Kering To Provide 14 Weeks Of Paid Baby Leave To All Parents Of A New Child

Since January 2017, all employees at Kering and its Houses, irrespective of their personal circumstances or geographic location, have benefited from the Group’s first Parental Policy. This provided 14 weeks of maternity or adoption leave on full pay, while five days’ leave on full pay was provided for paternity and partner leave.

A global Luxury group, Kering manages the development of a series of renowned Houses in Fashion, Leather Goods, Jewelry and Watches: Gucci, Saint Laurent, Bottega Veneta, Balenciaga, Alexander McQueen, Brioni, Boucheron, Pomellato, DoDo, Qeelin, Ulysse Nardin, Girard-Perregaux, as well as Kering Eyewear.

Beginning January 1, 2020, Kering’s Parental Policy will provide a minimum of 14 weeks’ maternity, paternity, adoption or partner leave on full pay for all Group employees. The policy will be applicable during the six months following birth or adoption, irrespective of the employee’s personal circumstances or geographic location.

This pioneering measure is part of the Group’s commitment to equality in the workplace, well-being at work and work-life balance.

Today, Kering is strengthening its Parental Policy further by extending paternity and partner leave to provide 14 weeks, applicable from January 1st, 2020. From then, with Baby Leave, all parents, without exception and whatever their personal circumstances, will benefit from 14 weeks’ leave on full pay at the birth or adoption of one or more babies/children.

This new, practical step forward is designed to provide a better work-life balance and to promote equality among employees, female and male, irrespective of their personal circumstances. All the Group’s employees around the world are guaranteed the same benefits when a child or children become part of their family.

Key Figures

Women at Kering account for:

  • 63% of our employees
  • 51% of Group leadership roles
  • 31% of the Kering Executive Committee
  • 60% of the Board of Directors

Main commitments

  • In 2010, Kering launched a global internal program to advance gender equality within the Group.
  • Also in 2010, Kering was one of the first signatories of the Women’s Empowerment Principles charter established by UN Women and the United Nations Global Compact.
  • To achieve faster progress towards equality, Kering is now proud to support the UN’s Standards of Conduct for Business Tackling Discrimination against LGBTI people.
  • By 2025 Kering wants to reach gender balance and end the gender pay gap – at every level of our Group.
  • Beyond the Group, Kering supports women with two initiatives:
    • Since 2008, the Kering Foundation has worked to reduce violence against women. To maximize its impact and for more than 10 years now, the Foundation has been working hand in hand with a limited number of local partners in the three main regions where the Group operates: Northern America, Western Europe and Asia.
    • Women In Motion, a program created in 2015 to highlight the contribution of women to the film, photography and other cultural industries. For the past 5 years, Women In Motion has been a platform to change mindsets and to provide thought leadership on both the role and the recognition given to women in all areas of the arts.

Principal recognitions

  • 2016 and 2018: Kering received the Gender Equality International & European Standard (GEEIS) label in recognition of exemplary work toward gender equality carried out by our European corporate offices.
  • 2018:
    • Thomson Reuters ranked Kering 7th out of 7,000 global organizations on their Diversity & Inclusion index.
    • Kering was awarded the Most Female Board of Directors Award for the European Gender Diversity Index, published by European Women on Boards (EWoB) and Ethics & Boards.

At Kering, we are fully committed to diversity and equality for our people, and Baby Leave is a new and important step forward to levelling the playing field. With this policy, we are proud to support every new parent, whatever their personal circumstances, and wherever they live. By harmonizing these benefits for fathers and partners, not only are we giving everyone the same rights – with both parents now being entitled to the same parenting time at home – but we are also supporting women in their career – given that men and women are now equally likely to take extended leave. Our purpose is simple: to build a supportive and inclusive working environment for our employees around the globe. We want Kering to be an employer of choice,” declared Béatrice Lazat, Kering’s Chief People Officer.

In 2018, Kering had nearly 35,000 employees and revenue of €13.7 billion.

Saks Fifth Avenue Unveils New Beauty Floor In New York Flagship

The ‘future of beauty’ opens on second floor as part of Grand Renovation

Saks Fifth Avenue FaceGym

Saks Fifth Avenue FaceGym – SAKS FIFTH AVENUE UNVEILS NEW BEAUTY FLOOR IN NEW YORK FLAGSHIP (Courtesy of Justin Bridges for Saks Fifth Avenue) 

Saks Fifth Avenue today opens the new, 32,000-square-foot beauty space on the second floor of the New York City Flagship Store with more than 120 color cosmetics, skincare, fragrance, and wellness brands —58 of which are new to the floor. (See the full list below.) With a significant focus on experiences, the floor is approximately 40-percent larger and now includes 15 new spa rooms along with services such as medi-spa treatments, facials, massages, manicures, brow services, a flower shop and more. By moving the Beauty department to the second floor, Saks is evolving the way customers shop and experience beauty. (Saks New York is located at 611 Fifth Avenue at 50th Street, and is open Monday through Saturday 10 a.m. to 8:30 p.m., and Sunday 11 a.m. to 7 p.m.)

Saks Fifth Avenue Apothecary

Saks Fifth Avenue Apothecary – SAKS FIFTH AVENUE UNVEILS NEW BEAUTY FLOOR IN NEW YORK FLAGSHIP (Courtesy of Justin Bridges for Saks Fifth Avenue)

The brands represented on the new beauty space include (in alphabetic order) Acqua Di Parma, AERIN Beauty, Aesop, Alexander McQueen, Amouage, Angela Caglia, Annick Goutal, Art Meets Art, Artis, Balenciaga, Blink Brow Bar London, Bobbi Brown, Bond No. 9, Bottega Veneta, Bulgari, Burberry, By Terry, Care/of, Cartier, Cellcosmet, Chanel, Chantecaille, Chloé, Christian Dior, Christian Louboutin, Christophe Robin, Chuda, Cire Trudon, Clarins, Clé de Peau Beauté, Clinique, Clive Christian, Creed, Decorté, Diana Vreeland, Dior, Diptyque, Dolce & Gabbana, D.S. & Durga, Dyson, EB Florals, Estée Lauder, Ex Nihilo, FaceGym, Floraïku, Foreo, Frédéric Malle, GHD, Giorgio Armani, Givenchy, Glow Recipe, Gucci, Guerlain, Hermès, Histoires De Parfums, Hotel Couture, House of Sillage, Jason Wu, Jo Malone London, Kiehl’s Since 1851, Kilian, L’Artisan Parfumeur, La Mer, La Prairie, Lancer Skincare, Lancôme, Laura Mercier, Le Labo, Leonor Greyl, MAC, Maison Francis Kurkdjian, Mancera, Marc Jacobs, Mario Badescu, Martine de Richeville, Marvis, Mason Pearson, Molton Brown, Montale, Moroccanoil, Mugler, Narciso Rodriguez, Nars, Natura Bissé, NEST Fragrances, Omorovicza, Ormonde Jayne, Orveda, Patchology, Penhaligon’s, Philip Kingsley, Prada, Proenza Schouler, R+Co, Raincry, ReFa, RéVive, Rodial, RODIN olio lusso, Roja Dove, Rossano Ferretti, Sakara Life, Salvatore Ferragamo, Serge Lutens, Shiseido, simplehuman, Sisley Paris, SK-II, SKINNEY MedSpa, Slip, sundays, Supergoop!, Tammy Fender, Tata Harper, The Perfumer’s Story, Tiffany & Co., Tom Ford, Trish McEvoy, Valentino, Valmont, Viktor & Rolf, Vilhelm Parfumerie and YSL.

“As part of Saks’ overall growth strategy, we continue to look for ways to innovate, create and disrupt. The bold decision to move Beauty to the second floor, from the traditional main floor model, allowed us to build a one-of-a-kind destination enabling Saks to create the epitome of an experiential beauty floor,” said Marc Metrick, president, Saks Fifth Avenue. “We continue to apply the principles of what we call The New Luxury to everything we do. What we’ve done with Beauty gives the customer a warmer environment, differentiated from what they can get anywhere else and creates a reason to come to Saks and experience our brand.

Saks Fifth Avenue EB Florals

Saks Fifth Avenue EB Florals — SAKS FIFTH AVENUE UNVEILS NEW BEAUTY FLOOR IN NEW YORK FLAGSHIP (Courtesy of Justin Bridges for Saks Fifth Avenue)

The new beauty floor is the latest step in the New York flagship’s Grand Renovation. Saks redefined the department store concept with the revolutionary migration of Beauty from the main floor to the second floor. The Saks Store Planning and Design team, in collaboration with Gensler, spearheaded the design focusing on opening up the space, creating broad sightlines across the floor and modernizing traditional finishes that complement the brand’s heritage. The team used custom agglomerate white stone flooring from Italy throughout and restored original windows facing Fifth Avenue, 49th Street, and 50th Street, allowing natural light to the floor and north and south facing views of the city. Continue reading

The Museum at FIT Explores “Global Fashion Capitals”

Fashion & Textile History Gallery, June 2 – November 14, 2015
All photographs © The Museum at FIT
The globalization of fashion has given rise to new fashion cities that now annually host hundreds of fashion weeks around the world. Each city’s cultural identity and particular economic, political, and social circumstances combine to elevate its designers to international attention. Global Fashion Capitals explores the history of the established fashion capitals, Paris, New York, Milan, and London, and the emergence of 16 new fashion cities (including Tokyo, Antwerp, Stockholm, Berlin, St. Petersburg/Moscow, Madrid, Sydney/Melbourne, Mexico City, Sao Paolo, Istanbul and Mumbai).
A fashion capital is a city which has a major influence on international fashion trends and in which the design, production and retailing of fashion products – plus events such as fashion weeks, awards and trade fairs – generate significant economic output. The cities considered the Big Four fashion capitals of the world are: London, Paris, Milan and New York.
Fashion capitals usually have a broad mix of business, financial, entertainment, cultural and leisure activities and are internationally recognised for having a unique and strong identity. It has also been noted that the status of a fashion capital has become increasingly linked to a city’s domestic and international profile. Fashion capitals are also likely be part of a wider design scene, with design schools, fashion magazines and a local market of affluent consumers.
The exhibition (at The Museum at the Fashion Institute of Technology, Seventh Avenue at 27 Street, New York City 10001-5992) opens with a digital style map that geographically locates the fashion capitals and showcases their latest runway and street style photographs. Global Fashion Capitals continues city-by-city, starting with Paris, the birthplace of haute couture, represented by designs from Charles Frederick Worth, Gabrielle Chanel, Christian Dior, and the emerging couturier, Bouchra Jarrar.

Fashion has always existed at the crossroads of art and consumerism and never more so than in today’s society. The way we perceive our desires, bodies, and eras shapes fashion every season, as it shapes us. Paris fashion is at the center of it all. The French were the first to make an industry out of fashion, not just dress-making, and they have been exporting their style since the 17th century which is frankly before most of the world had even realized what fashion was. It all kicked off in the 17th century when the association of France with fashion and style was initiated by, surprise surprise, Louis XIV’s court.

The House of Worth, Cape, Circa 1890. Paris. Gift of the Estate of Elizabeth Arden. 69.160.9 Hip-length cape in cream lace with wide neckline border of black silk velvet; trimmed with black silk chenille bobble tassels

The House of Worth, Cape, Circa 1890. Paris. Gift of the Estate of Elizabeth Arden. 69.160.9
Hip-length cape in cream lace with wide neckline border of black silk velvet; trimmed with black silk chenille bobble tassels

The House of Worth, Cape, Circa 1890. Paris. Gift of the Estate of Elizabeth Arden. 69.160.9 Hip-length cape in cream lace with wide neckline border of black silk velvet; trimmed with black silk chenille bobble tassels

The House of Worth, Cape, Circa 1890. Paris. Gift of the Estate of Elizabeth Arden. 69.160.9
Hip-length cape in cream lace with wide neckline border of black silk velvet; trimmed with black silk chenille bobble tassels

The Sun King made it his business to be at the center of all that was beautiful in the world so the luxury goods industry in France became a royal commodity. The creation of the fashion press in the 1670s catapulted French fashion into the spotlight and the notions of different fashion “seasons” and the changing of styles became available to a bigger audience. Louis XIV himself was responsible for starting the trend for outrageous wigs of curled hair. The king was going bald so he over-compensated and the rest of the court followed suit.

Balenciaga , Cocktail dress , 1959, Paris. Gift of Kay Kerr Uebel. 75.170.1_20050512_01 Short evening dress in chartreuse ribbed silk with black chinÈ r; with bateau neckline; bubble skirt on hip yoke; and attached black satin ribbon tie; separate coordinating black satin ribbon sash

Balenciaga , Cocktail dress , 1959, Paris. Gift of Kay Kerr Uebel. 75.170.1_20050512_01
Short evening dress in chartreuse ribbed silk with black chinÈ r; with bateau neckline; bubble skirt on hip yoke; and attached black satin ribbon tie; separate coordinating black satin ribbon sash

In fact, he moved the needle towards extravagant fashion even more so because of his wigs. The French Royal court turned into a farcical game of one-upmanship where fashion was concerned – Whose wig is the tallest? Whose skirt is the widest and most covered in tiny bows? In Paris fashion big was the rage. This was most evident in the french movie, Ridicule, the 1996 French film set in the 18th century at the decadent court of Versailles, where social status can rise and fall based on one’s ability to mete out witty insults and avoid ridicule oneself, as well as one’s ability to be the most preening peacock in the room. The story also examines the social injustices of late 18th century France, in showing the corruption and callousness of the aristocrats.

The rebels were, of course, very quick to change all this and went very fast towards the opposite direction — what before had been of a baroque, almost decadent, excess, now everything was simple — as per the ideas of the era and also because hygiene had improved wonders by now and people had to buy more fabric to have at least one piece of clothing to wear while they cleaned the other one. And then the 1800s came and department stores were opened, giving a boost to Paris fashion. Instead of courtiers, France now had the bourgeoisie and, as the driving force that made the economy move from hand to hand (as in, they could actually move money around), French fashion found its way into society.

It wasn’t long until the couturier (designer) was born. It is, of course, as usually with designers, a controversial statement, but a man from England named Charles Frederick Worth is more or less accepted into the popular vernacular as the man who totally dominated the industry. He was the first to be considered a designer and not just a dressmaker – he invented the fashion show and the fashion label as a status symbol. He went on to become so successful and respected, in fact, that he earned the final say on whatever their customers were going to wear, regardless of their opinion. He also came up with the idea of actually sketching the design before producing an expensive sample garment. He was hailed as a genius for that.

In the late 19th and early 20th century, the French fashion industry exploded (Vogue was founded in 1892) and Jacques Doucet and Madeline Vionnet founded fashion houses. They were influenced by Art Nouveau and Orientalist trends and so finally women were “liberated” from corsets and heavy petticoats and instead wore their whimsical designs with flowing bias-cut dresses. In 1925 a little known designer called Coco Chanel first came into prominence and revolutionized Paris fashion and then the world’s.

In 1947, the world’s attention was on Paris once more as Christian Dior unveiled his “New Look” – the clinched in waists contrasted with majestic busts and full skirts delighted the post-war clientele in its femininity. Hubert de Givenchy and Pierre Balmain both opened fashion houses soon after and Paris was the center of the world again.

The 1960s saw the Parisian youth becoming disillusioned with French fashion, (apparently too elegant and elaborate) favoring instead the casual style seen in London. In 1966, Yves Saint Laurent put Paris in the spotlight again with his a prêt-à-porter (“ready to wear”) line which made fashion accessible to the masses. In fact, even though Paco Rabanne and Pierre Cardin pushed fashion towards the future, creating bold shapes they always had to stay under YSL’s shadow. He was undoubtedly king of the latter part of the century. He pioneered the tuxedo suit for women, seducing everyone with his androgynous style and Left Bank beatnik chic.***

The New York section begins with a circa 1938 iridescent evening gown by Nettie Rosenstein and ends with Alexander Wang’s sporty spring/summer 2015 neon orange dress. New York also includes styles by Claire McCardell, Halston, and Ralph Lauren.

Nettie Rosenstein, Evening dress, Circa 1938, New York, Gift of Gloria Carr de Veynac. 76.32.1

Nettie Rosenstein, Evening dress, Circa 1938, New York, Gift of Gloria Carr de Veynac. 76.32.1

Claire McCardell, Dress, 1954, New York . Gift of Sally Kirkland. 76.33.34_20080425_01 Sleeveless dress in beige muslin with black windowpane check; fitted midriff panel; calf-length flared skirt; wide wrap & tie sash

Claire McCardell, Dress, 1954, New York . Gift of Sally Kirkland. 76.33.34_20080425_01
Sleeveless dress in beige muslin with black windowpane check; fitted midriff panel; calf-length flared skirt; wide wrap & tie sash

Milan claimed its place as Italy’s fashion capital during the 1970s. Milan has established a long history within the fields of fashion, textiles and design in general. Throughout the late 19th century, the Lombard capital was a major production centre, benefitting from its status as one of the country’s salient economic and industrial powerhouses. Milanese fashion, despite taking inspiration from the leading Parisian couture of the time, developed its own approach, which was by nature devoted to sobriety, simplicity and the quality of the fabric. Throughout the 20th century, the city expanded its role as a fashion centre, with a number of rising designers contributing to Milan’s image as a stylistic capital. Following this development, Milan emerged in the 1970s and 1980s as one of the world’s pre-eminent trendsetters, maintaining this stint well into the 1990s and 2000s and culminating with its entrenchment as one of the “big four” global fashion capitals. As of today, Milan is especially renowned for its role within the prêt-à-porter category of fashion.

Milan’s fashion history has evolved greatly throughout the years. Milan began as a center of fashion in the Middle Ages and Renaissance, as in Venice and Florence, the making of luxury goods was an industry of such importance that in the 16th century the city gave its name to the English word “milaner” or “millaner”, meaning fine wares like jewellery, cloth, hats and luxury apparel. By the 19th century, a later variant, “millinery”, had come to mean one who made or sold hats.

In the mid-19th century cheaper silk began to be imported from Asia and the pest phylloxera damaged silk and wine production. More land was subsequently given over to industrialisation. Textile production was followed by metal and mechanical and furniture manufacture. In 1865, the first major department store in the country opened in Milan by the Bocconi brothers (which was called Alle Città d’Italia and later in 1921 became La Rinascente). This was regarded as a novelty at the time with regards to retailing in Italy. Though, traditionally, artisans would sell the items they made directly or to small stores, the opening of these new department stores modernized the distributions of clothes in the city.

In the 1880s and late 19th century, the Milanese style was partially inspired by French fashion, which at the time was still dominant in terms of influence, yet adapted according to local tastes; this included a generally somber and simple style, which was moderate in terms of decoration and ornamentation, and put an emphasis on the quality of tailoring and the different fabrics and textiles. The general Milanese interest in styling was reflected in the number of fashion magazines which circulated in the city at the time, as well as the fact that the people were ready to follow trends; nevertheless, the Milanese style was relatively traditional. The city had several tailors and seamstresses which in 1881 amounted to 249 and in 1886 to 383 (which were listed in guides).

In this period, the city was one of the biggest industrial powerhouses in Italy, and had a diversified fashion and clothing economy which was mainly based on small workshops rather than large companies (highlighted in an 1881 census). The importance of this industry continued in the city into the early 20th century, where 42,711 out of 175,871 workers were in the clothing sector in 1911.
However, in the 1970s, Milan’s fashion image became more glamorous, and as Florentine designs were deemed to be “very formal and expensive”, the city became a more popular shopping destination, with numerous boutiques which sold both elegant and everyday clothes. Milanese designs were known for their practicality and simple elegance, and became more popular and affordable than Florentine and Parisian designs. The city became one of the main capitals for ready-to-wear female and male fashion in the 1970s.  Milan started to become an internationally successful and famous fashion capital towards the late-1980s and early 1990s.
Milan has been home to numerous fashion designers, including Giorgio Armani, Valentino Garavani, Gianni Versace, Gianfranco Ferrè,Domenico Dolce, Stefano Gabbana, Miuccia Prada, Mariuccia Mandelli alias Krizia, Antonio Marras, Alessandro Dell’Acqua, Franco Moschino, Gimmo Etro, Mila Schön, Nicola Trussardi, Ottavio Missoni, Donatella Versace, Maria Grazia Chiuri, Pierpaolo Piccioli and Giuseppe Zanotti in addition to Fausto Puglisi, Francesco Scognamiglio, Alessandra Facchinetti, Gabriele Colangelo, Simonetta Ravizza, Stella Jean and Marco De Vincenzo, just to name a few younger designers.

Prada , Ensemble , Fall 2007, Milan, Gift of Prada, 2007.20.1 Coat with black textured wool blazer fringed with plastic strips, stitched to orange fleece skirt with rust pile hem band; red silk ribknit toeless stockings; black satin shoes with hardware buckle, high curved heel and back covered in taupe satin

Prada , Ensemble , Fall 2007, Milan, Gift of Prada, 2007.20.1
Coat with black textured wool blazer fringed with plastic strips, stitched to orange fleece skirt with rust pile hem band; red silk ribknit toeless stockings; black satin shoes with hardware buckle, high curved heel and back covered in taupe satin

Most of the major Italian fashion houses and labels are based in Milan, even though many of them were founded in other cities. They include: Armani, Bottega Veneta, Canali, Costume National, Dolce & Gabbana, Dsquared2, Etro, Iceberg, Les Copains, Marni, Missoni, Miu Miu, Moncler, Frankie Morello, Moschino, MSGM, N°21, Prada, Fausto Puglisi, Tod’s, Trussardi, Valentino, Versace, Giuseppe Zanotti, Zagliani, Ermenegildo Zegna, and the eyewear company Luxottica.

Christopher Kane, Dress, Fall 2014, London, Museum Purchase, 2015.15.1

Christopher Kane, Dress, Fall 2014, London, Museum Purchase, 2015.15.1

Christopher Kane, Dress, Fall 2014, London, Museum Purchase, 2015.15.1

Christopher Kane, Dress, Fall 2014, London, Museum Purchase, 2015.15.1

London captured international attention with “youthquake” fashions during the 1960s. Provocative designers such as Vivienne Westwood, John Galliano, and Alexander McQueen established London as a creative fashion hub during the decades since.

 

When selecting which emerging fashion capitals to include in the exhibition, the curators considered a number of indicators to show that a city’s fashion scene is growing. All the featured cities are home to forward-thinking designers who have achieved domestic success and attracted international interest. They also hold fashion weeks attended by international press and fashion buyers.

 

 

Several factors drive the development of a city’s fashion scene—politics, economics, and government support among them. For example, Johannesburg fashion blossomed during the post-apartheid era, led by designers such as Nkhensani Nkosi of Stoned Cherrie. Current events in Ukraine have ignited the creativity of designers such as Anton Belinskiy, who staged a photoshoot amid Kiev’s street protests.
China’s economic growth over the last decade created consumer demand for international fashion, developing into support for successful domestic designers, such as Shanghai’s Masha Ma. Nigeria’s economy, the largest in Africa, supports Lagos’ developing fashion industry and the growing international reach of brands like Maki Oh and Lisa Folwaiyo. The governments of Copenhagen and Seoul actively fund and promote their fashion industries.
On October 13, 2015, The Museum at FIT, in conjunction with CUNY Graduate Center, will host a one day symposium on the topic of global fashion capitals. The morning session will take place on the FIT campus and will consist of a student fair, where visitors can interact with members of the international fashion community. The morning will also include a fashion show featuring five designers from emerging fashion capitals and a panel discussion moderated by MFIT curators Ariele Elia and Elizabeth Way. The afternoon session will take place at the CUNY Graduate Center, details to follow.
Global Fashion Capitals is organized by Ariele Elia, assistant curator of costume and textiles, and Elizabeth Way, curatorial assistant, The Museum at FIT.

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SOLSTICE SUNGLASSES ANNOUNCES ITS “WISH MORE, GIVE MORE, SAVE MORE” HOLIDAY PROMOTION

SOLSTICE SUNGLASSES, upscale sunglass specialty chain owned and operated by SOLSTICE MARKETING CONCEPTS (SMC), LLC., and the New York City based subsidiary of the renowned Italian designer eyewear manufacturer SAFILO GROUP, offers a unique sunglass shopping experience as all of its sunglasses are displayed openly and readily available to customers. The open sell retail format has been hugely successful, as customers are able to touch and try on as many pairs as they like with the utmost ease and comfort.

A visual from the SOLSTICE Sunglasses “Wish More, Give More, Save More” holiday promotion which kicks off today. (PRNewsFoto/SOLSTICE Sunglasses)

The company offers more luxury, designer and sport performance sunglasses than any other retailer or sunglass specialty store in the United States. With over 135 locations nationwide, and over 1,000 pairs from which to choose from in a variety of price points, there is a pair for everyone. Highly coveted brands available at SOLSTICE SUNGLASS locations include:  ALEXANDER MCQUEEN, BALENCIAGA, BOTTEGA VENETA, CARRERA, CARRERA X-CEDE, DIOR, DIOR HOMME, EMPORIO ARMANI, GIORGIO ARMANI, GUCCI, HUGO BOSS, JIMMY CHOO, JUICY COUTURE, KATE SPADE, MARC JACOBS, MARC BY MARC JACOBS, TOMMY HILFIGER and YVES SAINT LAURENT, to name a few. Continue reading