BURBERRY LEAPSShares of Burberry rose after media speculation regarding a possible takeover bid. PAGE 2

MUSEUM BARBIELes Arts Décoratifs in Paris is mounting a sprawling exhibit of Barbie that includes some 700 dolls. PAGE 11

Fashion. Beauty. Business. 9 MARCH 2016

● According to sources, the French designer is the frontrunner to succeed Alber Elbaz and become its new women’s designer.

BY MILES SOCHA

Lanvin is zeroing in on a contract with Bouchra Jarrar to become its new women’s designer, according to market sources.

A seasoned talent who launched her signature house in 2010 and earned the haute couture appellation in 2013, Jarrar recently indicated she was open to collab-orations with other brands, having signed on last month to do a high jewelry collec-tion for Mauboussin, launching in July.

“I want to develop my scope of expres-sion,” she told WWD at the time.

The likelihood of a deal with Lanvin could not immediately be learned, but it is understood the house plans to reveal its new women’s designer in the coming weeks.

FASHION

Is Lanvin Hiring Bouchra Jarrar?

CONTINUED ON PG. 3

SPONSOR BACKLASHMaria Sharapova’s deals with Nike, Tag Heuer and Porsche are in flux after she failed a drug test. PAGE 3

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● SCMP, also parent of the Claudie Pierlot fashion chain, is seeking a listing on the Euronext exchange.

BY JOELLE DIDERICH AND ALEX WYNNE

SMCP, parent of the Sandro, Maje and Claudie Pierlot fashion chains, hopes to raise up to $190 million in an initial public offering that could take place by June.

Private equity giant Kohlberg Kravis Roberts & Co. LP, which holds a 70 percent stake in the group, is seeking a listing on the Euronext Paris stock exchange. SMCP filed an offer document with French stock market regulator AMF on Monday.

“The listing would be for this year, potentially within the first half, depending on market conditions,” SMCP president

BUSINESS

Sandro, Maje Group Sets IPO

CONTINUED ON PG. 10

CollectionsFall

2016

Pearl GirlThe invitations implied old-time couture, but the clothes radiated chic modernity. For Chanel’s fall collection, Karl Lagerfeld amped up the signature regalia — boaters, camellias and pearls galore — sending a lightning-fast procession of skirts, dresses and suits down the runway, many in fresh, vibrant pinks and berries. For more Paris collections, see pages 4 to 9.

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● Financial Times reported the luxury brand sought advice about potential bids.

BY SAMANTHA CONTI

Burberry shares rose Tuesday following media speculation that a potential bidder could be stalking the British company.

Shares were up 6.1 percent to 14.55 pounds, or $20.66, in midday trading follow-ing a report in the Financial Times on Tues-day that an unidentified shareholder had upped its stake in Burberry to more than 5 percent. The shares slipped back slightly by the end of the day to close up more than 6 percent at 14.35 pounds, or $20.32.

HSBC acts for the shareholder, but has so far declined to reveal its identity to Burberry. Earlier this month, the mystery shareholder reduced its stake to less than 5 percent, or 12,917,297 shares.

The FT reported that, in the wake of the disclosure last month, Burberry had sought guidance from its external financial advisers about defending itself against any potential bids.

Burberry declined to comment.The company will always be appealing as

a takeover target because there are no fam-ily shareholders, and it does not belong to a big conglomerate. Burberry’s top 10 share-holders have stakes ranging from around 3 percent to just over 6 percent. As of October, the The Capital Group Companies Inc. had a 6.04 percent stake in Burberry, while Blackrock held about 3.84 percent as of November. In February, Baillie Gifford told the London Stock Exchange its holding fell below the 5 percent threshold.

The share price has also fallen nearly 25 percent in the past year as sales growth has

slowed amid an uncertain macroeconomic backdrop, and the erosion of traditionally high-margin markets such as Hong Kong and Macau. The company’s market capital-ization is currently 6.30 billion pounds, or $8.95 billion, at current exchange.

Over the years, LVMH Moët Hennessy Louis Vuitton and Coach have repeatedly been mooted as possible bidders for Burberry.

On Tuesday, a spokesman for LVMH declined to comment although industry sources familiar with the French conglom-erate said Burberry “does not fit the LVMH acquisition profile.”

As reported in January, Coach is consid-ering more deals on the heels of its Stuart Weitzman acquisition in order to fuel the

company’s growth.In response to the latest Burberry

report, a spokeswoman for Coach said the company “has a longstanding policy of not commenting on rumors and speculation.”

One industry source suggested that bankers were trying to talk up the Burberry share price, while Luca Solca, managing director at Exane BNP Paribas, speculated that the shareholder in question may simply be an investor keen on a possible rebound.

Solca added that if the mystery share-holder is indeed a potential bidder, it would most likely be a sovereign fund or private equity. “I struggle to see a Euro-pean industry buyer behind this,” he said.

Burberry isn’t the only luxury brand that’s struggling to grow amid challenges that include shifting tourism patterns due to terrorist threats and currency fluctua-tions; the long-term effects of a clampdown on gifting in China; unseasonably warm weather, and pressure on profit margins.

Last month, François-Henri Pinault indicated that acquisitions at Kering would remain on ice and future investments will be conditional on the existing brands improving free cash flow and same-store sales.

“The growth of the market in the short-term will often be less rapid than at the beginning of the decade,” the executive said during a strategy presentation in February.

“We are present today in the most important cities and locations in the world. Our priority is to extract more value from them. We will do this in particular by con-tinuing to increase our same-store sales, and this will have a direct impact on the growth of our margins.”

BUSINESS

Burberry Shares Climb On Takeover Speculation

They Are Wearing: Paris Fashion Week Fall 2016● WWD went off the runways and onto the streets and sidewalks for the best looks from Paris Fashion Week.

● Valentino RTW Fall 2016

● Saint Laurent RTW Fall 2016

● Chanel RTW Fall 2016

● Willow Smith Attends Chanel Show With Her Mother

Global Stock TrackerAs of close March 8, 2016

ADVANCERS

DECLINERS

Urban Outfitters Inc. +16.09%

Shinsegae Co. Ltd. +7.96%

Burberry Group plc +7.11%

Prada SpA +6.18%

Samsonite International SA +3.69%

The Bon-Ton Stores Inc. -9.57%

Perry Ellis International Inc. -8.67%

Avon Products Inc. -6.38%

Iconix Brand Group Inc. -5.39%

G-III Apparel Group Ltd. -4.67%

TOP 5TRENDINGON WWD.COM

● The program helps grow the next generation of female-led beauty start-ups.

BY VICKI M. YOUNG

Sephora has named the eight partici-pants in its Sephora Accelerate Cohort program.

The program is part of the company’s Sephora Stands initiative aimed at helping female-founded start-ups in beauty, a group that typically does not have the same access to funding and connections as their male entrepreneurial counter-parts. It’s also a way for Sephora to help cultivate the next generation of beauty businesses.

Each participant is either a founder or cofounder of a business that creates a cos-metic product, or a company that creates technology or provides services relevant to the beauty industry. Participants also have to have a strong effect on someone or something, a key point of the Sephora Stands initiative.

The eight participants are: Candace Mitchell, Myavana, a data-driven social platform that offers personalized hair analysis; Caroline Grove, Stylerz, which helps users discover beauty salons, spas and barbers in Mexico and book appointments from a smartphone or PC; Danielle Cohen-Shohet, Glossgenius, a digital personal assistant for indepen-dent beauticians; Karissa Bodner, Thrive Causemetics, a vegan, luxury cosmetics

firm that donates one product for every one purchased to a woman going through cancer treatment; Leila Janah, Laxmi, a luxury skin-care brand that provides work for women around the world to help end global poverty; Lisa Mattam, Sahajan, an ayurvedic-inspired, organic skin-care line; Naa-Sakle Akuete, Eu’Genia Shea, a maker of shea-based products that features a transparent supply chain to empower women and their families in Ghana, and Suzanne LeRoux, One Love Organics, an ECOCERT licensed manufacturer for natu-ral and organic cosmetics in the U.S.

The program will begin with a Sephora Accelerate boot camp at the retailer’s U.S. headquarters in San Francisco beginning on April 24 for one week. A demo day is set for Aug. 29. The program is designed to develop, teach and refine the skill set needed to run and build a business, Sephora said. Participants will also receive mentorship from beauty industry executives.

The women will receive two all-ex-pense paid trips for program events, and as fellows receive a $2,500 grant. They may also be eligible for additional loans, Sephora said.

Earlier this year, Corrie Conrad, Sephora’s head of social impact, told WWD: “The goal of Sephora Accelerate is, by 2020, to support more than 50 women-led beauty businesses with social impact through boot camps, mentor-ship, and small loans.” Sephora has not disclosed any amount in connection with possible funding.

BEAUTY

Sephora Names 8 Participants in First Accelerator Program

A look from Burberry

Prorsum’s fall collection.

Inside the Sephora store on Lexington Avenue.

CORRECTION: The captions for the Emanuel Ungaro and Andrew Gn runway images were transposed on page 7, WWD Tuesday. The correct identifications are shown here.

Andrew Gn Emanuel Ungaro

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A Lanvin spokeswoman said the house doesn’t comment on rumors.

Jarrar could not be reached for comment.Known for her exacting silhouettes, Jarrar

has accrued a cultlike following for her streamlined sportswear, and takes an old-school approach to fashion, putting quality and technical finesse ahead of razzmatazz.

She certainly places more of an empha-sis on daywear than Alber Elbaz, who was ousted from the house last October after a stellar 14-year tenure, during which he made Lanvin synonymous with soigne cocktail dresses.

It is understood Lanvin plans to engage Jarrar for women’s categories only, unlike Elbaz, who also oversaw the men’s department.

Sources said Lucas Ossendrijver is in contract talks and seeking to secure auton-omy for the men’s department, echoing the set-up at Dior and Louis Vuitton, which have long had separate creative chiefs for men’s and women’s.

Elbaz tapped Ossendrijver in 2005 from Dior Homme to rejuvenate Lanvin men’s wear, and the Dutchman echoed his use of couture fabrics and designs etched with industrial detailing.

Born in Cannes, France, Jarrar has long praised the approach of couturiers in the Fif-ties and Sixties such as Cristóbal Balenciaga and Gabrielle Chanel, who exalted women

with their pristine and sculptural designs.After graduating from Paris’ Duperré

School of Applied Arts in 1994, Jarrar worked on Jean Paul Gaultier’s licensed jewelry collection for two years before arriving at Balenciaga under Josephus Thimister.

When Nicolas Ghesquière took the cre-ative helm, she served as his studio director until 2006, helping to create ready-to-wear collections that approached couture. She logged a brief stint at Jean-Louis Scher-rer and then, eager to delve deeper into high-fashion techniques, joined Christian Lacroix in 2008 as couture head of design.

Lacroix, who exited his namesake house in 2009 when it shrunk to a licensing opera-tion, encouraged her to establish her name and house.

Last year, Mode et Finance, the French venture capital firm managed by Bpifrance, made a minority investment in Jarrar’s

business, with the designer holding 74 percent. Mode et Finance also has a stake in Lemaire and has made investments in Yiqing Yin, Each x Other, Ami, Nicolas Andreas Taralis and other brands.

In an interview last year, Jarrar talked about her aesthetic.

“For me, fashion is first and foremost a matter of proportions — the lines and the cut,” she told WWD. “My objective is a defined look because our lives today are very fast, we are working women, we’re strong, we’re self-sufficient, and my clothes have to bring something — power, but without being aggressive, a defined look. It’s a look, it’s elegance, it’s Paris. It’s really an attitude.”

Following Elbaz’s ouster, Lanvin relied on a studio helmed by Chemena Kamali and Lucio Finale to realize its pre-fall and fall col-lections. Its runway show last week received lackluster reviews.

Kamali had recently joined Lanvin as design director for women’s rtw from Chloé, while Finale had been promoted to creative director of women’s bags and shoes after one year as its head designer of women’s bags.

Lanvin’s new women’s designer will be faced with stemming sliding sales — and making headway in the lucrative handbags business.

While Elbaz received acclaim for his run-way designs, the house has struggled to find success with leather goods, and compete against larger, more well-funded rivals.

The company’s consolidated sales have been eroding, expected to fall to around 200 million euros, or $218.5 million at current exchange last year, versus a peak of more

than 250 million euros, or $273 million, only a few years ago, according to sources.

Lanvin’s works council contested the ouster of Elbaz, concerned about the impact on its economic and social welfare, and faced off against management at the Tribu-nal de Grande Instance last December.

The court was told that Lanvin’s profits declined from 11.9 million euros, or $15.3 million, in 2012 to 5.7 million euros, or $7.5 million, in 2013 and 2.9 million euros, or $3.9 million, in 2014.

Unlike many of its larger rivals, the brand — which marked its 125th anniversary in 2014 — is dependent on its wholesale partners, which account for approximately 70 percent of revenues, with only about 30 percent of sales streaming in from direct retail.

Lanvin’s new designer will need to forge ties with majority owner Shaw-Lan Wang and re-galvanize a house built around Elbaz’s vision and ebullient personality.

It is understood management considered a range of young talents, including Simone Rocha, Huishan Zhang and Erdem Moralio-glu, for the plum Paris post.

Wang bought Lanvin from L’Oréal in 2001, recruited Elbaz and left him a free hand to reinvent the business with chic cocktail dresses, chunky costume jewelry, ballerina flats, dressy sneakers and modernist men’s wear.

His fashion shows — typically with dra-matic lighting, pounding techno and carnival refreshments — ultimately became one of the highlights of Paris Fashion Week.

Elbaz has yet to indicate his future inten-tions, which are said to include launching a signature fashion house.

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Is Lanvin Hiring Bouchra Jarrar? CONTINUED FROM PAGE 1

● Nike and Porsche have suspended endorsement deals, while Tag Heuer holds off on contract talks.

BY ALEX WYNNE AND ROSEMARY FEITELBERG

In the wake of Maria Sharapova’s admis-sion that she failed a drug test for the newly banned drug meldonium, three brands have suspended their relations with the tennis star. Following news that Nike would put Sharapova’s sponsorship on hold for the time being, Tag Heuer and Porsche have also said they would cut ties with her.

“Maria Sharapova was under contract with Tag Heuer until Dec. 31, 2015. We had been in talks to extend our collaboration,” said a spokeswoman for Tag Heuer. “In view of the current situation, the Swiss watch brand has suspended negotiations.”

A spokesperson for Porsche said, “The contract is still valid. We just won’t be using her until the situation is clarified by the International Tennis Federation, which should be in May.”

Executives at Porsche also noted Tues-day, “We are saddened by the recent news announced by Maria Sharapova. Until fur-ther details are released and we can analyze the situation, we have chosen to postpone planned activities.”

Late Monday, Nike acknowledged it was taking a time out and distancing the brand from the five-time Grand Slam winner, by issuing the following statement: “We are saddened and surprised by the news about Maria Sharapova. We have decided to sus-pend our relationship with Maria while the investigation continues. We will continue to monitor the situation.”

Earlier in the day Sharapova

acknowledged at a press conference that she had tested positive for the banned drug at this year’s Australian Open. The tennis ace said she was notified by the International Tennis Federation a few days ago and she “takes full responsibility.”

Sharapova said her family doctor had prescribed the medication, which she had been legally taking for the past 10 years. As of Jan. 1, meldonium became a controlled substance under ITF rules, but Sharapova said she had not known that. Closing her brief public statement, the 28-year-old tennis pro said she hoped not to end her career this way.

In late January, Net Jets, a Berkshire Hathaway company, signed up Sharapova as a brand ambassador with a focus on social media. Aside from having more than two million Twitter followers, the former Olym-pian, a NetJets owner since 2004, planned to provide exclusive experiences for NetJets owners throughout the partnership. A Net-Jets spokesman said Tuesday that a decision had not yet been named about the situation.

With an estimated $29 million in endorse-ment deals last year, Sharapova has been one of the most successful endorsers in sports, according to Rick Burton, the Falk professor of sports management at Syracuse University. Describing the tennis star as “a bright light on the [pro] tour,” he expects an ITF-issued penalty but most people will probably give her “a hall pass.”

“Depending on the morals clause they had in her contract, this may give the brands she works with some leverage to not have to pay perhaps the annual increase that she has tra-ditionally benefited from. I’m guessing that every year or with every contract renewal she has been able to raise her price,” Burton said. “This may give those organizations the option to say, ‘OK Maria, here’s the trade-off. We’ll stay with you to avoid the

embarrassment of dropping you but we’re not going to pay a premium, because you violated your morals clause.’ Somebody could say, ‘Hey, we weren’t using her that much anyway, so we will drop her.’ But I’m not expecting that.”

“There just aren’t many other alternatives. They are out there, but there are not many and they are certainly not of her magnitude. So if you say, ‘Well, we’re going to drop her.’ Who are you picking up who is going to have half of the appeal that she has?” Burton said. “There just is not a range of alternative choices, who are probably going to combine her glamour and her success. You can pick up an unknown, someone who isn’t glamor-ous, but it’s hard to probably find someone who is going to give you the package that she does.”

Mary Jo Kane, director of the Tucker Cen-ter for Research on Girls & Women in Sport at the University of Minnesota, speculated

about the reaction of Sharapova’s corporate sponsors. She said Tuesday, “It is very hard to say whether or not this is a negotiating ploy on the part of her corporate sponsors who see this as an opportunity. You know she’s made a mistake, she’s vulnerable and one might think it’s not fair, but all is fair in renegotiating contracts. Corporate sponsors are going to look at what’s in their best interests’ bottom line. If this gives them enormous leverage in renegotiating their contract, of course they’re going to use that.”

Kane noted how Nike was one of the few sponsors who stood by Tiger Woods when his numerous extramarital affairs became public knowledge. (Nike suspended its endorsement deal with South African sprinter Oscar Pistorius after he was accused of murdering his girlfriend Reeva Steenkamp in February 2013. The company did not terminate his contract until September 2014 after he was found guilty 19 months later of killing her out of negligence.)

Kane continued, “One would have hoped that rather than suspending Sharapova until the investigation was complete, they would have taken a similar approach that they did with other athletes that she’s innocent until proven more guilty. We know that she’s guilty. The question is, ‘Was it an innocent mistake or was she trying to cheat by taking performance-enhancing drugs?’ She says, ‘No.’ and there’s no evidence to the contrary. That’s why you’re having an investigation. One would have hoped that Nike would have gone along with the tried-and-true American principle, which is you are innocent until proven guilty...That too could have been a case of Nike seeing that she’s vulnerable and saving some corporate cash.”

With Sharapova appearing to be “on the downward arc of her career” and having not won a major tennis championship since the 2014 French Open, Kane said, “I would wonder how her brands and contracts are doing anyway, given that Serena Williams beats her every time they play. When was she in the Top Five? That will hurt her far more than innocently taking a drug that she shouldn’t have.”

FASHION

Brands Distance Themselves From Maria Sharapova

Maria Sharapova featured in Nike’s ad campaign for Tech Knit Apparel.

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Chanel“The pearls are too modest.”

“THE. PEARLS. ARE. TOO. MODEST.”On take two, Karl Lagerfeld didn’t raise

his voice exactly — he doesn’t. But during a fitting for his Chanel show on Tuesday, when he thought one of his models under-accessorized in his outsized strands, he wasn’t having it.

When a visitor noted during a preview that he’s recently played down some of the more obvious house accouterments (though never the house’s crystal-clear image), Lagerfeld waved off the thought as yesterday’s news. “I use them now in oversize and overvolume. I use them in scarves and things like that — jackets and coats, and things like this.”

Lagerfeld’s deft manipulation of the house codes — “things like this” — to suit his mood du jour is nothing short of remarkable. For fall, he worked a particu-lar alchemy, amping up the signature rega-lia — pearls, boaters, camellias (in giant prints, if not 3-D blooms) — in the interests of chic modernity.

On the back-to-the-future front, after a series of sets that got bigger and more over-the-top with each season (Chanel Supermarket; Chanel Airlines), this time, the invitation implied a trope of old-time couture. “Front row only,” it read, the line scripted atop Lagerfeld’s illustration of a classic gold ballroom chair.

Yet intimacy doesn’t work in the Grand Palais. Rather, this front row was more on the scale of a football field, but bigger, arranged in a precision grid of multiple rows, each with a bird’s-eye view. It made for interesting viewing even before the first looks came out. At every Chanel show, a good portion of the seats go to consumers

— not the hoi polloi who get their enter-tainment fixes from high fashion and their wardrobe fixes from fast fashion — but real, credit-card wielding clients. The egalitar-ian seating gave the industry audience the chance to see a microcosm of that clientele — multigenerational, from women approach-ing grand-dame status to some who looked twentysomething. They all worked Chanel their way, decked to the Chanel nines.

Whatever their age, they took in a show that spoke to them, the looks coming furi-ously from two directions — left, right, left, right, left! — fast enough to bring on fashion whiplash. And what a happy malady it was. There were suits galore, the dominant silhouette lean and to the knee, with skirts zipped up the sides, or unzipped to reveal contrasting tweed linings. These came in countless variations, and looked newest in vibrant pinks and berries. A sportswear attitude surfaced in sweaters decorated with grommets over metallic skirts, and a shrunken jean jacket over camellia-print pants. As for practicality, Chanel trenchcoat, anyone? And, yes, Choupette, her portrait turned into the stuff of skirts and big, func-tional totes. For the ingenue with a party to go to, Lagerfeld offered angelic white tiers in short and long versions over black tights. And there were the extras — hats held in place with chinstraps fastened with big jewelry buckles; long, thick knitted gloves; emoji pins; iPhone breast pockets, and those pearls galore — all piled on in glorious excess.

Done as it was, it radiated tony practical-ity and Lagerfeld-style, so much so that it brought to mind that “w” concept — ward-robe dressing, but with focus and high style. Asked whether he’d considered that approach, Lagerfeld said, “I’m very down-to-earth.” — Bridget Foley

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ValentinoBrava! Bellissima! Encore, please, and not just of the clothes in Maria Grazia Chiuri and Pierpaolo Piccioli’s stunningly graceful fall collection for Valentino. Give us more of their fashion philosophy. In a season stuck in the cynical funk of see-now-buy-now, to hear the designers clarify their motivation behind their show, and their careers in general, was music to the ears.

“Everybody is speaking about ‘see and buy,’” said Chiuri backstage. “We think that to be in the moment is more import-ant. You can see and you can feel as well. You can also buy, but it is not true that fashion is only to buy.” She and Piccioli are of the mind that there’s an intangible pricelessness to the shared show experi-ence as we know it, creating something that sparks emotion in its witnesses — the buyers, the press, and the countless others who devote their precious time to the pro-cess — making them eager to share what they saw and felt. Spread the good word. It’s an old-fashioned, biblical concept.

In defense of their defense of the traditional system, Chiuri and Piccioli are on the short list of designers capable of delivering such a level of stirring work. They did so for fall, drawing on the “Hap-pening” performance art movement of the Fifties and Sixties and the value it placed on viewer participation and the concept of the ephemeral, as well as further explo-ration of the dance motifs tested in the spring couture collection.

The show was different on two levels. Instead of a recorded soundtrack, pianist Vanessa Wagner played works by John Cage and Phillip Glass on a baby grand Yamaha positioned, Happening-style, in the middle of the audience. More signifi-cantly, the collection’s gentle expressions of classic dancer attire substantially broke the mold of the regal high-neck, long-sleeve dress silhouette that Chiuri and Piccioli have plied consistently and successfully over the past few years.

The tony street-goth tone of the tailored navy and black double-breasted coats over matching ribbed-knit turtlenecks, ankle-length tulle skirts and combat boots that opened the show came as a surprise — a great one. Dancers off-duty came in moody layers of mannish outerwear over long skirts, and modernist jersey dresses with spaghetti straps that laced in back over collar bone-framing ballerina shirts, as Chiuri and Piccioli intuited the styles of Karole Armitage and Martha Graham into gorgeous day- and eveningwear. There were moments of austerity, dark and sober in a plain black tutu dress over a black turtleneck and leggings; and light and fluid in earthy, draped jersey dresses that fell in soft, clingy pleats around the body. And there were notes of romantic decoration, via graphic triangle and circle embroider-ies and prints that referenced costumes from the Ballets Russes.

The variety was amazing. A gold velvet dress with a flounced top and a long ribbon belt wrapped around the waist worn over a blush turtleneck exuded the charming shyness of an understudy. A silver-fringed sweater and gold-fringed skirt had the seasoned glamour of a ballet master. There were bad-girl black swans in tulle, leather and witchy gold-star embroi-deries, and ingenues in the breathless finale of transparent, tea-stained tulle dresses decorated with fluttered ruffles, a sweetheart-shaped bodice and twinkly stardust.

Then it was over. A 20-minute dream that was purely evanescent for most of the people in the audience. But that’s OK. “If everything is approachable, it’s not magic,” said Piccioli. “It’s just clothes.” — Jessica Iredale

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KenzoWhere in the world was the Kenzo girl this season? Humberto Leon and Carol Lim’s around-the-globe approach to the house found their muse traveling back in time to the Victorian era and forward again through the Seventies and Eighties with pit stops in Japan and the Kenzo print archive. She took a slight detour through Vetements weirdo bourgeois breeding grounds before compiling all her periodic and destination souvenirs into a fashion explosion that felt very of the moment. In fact, she probably didn’t have to actually go anywhere. In 2016, every far-flung fashion reference is yours for the appropriating via a quick Google search.

It was a bold, energetic collection, every look a try-anything-once outfit for the die-hard fashion lover. “She tackles every adventure with an open mind and with respect for where she has previously tread,” read the show notes. The first handful of navy and gray tailored duffle coats with abstracted sailor details were sedate compared to what followed. A long navy Victorian nightshirt dress with a high ruffled collar, smocked bodice and empire waist was layered over a white shirt with exaggerated ruffled sleeves. Similar shirts with giant ruffs and cuffs were done in plaid and layered under a tiger print cropped top or a tailored gray dress embel-lished with purple irises, like a funhouse version of a schoolgirl uniform.

Rococo ugly/pretty for the high-speed, Internet generation, everything on display was amplified with the kind of sensory glut available online. There was a purple faux astrakhan Sixties jacket with a tiger print collar and matching cropped pants. A soft pink dandelion print tea dress with extralong sleeves was worn with clear plastic boots in printed pink flowers. A fitted workwear denim jacket with a sailor color emblazoned with “Kenzo” was on the collection’s conservative side, while a hot pink tiger print duffle with linebacker shoulders and tasseled toggles screamed YOLO. — Jessica Iredale

Iris Van HerpenWhat does Iris van Herpen see when she closes her eyes and drifts off to sleep? Party dresses in alien shapes and textures, worn with leather sandals that appear to float several inches over their wooden soles.

People couldn’t stop photographing her arresting presentation in a darkened room, with models preening behind optical panels that duplicated and distorted them, making them appear even more other-worldly. It was a wry comment on our obsession with screens — and magnified van Herpen’s theme of “lucid dreaming,” as she explained that she drapes while in that state.

Draping is a relative term, for over plain, body-hugging sheaths in beige or black hovered all kinds of wonders: arrange-ments of snowflakelike beads in bubbling shapes; swooping panels of iridescent, striped tulle bringing to mind Santiago Calatrava buildings; or jutting pleats remi-niscent of frilled-neck lizards — or carnivo-rous plants.

Van Herpen’s uncompromising designs often only flirt with wearability. You would

While the opening number, a gold lamé jumpsuit with cropped pant legs and big cuffs, was flashy, she settled into solid workday versions of the same silhouette in light corduroy.

Throughout, the designer imagined a woman secure in her femininity. High-waist culottes matched with delicately printed high-neck blouses let off a sexy, retro-tinged air. Coats were long, lean and soft — and occasionally worn as a dress — in rich terra-cotta suede or pale shearling, while raw denim returned to the stage in the shape of a shirt jacket and three-quar-ter rolled-up jeans, which Seward styled with a glittery bandanna flying off as a long scarf.

As for evening options, the designer reworked “le smoking,” a French inven-tion, as a coatdress, a kimono-wrap num-ber — also with culottes in lieu of trousers. Long and loose lurex dresses were acces-sorized with mini belt bags.

The collection was beautiful and totally uncomplicated.

“Do that thing, that thing that you do, Vanessa,” whispered the breezy soundtrack, produced by the designer’s husband Bertrand Burgalat in collabora-tion with Mick Harvey and Anita Lane. — Paulina Szmydke

Off-WhiteRegardless of what you think of Virgil Abloh’s design skills, as a commentator on the fashion system, he is endlessly entertaining.

Take the invitation for his Off-White show: A clear plastic envelope containing a still from “Pretty Woman” — specifically,

need to be a scientist to understand the computer-assisted techniques required to realize these exoskeletons, among them 3-D printing and flexible thermoplastic polyurethane printing. Or you could just pull out your iPhone and try to capture their extraterrestrial beauty. See-now, dream-now. — Miles Socha

Roland MouretRoland Mouret took a highly decorative approach to his figure-flattering, feminine silhouettes for fall.

His show notes named-checked Kate Bush, Stevie Nicks and Art Rock in Chelsea and Saint-Germain-des-Prés, and the col-lection’s lean curvy lines and Art Nouveau embellishment of graphic lace, rounded paneling and seam work reflected a pretty, streamlined retro romance.

Dresses came with loopy keyhole and empire necklines and many of the looks featured curious long, tight sleeves that were not attached to the dress. A deep palette of green, purple and a ton of Bor-deaux velvet put the collection in line with the season’s megavelvet trend.

The best looks used the decorative art-work as accent, not the main course. — Jessica Iredale

Vanessa SewardTwo years after creating costumes for Michel Legrand’s musical “The Umbrellas of Cherbourg,” Vanessa Seward returned to the Théâtre du Châtelet with an alluring collection for her namesake label. Just don’t get fooled by the venue: This was a per-fectly untheatrical show catering to real life.

the famous scene in which the snooty sales assistant tells Julia Roberts: “You’re obviously in the wrong place.” It was the starting point for his fall collection, the designer explained backstage.

“That scene in itself encapsulates outer perception of fashion and then real-person interjection. The whole point of the show is that that’s now the new landscape,” he said. “This girl is Julia Roberts. You know: She doesn’t need fashion, fashion needs her.”

Abloh specializes in such pithy apho-risms, even if the point sometimes gets lost when you’re looking at the actual clothes. But there is no doubt he has nailed a moment, as reworking wardrobe basics is the hot trend du jour.

Plain ribbed turtlenecks were printed with the word “Off” in tiny letters, while crop tops were patched together from old vintage T-shirts. The splicing idea contin-ued with a silk slipdress featuring a pleated panel over one hip, or a canvas reproduc-tion of a Giorgio de Chirico painting that was pleated into a bustier dress.

Jackets and coats were pulled off one shoulder and twisted around the body, while a vintage denim jacket was worn back to front. The overall effect was slick and cool.

Pointing to a red coat, Abloh noted: “That’s a normal coat. It could have been bought at a thrift shop, but the way she’s wearing it makes it look expensive. Expensive is the biggest buzzword. It’s the biggest new fashion slang. It’s like the word ‘lick.’ These words mean something now. The idea is not to spend tons of money.”

He was talking about expensive both as an attitude and an objective fact. Some of

Kenzo

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Roger VivierRoger Vivier’s Bruno Frisoni has always had a soft spot for duality of the masculine/feminine sort. Prints asso-ciated with each — a black and white houndstooth and chiné silk print, or the blurred flower prints of the Fifties and Sixties — were the basis for shoes and bags that reflected each side.

He worked both elements with motifs such as military touches and ruffles, introduced in the latest Rendezvous col-lection. The Miss Viv military theme was the message for bags in the masculine vein. An updated version of the house staple featured a thick strap (shaping

the clothes he showed, like a glossy brown trenchcoat with frilled sleeves, probably ticked both boxes. The irony is that even the items that looked like do-it-yourself experiments will carry a hefty price tag when they hit stores.

Because these days, the sales assistants are trying to sell women the kind of clothes they’re already wearing. — Joelle Diderich

EllerySet in moody autumnal tones — they included ink blue, grape, rust and deep black — Kym Ellery’s fall collection opened a dark and controversial chapter in female dressing: the corset. “But, I wanted to explore how it could become relevant to a modern woman,” the designer noted backstage, before releasing the item’s trademark barriers into total freedom.

The corset’s lacing flew off the sides of a sensual turn-of-the-century dress done in nude satin — minus the actual cinch-ing. On a handsome robe coat, featuring embroideries along the hems, which harkened back at artisanal corsetry, the item intrigued as a wide belt, deliberately left unbuttoned. While on a roomy coat’s sleeves it was reduced to mere ornament without function.

Ellery’s mantra: When it gets too stiff or hampers movement, as on one men’s shirt strapped just below the model’s bust, coun-terbalance it with extralarge volumes, and why not, coming from bold, puffy sleeves and extra-extra-flared denim pants. “It’s a little feminist,“ she divulged, although the bondage briefly reappeared on leather ankle boots and open-toe sandals, pieces from Ellery’s debut footwear line.

Eventually, the conflicting impulses of constraint and liberty climaxed in a fiery lamé dress with no boundaries — but a seductive plunging neckline. — Paulina Szmydke

Noir Kei NinomiyaKei Ninomiya’s fall collection for his Noir label was all about faking it.

The designer added faux fur to his reper-toire, transforming the material into what appeared like a cape made of pom-poms or a braided jacket. The latter introduced a series of items executed with the same technique, including a parka, a bomber jacket and a duffle coat.

But what appeared at first to be a varia-tion on macramé knotting (also on view on half of a LBD) turned out to be an opti-cal illusion, created by the placement of strategic smocking to shape the surface of the fabric into a woven pattern. It was one of a series of sleights of hand employed by Ninomiya, a protégé of Comme des Garçon’s Rei Kawakubo.

The gleaming studs on a biker jacket turned out to be made of plastic. A deep pile fabric on a simple dress consisted of thousands of tiny strips of tulle. Those sly touches revealed the designer’s playful side, which can be obscured by his technical wizardry.

The trompe-l’oeil effects also carried over into more pared-down designs. A blazer featured tone-on-tone mimosas embroidered down one sleeve, while knee-length dresses came with detachable pleated aprons in men’s suiting fabrics. Call it a succession of brilliant disappearing tricks. — J.D.

up to be a trend) that could be worn three ways: on the shoulder, cross-body and, more novel, belt-style.

The ruffle motif appeared everywhere from shoe buckles to the back of heels and trim on bags for a softer feminine edge. A strong platform sandal and Chelsea boot with a new Sixties-style circle buckle were among the day’s offerings. For evening, the houndstooth and chiné de silk were beaded and sequined on shoes and bags. Interesting details like leather knots appeared alongside fringe on a delicate evening sandal, while round brass studs, a fresh take for the house, peppered ladylike pumps. Upon entering the presenta-tion, guests were greeted by a group of undressed mannequins bedecked in bags from head to toe. The reference was to Aus-trian artist Erwin Wurm, whose artwork juxtaposes the human form with inanimate objects.

Frisoni’s point was that the viewer focused on bags, not clothes — contrary to the runway, where clothes are the stars and bags, the accompaniments. And for the designer, the masculine-feminine juxtapo-sition extends to the idea of protection and frivolity. His customer, he said, is “armed with softness.” — Roxanne Robinson

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● The quirky leggings brand will change its Web site to terez.com and adapt a new planet symbol.

BY LISA LOCKWOOD

Starting today, Zara Terez will now be known simply as Terez.

The colorful leggings brand, known for its original designs and quirky prints, has established a significant presence in department stores, activewear boutiques and SoulCycle exercise studios, where it has an exclusive collaboration. The company decided to change both its name and Web site to Terez and terez.com, respectively.

“We wanted to elevate the brand and create uniformity across all departments — kids, girls and women’s,” said Zara Terez Tisch, chief executive officer, in the company’s showroom at 555 Eighth Avenue here. The company will also use a new planet symbol that will appear on the leggings, replacing the ZT symbol.

Tisch said she had decided to change the label to Terez even before she received a letter from Zara, the Spanish fast-fashion retailer, asking her to do so.

Having started as a women’s hand-bag manufacturer, the brand launched women’s and girls’ leggings in 2012 at

Intermezzo and ENK Children’s Club “and it just took off like wildfire in kids.” She said women were very hesitant at first and weren’t ready for the colorful leggings, preferring to wear black ones for working out.

“We gave them [kids] a brand they could call their own. They could be who they wanted to be,” said Tisch, who began offering designs such as jelly beans, donuts and emojis. Lester’s originally picked up the brand.

In spring 2014, the brand launched an exclusive collaboration with SoulCycle, where it provides two new women’s prints a month that are co-branded for their exercise studios, and the company fully launched the vibrant women’s leggings. Today, Terez’s women’s leggings are sold at stores such as Saks Fifth Avenue,

Bloomingdale’s, Nordstrom, Lord & Taylor, Neiman Marcus, Shopbop, Carbon 38 and Bandier. The new Terez label will appear on the leggings at the end of the month.

The leggings retail for $75 for capris and $78 for the longer length. Among some of Terez’s prints are emojis, New York City skylines, kale, donuts, mosaic tiles, marble, neon sunsets, sea urchins, cherry blossoms and rainbow liquid metal. The women’s leggings are aimed at a 25- to 35-year-old customer.

In addition to SoulCycle, Terez partners with such brands as Dylan’s Candy Bar, Misterkrisp and Candy Crush.

Tisch and Amanda Schabes, her busi-ness partner and creative director, create all the prints in-house, and everything is manufactured in New York City. At pres-ent, their product line includes lounge-wear, leggings, dresses (kids and girls) and swim (kids and girls). For summer, the brand will introduce backpacks and col-lapsible totes and duffel bags for girls, and structured totes and gym bags for women.

Starting today, the new marketing materials with the Terez logo will appear in e-blasts, on the e-commerce Web site, in a short video and on their social channels.

Tisch declined to reveal the company’s volume but said she hopes to double what she did last year. The company has been doubling its volume every year, she said. International is one area that’s targeted for growth; the company already sells to Japan, Canada, Mexico, the U.K., France and Australia. Eventually Schabes said they would like to open their own store.

THE MARKETS

Zara Terez Rebrands as Terez

and chief executive officer Daniel Lalonde told a press conference on Tuesday.

“Some of the capital increase will be used to refinance a portion of the debt, and the rest to accompany the development of the group in its priorities,” he added.

The firm hopes the primary offering will raise between 150 and 175 million euros, or $163.8 million and $191 million at current exchange, which it plans to use mainly to pay back a portion of the high-yield bond it launched in 2013 to raise 290 million euros, or $385 million at average exchange, to help fund KKR’s acquisition.

Lalonde declined to comment further on the size of the planned offering.

SMCP’s operational debt was three times its earnings before interest, taxes, depreci-ation and amortization at the end of 2015, and through the potential IPO, the firm hopes to reduce its debt to a multiple of less than two times EBITDA, said Philippe Gautier, group chief financial officer.

It is not clear whether KKR wishes to exit SMCP after the IPO. “It is not out of the question that they will remain,” Lalonde said. “In the past, they have exited their investment entirely, and in Europe, sometimes they have maintained a shareholding.”

The news came as SMCP reported that revenues rose 33 percent in 2015 to 675 million euros, or $748 million at average exchange rates for the period. Sales were up 11 percent in comparable terms.

The fast pace surpassed the 20.5 percent increase in sales in 2014, when the Par-is-based group marked its fifth consecutive year of growth in excess of 20 percent — and eclipses recent results from Europe’s big luxury players.

The group, which does not usually pub-lish earnings, said EBITDA rose 44 percent to 107 million euros, or $118 million, and

has increased on average 21 percent a year since 2012. The EBITDA margin was up 130 basis points to 15.8 percent.

Sales in France, which accounted for 49.6 percent of SMCP’s revenues in 2015 — the first time the company has reached parity between its domestic and interna-tional operations — grew 12 percent last year, or 9 percent on a like-for-like basis. In 2012, exports only accounted for 28 percent of the firm’s sales.

International revenues grew 61 percent, boosted by the three brands’ expansion in North America and Asia, especially China, and its entry into the Middle East via mas-ter-franchisee Royal Sporting House, part of Majid Al Futtaim. On a like-for-like basis, exports increased 15 percent.

Broken down by brand, 49 percent of sales came from Sandro, which saw growth of 25 percent. Maje accounted for 40 percent of business, and grew 46 percent, while Claudie Pierlot, with 11 percent of sales, saw a 28 percent rise in revenues.

One of the strongest growth drivers was digital, Lalonde said, with e-commerce sales via branded and partner sites growing 138 percent year-on-year to account for 6.2 percent of revenues, compared with 3.5 percent a year earlier.

Last year, SMCP upgraded its brands’ Web sites, simplifying navigation and adding new functionalities such as click and collect. “Often, our customers first discover our brands online,” Lalonde said.

Accessories, a category that the firm was virtually absent from until last year, were another growth driver, accounting for 6 percent of total revenues in 2015. Accessories sales grew 42 percent in the fourth-quarter versus the same period a year earlier, and Lalonde noted Maje had registered strong first-week sales for its M bag, which he hopes will become a bestseller.

The executive said prospects for the accessible luxury segment were bright.

“We are convinced it is the most dynamic and buoyant segment — more dynamic than luxury right now and more dynamic than mass,” he said.

Lalonde cited the results of a Boston Consulting Group study from October suggesting that the market should see a compound annual growth rate of 6 percent over the next five years. This compares to the 4 percent growth predicted for luxury and 2 percent for mass, he said.

“By putting up their prices in recent years, luxury brands have created a gap in the market between luxury and accessi-ble luxury,” Lalonde said. “Our business model is very unique and difficult to copy and is based on two concepts: being a pure player in retail and combining the codes of luxury with the codes of fast fashion.”

For the next three years, SMCP is tar-geting a CAGR of 11 percent to 13 percent, or 3 percent to 5 percent on a like-for-like basis. It plans to open between 80 and 100 stores net this year. The group operated 1,118 stores in 33 countries as of Dec. 31. It opened a total of 139 stores last year, including 101 wholly owned points of sale, with new markets including the Middle East and Australia, both with franchise partners.

The priority markets for expansion are the U.S., Greater China, the U.K., Spain and Italy.

“There is a lot of room to grow in those markets in a very disciplined and targeted way in big cities. Frankly, we are just at the beginning of the international adventure,” Lalonde said. At year-end SMCP had 115 stores in the U.S., 70 in the U.K., 60 in Greater China, 57 in Spain and 13 in Italy.

Lalonde highlighted the potential of the Chinese market, noting that between 2011 and 2020, the number of households entering the middle class in China will grow from 33 million to 85 million. “They represent new customers for us,” he said.

SMCP is still absent from the Japanese market but hopes to establish a presence there within two to three years. “We strongly believe in the Japanese market,” Lalonde said.

KKR said in October that it was evalu-ating “strategic options” for the business with an eye toward supporting the “future growth and development of the company.”

Sandro, Maje Group Sets IPO CONTINUED FROM PAGE 1

● First Insight study ranks Elie Tahari, Carolina Herrera among most-favored women’s brands.

BY ARTHUR ZACZKIEWICZ

In regards to how brands resonated during New York Fashion Week, mainstay and legacy designers struck the right chords with consumers who also favored colors such as purple and white while preferring floral looks over geometric patterns.

That’s according to an analysis by First Insight Inc., which examined the sentiment of more than 3,600 consumer responses concerning 16 brands and 294 styles. The analysis revealed the top four brands this year as Carolina Herrera, Hervé Leger by Max Azria, Ralph Lauren and Elie Tahari.

Joe Callahan, director of marketing at First Insight, said “there’s been a bit of a change at the top” and noted that last year, Ralph Lauren was the top brand. Callahan said Ralph Lauren gar-nered the top overall item this year with a 77 per-cent positive sentiment score. And the designer had three of the top five items measured.

Among women, Carolina Herrera was favored most while men preferred Ralph Lauren. Among participants between the ages of 19 and 44, Elie Tahari was the preferred brand while those 45 and older leaned toward Carolina Herrera.

This year Hervé Leger by Max Azria experi-enced the “largest increase in positive sentiment among the brands tested” both this year and in 2015, according to the analysts who compiled the report. The brand rose to a positive sentiment reading of 40.7 percent this year from a reading of 30.7 percent a year ago. Other gainers in posi-tive sentiment on a year-over-year basis included Tory Burch, Michael Kors, Nicole Miller, Calvin Klein, Desigual and BCBG.

Regarding style attributes, purple and white were the most popular colors — a repeat of last year’s most favored colors. But green showed the greatest gain, rising to a positive sentiment of 36.6 percent this year from a reading last year of 23.8 percent. Pink was the third most-favored color, climbing from a reading of 33 percent last year to 36.8 percent this year. Blue fell from 35.1 percent last year to a positive sentiment reading of 31 percent this year.

With patterns, florals were favored over geometrics, with the sentiment reading for florals jumping to 37 percent this year from a reading of 29.9 percent last year. Sleeveless styles were once again the most popular look this year with a sentiment reading that climbed to 41 percent from 34.3 percent last year.

Three-quarter-length sleeves dropped to 27.2 percent from 31 percent last year, while long sleeves came in with a reading of 29.2 percent versus 29.4 percent in 2015. This year, halter necklines were most popular while plunge came in second and round was third.

Jim Shea, chief commercial officer at First Insight, noted that consumers, overall, had a higher positive sentiment, with the average reading climbing to 33.4 percent from 31 percent last year.

The analysis also revealed that sentiment doesn’t always correlate with value. The analysts noted that “women valued a top Ralph Lauren dress $16.51 more than men.” Men had a much higher positive sentiment reading toward this item than women, the researchers said.

Nearly 800 of the participants were men while 2,066 were women, and most were between 30 and 44 years old. More than 1,600 had a house-hold income of under $75,000 a year.

The shifts in color and brand sentiment underscore what Shea noted as an old adage on Fashion Avenue: “Designers propose and consumers dispose,” he said, adding that shoppers are “clearly and increasingly more in charge.”

THE MARKETS

Top NYFW Labels Named

Amanda Schabes and Zara Terez Tisch in their showroom.

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Barbie is capping off Paris Fashion Week with her own ex-hibition.

The iconic doll is the subject of a sprawling show simply titled “Barbie” at Les Arts Décoratifs in Paris, opening Thursday.

The 16,150-square-foot show includes some 700 dolls, scale models, video installations, art pieces and fashion treasures from the museum’s collection, including from Carven, Thierry Mugler and Chanel, plus loans from Maison Margiela, Jeremy Scott and the Fondation Pierre Bergé-Yves Saint Laurent.

“The doll was conceived as a fashion toy, not to play mother with or cuddle with, but to be dressed and undressed,” ex-plained Anne Monier, curator of the museum’s toy department during a walk-through of the show. “When Ruth Handler created Barbie in 1959, she had the full wardrobe in mind. The doll itself isn’t very expensive, so that girls can get the clothes, accessories, shoes, handbags, etcetera.”

“We looked at Barbie and fashion through different lenses — Barbie’s adoration for fashion, the collaborations between design-ers and Barbie and finally, how Barbie has inspired designers. The circle is complete,” Monier said.

She worked with Les Arts Décoratif’s chief fashion and textiles curator Pamela Golbin on one display comparing Barbie outfits over a span of 50 years to fashion pieces in the museum’s collection.

“Parisian couture inspired fashion worldwide. As Barbie was a miniature of the ideal [woman, her wardrobe] took inspiration from Paris,” said Golbin. “It’s not an exact copy. But the spirit, fabric, color — everything is there to give the impression that it’s Parisian couture.”

The exhibit sheds light on the more than 150 professions the doll has represented over the years, spanning everything from fashion photographer to U.S. pres-idential candidate.

Video interviews of the Mattel team are part of the exhibition, too. There’s a room dedicated to how Barbie has mirrored pop culture, including dolls inspired by “The Hunger Games,” “Mad Men” and even Kate Middleton and Prince William’s royal wedding.

But the main fashion highlight comes as the grand finale that includes a moving fashion show. Here, dolls are either wearing clothing created by the likes of Oscar de la Renta, Dior, Diane von Furstenberg, Moschino or Sophia Webster and mass-produced by Mattel or are unique creations conceived by designers including Jean Paul Gaultier, Sonia Rykiel, Paco Rabanne and Christian Lacroix.

The doll’s impact on designers is also shown, as seen in looks from Jeremy Scott’s spring 2015 collection for Moschino and piec-es from Maison Margiela in 1994, when the label played on propor-tions in line with Barbie’s.

“Barbie,” runs through Sept. 18. — LAURE GUILBAULT

All Dolled Up“Barbie” opens at Les Arts Décoratifs in Paris on Thursday.

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New Blood Is Willow Smith being groomed as the next star in the Chanel constel-lation? Flanked by her mother Jada Pinkett Smith, the 15-year-old joined guests including Pharrell Williams, Anna Brewster, Halsey and Inès de la Fressange at the Chanel show in Paris on Tuesday morning. Her brother Jaden appears in Louis Vuitton’s spring women’s wear campaign, so does Smith think she would make a good Chanel brand ambassador? “I think if they want me, I will do the best I possibly can and I will freakin’ shine my light in every direction,” she shot back.

It wouldn’t be the first time La-gerfeld has tapped a teenager with famous parents — Lily-Rose Depp, 16, was recently featured in a Chanel eye-wear campaign. The designer staged Tuesday’s show in such a way that every guest had a front-row seat.

“My mind is spinning from what I just saw. That was an amazing show,” said Pharrell Williams, who recently became co-owner of G-Star Raw and is to be involved on creative levels.

Could he be the latest music star to mount a catwalk show? “A runway show? I don’t know, that’s quite a prop-osition,” he said, pausing for reflection. “You know, fashion is something that I’ve always appreciated, but music remains at the core of my existence,” he said. “I’m grateful for all these things. At the end of the day, music is the skeleton key that has gotten me through all of these doors so that remains number one.”

Halsey, who has taken the U.S. charts by storm with her debut album

“Badlands,” was attending her first fashion show. “This is one of those moments when you think to yourself, if I could tell myself at 16 that this is how I’d be spending my winter, I wouldn’t believe it,” she said. “A brand that can be so hyperfeminine, but also cater to someone like me who’s a little bit more androgynous, is a win for me. I love Chanel. This is a dream.”

The singer, whose full name is Ashley Nicolette Frangipane, was due to play a concert in Paris on Wednes-day night and has a sold-out gig at Madison Square Garden scheduled for Aug. 13. She has started wearing Chanel on tour.

“Fashion is everything when you’re on stage, because if you’re a product of your environment the way that I am, you’re so affected by what you’re wearing, because it controls the energy that you exude,” she said. “Your show will change if you’re not wearing the right thing, because you have to be the character that your songs are about.” — JOELLE DIDERICH AND MILES SOCHA

Momager in ChiefKendall Jenner, Olivier Rousteing, Doutzen Kroes and Joan Smalls were among guests at the party Monday night in Paris hosted by Editorialist to honor Kris Jenner.

The publication was celebrating its spring issue, with a “Women in Power” theme, featuring the Jenner matriarch, Kim Kardashian (as its cover girl), Ivan-ka Trump, Jennifer Fisher and Carolina Gonzalez-Bunster.

“Women are transforming busi-ness,” said Editorialist cofounder Kate Davidson Hudson. “We tried to get people with different focuses – Kris, for her marketing genius. She has a gut instinct for what’s right and when and how to approach it.”

So what’s Jenner’s secret for good marketing?

“It takes a lot for somebody to get to know their clients and in my case, they are my kids, so it comes natural-ly,” said Jenner, who was sporting a Louis Vuitton white gown.

She greeted guests barefoot in a salon at The Peninsula Hotel. “That’s Kendall’s way,” she noted, referring to the shoeless style, although her daughter was for the occasion actual-ly sporting Stan Smith sneakers with her black dress and leggings.

“And then I meet [with] people like Olivier, who are dear friends, and the marketing [teams] of Balmain and H&M — I want to work with people whom I feel passionate about,” she continued.

Jenner advised women in business “to find something that you love to do, and if somebody says ‘no,’ you’re

talking to the wrong person.”Meanwhile, her fashion-week whirl-

wind was set to continue. “Tomorrow, I am going to Chanel — Kendall is walk-ing the Chanel show — I’m gonna go by Miu Miu on Wednesday. And then I am going to hang out with Olivier; we’ll have some personal time together, which I am excited about. And then I’m gonna go to Rome with Karl Lagerfeld for a day and open the [Palazzo] Fendi with Kendall. No big deal, right?” she said with a laugh.

Rousteing praised Jenner. “She’s obviously a very strong business-woman, but at the same time, [family is] very important. She moves moun-tains for people she loves,” he said. “I want to bring her outside of Paris and just spend time with her.” — L.G.

Lady in Red “I’m sick,” moaned Eva Longoria by way of introduction.

Sitting in the front row at the Shi-atzy Chen show Tuesday afternoon, the actress and businesswoman had just flown in to Paris and was appreci-ating some well-earned holiday after

completing the first season of her NBC show “Telenovela.”

“This is my first week off, but I’m working tonight for L’Oréal [Paris],” she said.

The brand, for which Longoria is a spokesmodel, will host a Red Obses-sion-themed party.

So what will she be wearing? “Red,” she smiled. “I think Balmain, but actual-ly I don’t know yet.” — ALEX WYNNE

Happy FamiliesThe whole Seydoux clan — and a few extended family members — were on hand to help stylist Camille Seydoux celebrate her “Prismick Denim” capsule collection for Roger Vivier on Monday evening at the brand’s boutique on Rue du Faubourg Saint-Honoré.

There was papa, businessman Hen-ri Seydoux, and his wife, the model and filmmaker Farida Khelfa, and of course sister Léa, most recently seen as Bond Girl Madeleine Swann in “Spectre.”

Adèle Exarchopoulos — practically family since she co-starred with Léa in the 2013 movie “Blue is the Warmest Color” — boogied away on the dance floor with Camille’s cute seven-year-old son to tunes including Rihanna’s “Work.”

Many guests were proudly sport-ing items from the six-piece capsule collection, Seydoux’s first commercial collaboration with a brand. The col-lection features three bags as well as sneakers, sandals and ankle booties made of a patchwork of different-col-ored denims. The items are on sale in Vivier’s stores on a limited-edition basis this month.

“I thought a patchwork of denim was a way of doing something young-er, more urban, that broke with the sophisticated side of what I normally do and the house of Vivier too,” said Seydoux. — A.W.

Fashion Scoops

Willow Smith and Karl Lagerfeld

Kris Jenner and Olivier Rousteing

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12 9 MARCH 2016

FOR MORE INFORMATION, PLEASE CONTACT PAMELA FIRESTONE, ASSOCIATE PUBLISHER AT 212 256 8103 OR PFIRESTONE@WWD.COM

Women’s

Issue: April 13 / Close: March 30 / Materials: April 4

THE RUNWAYS · THE ROUNDUPS · THE REVIEWS ·

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