal.