After a economically tough year, the September issues of our favourite glossies last year saw a dramatic loss in weight - and for once we're not speaking of size zero waif models - the magazines themselves, usually the most important of the year, were unrecognisably thin. This year however, with some of the pressures of the dreaded credit crunch laying off, curves are officially back 'in'.
With almost a 25% increase from last year, Vogue sits at the top of the weight gain list, with 532 ad pages, and InStyle have seen a healthy increase with an issue containing 403 ad pages - the first time the magazine has racked up over 400 ads since 2000. Following behind is Elle, up 14% with 382 pages, whilst Harper's Bazaar saw a weight gain of 12%, with 302 ads.
The biggest increase, however is Glamour magazine, with 241 ad pages, making a whopping 58% increase. We're glad to see the most coveted issues of the year looking healthy again, and surely this is a sign of a brighter economy, however it wouldn't go amiss if some of the models featuring in these newly fattened issues took some advice from the publications themselves...
Making the cover of three magazines this Summer is a mean feat at best for some of the world's top models (maybe apart from Freja), however as we reported yesterday, one very special (and noticeably popular) Miu Miu dress made the July cover of W, and both the August covers of British Elle and Vogue. And so following this treble victory for Prada's baby brand, Elle's editor in chief Lorraine Candy took the opportunity to dispel the myths and reveal the method behind choosing the winning cover look.
"We first see the look on the runway and note it down as a possible for a cover shoot. When we're back in the office, we call it in and match it to the right star. Contrary to popular belief, we don't shoot covers in sequence. If it fits the moodboard concept of the cover shoot and the photographer likes it, we take it to the shoot along with a rail of potential clothes," she explains. The photographer and mood of the shoot aren't the only deciding factors though - the cover star has to like it, too.
According to Elle, August cover star Lily Allen loved the Miu Miu creation so much she wanted to take it home. "When we saw this Miu Miu dress on the runway in Paris we knew we had to have it for a cover this year and August, the first new season cover, seemed the perfect fit. It ticks all the boxes for an ELLE cover; it's feminine and sexy but modern too. I love a playful element on a cover as it appeals to the ELLE reader who doesn't take herself so seriously. A cover dress should inspire you with the mood of the month and this one does."
ElleUK.com, M&S and the Royal College of Arts have collaborated together to help fashion design students across the UK.
During the recession, many young designers have found it hard to get their designs out there. To tackle this issue, M&S invited students to answer a design brief to create a collection that would complement and enhance their Limited Collection. Out of the thousands that applied, only ten went through to the second round and were asked to produce an iconic look to go on sale at the Marble Arch flagship store. The looks will also go online during London Fashion week in September and one lucky individual will win the prize of producing their own standalone collection for next spring.
Yesterday it was revealed that RVCA dropped Erin Wasson because her team was incompetent and impossible to get along with. The discovery came as a shock when an insider described the team as “total chaos and the epitome of unorganized.”
The California-based brand has been bought by Billabong and has spoken of focusing upon its other collaborations, like the one with Fashion Toast's, Rumi Neely. When asked about the news of her departure, Erin's team replied "No comment."
Following rumours that he was frustrated at the company's poor performance over the past decade, Gap's Creative Director of 14 years, Dennis Leggett has left, according to WWD. It appears that there will be no replacement for Leggett, as it has been suggested that creative consulting firm Laird+Partners - who already create most of Gap's campaigns - will take on a bigger role within the company.
Leggett's departure has left most wondering what this means for Patrick Robinson - does it reflect on his designs? Most likely not - take a closer look at the company and it becomes apparent that Gap's CEO, Glenn Murphy, who's last gig was at a drug store, might be brilliant at cutting costs for the company but has no background in retail consumers or the fashion aesthetic. While Robinson may have boosted the Gap morale since joining the company in 2007, it seems perhaps that Murphy needs to reconsider his tactics to keep one of America's most traditional chains alive.