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kids, so strive to understand more specifically how they’ve developed their taste, their fit, and
what they want to convey about modern dressing. Not every shift dress should be described
as á la Jackie Kennedy, but it is important to understand some of the basic lingo, some of the
hallmarks of each design era, and the notable women who best exemplified the look. To that
end, legendary Vogue editor Diana Vreeland’s memoir, D.V., is a terrific read and an example
of fashion writing at its best. And don’t overlook movies for getting good fashion background:
Tippi Hedren in The Birds, Audrey Hepburn in Breakfast at Tiffany’s or Charade, Ali MacGraw in
Love Story, Winona Ryder in Heathers in the 1980s or Reality Bites in the grungy 1990s, Kate
Hudson in Almost Famous. I could go on, but I’ll spare you.
Which magazines, newspapers, and websites would you recommend that designers read to stay
up-to-date and informed about fashion?
For a great take on the contemporary zeitgeist, I love Lucky magazine and their website, which
features a number of great blogs. Lucky excels at the kind of “high-low” dressing that’s driving
a lot of today’s fashion. They were one of the first publications to intensively cover the contem-
porary price point, which has been one of the strongest markets of the last decade. The trade
newspaper Women’s Wear Daily is also a must-read for anyone seriously interested in fashion.
It has been called the Bible of the fashion industry because it covers the business and culture
of the industry—everything from fiber and fabric to what the socialites and street kids are
wearing. Style.com does a terrific job of covering the runway collections. I’d pay particular at-
tention to leading-edge designers such as Marc Jacobs, Miuccia Prada, Alexander McQueen,
and Nicholas Ghesquiere at Balenciaga, whose brainstorms each season ripple down to a
wave of interpretations. Then there is just being curious and looking at lots of people wherever
you can—in airports and cafés, in US Weekly and on You Tube—keeping your eyes as open
as you can.
DAILY
Katherine Bowers
Photograph by Meghan Jones Colangelo.
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276 THE FASHION DESIGN REFERENCE + SPECIFICATION BOOK
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How do you successfully tune in to what your retail customers or television audience
are looking for?
In the store, it’s great because the best information doesn’t come from trend report-
ing, magazines, or hired services; it comes direct from your customer. We listen to
our clients each season, then go back, and try to find the looks. Many times, it isn’t
me bringing new lines into the store, it’s the client.
For the TV shows, we do use data. I get to know the audiences for Tim Gunn’s Guide
to Style and The Rachael Ray Show. The greatest tool today is the blog, so that we
can actually speak to the consumer. When I read people’s blogs and they tell me
what they like or dislike, I absolutely apply that information. The same goes for QVC:
I asked the audience to vote on different looks and we were inundated with people
expressing what style they liked best. We’re lucky that we can gather that info for
free and simultaneously can fine-tune that relationship.
As a retailer, what are you looking for from a designer?
I’m looking for quality, craftsmanship, and uniqueness in design. The designer
needs to be a good partner to me and my clients, offering special events, trunk
shows, etc. These initiatives truly give clients a deeper understanding of what
they’re investing in.
What advice could you give to designers about working with stylists?
Designers should be open to working with stylists and specifically listen to their
feedback on the function of the design. Stylists deal on a personal level with the
customers and get a real sense of what they want. Sometimes designs become
limiting even though they’re beautiful. People need design to be more functional.
Designers should know how to make things work from dawn to dusk. Today, I’m try-
ing to figure out what can I wear to both an afternoon meeting and an evening event
because I have no time to change in between. If designers want to remain success-
ful, they need to stay focused on everyday apparel.
Working with celebrities should be a collaboration. We stylists are the middleman,
we act as the matchmaker. The service needs to be there from the designer. The
designer has to be flexible and be committed to the relationship. Sometimes that
means tweaking concepts or coming up with a new idea. I work closely with design-
ers who will do that because I need to please my customer. Even if I love the design,
I won’t refer designers if they aren’t committed.
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PERSPECTIVES GRETTA MONAHAN:
STYLE EXPERT
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How important are associations with celebrities for the designer? And what’s the best way to
cultivate those relationships?
Today, these relationships are critical. Celebs are marketing tools for the brand. They can also
create the image. You’re getting a free editorial ad every time that person walks on the red
carpet in your creation. Weeklies cover this constantly. When you’re starting out, it really puts
you on a very different level to have that relationship. It needs to be a focused effort. You have
to matchmake your design philosophy with the right people; it’s valuable when they strike the
right chord.
Gretta Monahan
Photograph courtesy of Gretta Monahan.
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27 8 THE FASHION DESIGN REFERENCE + SPECIFICATION BOOK
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So many companies seem to have adopted the word “luxury” in some way or an-
other. How would you define what a luxury brand really is?
A true luxury brand features products representing the highest level of quality ob-
tainable within a given category. Fabrication and manufacturing detail are of particu-
lar importance, whether the design is classic or more adventurous.
At one time, “Made in Italy” or “Made in France” designated luxury; however, luxury
products are now manufactured worldwide.
As a retailer, what are you looking for from a designer?
I’m looking for quality, craftsmanship, and uniqueness in design. The designer
needs to be a good partner to me and my clients, offering special events, trunk
shows, etc. These initiatives truly give clients a deeper understanding of what
they’re investing in.
You saw something in designer Tom Ford that proved to be exactly what Gucci needed
to be repositioned as a luxury brand. What advice would you give designers interested
in pursuing a successful career with a major fashion house?
Tom Ford, whose previous job was at Perry Ellis Jeans, was one of several designers
hired by Gucci in 1990. He initially reported to the design director of apparel, who, in
turn, reported to the creative director. Tom’s exceptional talents were apparent early
on, and when the design director left the company, he was the natural successor for
the job, supervising the design of all product categories. Having grown in that posi-
tion, he was a natural candidate to lead the company as creative director four years
later. Tom’s success took place over a period of years as part of a natural growth
process: He learned step by step, and his talents were recognized along the way.
What should a new designer be aware of regarding manufacturing luxury goods today?
Do not expect overnight success in the industry. Experience is integral to a growth
strategy that will ultimately lead to success.
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PERSPECTIVES DAWN MELLO
LUXURY MARKET CONSULTANT
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From the perspective of someone who has been at the helm of high-end retailers such as
Bergdorf Goodman, what makes a new designer stand out as an attractive investment?
In my experience, it has been designers who think out of the box—but not too far out. Hard
work and talent are a prerequisite, with a little bit of luck added to the equation.
Dawn Mello
Photograph by Ted Thai//Time Life Pictures/Getty Images.
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