Summer 2009
A business resource for the couture bridal industry
2009 FALL TRENDS
50 Years of Experience
A Conversation with James Clifford Hjelm
THE GREEN
revolution
PHOTO REPORT April Runway
Q&A with Lea-Ann Belter Store in Focus:
TULLE
BARCELONA
2009
Collection
www.dArtBridal.com Novia d,Art is Distributed in North America by Mercury Fashion Group 888-796-7679 www.MercuryFashionGroup.com
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CONTENTS TA B L E O F
MID SUMMER 2009
Cover: Gowns courtesy of: Platinum, Christos and Carolina Herrera
35 NEWS AND REPORTS
5 News & Happenings PHOTO REPORT
22 Fall 2009 Runway REGULARS in Focus: 35 Store Tulle Spotlight: 37 Designer Homa Pirouz FEATURES
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Green Revolution 8 The “Going Green” is a modern day catch phrase, but does it have meaning in the bridal world? Our writer explores the greening of wedding gowns.
14 50 Years of Experience, A Conversation with Jim Hjelm,
Jim Clifford Hjelm, a designer with an endless list of credits, reflects on his years in the business and how the bridal world has changed.
18 Fall Trends
From asymmetrical straps to ruffles, we examined the latest in fall trends.
39 Lea-Ann Belter
Q&A with Canadian designer Lea-Ann Belter
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CALENDAR 2009 7/07/09 - 7/09/09
Modatex (Essen, Germany) www.modatex.info
9/13/09 - 9/15/09
Harrogate Bridal Show (UK) www.ukbridalshow.co.uk
10/03/09 - 10/06/09 Chicago Bridal Market
Ivory Publications Editor in Chief, Ana Szapiro Editorial Assistant, Jane Young National Sales Manager, David Wolfe Magazine Design, Clark Fairfield Contributors, Kara Targonski, Yelena Jenkins
Better Bridal offices: 175 Huguenot Street. Suite 1204. New Rochelle, NY 10801.
10/17/09 - 10/19/09 New York Bridal Market 2010 February 2010
Harrogate Bridal Show (UK)
April 2010
Chicago Bridal Market
April 2010
New York Bridal Market
June 2010
Sposatex (Nieuwegein, Netherlands) www.sposatex.com
June 2010
Noviaespana (Barcelona , Spain) www.moda-barcelona.com
June 2010
Puerta de Europa Bridal Exhibition (Madrid, Spain) www.pdenupcial.com
June 2010
Sposa Italia (Milan, Italy) www.sposaitaliacollezioni.it
June 2010
Paris Bridal Fair (Paris, France) www.parisbridalfair.com
Subscription Information: To purchase a subscription to Better Bridal Magazine, please visit us online at: www.BetterBridalMag.com
Advertising Information: Better Bridal Magazine is published four times a year. For advertising rates and mechanical specifications, our Media Kit is available online at: www.BetterBridalMag.com
Sales information: please contact David Wolfe, National Sales Manager at: David.Wolfe@betterbridalmag.com 914-481-1151
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FROM EDITOR Dear Reader: The past April market, while lightly attended compared to previous years, produced a wonderful collection of new designs. Several designers debuted moderate collections to try and meet new market demands. While some of these collections were well thought out and executed, others were not. Designing a lower end collection can be hard after doing nothing but high couture for so many years. But our market has changed. Buying habits have been profoundly altered by the economy. I do not believe we will see a return to the price points we enjoyed in previous seasons for many years. Designers must be prepared in October to show collections at moderate price points that are not stripped down versions of their couture collections, but are newly inspired creations built from the ground up. Brides deserve no less. True creativity will be needed to cover the compromises that must be made between design and price. A balanced collection with high end couture and moderate couture will ensure a designer’s longevity as we look for footing in this rocky climate.
Ana Szapiro – Editor in Chief
Contributors: Kara Targonski is a freelance writer who lives in St. Louis. She studied writing at the University of Missouri. She writes blogs and wed content for various companies and corporate communications for Gap, Inc. Yelena Jenkins is a freelance writer and Senior Editor for Hills & Lagoons, a luxury lifestyle magazine. She graduated magna cum laude with a BA in Communication and Business from the University of Southern California, and has been published in a variety of print and online magazines on fashion and style related topics.
News
AND HAPPENINGS
Eugenia Announces Rose Taft Announces the Mother of the Bride Collection RT Boutique Eugenia Couture, based in PA, Collection announces the creation of a new Mother of the Bride collection. Combining rich silks and colorful fabrics, the new collection will debut at the fall markets in Chicago and New York.
Jenny Lee Opens Boutique Jenny Lee has opened a boutique at Crystal Cove Promenade in Newport Beach. Says Lee, ““I am thrilled at the opportunity to open the first couture boutique at Crystal Cove Promenade.” Elegantly adorned with swarovski crystal chandeliers and silk tafeta drapes, the boutique will be open Monday through Saturday 10 a.m. to 6 p.m. and Sunday 11 a.m. to 5 p.m.
New for 2009 Rose Taft has launched the RT Boutique Collection. Featuring long gowns, short cocktail dresses & suits catering toward day & evening special occasions. The collection retails between $1,200-$1,500.
Ti Adoro Jewelery Announces Collaboration with Ian Stewart Ian Stuart, bridal gown and special occasion designer , introduced his stunning 2009 collection exclusively featuring Ti Adoro Jewelry. Ti Adoro Jewelry, a specialty jewelry company devoted to the design, creation and promotion of bridal jewelry is based in Providence, RI. The show will make its next debut in Holland, Belgium and Düsseldorf.
Coren Moore’s New Location Coren Moore has moved and opened a new bridal and bridesmaid showroom. The new showroom is located at 250 West 39th Street in New York City.
w ww. A l e s s a n d ra R . c o m Alessandra R is distributed in North America by Mercury Fashion Group 888-796-7679
THE GREEN R by Yelena Jenkins
“Going Green”
has become such a catch phrase that the actual meaning behind the term is often misunderstood. Technically, the idea of an apparel company ‘going green’ encompasses a number of business practices including using sustainable manufacturing methods, sourcing organic cottons, using natural fibers such as silk, eliminating nonnatural dyes from the manufacturing process, using energy efficient machines and lighting, using local sources and labor, and adopting ethical practices as part of company policy.
Today in the couture wedding industry, many companies are adopting some or all of the above practices in an effort to become more eco-conscious. Due to stricter international regulations, public opinion and improvements in the look and feel of sustainable fabrics, the wedding industry is under pressure to incorporate green practices into their business.
Photo courtesy of Orangia
REVOLUTION From Grassroots to TheGranola Greening of Giants The push for more earth-friendly wedding gowns originated with brides who are already living eco-conscious lives. They eat organic, local foods, participate in a recycling program, and drive fuel-efficient cars in an effort to lessen their carbon footprint. When it comes time to plan their wedding, these women want the option of continuing their eco-friendly lifestyle and seek out bridal designers who offer ‘green’ gowns for their big day. These are passionate, informed women who created the demand for a greener wedding industry, and their message is being embraced by more and more brides who want to live a sustainable lifestyle. According to a recent WSL Strategic Retail survey, 55% of consumers buy organic products, a 6% increase over last year. The green movement is growing stronger each year, and many wedding designers are catching on to its importance and impact. Going green is no longer just a trend, it has become a way of life for many young women, who will one day be brides. As with the ready to wear apparel industry, smaller companies have been at the forefront of the couture wedding industry green movement. Small couture labels have the flexibility and low overhead to make changes quickly and efficiently, enabling them to lead the green revolution. As our culture places an increasing importance on going green, larger established designers are beginning to catch up.
Photos courtesy of Adele Wechsler
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THE GREEN R The Aesthetic of Going Green A decade ago, the notion of organic, ecofriendly apparel conjured images of baggy hemp and burlap. Since the purpose of a wedding dress is to make a woman feel beautiful, it makes sense why the couture wedding industry hesitated to become part of the green movement. Today, thanks to a decade perfecting sustainable techniques and fabrics, the burlap images are replaced with sleek, couture wedding gowns. Investment in the development of organic and sustainable materials, as well as an increased demand for those materials has led to huge advances in the look and feel of sustainable clothing. The much improved aesthetic is creating an even greater demand for these fabrics from both brides as well as designers. Spanish bridal house Novia d’Art creates their collection entirely from natural fabrics that are only offered in the natural silk color. The result is beautiful couture gowns that are known more for their aesthetic appeal than the company’s commitment to sustainability. But solid silk, undyed gowns are just the beginning; luxuriously soft bamboo blends as well as silk and organic cotton blends make sumptuous, couture-quality fabrics and natural dyes are becoming more readily available. Textile manufacturers are even making ecofriendly lace and exclusive trims for couture designers to give them a sustainable way to embellish their gowns. Yet despite the leap in look and feel of sustainable fabrics, even eco-couture’s biggest proponents will admit that they still have certain drawbacks. Adele Wechsler, Canadian couture bridal designer and pioneer in eco-couture, explains that, “sometimes you can’t do a shape you want to because the organic fabrics don’t fall the same, and you can’t use a chemical to keep the fabric in place.” There are added decorative elements used on the dresses in her classic line that simply cannot be used on her eco-couture collection, a limitation that frustrates many designers who focus on their dresses’ aesthetic. For Adele, the commitment to creating a truly eco-conscious gown trumps the additional decorative elements. Instead she focuses on using remnant fabric and lace, organic hemp and silk and vegetable dyes to create her eco-couture gowns. As evidence of how far the aesthetic of eco-friendly wedding gowns has come, many designers, Wechsler included, find Photo courtesy of Orangia
REVOLUTION that brides are drawn to the style of her eco-couture gowns before they are aware of the eco-friendly commitment. While the commitment to using eco-friendly fabrics can limit the design of a gown, perhaps it is a limitation mainly noticeable to designers, not the brides searching for stylish gowns. Ellie Peer, North American distributor for Novia d’Art, seems to agree. “While there will always be a core group of women
looking for a natural product, more and more brides are looking to our designs because we are able to balance being environmentally conscious and fashion forward. With fashion, styling comes first, then fabrics.” Until green fabrics have become the industry standard, many of today’s couture eco-conscious designs are preferred for destination wedding brides. Adele Wechsler
notes that, “the biggest benefit for my customers is [that] the fabrics breathe and are alive, which my clients enjoy to wear and like how it feels on their body. [Destination weddings] need fabrics that can breathe and are alive.” Janelle, Orangia bridal designer, has received similar feedback on her gowns: “Being a destination bridal designer, these fabrics are essential for the location and the weather of the environment.”
The Economics of Going Green Aside from the proven popularity of ecoconscious dresses for destination brides, going green has numerous economic implications for companies interested in becoming sustainable. One of the easiest, and potentially most costly, sustainable practices to incorporate is local, handmade production. Employing local workers not only helps sustain the surrounding community, it also reduces the carbon footprint of gowns being shipped from halfway around the world and eliminates the potential for ethically questionable manufacturing practices. For wedding designers who want to go green, Novia d’Art, Adele Wechsler and Orangia all agree that having gowns created locally is a must. It helps promote quality control and sustainability, and is necessary to embrace as a green company; it is also pointless for a designer to use organic fabrics while manufacturing in a third world sweatshop environment. Though local production can be costly, it can also reap financial rewards: Patagonia, an apparel company known for its sustainable culture, saved 40% in energy costs by using LEED (Leadership in Environmental and Energy Designs) certified systems in their new warehouse. Though the eco-friendly upgrades cost 7% more than conventional ones, the energy savings in the first year alone more than made up for the difference and led to subsequent yearly savings. For many wedding designers, a barrier to going green is the higher price of sustainable fabrics and trims. “The cost to make these laces and silk cottons are very high unless you mass produce the line,” explains Janelle, designer for Orangia bridal. However,
she is quick to point out that economies of scale can tip the cost of green fabrics into a more favorable territory. By creating an increased demand for sustainable materials, more textile companies will produce them and their price points will drop. A dramatic price change has already occurred with organic cotton, resulting in a 75% reduction in price difference between regular and organic cotton. Though it will take longer for less in-demand trims and luxury fabrics to experience such a change, the prices will eventually adjust as the couture industry joins the green revolution. Though an elevated cost of organic materials and local production require green bridal lines to charge more for their gowns, it seems that eco-conscious brides are willing to pay that premium. Novia d’Art, for example, has found that instead of struggling in the economy, they have had much more success with their eco-friendly niche. For passionate, sustainably-minded brides, finding and paying for a peace of mind is worth the added cost. Thanks to consumer awareness, economies of scale and advances in sustainable fabrics and manufacturing, going green is becoming an attractive option for many couture designers. Though it may be too early to determine when sustainable practices will be embraced by the bridal industry as a whole, all signs point to a distinct shift in a greener direction. Considering the earth’s limited resources and the wedding industry’s level of consumption, it is safe to say that the move is a step in the right direction.
Photo courtesy of Novia d,Art
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F
For information, please contact 917-400-2254
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50YEA OF EXPERIE by Yelena Jenkins
V
eteran designer and bridal
industry icon, James Hjelm has
had the kind of career that most designers only dream about. After working side by side with the legendary Priscilla Kidder of Priscilla of Boston, Hjelm launched his eponymous Jim Hjelm line, becoming the first bridal designer to run a publicly traded company. But after reaching the height of success, James parted ways with his company and his name to embark on a new line, James Clifford. Now, at 76, Hjelm reflects on five decades of success and the evolution of the bridal industry.
EARS ERIENCE
James‘ love for fashion began as a young boy growing up in Massachusetts. While attending the New England School of Art and Design, he fell in love with the glamour and drama of theatre costumes. Recognizing a correlation between the dramatic, costume-aesthetic in bridal and theatre, he took his first apprenticeship in the industry at the famed House of Bianchi. Though Hjelm’s first love was theatre, once he found bridal he never went back. After two years of learning the ropes and demonstrating tremendous talent, James was recruited by Priscilla of Boston, where he spent the next eighteen years learning the ins and outs of the bridal fashion industry and making a name for himself. Hjelm enjoyed a close working relationship with Priscilla, who he cites as one of his most important mentors. “[Priscilla] was the dynamo of the bridal industry in those years. She was a business woman and merchandiser, and I learned everything I know from her,” Hjelm said. “I had the privilege of doing the Johnson weddings [for Luci Baines Johnson] and worked with the Nixons [Julie and Tricia Nixon] as well. We didn’t just do wedding dresses, we did the
girls’ ball gowns and evening gowns as well; it was a wonderful experience. Me being so young, I didn’t take it as seriously as I should have, it was just part of the job at the time.” But perhaps Hjelm’s lack of intimidation and unflinchingly upbeat outlook are what enabled him to achieve success when striking out on his own. In 1980 Hjelm parted ways with Priscilla of Boston to move to New York and design for Galina, one of the leading couture houses of the time. Six years later Hjelm was introduced to a young New Yorker named Joe Murphy, a venture capitalist who wanted to go into business with James. The two agreed to form a partnership, and with Murphy’s talent for raising money and Hjelm’s design acumen, Jim Hjelm Limited was formed in 1986. Hard work, decades of design experience and countless industry contacts proved invaluable for the success of Jim Hjelm Ltd. The company grew swiftly and strongly, going public on the NASDAQ stock exchange a year after its inception at $1 per share. Despite the company’s immediate success, Hjelm had his reservations. He characterized himself as ‘totally innocent’
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when first starting the company, never intending to take it public. The aggressive growth strategy and push to become public was driven by Murphy’s desires, and to this day James says he would never take a company public again. After nearly two decades at Jim Hjelm, tensions between the two men came to a boil in 2003. “It was my first bump in life. I wanted to go other places and do other things - [the situation was like] one of those Halston affairs,” he explained. “It fell apart, but I was under contract and had a non-compete agreement. It wasn’t the best time of my life but I kept designing and going on and doing things. I’m a strong headed person, and I’d rather be healthy in my mind than do something I don’t want to do.” Determined to find success on his own terms, James left his namesake behind. As such an established name in the industry, Hjelm was not destined to remain idle for long. He soon partnered with Steve
Lang, owner of bridal manufacturer Mon Cheri, and created upscale bridal line James Clifford. Though Hjelm was forced to leave his original namesake behind, he paired his proper first name with his middle name, Clifford, to create the identity for his new label. Ever upbeat, Hjelm jokes that the name change made him “feel like the Madonna of the bridal industry.” After nearly fifty years as a top name in bridal, Hjelm is in a unique position to reflect on changes in the industry. One of the biggest differences he has noticed is the size of stores selling wedding gowns. The market for bridal gowns was once cornered by big city outposts of retail giants like Neiman Marcus, who showcased their dresses in expansive bridal departments. Today, Hjelm reflects that, “there is nothing in the big stores, [all wedding gowns] are in the small mom and pop stores.” After a pause, he adds that, “Truthfully, it’s better for the bride since there are more choices in the private stores.”
Working with a network of private stores instead of a handful large retailers is another change that today’s designers must adapt to. James feels lucky to have his dresses distributed by Mon Cheri, but admits that many designers and stores who lack a strong network have come and gone over the years. Despite the ballooning number of bridal designers and manufacturers since the 60s, Hjelm is a firm believer in the benefit of competition in couture bridal. “The competition has always been there. Back when I started it was me, Christos and Frank Masandrea, three top designers in the business. But I love and encourage competition; it gives you the vim and vigor to do something more.” James credits his continued success and career longevity to hard work and a winning personality. “There are a dime a dozen people in any industry, and there are dozens who are better. I became who I was because of my personality - a little big of luck, hard work, a lot of talent and a lot of personality.”
He ensures his designs stay relevant by looking for inspiration at the source: the brides themselves. Part of James Clifford’s marketing strategy is an intense trunk show schedule that Hjelm uses to gauge his target market’s feedback and desires. James has observed that today’s brides are interested in ‘something almost sexy and lightweight’ in lieu of the heavy dresses of decades past. “The tradition of today is still tradition, but it’s a hell of a lot different than when I first started in the 1960s,” he quips. “[Weddings] are not in churches and halls anymore, people are having destination weddings, traveling and flying everywhere. You have to design dresses that people can pack up and take away with them in a suitcase. [Brides] still want to look beautiful, even if it’s on a beach and they’re not wearing shoes. That’s what has changed so much in the industry. The young people of today are very distinctive, not cookie cutter; they have their own minds and want to do what
they want to do. As a designer, my job is to do the same thing - I have to listen and be free to change based on what they want.” Although bridal fashion has become much less conservative since the 60s, Hjelm notes that designs are inching back toward the conservative with designs like bateau necklines and cap sleeves. Perhaps the wedding industry is reflective of the economy, though James is adamant that the recession will not affect a bride‘s desire for a beautiful gown. “People are always going to get married, I don’t care what anyone says. At Priscilla in the 60s we did the most traditional dresses and people still got married in them [despite the hippie culture]. It didn’t kill us, just like this recession won’t kill us.” James Clifford is weathering the pullback in consumer spending by focusing is on creating a beautiful dress for under $2,500, as Hjelm admits he doesn’t find many brides wanting to spend $5,000 to $6,000
Images Courtesy of Mercedes Benz Fashion Week
on dresses anymore. The pricing strategy is successful thus far, and James Clifford currently has a sample reorder rate of 2.5 - a uniquely optimistic rate in the current market. Judie Ulberg, James Clifford’s Sales Director, credits this with the company’s personalized service. She explains that, “Most of our gowns are for sizes 2-28w. We offer a certain amount of changes to make the sale happen for the bride and the store. Our stores know, never turn down an order.” “People are cutting back... but there’s too much negativity out there at the moment,” James observes. Though he muses that brides will spend frugally for the next five years, he also believes that the women are always looking for a stylish dress that makes them look gorgeous. Hjelm’s recession remedy is as simple as a positive outlook and a little bit of consumerism: “Be happy, go buy yourself a present and make the economy grow.”
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FALLTrends Little White Dress
Long legs and short hems were on display this past April. The little white dress found its way in various different interpretations across the runways of many designers. While a trend that appears every so often, brides in the past have been wary to embrace it. Time will tell if history repeats. Priscilla of Boston
LWD by Amsale
Reverie
Kenneth Pool
Dangerous Ruffles Full romantic ruffles flowed along the catwalk. Adding a spark of elegance to a gown, ruffles, big or small, provide a visual highlight to a variety of different silhouettes. If done correctly, the ruffle adds volume and sophistication to a design and doesn’t distract the eye. Melissa Sweet
Platinum
Vineyard
s
Bearing a Shoulder Continuing the trend from last October, designers continued to explore the single shoulder strap. The detailed examination of this style in runways may indicate the American fascination with the strapless gown is ebbing. Combined with other design elements, the asymmetrical sweep provides a visual delight for the viewer and sense of unique styling for the bride.
Ines DiSanto
Reverie
Vineyard
Amsale Melissa Sweet
Images Courtesy of Mercedes Benz Fashion Week
Kenneth Pool
Melissa Sweet
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Experimenting with Necklines Jewels, Scoops, Sweethearts and Bateau necklines were on display this year. Responding to a European inuence, designers this April sought to incorporate ideas from across the Atlantic. While still unusual to ďŹ nd an American bride asking for a non-strapless gown, designers are beginning to sense a change. These necklines provide a much needed change and offer brides many more options to properly frame different body types.
Douglas Hannant Kenneth Pool
Christos
Amsale
Vineyard
Caroline Herriera
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April RUNWAY
l
Amsale
APRIL RUNWAY
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APRIL RUNWAY Carolina Hderrera
Christos
APRIL RUNWAY
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APRIL RUNWAY
Douglas Hannet
Ines DiDanto
APRIL RUNWAY
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APRIL RUNWAY JEWEL by Priscilla of Boston
Kenneth Poole
APRIL RUNWAY
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APRIL RUNWAY Melissa Sweet
Platinum by Priscilla of Boston
APRIL RUNWAY
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APRIL RUNWAY Priscilla of Boston
Reverie by Melissa Sweet
APRIL RUNWAY
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Store in Focus: by: Yelena Jenkins
O
n the picturesque island of Martha’s Vineyard, two fashion-focused friends joined forces to create
a highly personalized bridal boutique in Edgartown. The result of their labor of love is Tulle, an upscale bridal salon fast becoming an East Coast destination for stylish, discerning brides. Before running Tulle, Lisa was working as a stylist and wedding photographer and Meaghan was working in retail. Their paths crossed when Meaghan hired Lisa to shoot her 2007 wedding, and the two instantly clicked. They identified a need for a bridal salon on the Vineyard, and decided to partner up after Meaghan’s wedding to combine their strengths and create Tulle.
funds into their budding venture, and Tulle opened its doors in Edgartown six months after the original concept was hatched.
In preparation for Tulle’s opening,
the duo scouted sites on Martha’s Vineyard to determine the optimal location for their boutique. “I sat in the three major towns on the island, and would watch people walk by for several hours. After a few days of this, it was a hands-down, easy choice... Edgartown was where the majority of our target market liked to spend their time,” explained Lisa. The artsy, historic appeal of Edgartown had also captured their hearts, so the location was settled. Lisa and Meaghan poured all of their resources, time and personal
Through advertising, networking and word of mouth, Lisa and Meaghan established Tulle as a niche-boutique that serves destination brides marrying on Martha’s Vineyard. To get the word out about their boutique, they bought full-page advertisements in Martha Stewart Weddings and Boston Weddings Magazine. The ads positioned Tulle as the ultimate experience for destination brides who want to get away and have a unique, upscale shopping experience; a concept that the co-owners deliver to their clients. Their blog, Journal of a Beach House Bride, as well as crossmarketing within the wedding industry also helped establish their credibility and reinforce their unique service and style aesthetic. As Lisa describes, it is also Tulle’s penchant of going out of their way to accommodate brides that sets them apart. Private car and jet service can be arranged through the salon for out-of-town brides, extensive styling assistance is standard, and dresses can be hand-delivered to the bride on the day of the wedding, perfectly pressed. Though most of Tulle’s gowns retail between $2,000 and $8,000, Lisa and Meaghan are known to frequent the best vintage boutiques across the country in search of special vintage finds to complement their selection of gowns. Bridal lines Carolina Herrera, Lela Rose, Monique Lhuillier, Amy Kuschel, Modern Trousseau and Stephanie James account for about 85% of Tulle’s business, while the remainder of their sales are rounded out by vintage accessories and accessories as well as mother-of-theoccasion clothing. As much as their name-brand wedding gowns, Tulle is known for their handful of vintage gowns, as well as a variety of 50s
and 60s era vintage accessories. From earrings and brooches to necklaces and fur collars, the carefully culled selection of vintage finds is part of what helps create Tulle’s unique identity. Another offering that sets Tulle apart is its vast library of past bridal publications and vendor work, aptly called the Inspiration Lounge. “The Inspiration Lounge was born out of the huge stash of magazines that we had between the two of us,” explained Lisa. The Inspiration Lounge has also proved to be an invaluable marketing tool. “We usually hold Happy Hour Thursdays in the summer, where brides can come in from 5-7 pm and enjoy white wine and hors d’oeuvres [along with] all the magazines out by the sofa and chairs. It’s a great networking opportunity for the brides to get to know each other, and pick each others’ brain for vendor referrals.” Though Tulle was launched just before the recession, the business has managed to flourish. Lisa credits this with their focus on providing brides with a personalized experience, and the resulting word of mouth effect that brings the bride’s friends into the boutique for their own weddings. Despite many stores lowering price tags and staging deep discount sales, Lisa feels that recession price-slashing spells ‘desperation.’ Instead, she touts cutting back in other places and getting creative to save money during difficult times while maintaining a ‘glowing attitude and service for the client.’ “Price is important to every bride’s budget, but there are dresses for every type of budget. It just takes creativity and good styling appeal to pull it all together.” With an impressive selection of couture wedding gowns, vintage accessories and style-savvy owners, it seems that Tulle has positioned itself for success.
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DESIGNER SPOTLIGHT: HOMA PIROUZ by: Kara Targonski
he current economy has generated nothing but problems for retailers and designers in the couture bridal industry. But the mark of a good designer in any discipline is the ability to problem solve-- and bridal accessory designer Homa Pirouz is using her creativity to adapt to the current economic forces. Her secret? A commitment to service, finding ways to cut operating costs, and establishing additional overseas accounts. “I love to create things,” says wedding accessories designer Homa Pirouz. As a long time designer of bridal headpieces, tiaras, veils, and accessories in the United States, Homa has spent more than twenty-five years in the bridal business. Homa studied in England and received her Master’s degree in graphic design and became a Royal Charter artist. Later, she became fascinated with design concepts and began creating unique bridal accessories. Her delicate designs of handmade porcelain roses and fresh water pearls woven into unusual headpieces, tiaras, and veils soon earned her praise for her collections.
In 1987, upon arriving in the United States, Homa shocked her husband by landing accounts with Kleinfeld and Sak’s, “He said, ‘Homa, what are you doing? They don’t know you. You don’t have any reputation over here’ ”, Homa recalls. “I may not have had a reputation, but they recognize good design,” Homa adds. Homa’s flair for design and eye for detail has now garnered her accounts in over fifty upscale boutiques worldwide. Homa’s mantillas wholesale from $225-$1,150, the tiaras between $130-$300, and earrings from $45$90. Each season Homa debuts two collections all of which are custom made in her New Jersey showroom. Like many couture designers, Homa is proud that none of her pieces are outsourced overseas, and the hands on nature of her business allow her to be flexible and adaptable during the recession. “I have added a new collection,” Homa says. “It’s a little simpler with a lower price point.” The workmanship and the attention to detail are still evident in the less expensive collection, but the pieces have fewer of the pricier details. “Brides are scared now,” Homa says. “And I want to have something to offer my accounts for all of the brides.” The lower priced collection is only one of the many things Homa does to support her retail partners. Consistent design that the stores can count on is one thing—customer service is the other. “I offer great service,” Homa says. “I like to be available to them, and support them when they need it. If the stores aren’t doing well, then we can’t do well.” Homa laughs and says, “Some of the stores have my home number and my cell phone number. They can call and speak directly to me if they have a problem.”
Homa participates in many aspects of her business to help control operating expenses. Her background in graphic design and advertising allows her to handle her own website and advertisement design—a sizable part of other designers’ operating budgets. This year, in an effort to control expenses, Homa has cut advertising in consumer magazines out of her budget entirely and chose to advertise to the trade instead. “[Consumer] advertising doesn’t really do anything for me. The ads were always very expensive and were never in a good spot,” Homa says. Saving money on trunk shows is something else Homa has implemented to control costs. “This year is very
difficult,” she says. “The brides simply aren’t showing up or they want something for fifty dollars.” To save money on travel and the costs associated with having a designer’s rep, Homa has started to send the merchandise unaccompanied to stores in remote locations. “We send in the merchandise and the store will do the trunk show themselves,” Homa says. Homa has been in the bridal accessory business for over twenty years, and refuses to let a dip in the economy slow her down. Instead, she is leveraging the downturn to cut expenses, pursue new advertising opportunities, and to cultivate new retail partnerships. For Homa, creativity is a marketable skill in any economy.
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with Lea-Ann Belter written by: Kara Targonski
Brides can wear a Lea-Ann Belter dress inside out. Belter may not recommend such an odd bridal fashion choice, but the reversed stitched, silk lined gowns look and feel as good against the skin as the fabric the gown is crafted in. The details of Lea-Ann Belter’s gowns underpinnings are not merely bits of trivia, but are a testament to Belter’s philosophy as a designer of couture gowns.elegance Lea-Ann Belter Bridal offers affordable Elegant simplicity in design, strong retail partnerships, made in North America. Exclusive territories are and an adamant insistence on quality has made Lea-Ann available. Lea-Ann is the proud recipient of the Belter an award winning designer who is thriving despite 2007 Designer the Year award. an economy which has leftofsome couture designers reeling. After studying at the International Academy of Merchandising and Design in Toronto, Belter trained with a courtier before opening her first custom gown boutique in Toronto’s Yorkville area. She has since branched out and has made her gowns available to fifty-one high end salons across North America and the UK as well as in her flagship boutique in Toronto.
Q: Why did you choose to design couture bridal? A: Working in bridal gives me creative freedom. I love working with the various fabrics and truly love helping make a bride’s dream dress.
Q:
You actually design some of your own fabrics, don’t you?
A:
Yes. I have designed fabrics when I had an idea for a gown in my head and could not find the fabric to make it exactly how I wanted it to look. Sometimes it is a pattern in a fabric or even a particular color. I have been working with my mill in India for many, many years so they know me and understand me – I will sketch the design or send them a color sample, and they will work up a sample for me.
LEAANNBELTER.COM •
For more information: International Sales Manager, Karen Lackner, 440 915 3704 or karen@lea-annbelter.com
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Q: A:
How does your design process work? I find inspiration everywhere. I am a huge fan of vintage designer clothing so
often I take inspiration from classic pieces but I have also been inspired by people, fabrics, laces, and even nature. I carry a sketch book with me pretty much all the time and when an idea comes to me I sketch it out and take it back to my studio where I continue to tweak it until it looks just right. Once I have perfected the drawing, we construct the actual gown and then it gets tweaked again until it fits just right.
Q:
Do you have any plans to extend your line beyond bridal gowns into accessories,
A:
I do not have any plans to extend my line beyond bridal gowns at this point. I do
mother of the bride lines or anything else?
occasionally design a veil, wrap or jacket to coordinate with a particular gown but that
is really only an “as needed” perk. I believe my strength is designing wedding gowns and I want to channel all of my creative energy into my line.
Q:
What is the single most important thing you have done to make your business a
success?
A:
It is difficult to pin it down to one particular thing. Our website has certainly
been a huge asset, my staff is so important to the success of my business and of course listening to my retail partners and actually delivering quality, Canadian made gowns that they can sell is also a big part of our success – can I have the three most important
things?
Q:
What adjustments in business practices have you had to make because of the
economy?
A:
It goes back to maintaining strong partnerships – we listen to our retailers and are
designing gowns that fall into the price point brides are requesting. We also increased our advertising exposure to direct more brides into our retail stores.
Q:
What aspects of your business do you feel are working well in this economy?
A:
It is very important to us to maintain strong partnerships with our retailers. Our
success depends on their success – we committed to our pricing for the 2009 year and did not pass any price increases along to our partners, we put extra staff on alert to accommodate the last minute brides without charging prohibitive rush charges, and most importantly we continue to offer a high quality 100% silk, domestically made gown at a very reasonable price.
Q:
What advice would you give to others about launching and maintaining a
successful bridal line in this economic climate?
A:
I would say think long and hard about your decisions. Once you have decided to
move forward always keep an open mind, make sure you feel good about the people you hire and most importantly always be honest with yourself and with your potential
customers.
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I TA L I A
For information, please contact 646-335-3121 www.coletbridal.com
175 Huguenot Street Suite 1204 New Rochelle, NY 10801
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