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The Fashion Page
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TOUCHY SUBJECT: The factories that make designer duds are the fashion equivalents of high-security zones. Approval to photograph the plant that makes Alexander McQueen's clothes and where makeup artist Gemma Smith Edhouse does her thing, had to come from Gucci Group creative director Tom Ford himself.
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Let's get the cliché out of the way. Every cloud has a silver lining. Boring, but true. So even though the confidence of consumers is still lower than that of a pimply teenager on a first date, and even though one luxury-goods company after another reports that sales are heading downward faster than a deflating balloon, there is something to rejoice about in fashion. And that's the clothes. We're not sure which came first — the shaky economy or a general malaise with ubiquitous logo-covered bags, shoes, dresses and coats. And to be honest we don't care, because whatever the cause (we'll let fashion historians sort that one out), the result is one we applaud: a return to quality, to things that are rare and special and unique and worth the price we're asked to pay for them. Or at least close enough that we can justify it to ourselves. In search of the origins of this specialness, we picked some of our favorite items for fall and took them back to the place they were born — the designer's workshop, atelier, factory — to have them photographed by a talented young Italian photographer we discovered. Forget the unique lighting; without Daniele Tedeschi's language abilities we'd still be lost on the highways surrounding Milan. To the fashion-savvy mere mention of Milan — or Paris — conjures up images of crowds, rain and traffic. Yes, Fashion Week. Try though we did, we couldn't convince anyone who hadn't been through it that Fashion Week is more pain than pleasure. So last season we brought another photographer, David Ellis, to spend time in Paris with a muse and with two hardworking buyers for a New York City boutique. The result? Yet another cliché. Yes, it was the best of times, it was the worst of times. And it was a good story. — Lauren Goldstein
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EDITORS ANN MORRISON AND DONALD MORRISON • ISSUE EDITOR LAUREN GOLDSTEIN ART DIRECTOR PAUL LUSSIER • PICTURE EDITOR SUSAN BANTON • CONTRIBUTING FASHION EDITOR NEELEY MOORE REPORTER REEMA AMEER • PROJECT DIRECTOR CHARLOTTE VENZO DE MONBRISON SALES MANAGER ISABELLE MOLLAT (FRANCE/SOUTHERN EUROPE) • PRODUCTION MANAGERS MELANIE BRIGGS AND GWEN MOSTYN • EDITORIAL PRODUCTION MATTHEW BLUNSTEN, LEONARD BURNS, CHRIS EYLES AND MICHAEL STURGESS • ADVERTISING PRODUCTION MERYEM MEHMET • WEB EDITION MAX BROCKBANK
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