China’s might is rarely discussed separate of its stunning 1.3 billion population. Statistics show that approximately 10 million Chinese families earn the equivalent of $15,000, the median upper middle class income, with that number set to grow to 76 million within five years. Although it’s this aspirational group that luxury lines are targeting as first stage brand consumers, there are also more millionaires and billionaires than ever—and the number is still growing. With 80% of this consumer base under 45-years-old and looking to luxury branded goods as the ultimate measure of success, there appears to be a perfect storm of near-term growth for China.

On the streets of Beijing and Shanghai, Gucci and Louis Vuitton logo bags are everywhere—even ignoring the high levels of fakes. Boutiques brag about the idle and ostentatious women who buy up to five of everything in every color, sating a newly acquired appetite for luxury consumption. While questionable when it comes to taste and discernment, the spending power is undeniable and the marketplace is buzzing with declarations that the Chinese shopper consumes more luxury goods than Americans.

Burberry just opened its Asian flagship in Beijing’s Sparkle Plaza, and has plans to double its presence by 2012. But the British brand is just the latest label to join the ranks of other high-end names in China’s capital. The Jinbao mall complex in Beijing’s Dongcheng District boasts shiny new Gucci, Bottega Veneta, Burberry and Canali stores. Shin Kong Place features a blinding scroll of brands including Givenchy, Marc Jacobs, Prada and Salvatore Ferragamo. And Beijing Yintai Center, annexed to the Park Hyatt, features everything from Hermes to Dolce & Gabbana and Cartier.

The IFC mall in Shanghai can’t seem to open a store quick enough. A soon to open Lanvin boutique will join the Dior, Prada and other boutiques already opened in the ritzy mall on four floors and there’s a rumored waiting list for other vendors. Hermes, meanwhile, launched Shang Xia, an innovative concept for the brand with all the merchandise (accessories, home and furniture and limited edition cultural objects) manufactured in China, in Shanghai. From the chic Chanel outfit at the Peninsula Hotel in Shanghai, it’s also clear that the label’s Asian hub has a better selection of merchandise than cities such as New York and Milan, while the Louis Vuitton store at Plaza 66 mall is the largest LV boutique on a single floor on the planet—quite a feat considering there are 500 stores worldwide. China is going bigger than we could have imagined.

Diane Von Furstenberg, who has stores in both Beijing and Shanghai, is banking big on the country. Last month, she took the two cities by storm with her Red Ball in Shanghai and a Pace Gallery extravaganza in Beijing, which showed her Journey of A Dress exhibition. The event brought out China’s most influential artists and celebrities to help catapult the brand to household name status in the country.

But these developments are not limited to the obvious cities, brick-and-mortar boutiques or clothing, for that matter. The signs point to more and more of the luxury brands opening in other provinces such as Guangzhou, which sports its own Gucci store, or Hangzhou’s newly opened MixC luxury mall. Though skeptics question online sales potential due to myriad issues (authenticity, shallow credit card penetration, delivery, etc), Xiu.com is the Country’s closest thing to a Net-a-Porter. It continues to invest millions in the effort, having just secured a $20 investment from Kleiner Perkins Caufield & Byers this month alone. Yoox.com also recently launched a Chinese division and DVF is said to be planning to make online sales a significant part of her business plan in the country. To round out the heady amount of activities in China, the entire luxury lifestyle—car dealers, watchmakers, jewelers and furniture designers—all appear to be on high-scale roll out around the country.

If there is one negative on how the Chinese consume, it’s that thus far they prefer to buy their products from a single branded store—and preferably a well-known one. Multi-brand stores face a greater challenge. Joyce in Shanghai at Plaza 66 sees brisk business for its Stella McCartney accessories, but less prominent lines such as Alexander Wang require a more insider knowledge to trigger purchases. Lane Crawford, a multi-brand staple in Hong Kong, is still finding its place in Beijing. Stark, one of the better boutiques we saw on our visit to Jinbao mall and another Hong Kong exports was well-aware that it may take a couple more years for the hoards to enter their store, which mixes Balmain, Andrew Gn, Giambattista Valli and Alexander Mcqueen, but the time will hopefully come. The general feeling is that it will take a while longer for the Chinese consciousness to get up to speed on, say, a Prabal Gurung, Christopher Kane or any of the other international rising stars, but the question still lingers when will that time come?

What’s hot right now?

I just finished working on my upcoming Fall collection and I must say it is smokin’ hot. I’m not so much of a party freak and I have very, very long working days—when I have some time off, the hottest thing for me is a bottle of Bordeaux, scented candles and a warm bath.

What are your favorite trends at the moment?

I’ve always thought “trends” were an annoying concept. The best trends are the ones that individuals create for themselves. The trendiest trend is to be unique.

What kind of shoes should women get for the s/s ‘10 season?

Mine. Because they’re the sexiest.

Established designers have long had the luxury (and capital) to tap into the increasingly lucrative resort market, easing consumers into spring with accessible, palette-whetting pre-collections. While burgeoning talent has never had as easy a go, Martin Lamothe’s Elena Martin, for one, has decided to subvert the status quo. Cheekily dubbing her SS/10 collection “Cruiser,” Martin has created a knockout ode to holidays on the high seas. Playful, sporty, and sophisticated, the collection is replete with colorful flag motifs, chunky rope detail, and fisherman’s-net-patterned leather. Think less champagne-wishes-and-caviar-dreams, more multi-culti Love Boat.

A lifelong love of architecture, coupled with a nascent interest in graphic design, informed Martin’s oeuvre from the beginning, evident in this season’s bold prints and alternately soft and structured silhouettes. Following stints as a freelance stylist and costume designer, the Barcelonian saw fit to strike out on her own, ultimately launching Martin Lamothe in 2006. Armed with a master’s in womenswear from Central Saint Martins (where, at age 20, she was the youngest ever to matriculate), Martin saw her first student collection appear in the pages of Self Service. Presaging fashion’s yen for androgyny, the designer went unisex for 2007, formally introducing prêt-à-porter two years later. This past September, Martin was among the 25 fledgling designers who appeared in Edit, Topshop’s London pop-up.

Conceptually speaking, Martin’s execution has always revolved around striking the right balance between fashion and art. “Our projects with visual artists are as important as the clothes to get each season,” the designer says of fashioning a cohesive, albeit utterly unique,
brand identity. To wit, she relies upon a roster of photo and video collaborators — including icanteachyouhowtodoit’s Gerard Estadella — to ensure that the fledgling Spanish label is as appealing to the eye as it is to the touch. “It’s all quite cinematic,” Martin says of her admittedly myriad inspirations. “It’s landscapes, sensations, moments.” While past collections have been driven by everything from Martin Parr’s English coastal towns to William Eggleston’s stark American landscapes, this season Martin stayed more or less on the continent, creating a decidedly Euro collection. “It’s based on the fever for the holidays, that dump euphoria,” she says, citing the restlessness that comes with wanting to get away and the thrill of finally setting sail.

Martin’s color palette this go-round necessarily includes navy blue, put to beautiful use in resined-cotton waterproof trenches and fluid, viscose maxicoat one-pieces. As to favorites, the designer herself singles out the “Flagstaff” print smoking jumpsuit, a multihued, nautically inspired garment that simultaneously channels Bauhaus and the United Nations. Ropes take center stage in the collection, snaking (in leather, no less) around the bust of silk chiffon dresses, circling the waist of waxed cotton-jersey pants, and trimming the belled sleeves of a see-through silk organza dress. That Martin has given her looks such names as “Moby Dick” and “Blow” suggests a sense of humor — something she sees in her customers as well. “They’re in good spirits. They’re confident, fun, maybe unconventional,” she explains. In less able hands, “Cruiser” might have devolved into kitsch, or simply been lost in translation. Having seamlessly channeled both the elegant and the irreverent, however, Martin’s officially won us over. We’re ready to hop on board.

—Sarah Fones

Independent art/fashion publication Playground takes collectible to new levels. While many are running from print during these troubled financial times, this bi-annual publication offers a beautifully presented box set of loose leaf prints from names such as Stuart Semple, Phil Knott, Terence Koh, Andrew WK, Alexander Wang, Kai Kühne, Cass Bird and Surface to Air to name but a few. While the “luxury” price tag—$600—may seem steep, the sheer quality and volume of extraordinary work justifies every single cent.

For photographer Zach Gold and stylist Julie Ragolia, the premise was to offer a “personal gallery,” an opportunity to own a carefully curated collection of lithographs, offset and photographic prints that bring together emerging and established talents from the worlds of fashion photography, illustration and art. As its name suggests, Playground is a serious publication with a sense of fun. And in an industry that’s often short in the humor department, it’s a welcome relief to find a project that perfectly blurs the line between avant-garde and quirky.

Produced in limited numbers, issue one is housed within a custom made “dripping paint” latex box designed by Dror Benshetrit. Playground is available exclusively at Selfridges, Colette, Project No. 8 and All Purpose.

For more information, see www.theplaygroundisfun.com.

—Lena Dystant

With precise silhouettes and a careful mix of wools, silks and new synthetics, Giada is a sophisticated yet disarmingly simple label. Inspired by fine art and classic icons like Audrey Hepburn, Giada designer Rosanna Daolio set out to build a brand distinguished by “luxury, minimalism and quality texture.”

Born into a middle class Florentine family, Daolio picked up an affinity for the arts at an early age courtesy of her parents’ bohemian circle. She went on to work for Emanuel Ungaro and hit her stride in the ’80s with Max Mara. In 1992 Daolio left to start Giada and by 2001 had taken the fledgling brand as far as Milan before everything suddenly changed in 2005.

A friend introduced her to Red Stone, the Chinese company responsible for bringing brands such as Yves Saint Laurent and Salvatore Ferragamo into China. The timing was fortuitous: Red Stone was just then shopping around for a new Italian brand. Daolio signed on and took her first trip to China, visiting Shanghai, Beijing, Guangzhou and Hong Kong. It was a journey that clarified the hugeness of China’s growing market. “In Milan, Louis Vuitton opens one shop; in Beijing, Louis Vuitton opens three shops,” she gushed.

In the few intervening years, Giada has opened an impressive 28 boutiques in China, alongside marquee names such as Gucci and Dior—the label’s flagship even sits in Hong Kong’s prestigious The Landmark complex. Sales turnover increases steadily, notching at least 10% each year and making Giada one of the fastest growing luxury brands in China. By contrast, Giada has yet to open a single boutique in Daolio’s native Italy. A Milan store is being negotiated for 2011, but those in the world’s other fashion capitals still have at least another five years of eager anticipation.

Average shoppers may not know what they’re missing, but you can bet that key players in the global fashion industry do. The all-star credit list from Giada’s new a/w ‘09-’10 campaign includes David James (creative director), Solve Sundsbo (photographer), Marie Chaix (stylist), and Sasha Pivovarova (model). The collection suitably features trim pencil skirts, tapered pants, gentle blouses and sharp coats in mostly black and gray, with accents of regal reds and purples or softer pinks and mauves. Daolio calls it “The right blend of inventive and classic modern,” noting that: “A higher-than-average budget allows Giada to work with the world’s top models and photography teams.” The collection’s images (previewed alongside this article) will grace the priority pages of top Chinese fashion magazines such as Vogue China and Harper’s Bazaar Hong Kong.

Despite this jet-setting team and scope, Daolio affirms that her brand is still fundamentally Italian. Much of the production continues to take place in Italy or, if elsewhere, is “up to Italian standards.” Textiles, selected with a careful eye towards refinement, are sourced from Italy and neighboring Western European countries. “The art-culture is born in Italy and, thanks to the environment in which I grew up, I learned to recognize in fashion the magic of the great works of art. That has influenced my creativity,” Daolio explained.

Only the brand’s name, chosen over a decade before the chance meeting with Red Stone, gives away its worldly ambitions. “Giada” is the Italian word for jade, that beguiling green stone most famously linked to none other than China.

—Rebecca Milner

As our dispatches from Seoul Fashion Week have proven, the Korean city has firmly established itself as an emerging fashion powerhouse. But it’s not just their native land in which Korean designers are making waves. The country’s young designers have created much buzz at the recent graduate shows in New York and London, while a stampede of Korean brands are bringing their labels westward to catch the attention of influential buyers and editors.

So why all the sudden fuss? “The Korean national character is ’speed,’ which means Korean designers catch up to global trends easily, but they also set their own trends while keeping their customers in mind,” says Bum Suk Choi of General Idea, a menswear label which has been picked up by Oak, Takashimaya and Atrium. His line perfectly exemplifies this idea—inspired by “military detailing, vintage items, architecture and literature,” everything from a white sleeveless trench to a multi-layered button-down shirt look both on-trend and original.

“If you look at Korea’s traditional costume, you can see it has a peaceful feeling in color and silhouette,” adds Bon Kuk Koo, a 2009 FIT graduate who has just accepted a position with Chado Ralph Rucci. “Our design is based on feelings, so the clothing makes people look elegant and gentle. People do not attract attention to themselves by their clothes – they dress with restraint.” As we’ve noted before, this sentiment of quiet luxury is taking hold of the industry as a whole, making such contemplative design all the more relevant for our times.

Before arriving in the West—whether to study or launch a full-fledged collection—’most Korean designers spend years honing their design skills back home. The ones we interviewed for this story gave nothing but glowing reviews of Seoul’s well-rounded fashion programs, which fully prepare their disciples for a career abroad. “The fashion curriculum in Korea is very broad—it spans design, textiles, marketing, fashion psychology and business strategy,” says Eudon Choi, a 2006 MA graduate from London’s Royal College of Art, who is now a senior designer for Twenty8Twelve. “It’s very different from what you’re taught in London—’here, it’s entirely focused on developing design skills.”

Perhaps this is leading a more artistically driven tier of Korean designers to seek creative development abroad, an idea echoed by Bon Kuk Koo. “My dream is to become a fashion designer who is also an artist,” he says. “In Korea, that is really hard to do because there are too many designers, too few positions and salaries that are too low. Plus, it is hard to show outside of the country. Honestly, the Korean fashion curriculum is really great, and if your goal is just to study fashion, you can do it there. But in order to achieve my dream, I have to stay here and develop my experience and techniques.” Eudon Choi, who spent four years designing menswear for Time Homme before enrolling in the RCA, disagrees. “There are lots of job opportunities in Korea, at companies like Handsome and Samsung,” he claims. But then he goes on to add, “Those cater mostly to the domestic market,” echoing claims that it’s hard to get international recognition without heading to one of the big fashion capitals.

Luckily, the fashion world is primed to welcome them. “All around the world, people are looking for new styles,” says Bon Kuk Koo. “Koreans have very specific tastes and styles, and we are starting to go outside instead of staying in a small area. I think that’s why people are interested in our work.” Adds Eudon Choi, “Korean fashion has improved a lot over the past 20 years, and designers are finally trying to get recognized. They’re competing on a more international level, being exposed to more international shops and are aspiring to do better as a result.” Judging by the thoughtful, meticulously crafted results we’ve seen, these aspirations are being more than fulfilled.

—Erin Magner

From Homer’s classical poetry to Winslow Homer’s modernist paintings, the sea has been a muse for artists throughout history. Now, fine art student turned shoemaker Deborah Lyons joins this legacy of aquatic artistry with a line of footwear that draws upon oceanic inspiration.

The savvy twenty-five-year old designer’s debut footwear collection, Mechante, mixes exotics, patents, moiré silks, grosgrains and suedes, all of which are soaked in the blues, greens and whites inspired by the Aegean Sea. The result is a decidedly strong, sculptural take on platforms, Grecian sandals and pumps.

Handmade in Venice, the line’s heels are custom made to evoke a feminine warrior with a twist. While special attention is given to comfort through cut, padding in both the heel and toe as well as strategically designed heel heights, the shoes also combine rough-hewn metallic python with a soft hand for maximum feminine impact. To top it all off, Lyons’ signature gold triangle etched on each model adds another delicious layer of luxury.

The line has been picked up by Harrods in London, Edon Manor in New York, Zai in Qatar and Sophies in Beirut, all at a competitive $450 -850 price point. The designs have already been worn by fans such as Elle McPherson and Maria Sharapova, but we look forward to seeing more Mechante on discerning footwear fanatics across the globe.

—Meghan Cleary

The Italian handbag manufacturer has invited 13 industrial designers from around the world to take part in an onsite creative performance where they can use discarded materials from Fendi’s production process, such as leather, branded fabrics, plastic decorative elements and metal hardware, to make just about anything they want. The idea is to readapt typical processes and materials to traditional and handmade craft methods. The designers will also have decades of know-how on tap thanks to the presence of Fendi artisans, many of whom have more than 40 years of experience working with leather and other signature Fendi materials.

British designer Simon Hasan, for instance, will boil leather, completely transforming its texture and aesthetic properties, while Danish textile designer Sarah Becker will rework Fendi accessories using embroidery and collage techniques. Other examples include the creation of a large-scale animatronic machine by Yuri Suzuki & Household as well as Kwangho Lee;s jungle-like installation of elaborately woven together common objects such as electrical cords and garden hoses. The finished objets d’arts will go on tour in the US and Japan next year. One of the stated goals of Craft Punk is to demonstrate the importance of creativity and innovation in times of scarcity as well as abundance.

Craft Punk is just one example of a larger trend in which objects and materials first brought into the world via mass production are appropriated for something entirely different. As we wrote about in a recent piece on creative convergence, creative culture has become a mashup of art, craft, fashion and design as the boundaries between different disciplines become increasingly blurry.

Authors Steven Skov Holt and Mara Holt Skov explore this phenomenon, which they call “manufracturing,” in their recent book Manufractured: The Conspicuous Transformation of Everyday Objects, published by Chronicle. “Taking something apart and putting it back together in a way never previously seen is a strong endorsement for the merits of creative process—and a testament to the optimistic, can-do and even whimsical spirit that is simultaneously threaded and embedded throughout many of these pieces,” they explain.

They go on to describe how nearly every creative field has been quick “to claim or reclaim ‘craft’ as part of their professional heritage” and how luxury brands have “focused marketing…on their products’ artisanal tradition.” The result, Holt and Skov write, “is a new fusion of sensibilities whereby the creators of objects look outside their profession-bound sources for fresh insights. The search for potential materials has taken them to unconventional places—to grocery and hardware stores, to recycling and scrap piles, to cosmetics counters, even directly to manufacturers.”

In the case of Fendi, it is the manufacturer who has gone directly to the designers—a welcome, refreshing move during a time when we couldn’t be more aware of the importance of being crafty.

For more information, seewww.designmiami.com/craftpunk.

Event details:
Design Miami and Fendi present Craft Punk at Spazio FENDI, April 22-24, from 4-8pm.

—Charlotte West

For this month’s cover art, we’re happy to feature the work of Jonas Bresnan. The Australia-born, London-based photographer has a sharp eye for contrast, often juxtaposing the sumptuous luxury of his subjects with sharp monochrome palettes, barren settings and textured shadow. Having previously shot for Grazia, Tush and Squint, we are pleased to display his work on JC Report.

For more information, see www.jonasbresnan.com.

As London Fashion Week drew to a close the search began for concrete trends, season buzz words and other thematic strands to draw the week’s events together. And yet, as always, London defied classification. The diversity of the catwalks has always been what sets the city apart, as presenters took cues from a wide-ranging set of references, from Mary Katrantzou’s perfume bottle-inspired dresses to top designers’ tactful twists and subtle surprises.

Peter Pilotto, fast becoming a schedule must-see, went back to the very beginning with a collection inspired by the Big Bang theory and a fascination with natural phenomena. This inspiration translated into a taut energy with hard and sharp cuts hitting just above the knee, and a colorway of greens and navy embellished by metallic beading.

Emilio de la Morena dismissed any notion of a new austerity with a show that embraced color and luxury. Gravity-defying wedges by Charlotte Olympia and Maria Francesca Pepe’s full-on jewelry perfectly complemented the Spanish designer’s colorful body-con stretch creations, while panels of silk, gazar and wool displayed his skill for intricate construction along with a series of sculptural jackets inspired by Basque artist Eduardo Chillida.

Amid these impressive outings, the week’s schedule also accommodated a new menswear showcase on the last day. Tim Soar, a master of understated design presented his take on “bittersweet nostalgia” with rubber jackets, aran knits and beautiful quilted pieces (a collaborative effort with Chris Raeburn). B-store was right on target again with a rebel youth collection that included perfectly cut high-waisted trousers for the boys and Prince of Wales check dresses for the girls. Carolyn Massey, a Topman favorite, trawled the National Army Museum archives to create a modern, military look encapsulated by a stunning PVC trench coat.

But what about the big names? Brit designer of the year Luella went punk via Sloane via disheveled rocker chic with a little bit of everything else thrown in for luck. It was, as usual, quirky yet wearable. Accessory stalwart Mulberry once again benefited from shoe designer Jonathan Kelsey’s immense talent in an impressive line of footwear. Meanwhile, Vivienne Westwood’s Red collection was a journey back to school days, giving the classic Brit uniform her characteristic makeover. Paul Smith kept matters relatively sober with a particularly English effort, including familiar and elegant country knits and tweed jackets. And, of course, Christopher Kane’s muted slouch vs. slick collection did nothing to deter his reputation as Britain’s rapidly rising design star.

Among the usual roster of standout individualists, Louise Goldin waxed futuristic, Giles Deacon played up his street-savvy roots, Erdem was characteristically decorative, Roksanda Ilincic channeled ’70s era YSL and Danielle Scutt made a statement with bold silhouettes.

London has demonstrated a strong commitment to innovation and individuality. If one over arching message is to be found, it is one of unwavering creativity.

—Lena Dystant

The precise meaning of luxury is up for debate as consumers and companies struggle to find their footing in these troubled economic times, but newly opened hotel Rough Luxe offers a fresh take on the concept. Billing itself as “A little bit of luxury in a rough part of London. A little bit of rough in a luxurious London,” the chic abode is a model of creative contrasts.

The brainchild of London-based designer and curator Rabih Hage, Rough Luxe juxtaposes dog-earred wallpaper and chipped paint with flamboyant furnishings. One bathroom, for instance, features a copper bathtub from Turkey and original wallpaper, circa 1831-1855, found after removing four layers of other wallpaper. “This was when I…decided that we need to show the story of the building with its textures and fabrics,” Hage said. And indeed the slightly rundown exterior of the Georgian townhouse establishes the mood from the outset.

A popular quirk is the “Anger Release Machine,” an interactive sculpture by Yarisal and Kublitz located in the manager’s office. Depending on how much rage you need to expunge, you can spend anything from £1 for a simple kitchen glass to £12 for a faux faberge egg. Just insert a coin, and a piece of china will fall into the bottom of the machine, breaking into a million pieces. It’s surprisingly satisfying.

Whatever you think of the eccentric decor, the service at the nine-room hotel can’t be beat. The manager, Leo, and his canine companion, Spud the Jack Russell terrier mix, made us feel right at home, and even offered complimentary champagne and a tour of the private gallery at the back of the hotel. With rooms from £150 and up, the price isn’t much worse than any standard London convention hotel, but the atypical hospitality is priceless.

For more information, see www.roughluxe.co.uk.

—Charlotte West

Economic woes can’t stop a true fashionista, but they can force her to get creative. With clothing swaps picking up steam in the UK, a new incarnation of fashion exchange has found its grounding in the US. This alternative businesses model promotes sustainable style through rented and borrowed items, instantly expanding the wardrobes of style-savvy members without breaking the bank.

Dress Vault, a fashion network for dress borrowing, prides itself on an open-door policy that welcomes fashion enthusiasts with rotating interests. The site cultivates a social network of like-minded peers who benefit from a collective consciousness — and wardrobe. As a former beauty queen, founder Patricia Harr was familiar with the advantages of a clothes-borrowing network, parlaying the concept into a successful business. “I believe fashion has the ability to be and do many positive things for women, but only when dressing-well is not considered a luxury,” Harr says. ” Plus, what woman doesn’t want an unlimited closet of dresses to choose from?!” Relying on eBay and fashion favorite Facebook to attract new participants, Dress Vault’s growing base of members can lend, borrow and buy/sell dresses, or simply peruse the pages of stunning choices.

While Dress Vault relies on principles of community and exchange, other sites such as Bag Borrow or Steal and Rent Me a Handbag have become welcome alternatives to wistful window shopping. Both companies offer rentable products, from brand new designer purses to jewelry, shoes and sunglasses. The model appeals to those with accessory-A.D.D. or anyone who just needs something special for a certain occasion. With flexible flat rate plans, rent-to-buy options and incentivized memberships, each website has found its niche, while drawing an ever growing clientele.

This move away from disposable luxury and wasteful spending has also impacted major retailers. The practice of customers buying, wearing, then returning items has long been an unspoken plague among larger outlets, but many department stores are now weighed down by pressures that transcend their formerly overlooked dry cleaning bills. We can expect to see retailers offering to lease certain items in a new effort to avoid the senselessness of wardrobing — even if it’s still common practice on the red carpet.

We recently bemoaned the sorry state of options for glam events such as the Oscars, but it seems that people are opening their eyes (and wardrobes) to new means of clothing acquisition. As Harr points out: “The goods [are] already available, [they're just] sitting in the backs of closets across the country.” Whether you opt for exchanging dresses in a community setting or prefer Netflix-style accessories borrowing, this innovative industry will keep you freshly adorned without overwhelming your wallet.

—Chelsea Bauch