H&M reveals its opening date for Rushden Lakes

H&M will be opening at 11am on Friday, July 28 – the same day that M&S and White Stuff have already announced that they will be opening their storesA retail store where merchandise is sold, usually a product, usually on a retail basis, and where wares are often kept. at the new £140 million retail and leisure development.

On the morning of the launch, customers in the queue before 11am will receive a 25 per cent discount wristband to redeem in store, as well as a goodie bag. Customers will then be able to look around the store while enjoying tracks from an in-store DJ. Carlos Duarte, H&M’s country manager for UK and Ireland, said: “We are delighted to be opening a brand new store at Rushden Lakes Shopping Centre this month. “Providing our customers with the best shopping experience possible is always our goal and we are confident that our new Northamptonshire store will offer exactly that.” Founded in Sweden in 1947, H&M opened its first UK store in 1976. Forty years later, the UK and Ireland portfolio has grown to include more than 260 stores.



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H&M confirms opening date for Weekday’s UK store

The UK opening date for H&M’s Weekday fascia has been confirmed as August 18.

Opening its doors at 12noon that day, the store on 226 Regent Street, London, is also the fascia’s UK debut.

Parent company H&M Group first announced that the retail chain would be coming to London back in February.

Weekday was founded in 2002 in Stockholm, Sweden, and is a fashionFashion is a popular style or practice, especially in clothing, footwear, accessories, makeup, body piercing, or furniture. Fashion is a distinctive and often habitual trend in the style in which a person dresses. It is the prevailing styles in behaviour and the newest creations of textile designers. and denim brand for men and women.

It now has stores in eight countries and ships to 18 markets. A Paris flagship opened in April and the retailer said a second UK store is due to open sometime in autumn or winter.

Weekday said the new 6996sq ft Regent Street store promises to be “an unconventional and uplifting space” cross over two storeys.

“It has always been on our agenda to open up a store in this great fashion country and especially in the inspiring city of London,” Weekday managing director David Th?rewik said.

“We believe in a modern and youthful approach to fashion and we are confident that the UK is a great fit for our offer. We look forward to seeing how our collections are received.”

H&M Group’s presence on Regent Street has grown in recent months. In addition to its as eponymous flagship store, it operates & Other Stories and COS, while the first store of its newest brand Arket will open there later this year.



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H&M is surviving the ‘retail apocalypse,’ expanding in Central Indiana

In the post-apocalyptic future, shoppingShopping is an activity in which a customer browses the available goods or services presented by one or more retailers with the intent to purchase a suitable selection of them. In some contexts it may be considered a leisure activity as well as an economic one. malls will be full of cheap, fashionable clothes.

Swedish retailer H&M is expanding its footprint across the U.S., including Central Indiana, at a time when national chains are closing stores and exiting malls by the thousands.

H&M recently added space to its Circle Centre mall location in Downtown Indianapolis, and later this month plans to open its ninth Indiana store at the Shops at Perry Crossing in Plainfield.

The company’s Indiana growth comes as it has opened 32 new U.S. stores so far this year, with plans to add 43 more by the end of the year.

“We are one of the largest retailers in the world, so our financial stability allows us to do that,” H&M spokesman Patrick Shaner said. “We think our product offering is very good. That keeps people coming back to the stores.”

While expansion at two Indianapolis-area locations might seem modest, it comes amid a business environment that some analysts have dubbed the “retail apocalypse.” A long list of chains have closed Central Indiana stores, or gone out of business entirely, this year including HHGregg, The Limited, Family Christian Stores, Payless Shoe Source, Talbots, and Loft.

Circle Centre has been especially battered by struggling retailers, with more than a dozen stores closing since the beginning of 2016. But H&M, a chain known for quickly turning runway fashion trends into affordable clothes, is an anomaly.

H&M recently added 5,490 square feet to its 20,000-square-foot lease at Circle Centre, expanding into space that Loft vacated when it closed in January. H&M opened the Circle Centre store, its first in Indiana, in 2005.

H&M remodeled the store, updating its lighting and adding a large video screen at the entrance. The chain also added its popular Divided clothing lines for men and women.

Circle Centre has had success filling vacant spaces with nontraditional tenants, including a glow-in-the-dark mini-golf place called GlowGolf and a dining-and-games spot called Punch Bowl Social. A new burger restaurant called Burger Study is preparing to open soon.

It’s been a challenge, though, to replace departing clothing retailers with other well-known brands. Circle Centre manager Simon Property Group was glad to accommodate H&M’s desire to expand.

“Closures are the natural ebb and flow of retail, but ultimately when stores leave, that creates new opportunities for either new stores or staples of our shopping center to expand,” Circle Centre General Manager Luke Aeschliman said. “H&M obviously saw this as a tremendous opportunity to revamp their store and get ready for the next 10-plus years here.”

H&M also is preparing to open a 24,000-square-foot store at the Shops at Perry Crossing. The store is scheduled to open July 27, offering gifts and specials for customers who show up early.

H&M employs about 20 people at each location.

H&M’s aggressive expansion has occasionally raised eyebrows among analysts, who have compared it to chains such as Macy’s, which grew quickly before tumbling into contraction mode. H&M’s sales growth has slowed and the chain on Monday announced it would stop reporting monthly sales figures.

H&M has more than 4,400 stores around the world. For now, Shaner said, the chain will continue to expand, although it has no immediate plans to add more stores in Central Indiana.

“Our main goal,” he said, “is always to exceed the customer’s expectation.”



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New Zealand’s second H&M store to open in September

One of the world’s largest fashionFashion is a popular style or practice, especially in clothing, footwear, accessories, makeup, body piercing, or furniture. Fashion is a distinctive and often habitual trend in the style in which a person dresses. It is the prevailing styles in behaviour and the newest creations of textile designers. retailers will open its doors in Christchurch on September 9.

Swedish retail chain, H&M, announced plans to open a store in the South Island late last year.

It follows the opening of the first New Zealand store at Sylvia Park in Auckland last October.

The site of the new store will be in the yet-to-be-opened mall, The Crossing, which is near the makeshift container mall in the CBD.

The store will offer an “exceptional shopping experience” by showcasing apparel, underwear and accessories for men, women, kids and babies, as well as being the first H&M store in New Zealand to offer the home concept.

“We are excited to finally be able to announce the opening date for our Christchurch CBD store on [September 9],” H&M manager Hans Andersson said.

“We are also looking forward to introducing our H&M Home concept to our customers for the first time and cannot wait to see the response on opening day.”

H&M is regarded as one of the most valuable apparel brands in the world, worth an estimated NZD $51 billion.



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Women@Dior: A Mentorship Programme Empowering Young Women

PARIS, France — When Maria Grazia Chiuri debuted her first collection as artistic director of Christian Dior back in September 2016, modelsModel (people), a person in a role to promote, display, or advertise commercial products or to serve as a visual aide for people who are creating works of art. wore t-shirts emblazoned with the statement “We should all be feminists.” And, indeed, since the appointment of its first female artistic director that same year, Christian Dior has become a vocal supporter of gender equality and female empowerment both on and off the runway.

This year, in celebration of its 70th anniversary, and to coincide with International Women’s day on March 8th, the Parisian maison launched Dior’s first mentorship programme: ‘Women@Dior’ — a year long project that pairs female Christian Dior employees with female students interested in their area of expertise. “We wanted to celebrate International Women’s Day, and we quickly decided we should be empowering the young,” says Emmanuelle Favre, senior vice president of human resources.

The mentorship programme launched in Paris in March, when female students from Ecole Centrale, Institut Fran?ais de la Mode, Polytechnique, HEC, Olivier de Serres and Panthéon-Assas University, among others, were invited to tour the maison’s atelier and head office, along with the brand’s newly opened state-of-the-art archive facility: Dior Héritage.

The year long programme seeks to empower young women to achieve their career ambitions by pairing them with Christian Dior employees who will provide face-to-face careers advice and guidance once every three months. “We want to coach them very early, at the beginning of their careers or even at school, in order for them to build their self confidence, and to build a network, these are two very important levers in getting ahead in one’s career,” continues Favre.

A global project, ‘Women@Dior’ is designed to enable cross cultural, cross generational and cross functional interactions. “Young women want to own their professional destiny, to be guided, and to share generously their experience,” says Karin Raguin, director of talent development at Christian Dior. At the time of writing, the mentorship programme has been extended to encompass 200 female students and 10 global cities, including London, Shanghai, New York, Dubai and Tokyo.

For Favre, the benefits to both Christian Dior and the mentees are clear. “It is a way of showing them the professions of the business, and to show them that even as an engineer or a scientist there is a role for them in a companyA company is an association or collection of individuals, whether natural persons, legal persons, or a mixture of both. Company members share a common purpose and unite in order to focus their various talents and organize their collectively available skills or resources to achieve specific, declared goals. like Dior.”



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Hollywood takeaways from the epic “Christian Dior: Designer of Dreams” museum exhibition in Paris.

By now, we’re used to seeing a universe of stars wearing Dior — from Rihanna in a dramatic taffeta coat and strapless dressA dress (also known as a frock or a gown) is a garment consisting of a skirt with an attached bodice (or a matching bodice giving the effect of a one-piece garment). at the Cannes Film Festival, to Charlize Theron in a Dior bra top and mini at the Berlin premiere of Atomic Blonde, to first lady Melania Trump wearing a classic red Dior suit on her recent visit to Paris.

But as an epic new museum exhibition celebrating the fashion house’s 70th anniversary shows, Hollywood has been part of Dior’s success since day one.

The exhibition, “Christian Dior: Designer of Dreams,” open through January 2018 at the Musee des Arts Decoratifs in Paris, traces the history of the fashion house both chronologically and thematically, through the seven leading designers who have worked there — Christian Dior, Yves Saint Laurent, Marc Bohan, Gianfranco Ferre, John Galliano, Raf Simons and Maria Grazia Chiuri — all of whom cultivated their own celebrity fan clubs.

The show is a must-see, taking over two enormous wings and multiple floors of the museum with lush and dramatic displays, including Dior’s own 3D flower- and ivy-embroidered gowns favored by Grace Kelly and Eva Peron; Bohan’s prim ’60s-era frocks for Elizabeth Taylor; Galliano’s haute historical (and sometimes hobo-inspired) pieces, which were the height of fashion in the ’90s; Simons’ modernist chopped-off ballgowns and trouser suits worn by Emma Watson and Jennifer Lawrence; and Chiuri’s feminist-inflected designs worn by Rihanna and others today.

The displays do a nice job of tracing Dior’s personal passions (gardening, theater, exotic travel) through his own work, and that of subsequent designers, too. And they also show how the house has been courting controversy and pushing the envelope of fashion from the beginning, long before Chiuri’s headline-grabbing $710 “We Should All Be Feminists” T-shirts.

Upon entering the galleries, the first thing to pique my interest was a historical photograph of women protesting Christian Dior’s 1947 New Look. The designer’s opening salvo, the New Look collection made a fashionFashion is a popular style or practice, especially in clothing, footwear, accessories, makeup, body piercing, or furniture. Fashion is a distinctive and often habitual trend in the style in which a person dresses. It is the prevailing styles in behaviour and the newest creations of textile designers. statement about the end of World War II restrictions, featuring skirts (inspired by the shape of a flower) so voluminous that some women deemed them wasteful. The designer’s arrival in Chicago in 1947 was even greeted by women with banners exclaiming “Mr. Dior, we abhor dresses to the floor,” a photograph reveals.

The exhibition tries to hammer home the meaning and value of handcrafted couture in our time of disposable fashion by placing actual pattern makers, wearing traditional white coats, in a workroom on site to demonstrate for museum-goers what they do and why it costs as much as six figures for a single dress.

The gallery tour concludes with an impressive tableau of gowns worn by Hollywood stars through the years, including Marilyn Monroe, Natalie Portman and many more house muses.

I sat down with the exhibition’s co-curator Florence Muller to talk about how Christian Dior seized on the potential of star power from the beginning and was inspired by Hollywood storytelling throughout his career. Here are six takeaways.



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Dior Designed Runway-Worthy Costumes for This Ballet at the Guggenheim

New York’s Guggenheim museum is about to gift you with one of the most visual dance performances you’ve seen this fall. A part of the museum’s Works & Process program, the museum has tapped American Ballet Theater Principal Daniil Simkin to lead the charge of a new 30-minute project titled Falls the Shadow.

Sounds spooky, huh? Well, it appears to be nothing short of fabulous. Not only are major performance art leaders involved (Alejandro Cerrudo is behind the choreography; Dmitrij Simkin behind production design), but they’ve also tapped the high-fashionFashion is a popular style or practice, especially in clothing, footwear, accessories, makeup, body piercing, or furniture. Fashion is a distinctive and often habitual trend in the style in which a person dresses. It is the prevailing styles in behaviour and the newest creations of textile designers. world for a collaboration. Dior’s Artistic Director Maria Grazia Chiuri has designed the costumes and yes, they’re exceptional.

Basically, as dancers parade about the museum’s noteworthy rotunda (below), their moves will be projected onto the circular-shaped walls by motion sensors, creating 3D visuals that take over the building’s main floor and cascading hallways.

For that reason, Grazia Chiuri focused on shadows and how they’ll look in motion. She outlined their bodies with the “J’Adior Christian Dior” logo to create a map of sorts on their bodies (pictured at top).

“I imagined the costumes beginning with the body’s expressive role in dance: they’re skintight and above all support the subtle gestures, flexible poses, and sinuous movements,” she said in a statement. “In that sense, they are part of the performers’ experience, who feel them on their bodies, but also of the audience, who are participating in such a unique, once-in-a-lifetime experience,” she said.



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Alexander Fury Explains Why Dior’s New Look Is the Ultimate Example of Escapist Fashion – Dior

Alexander Fury, the history-obsessed fashionFashion is a popular style or practice, especially in clothing, footwear, accessories, makeup, body piercing, or furniture. Fashion is a distinctive and often habitual trend in the style in which a person dresses. It is the prevailing styles in behaviour and the newest creations of textile designers. journalist, is, by his own admission, a romantic. It’s a trait that stood him in good stead over the past year, as he helped compile Dior: The Collections, 1947-2017, an extraordinary collection of 1,146 images that document the house’s output over the past 70 years and through seven creative directors.
Dior was 42 when, in February 1947, in a freezing post-war Paris, he made a debut that the press dubbed the “New Look,” despite its nostalgic, throwback curves borrowed from the Belle Epoque. The most iconic piece from the collection, the Bar suit, had a lightning rod effect on fashion that lasted for nearly a decade. Not only was the silhouette a confident one, it was symbolic. With its voluptuous yardage, softness, and homage to femininity, the New Look offered an antidote to the horrors and deprivations of war. It also reasserted the sovereignty of Paris as the capital of fashion. “The opening of Christian Dior’s new Paris couture house,” noted Vogue in its April 1947 issue, “not only presented an extraordinarily beautiful collection; it gave the French couture a new assurance in its own abilities; and because the luxury trades are economic necessity in France, Dior’s flashing success was, in Paris, more than fashion. It was on a par with current political and economic news. Here—once again—things were done on a grand scale.”
Dior, Fury notes, dared to push things to extremes, a tradition carried on by his successors. Yves Saint Laurent, for example, was let go after showing a Beat-inspired haute couture collection in 1960. And, more than fifty years after Monsieur Dior introduced what Vogue described, with acclaim, as “the market-woman shape, a direct steal from the heavily padded, canvas-stiffened skirts the women wear in Les Halles near Notre Dame,” John Galliano would incite an uproar with “Les Clochards,” a lineup that referenced Paris’s homeless population. Plus ?a change.
In anticipation of the book’s release, Fury shares tales of its making and insights into the storied house and its founder.
What surprising discoveries did you make when putting together the book?
There were a lot of surprising discoveries. On the one hand, I was surprised there were so many images of early Dior runway shows—press photographers weren’t permitted into these shows as a rule, so many of these were recorded by the house of Dior itself. It was also surprising that, although we think of the cult of celebrity as a modern thing, many of the runway images we have actually survived because of celebrities in the audience in the images, such as Anthony Perkins, who attended a showing of Marc Bohan’s Fall 1962 collection.
The photo sourcing and selection was undertaken by my coauthor, Adélia Sabatini, and the team at Thames & Hudson in London. It’s amazing that there is such a supply of images—although a few shows are missing full documentation. The final Yves Saint Laurent show for Dior (Fall 1960), the shocking “Beat” collection, is actually shown via static shots in the Dior salon; the prior show is illustrated from stills from newsreel footage. It really shows that the modern phenomenon of the “runway show” hadn’t developed by that point; it wouldn’t be in place until the start of the 1970s, really. Before then, fashion houses would either allow images to be shown via drawing, or would select outfits from the collection (usually around five) and allow photographers to shoot them. The models would pose outside, and photographers would have to pay the models a fee for the privilege.
In researching that phenomenon, I came across some very interesting discussion around the image of Renée [Breton] wearing the Bar suit, famously shot by Willy Maywald, who often shot Dior’s clothes for the house. I had always assumed the shot of Renée on the banks of the Seine was from 1947, but it is actually from the mid-to-late-1950s; she wears a copy of the Bar created for a talk given by Christian Dior at the Sorbonne in 1955 (later donated to the Victoria and Albert Museum in London). But the image itself could be as late as 1957. It’s an interesting example of how, even within Dior’s own lifetime (and when patently out of fashion), the Bar suit was being mythologized as a Dior house icon. How very modern.

Are there other examples of Dior’s self-historicizing?
I think it’s interesting that Dior himself appointed Yves Saint Laurent his successor (in discussions with Saint Laurent’s mother in 1957). He was, perhaps, already thinking about stepping away from his role at the house. He was certainly acknowledging that Dior would continue without Christian. That was an acknowledgment of the size of Dior and its importance fiscally and, maybe, culturally; Dior was also able to separate himself from the house bearing his name. He stated in his autobiography that there were two Christian Diors—the man and the label. He had, I think, realized that Dior had become something far bigger than himself.
In what ways was Christian Dior modern?
Christian Dior always said he wanted his house to be a small couture maison of grand luxe—but the modernity of Dior is in how the label, almost immediately, became enormously successful on a global scale. By 1949, Christian Dior accounted for 75 percent of French fashion exports and 5 percent of France’s exports total. It was also an early example of licensing, and the first Dior fragrance, Miss Dior, was launched the year the couture house opened. That’s all incredibly modern.
Dior was also a genius marketing man, which kind of runs counter to his ideas about a small, exclusive couture house. I think the rhythm of Dior, the constant changes in hemline and the novelty really chime with the demands designers are struggling with and questioning today, with the rhythm of pre-collections. Dior was always proposing new looks, every year. There’s also something very modern in his delegation of duties—in his final collection, in 1957, Yves Saint Laurent (then his assistant) designed 35 outfits. Dior was very much the modern mold of an “artistic director”: leading a design team in his spirit, rather than taking the role of singular creative genius (which, incidentally, was very Saint Laurent).
Then again, that was quite an old idea: Dior had designed for Lucien Lelong and Robert Piguet, even receiving some credit as a backroom genius. So maybe our ideas about “modern” fashion design aren’t so modern after all?
What role has narrative played in the development of the house of Dior?
There are arguably two schools of fashion—modernist and romantic. I think Dior really represents the latter, not just in the silhouettes and decorative approaches, but in the whole narratives woven around collections, the evocative names for lines, and the titles for individual outfits. It’s something that Yves Saint Laurent also excelled at—there was something incredibly poetic about the clothes that Saint Laurent made, both for Dior and under his own name. Heavily thematic, ever-changing. It’s something you also see in the work of John Galliano.
Maybe there’s something about the idea of fantasy and fairy tale that connects narrative to these kinds of designers, something escapist—Dior’s New Look is the ultimate example of escapist fashion, after all. It was historical, unabashedly feminine, and lavish in its use of fabric—at a time when none of the above were in fashion, and when people were yearning for them, evidently. That Dior exhibition in Paris isn’t called “Designer of Dreams” for nothing. It’s interesting because, right now, escapism isn’t something we’re interested in—the last decade or so has really been focused on individual garments, on the “wardrobe” approach. It’s something so many designers have talked about—even at the haute couture level, where people focus on intricate textiles and the savoir faire required to construct a garment, rather than the fantasy it can evoke. Maybe it’s time for a shift now? Maybe we’re ready to escape the world again? I kind of hope so. Personally, I love a crinoline and 40,000 paper butterflies!



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A Zara Documentary Is In the Making

A new documentary is set to shed light on the inner workings of one of our favourite high street storesA retail store where merchandise is sold, usually a product, usually on a retail basis, and where wares are often kept..

Zara: The Story of the World’s Richest Man will go behind the scenes Armancio Ortega, founder of spanish retail giant Inditex, the home of Zara, Massimo Dutti, Bershka, Oysho, Pull and Bear, Stradivarius and Uterqüe.

Produced by Prime Entertainment Group, the documentary will show how the notoriously private company operates, the secrets to its fast-fashion success, and get up close and personal with its camera shy 81-year-old business owner – once the world’s richest man.

Starting off as a small store in the city of A Coru?a, Northern Spain back in 1975, Zara has found unparalleled success thanks to its unique fast-fashion model. Instead of ordering stock seasons ahead, the brand designs products on a reactive basis (sometimes as quick as five days), and replenishes stores on a weekly basis.

‘Our journalists infiltrated the world of the retail store to bring you all the answers and scoops. The documentary includes hidden cameras, interviews with Zara insiders and unique footage of Armancio Ortega, founder and self-made man behind the empire of the greatest prêt-à-porter industry,’ the synopsis states.

Refinery 29 had a sneak peek at some of the footage, and revealed some our their juicy findings. From how Ortega started selling bathrobes to how the brand now make a shirt in 38 minutes, it looks like the documentary will be pretty insightful.

Little more is known this stage, but we can expect to see it later in the year. We can’t wait for this one…

READ MORE: 6 Pieces From Zara’s Pre-Fall Collection To Add To Your Basket Immediately

READ MORE: The Crop Top All The Instagram Girls Are Wearing This Summer



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This is the first item Zara ever sold

We’ll give you a clue: it wasn’t shoes

Remember when we told you why Zara is called Zara? Well we have another fun fact that concerns your favourite high street brand (we assume it is as it’s overtaken Topshop as the most searched shop).

It’s about the first item ever sold by Zara. Now we all know the Spanish fashionFashion is a popular style or practice, especially in clothing, footwear, accessories, makeup, body piercing, or furniture. Fashion is a distinctive and often habitual trend in the style in which a person dresses. It is the prevailing styles in behaviour and the newest creations of textile designers. brand is brilliant for shoes, accessories and generally anything like this polka dot dress that’s flying off the shelves.

So we were quite surprised to find out that the first item sold had nothing to do with any of those… because it was a bathrobe.

Refinery29 got a preview of the new documentary Zara: The Story of the World’s Richest Man (founder Amancio Ortega earns $761 a minute FYI), which revealed Ortega started his business making bathrobes.

He used to work at boutique La Maja with Rosalia Mera (who would later become his wife) and her sister and they created a cheaper version of a quilted robe that the store sold.
At the time, women would apparently go shopping in their robes as there was no heating in their houses, so he saw an opportunity to sell them a stylish robe, for a fraction of the cost of other stores.

He started selling them door to door before opening his company, and we all know how the rest of the story goes.

We actually recently got a sneak preview of the AW17 collection, which includes luxe velvet robes, so it certainly seems like Zara has gone full circle.



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