In the lead up to London Fashion Week, we’re kicking the series off with breakthrough designer Holly Fulton. Surpassing all the other shows at last season’s BFC NEWGEN, she offered skyscraper prints and appliques on sharp silhouettes that screamed neo-deco chic. A hot ticket this week at LFW, we asked Fulton for a peak into how she works, her preference for total looks and what expectant editors and buyers will see for fall.

JC Report: Tell us about the evolution of your career in fashion?

Holly Fulton: I received a degree in fashion at Edinburgh College of Art and a post-grad diploma there. I later spent five years doing various things—was abroad, worked as an antique jeweler, then worked for Queene and Belle doing their embroidery and womenswear. After getting an MA at Royal College of Art from 2005-2007, I worked at Lanvin, did freelance with Swarovski, then applied for Fashion East and got it. I showed in February 2009 when my label started.

JCR: What or who inspires your work?

HF: Pop art (especially Eduardo Paolozzi for his imagery and colors), outsider art, Keith Haring, aboriginal art, art deco—especially the jewelry for its boldness and use of line and form.

JCR: Tell us about your current collection?

HF: For autumn/winter ‘10 I used snakeskin, suede in applique, Swarovski crystal, perspex, wools, printed habotai and velvet. There’s also digital prints manipulated from various sources within my own work, hand drawn prints, hotfix crystal and some new embellishment. A glass artist called Louis Barillet was also influential—I love his color and use of line. I want to consolidate what I started last season and present a collection that’s easy to wear yet strong, with a vibe of the ’80s cinema du look movement and a certain nonchalant attitude.

JCR: What are you trying to change about how women dress and use accessories?

HF: I’m not trying to change it, just put my own style into it. I believe in carrying a complete look in collections—covering all accessories, garments etc.—and through this it provides numerous ways to translate my style. I would only hope people like what they see and wear it their own way. You can do it top to toe or just as easily take one piece and work it with your own take. It’s the best feeling when you see someone wearing your stuff that you don’t know.

JCR:What has been your best accomplishment in your young career?

HF: I hope it’s still to come. Showing on my own at fashion week in February with Newgen is what’s exciting me most just now, but winning at the Fashion Awards was quite a huge compliment and also a bit surreal—so much has happened in a year that it just provided the most unbelieveable finale.

JCR: What is it about London that makes it such a fantastic place to work in?

HF: It’s open to anything and everyone—contrary to the myth, fashion people are actually quite friendly!

JCR: Any fashion idols?

HF: The actress Jeanne Moreau.

While animal-friendly faux fur alternatives have increasingly appeared in more collections, the real deal was all over the recent runways. Derek Lam knit fox into a black and white cardigan, Halston’s Marios Schwab embellished the sleeves of a sweater dress and Marc Jacobs used it on the lapels of a see-thru trench. Fresh off his Swiss Textiles Award win, Alexander Wang experimented with a number of different fabrics, backing a zip-away leather jacket and criss-crossing lapels with mink. Many of these looks will show up at H&M and Forever 21 too, albeit in decidedly less expensive manifestations. The heretofore fur-free designer’s unfortunate use of pelts in his show makes sense given recent supported from Saga, but thankfully some of it won’t be produced for stores.

Leather was the most common go-to fabric for fitted, asymmetrical jackets. It was also used in more novel ways, as in the case of men’s leggings at both Maria Cornejo and Rad Hourani. To wit, Joseph Altuzarra held high-slit pencil skirts together with straps of leather, lending the pieces a vaguely S&M vibe. Threeasfour, meanwhile, paired it with wool to create a collared, almost hood-like coat and Ohne Titel’s Flora Gill and Alexa Adams coupled it with silk to fashion a chic, patchwork drawstring skirt. In addition to singular pieces, expect to see leather—both real and faux—used as embellishment or in conjunction with fabrics like wool, cashmere and twill.

Velvet’s sartorial connotations ran the gamut—little girl party dress, “festive” formal wear, hippie-chic topper—but there’s little doubt we can escape it for fall. Elise Øverland showed a velvet menswear-inspired suit and tuxedo wrap dress, while Carly Cushnie and Michelle Ochs fashioned a lace and velvet cap-sleeved dress for their semi-eponymous label. In keeping with his naughty schoolgirl vibe, Peter Jensen’s take was admittedly cheekier (tartan bloomers), while Zac Posen’s conjured thoughts of chi-chi late ’70s holiday parties.

Cutouts continue as a reining trend. When strategically placed they imbue basic black with some much-needed sex appeal, but not-so-gym-toned flesh might be better kept under wraps in any of the season’s other trends. Max Azria’s designs for Hervé Léger have never been a go-to for the faint of heart, so it’s little surprise that his sheer-paneled cutouts came courtesy of some killer mini-dresses. Speaking of itty bitty, Halston incorporated the technique into Grecian-style party gowns, featuring artfully exposed flesh and miles of leg. Preen offered what was perhaps the most wearable take in bandeau bra topped silk and cashmere dresses that revealed the areas above and below the décolletage—and leaving just enough to the imagination.

Park Choon Moo: Following academic stints in industrial and fashion design, Korean-born Park Choon Moo launched her eponymous womenswear line in the late ’80s, before opening her first retail shop in the trendy Apgujungdong area soon thereafter. Quickly expanding her reach across broad swaths of the Asian market, she won over customers with a modern edgy-yet-elegant aesthetic. While meriting laudable comparisons to everyone from Comme des Garçons’ Rei Kawakubo to Ann Demeulemeester, the designs are undeniably unique. Fluid, layered and often deconstructed, the looks typically skew in favor of monotone palettes, occasionally punctuating black and white with bolts of bright color.

Black Coffee: Only a year after winning the Mercedes Benz Award for South African fashion design, it looks as though Black Coffee’s Jacques van der Watt and Daniça Lepen have officially arrived. Following a glowing review of their Summer collection from no less than Suzy Menkes, the two-time “Designer of the Year” winning duo decided to hightail it to New York. Known for its multi-functional, draped pieces, Black Coffee fuses modern luxury with a sense of history. Whether folding African fabric origami-style to create repeating patterns or topping off their beaded, color-blocked and embellished wares with helmets and nets, the duo imbue the line with character and charm.

Elisa Palomino: Elisa Palomino won’t be anonymous much longer. Having worked for years behind-the-scenes at Moschino, Dior and, most recently, DvF (where she still serves as VP of design), Palomino ultimately saw fit to go solo. Like mentor and friend John Galliano, the Spanish-born designer favors an ultra-feminine aesthetic—think marabou trim, panne velvet and layered chiffon in soft flesh and rose tones. Meanwhile, Palomino continues to teach at Central Saint Martins, where the students keep her engaged and inspired—a few former pupils are reportedly even serving as interns. Not to be outdone in the “kind gesture” category, Galliano’s also had his factory create Palomino’s new, sure-to-be-coveted ankle boots.

Following the success of Stephan Jaklitsch’s recent installation at Shelly Steffee’s boutique in the Meatpacking district, we caught up with the world-renowned architect and popular designer about the relationship between architecture and fashion. The duo have worked together in the past—Jaklitsch, architect of Marc Jacobs’ stores, actually designed Steffee’s 2,300-square-foot retail space—but as both industries march on into the future, it’s dually appropriate to evaluate their creative convergence.

JC Report: Why do architecture and fashion have a symbiotic relationship?

Shelly Steffee: Both create an experiential intimacy, a physical and sensory interaction with humanity. Both negotiate form and function with color, shape and texture.

Stephan Jaklitsch: Architecture and fashion are both creative fields, which use the outward expression of the other to telegraph status and creativity. They reinforce and lend legitimacy to each other. As architects, we strive, when designing a retail project, for a cohesive environment that both intrigues buyers and complements the merchandise on display, but most importantly, reflects the spirit of the brand.

JCR: Do you find the approach to be similar? If not, how are they different?

SS: As a fashion designer, I would say yes—clothing designers are architects of garments. There is also a legacy of clothing designers, who have trained as architects, such as Gianfranco Ferré.

SJ: The role of fashion and the role of architecture are different. Both are creative expressions that require their own levels of skill and technique, and both may be their own form of exploration using form and material. However, they serve very different functions and have very different half-lives. Fashion tends to cycle every six months, while architecture, due to its investment requirements and scale, needs to endure far longer. Good architecture should resist easy consumption. The strategy I employ in our retail designs is to serve as an appropriate setting for the merchandise; to draw you in and let you explore without overwhelming the product. The architecture sets a tone for the brand and contributes to the experience.

JCR: Why is a store’s architecture important to the customer experience?

SS: The store’s architecture is another physical and visual extension of the spirit of the clothing, the tenets of the brand. At its best, it should naturally guide you to discover and appreciate the clothing it houses and showcases. The architecture should engage, nurture and inspire you.

SJ: Shopping is a deeply personal experience, and people really identify with the brands they buy, so it is important that customers connect with the space. The store becomes a physical extension of the brand identity, and in some cases can even help to shape that identity.

JCR: Do you think its significance will increase as retailers struggle to get shoppers to buy?

SS: It is an opportunity to give your brand a point of difference. It also confirms the relevancy of this type of shopping experience by seducing the customer within a 3-D perspective, which is different from shopping in other mediums, such as online. Shopping should be a joyous and emotional experience—especially when times are tough.

SJ: I think certain retailers have always believed the idea that a well-designed store helps them to stand out from the competition and provide their customers a unique experience. As the market struggles, I imagine more retailers will look for ways to differentiate themselves—and one way to do that is to rethink their retail spaces. I think a well-designed store will always be a competitive advantage.

JCR: What do you try to do in your work to engage consumers in stores?

SS: From the onset, I have believed that the store should serve as a cultural salon, a nerve center for the exchange of ideas, products—not all physical or clothing oriented—and sensations. Customer service is one of those sensations, the feeling that you are being taken care of by someone who has you and your best interest in mind, before anything is selected, tried on, or bought. It is paramount. One program we have initiated is fulfilling custom requests in two days, which has gotten really gratifying responses from the cleintele.

SJ: The goal is always to engage and intrigue the customer—to draw them in and let them explore. When we design a store, we always think about the arrival sequence, and how people will move through the store. For example, with Shelly Steffee we took the storefront’s large picture-frame window and treated it as a form of a sign—when it is pivoted open it actively engages pedestrians and draws them into the shop. We also created a series of thresholds and subtle shifts in geometry and materiality to entice customers towards the merchandise and the store’s more refined, private areas. This was achieved mostly through material selection—from the industrial steel and glass at the entry to the softer, veiling curtain and leather wall at the rear salon. The pacing through the store was intentional and designed to subtly engage the senses, and I think the strategy has been very successful. Each store has its own strategy that is appropriate to the brand and the architecture of the space. That specificity has always been a constant in our work.

JCR: What does a successful fashion and architecture marriage consist of? In your opinion, what recently built structures serve as models of this?

SS: A successful marriage consists of the profound ability to understand and translate the spirit of the clothing into a physical space that reflects and adds to the designer’s vision. Recent examples: Rick Owens and Atelier on Hudson or Yohji Yamamoto on Gansevoort.

SJ: A successful retail store is one that showcases the merchandise without overwhelming it – it should be a perfect complement. If you look at any of the work we have designed for Marc Jacobs you will notice that although each store is individually designed, they all have a deliberately understated sensibility to them that is appropriate to that brand. One of the best examples, I believe, of a perfect marriage between the store design and the clothing is at the Comme des Garcons store in Tokyo where each seems to be an extension of the other. It is brilliant and is flexible enough to be both familiar and constantly evolving. The Prada Epicenter down the street, however, I believe overwhelms the clothing. I love the building but it is such a strong architectural statement that the clothing seems secondary and I am left thinking of the building.

This interview was conducted by Robert Cordero.

The King of Greene Street has been the most talk about boutique among the accessories designer set in Paris and Milan for the past two years. They store has been praised for the keen interest of the buyers, the rich taste of the items and its impact on New York. Stateside the buzz has been decidedly quieter but the Greene Street boutique opened last November nonetheless, selling global and eclectic brands such as Haute, Oktober and Chrissie Morris in a historic Soho building. In partnership with his two brothers, managing director Albert Hong talks to JC Report about business, hip hop and the noble name.

JC Report: How did three brothers without a high fashion background come up with the idea to sell designer clothes in a Soho boutique?

Albert Hong: We have been in the apparel/fashion industry for more than 20 years. We successfully built a line of casual outerwear that started the whole bubble down parka trend that took over the winter scenery in New York, Japan and Europe in the mid ’90s. Prior to developing and successfully licensing this brand, we’ve had the most successful single store retail operation in the urban hip-hop market. The idea to bring KoGS into reality was basically out of a need—the need to bring about a positive energy in synergy with the community, brand and the retailer.

JCR: Initially, was there a very specific sense of the brands you’d wanted to carry in the store, or was much of the selection determined by brands not already committed to selling at nearby boutiques?

AH: Our selection of brands is a mix of brands we knew we needed to have for certain target consumers as well as brands and items selected by the sheer awe it emanates when one holds and appreciates the passion in design and production.

JCR: What does your mix of brands say about the store as a whole?

AH: [It says:] Come and take a look at the work of art that these designers have created, appreciate the passion and beauty and if it convinces you to take it home. So be it.

JCR: What does this difficult retail climate mean for lesser-known names?

AH: Opportunity for providing the consumers something that is not just another item by some mega-commercial luxe brand.

JCR: Before the store finally opened a few months ago, it had been under construction for some time, what was the most crucial feature of your launch?

AH: In development of the space, we’ve consulted many architects and they’ve proposed a variety of plans and build-outs. After initial demolition of the existing structures, we just fell in love with the space. The most important feature in that process was to restore and to maintain, as much as possible, the original beauty of King of Greene Street.

JCR: Being based in a landmark building poses a few different concerns, how do you envision the setting impacting sales?

AH: King of Greene Street, as I’ve mentioned, is the name given to the building. It is a space to appreciate the beauty of the architecture as well as the products exhibited in the retail gallery as well. Many of our customers come in and I see their eyes wander around and look at the beautiful columns, the brick arches and at that point, I take them to the back and show them the cast iron arch that supports the rear façade of the building. Some even asked if we have the original re-claimed wood joists used for the display fixtures for sale. It’s literally a diamond in the rough.

JCR: We’ve noticed that stores are getting creative in luring customers in the door. Do you have any current programs to attract new business?

AH: We will be working closely with the designers to promote their product in our space. We’re also in discussion with our partners, designers, artists and various charities to promote, yet again, another good and worthy cause. KoGS is about the space, it’s about the community and it’s about the designers and artists coexisting in synergy.

JCR: Is there a typical profile of the Greene Street customer?

AH: NYC is really the melting pot of the world and nothing proves to me of this fact, more than just staying in the shop and watching the different people coming in our retail gallery.

JCR: What are some dream labels not yet on roster that you’d like to sell in the store?

AH: Hmm. All I can say at the moment is to be determined.

This interview was conducted by Jason Campbell.

We’ve been longtime champions of Delhi-based designer Manish Arora. As a top name among Indian fashion designers, he is at once a national treasure and widely regarded as one of the most innovative designers on the planet. Arora shows his collections in Paris, collaborates with numerous consumer brands and, in many ways, serves as a de facto ambassador for Indian style. For part 3 of our New Empire Builders series, we chatted with Arora, who explained to us how the business of his brand is not a Bollywood story.

JC Report: Tell us about the ownership structure of your company.

Manish Arora: We are a growing company and we hope one day to become a strong international brand. We believe in great design and breaking the boundaries in fashion and to constantly evolve. Our company is a Private Limited company with me and my business partner as equal share holders. I design while he manages the business and finances.

JCR: Tell us all of the different projects of your fashion kingdom?

MA: First and most important is our main label Manish Arora, which we show twice a year in Paris. Besides that we have our ongoing collaborative lines like Fish Fry for Reebok and Manish Arora eyewear with Inspecs, we present a new range each season for these two lines as well. Besides these I have designed limited edition collections of make-up for MAC, watches for Swatch and Nivea Soft Packaging.

JCR: What are the core aesthetic values of your brand that will stay the ?course as it develops?

MA: Great design, excellent workmanship and nurturing and build on our creative partnerships.

JCR: Is the core of your empire building in the selling of clothes?

MA: Yes, essentially that is our main focus. At the same time, we are trying to grow by diversifying into different lines like eyewear, sportswear, bags and shoes.

JCR: How do the new emerging empires differ from existing fashion empires?

MA: Today things can happen very fast and a fashion brand or a luxury brand can be built in a span of 10-15 years, whereas earlier—in the case of existing fashion empires—it took them several decades to become what they are today.

JCR: Do you have a business role model?

MA: We are the first and only Indian fashion brand, which has an international presence—we have really our own learning and philosophy to follow in building an international fashion brand. We are not sure if we can follow a role model, but we also want to make sure that we ourselves run a successful and a highly profitable business.

JCR: In what regions are you focusing your business development efforts on, and why?

MA: At this point in time my main collection is retailing with over 75 stockists worldwide, the strongest markets being Europe, the Middle East and Japan. We have not made a conscious effort to concentrate on any one particular region but I would like to see more of my clothes selling in the US.

JCR: How is the economy impacting your business?

MA: Fortunately it hasn’t really affected us directly yet, and we hope that does not change in the near future.

JCR: How do you plan to stay the course?

MA: We plan to keep doing what we do and are always keen on expanding into new markets should new buyers be willing to take us on. That would be the only challenge given the present economic climate.

JCR: Are you methodical in your business development planning? Or is the new empire building method about seizing opportunities as they come?

MA: I don’t think it is that we are methodical, but we do constantly keep ourselves aware of what might be a potential opportunity and we don’t wait for it to come to us. We’re go-getters!

JCR: How are you innovating in order to reach new customers?

MA: I always strive for my collections to be accessible to buyers with varying tastes. While some like the more avant-garde pieces, I have a large number of buyers that retail the more commercial styles.

JCR: How is the face of consumption changing?

MA: I feel people are getting more adventurous and gravitating toward designers who offer something unique and new.

JCR: What role does the celebrity factor currently play in exposing your ?brand? And in the future?

MA: I think celebrity exposure is very valuable, especially in today’s times. It really puts you out there front and center—I don’t see that changing in the near future.

JCR: Is your idea of building an empire envisioning your brand in existence 50 years from now?

MA: Our idea is to envision it five years from now at the moment—until that time we hope to grow our main line into newer markets, continue to grow our second lines and collaborate and diversify into different product categories. I am sure if we can successfully continue to do what we are good at then the brand’s existence will continue more than 50 years from now.

JCR: How does new media figure into your empire building efforts?

MA: Media plays an important role. I think it is important for consumers and people in general to understand what we are doing. I value my relationship with the media as I feel they have played an important role in building an awareness for my work.

There’s only a hint of guilt in proclaiming how fun last month’s Paris Fashion Week was. As is the French way, champagne soaked soirees and lavish dinners drowned out talks of a bad economy. Dressed to impress show-goers scoffed at the recession by idling in cafés and shopping Marais side streets. But how did this air of defiance translate into the fall collections, as spotlighted by the crucial need to sell?

Alexander McQueen, for one, emphasized living in the moment while forecasting a flaunt-it future. Lacking any signs to stymied creativity, his models resembled sex dolls on crack wearing boldly striped evening dresses and head-to-toe houndstooth—suggesting that in six months women will get on with the extreme experiments they’ve fallen for in recent seasons. Rick Owens, meanwhile, proved why he is one of the expressive designers women follow like an obsequious retinue by pushing his tribal wear forward for fall. Models were shown in high neck confections that plumed into several wondrous layers. No look was too extreme from the designer whose radically shaped jackets and chunky boots comprise the fashion uniform seen on Paris streets—wearers will only have to grapple with the suggestions of pale blues and soft grays to soften up those head-to-toe black ensembles.

Many designers seemed to emit a Gallic pride, and, whether it was intentional or inadvertent, the flourishes showed just why there’s nothing more stylish than French sophistication. At Balenciaga, Nicholas Ghesquire turned to ’40s redingote draped skirts suspended from artfully molded tops with natural aplomb. Over at Louis Vuitton, the ooh la la spirit was in full effect. Models donned hiked up, frilly minis that would have been right on trend for a night out at La Palace in the late ’80s. At Chanel, the mother hen house of French sophistication, the designs were heaped with the label’s signature touches: camellias and frills circled the neck of chic day dresses and boucle in chic black, white and pink was on display for all ages. Meanwhile at Balmain, Decarnin’s rock chic credibility echoed the sexually charged shenanigans on the pages of French Vogue (fashion editors incidentally wore the designers looks all week). Decarnin’s follow up to last season’s widely copied collection was to show more crystal-encrusted minis, studded denim and rock blazers. Buyers, however, moaned about the astronomical price tag of even the most basic t-shirt.

Designers such as Dries Van Noten didn’t budge on a tried and true everywoman formula. Van Noten’s six month projection seemed optimistic, with bright milky colored tailored separates—one can only hope city streets will be populated with these sartorial peacocks next seasons. Other designers applied restraint that resulted in instantly classic looking collections. At Lanvin, Alber Elbaz reined in the flourishes and extracted much of the volume on his satin pretty dresses. Others such as Ann Demeulemeester held steadfast to her sartorial roots while still serving up fresh looking clothes. Sharp Edwardian jackets were slouchy and asymmetrical—just as we like them—but seemed more opulent this season when paired with embroidered vests and other familiar but shiny layers.

Dior showed recognizable astrakan coats and loads of the house’s standard suits (only a hint of bubbling in the skirts and fur trimming distinguished them from looks seen in previous seasons). And the paisley printing on wispy chiffon day dresses were so saccharine sweet as to hypnotize buyers with the easy flow of Dior’s iconic brand name.

At Givenchy, Riccardo Tisci kept to his fetishistic warrior woman aesthetic, but also showed sensitivity to those who don’t fall into the glamazons category. His studded dresses were standouts and there were smart selections across well-tailored trousers, coats and winning suits. At YSL, the trench underscored the classic core of the collection, easily making those round bottom coats a season must have. Over at Lacroix, the boxed trench opened Esteban Cortazar’s pared down second showing, while a sculpted cocoon like trench cape pervaded Comme des Garçons’ stellar collection.

Whichever road designers traveled this season—whether they played it safe or offered a challenge to the safe and sellable—their success will boil down to sales.

—Jason Campbell

This season Tokyo proved that you don’t have to work in the industry to enjoy fashion week. Thanks to a number of public events linked to Japan Fashion Week at venues around the city, Tokyo became a treasure hunt for followers of fashion—no invitation necessary.

First there was Happy Together, a collaboration with the city’s most popular multi-label boutiques. Shoppers who found themselves at Beams, United Arrows and other independent hot spots during fashion week could pick up a limited edition tote bag designed by Soichiro Shimizu. For every purchase carried away in the colorful bag, the project promised to donate ¥5 to Care International Japan. “We did the Happy Together project because, at least during JFW, we wanted to bring a greater fashion atmosphere and fashion mood to Tokyo,” explained JFW spokeswoman Kyoko Kawashima.

Not to be outdone, stately department store Takashimaya Shinjuku reprised its role as grand central for JFW tie-in campaigns. Throughout the week, videos streaming footage of the catwalk shows could be found around the store while the 8th floor “New Creators Zone” included mini-boutiques of Tokyo Collection brands. Customers who invested more than ¥21,000 (a little over $200) in these up-and-coming labels were entered for a chance to win a copy of the official autumn/winter ‘09-’10 DVD as well as other limited edition brand goods.

Harajuku’s LaForet, meanwhile, featured displays calling attention to the JFW brands available in store and also hosted several shows within its walls. The 6th floor LaForet Museum Harajuku event space was the venue of choice for Theater Products, Hisui and Fur Fur during business hours. The line to get in for the shows snaked up several flights of the central staircase, making the trendsetting editors, buyers and stylists awaiting admission their own kind of fashion show.

Casual shoppers at the store also had the opportunity to join the line for the public second show of the Shinmai Creator’s Project. New this season, the Shinmai Creator’s Project is a sponsorship program for young designers, culminating in a joint show and exhibition at JFW. Five hundred people—many of them fashion students—packed into the event hall at Tokyo Midtown.

“Fashion weeks are usually B to B events, for buyers and press. However JFW is not only B to B, we want as many B to C events as we can,” explained Kawashima. “We would like to make Tokyo into a more stylish and fun city—it is one of our visions.”

Industry aside, Tokyo’s DIY fashion scene is also hitting its stride. Fragment, a quarterly bazaar-style fair just celebrated its one-year anniversary this March. What began as an experiment has grown into a quarterly event taking place at Klein Dytham Architecture’s famous multi-media space Super Deluxe. Several hundred design-minded Tokyoites showed up for the most recent edition, which featured everything from delicate accessories from Lissita to hand-screened t-shirts by Chief&Mischief.

Fragment is organized by Tokyo Made, an online shop dedicated to showcasing independent, international designers working in Tokyo. Co-founder Masao Tamaoki described Fragment as a space for designers and their customers to get to know each other: “We created Tokyo Made as a place to sell, but we created Fragment for people to meet and exchange information,” he said, adding: “This network is important.”

From the grassroots level to the higher powers, Tokyo fashion industry players are increasingly chipping away at the old boundaries that separate the professional fashionista from the conventional consumers. And the timing couldn’t be better: for those fashion followers who have found themselves too often forlornly window-shopping (thanks to penny-pinching measures), there is something new to be gained from a shopping experience that isn’t budget breaking.

—Rebecca Milner, researcher CScout Japan

Up until a few weeks ago, it looked like this season’s LA Fashion Week wasn’t going to happen at all. The backstory is complicated, but we’ll try to make it as simple as possible: IMG, which runs the shows just about everywhere except Paris and Milan, pulled out of its partnership with LA’s Smashbox Studios last fall, effectively putting an end to the city’s headlining fashion event. LA Fashion Week had devolved into something of a joke, however, filled with celebrity “designers,” D-list front rows and organizational inefficiency that often left the few worthy press members and buyers out in the cold. Months went by without any official news of a replacement, until bids started trickling in early this month.

First, a three-day roster of shows was announced by BOXEight, an organization that’s hosted alternative shows during LA Fashion Week since 2007. Next came word of the City of LA Fashion Week, founded by a group of former BOXEight staffers, which swiped several of BOXEight’s under-the-radar designers for its own two-day event. And then of course there’s Downtown LA Fashion Week, a one-night benefit for LA’s ailing Museum of Contemporary Art, which is set to include a vintage fashion show hosted by Decades as well as an installation honoring local designer Louis Verdad. To make things even more complicated, a host of independent designers (Whitley Kros, Kimberly Ovitz, Idol Radec and TenOverSix) are staging solo presentations, in the forms of boutique trunk shows and gallery installations. But one thing at a time.

The BOXEight shows have just come to a close, having marked a new chapter for LA fashion shows. Unlike the former LAFW, this event was open to the public, which lent an oddly democratic feel to the proceedings. Furthermore, each designer seemed to have been selected because they represented a distinct aspect of LA fashion, rather than for their ability to buy a slot on the runway.

Thanks to a partnership with Gen Art, BOXEight’s opening night featured established designers Raquel Allegra, Society for Rational Dress and Grai—all critically acclaimed labels, but which don’t traditionally have an LA Fashion Week presence. Recent grads such as Yotam Solomon and David Alexander shared the schedule with rising stars like Maxine Dillon and Laeken, both of whom were named Gen Art Fresh Faces last fall.

Menswear had a bigger presence than ever—from joint gender collections such as Future Heretics and UNIF to the solo catwalks of COA and Sahaja. martinMARTIN showed the darker, more gothic side of LA fashion, while new label Skin.Graft exposed the stylings of the Neo-Victorian movement, boasting an eclectic audience filled with drag queens and top hats, showgirl headdresses and handlebar mustaches. It might not exactly be Lauren Conrad’s entourage, but the show definitely made for more interesting people watching—and a more enlightening event.

The fashion on offer may not have been particularly groundbreaking, and the organization may have been chaotic (we’ve overheard more than a few complaints from designers unhappy with the logistics behind the shows), but it’s important to keep in mind that this is the first time the BOXEight shows have been open to the public, in such a large space (the historic Los Angeles Theatre) and with so many designers crammed into such a short time frame. All in all, the event wasn’t the last minute disaster some were expecting, and it’ll be interesting to see what role it plays in fashion weeks to come.

—Erin Magner

London Fashion Week didn’t suffer from the decreased attendance of international editors and buyers this season. Labels such as Erdem, Mary Katrantzou, Marjan Pejoski, Osman Yousefzada, Emilio de La Morena, Meadham Kirchhoff, Felder Felder, etc decamped to Paris for the week to show their collection at London Rooms, a showroom event organized to capture the eyeballs of those editors and buyers who skip the London shows. And this season, several of the most influential turned out to the launch hosted by Vogue writer Sarah Mower. Anna Wintour, Alexandra Shulman, Julie Gilhart,Franca Sozzani, Avril Oates, Candy Pratts Price, and Robin Givhan . Take a look at a our snaps from the event.

-Jason Campbell

The rock glam strokes from Balmain whipped buyers and editors into a frenzy yesterday in Paris, but it was the austere precision of Bruno Pieters’ a/w ‘09 collection that had us transfixed. Pieters is a master technician and each of his pieces read like a miniature edifice, scaled and weighted without any margin for error.

Simple, multi-seam pencil skirts served as the base for several looks, with restrained drama playing out in origami pleats that jutted off fitted jackets and bow-like folds from the neckline of mini dresses. In Pieters’ architectural oeuvre, the squared-off shoulders were decidedly different from the blown up parodied versions seen across numerous other collections—the mini-capelets were particular standouts. And then there was the focus on the heavy, stiff looking woolly fabrics, tweeds and a tight grouping of bronzy metallics. With so much chasing of the trends these days, it’s encouraging to see a designer staying the course and elevating his constructionist aesthetic signature to new heights.

—Jason Campbell

London stepped up to the autumn/winter ‘09 plate with buyers, bloggers and journos already feeling the strain from the marathon city to city schedule. Fortunately the runway proceedings were inventive and upbeat—if somewhat short on embellishments—offering enough twists and surprises to keep show-goers happily engaged.

Peter Jensen and Ann-Sofie Back’s back-to-back collections stole the spotlight from big names such as Vivienne Westwood, Margaret Howell, Topshop Unique and Charles Anastase. The duo’s stunning design procession kicked off at a Marylebone venue packed with a star-studded audience including Kanye West and Jeremy Scott. For “Jytte,” Jensen took the mix ‘n match trend in a Nordic direction. The collection had a childlike aesthetic with a cozy, handmade touch perfect for a biting, Scandinavian winter. In contrast to this comfort-dressing approach, Back’s collection referenced cinematic horror classics such as Carrie, Evil Dead and Hellraiser. The tongue-in-cheek parade of ghoulish, white-faced models sported ripped jeans, stitched “Texas chainsaw” leather and dreamcatcher dresses.

Tailoring whiz kid Todd Lynn’s no-nonsense collection looked to the Edwardian era for an austere, high-collared monochrome display that included bold platforms by Louboutin along with leather and fur detailing. On a softer note, Richard Nicholl collaborated with cult artist Linder for a beautiful collection inspired by ’40s romanticism. The photographic prints in muted greys and pinks were particular stand outs, while futuristic silhouettes in a mix of elegant, luxury fabrics—caviar wool, velvet, cashmere—were instant crowd pleasers.

Having come into her own as a stale at LFW, Louise Goldin offered an enticing vision for a well-dressed future. Grid textured leather panels and a dark color palette had a touch of added glam with Swarovski crystals, while bodycon dresses exuded an armor esthetic. Goldin’s strong collection remained faithful to its theme of elegant protection from start to finish, promising a much-needed defense against the outside elements.

—Lena Dystant