Liketoknow.it, the service created by influencer network Reward Style that helps fashion bloggers and brands monetize content from Instagram posts, is releasing a stand-alone app.
The Liketoknow.it app is slated to go live in March, letting influencer-created images seen on the mobile web become shoppable. Any image that is in the rewardStyle network, whether found on Tumblr, Pinterest, Instagram, Google, Weebo or other mobile or social services worldwide, is shoppable and links back to the original content-creator and the brands pictured in the image.
The app uses a proprietary technology that is exclusive to the company.
According to Reward Style founder Amber Venz Box, the app has been in the works since Liketoknow.it was created in 2014. Venz Box said consumer behaviors on social media have changed and that the new app seeks to take advantage of the latest trends by “connecting the dots for consumers” and attracting shoppers who want to buy, providing more value to brands.
Specifics about the functionality and technology will not become public until the app goes live next month.
Thus far, there have been one million pieces of content published to Liketoknow.it alone, Venz Box said. There are 4,000 merchants, one million brands and 150 million products on the platform, and this year

Follow WWD on Twitter or become a fan on Facebook.

Read More…

NO RUNWAY: Yang Li and Aganovich will skip the catwalk during Paris Fashion Week, as both brands opt for a different approach this season.
Beijing-born and London-based designer Li — who has showed in Paris since 2013 — has teamed with German industrial rocker Blixa Bargeld to create a 40-minute show called “Fall,” to be performed at Palais de Tokyo the evening of March 7. The event, combining music, art and fashion, will include Li’s creations as well as the debut of Bargeld’s upcoming EP.
The show is “a physical and sonic mood board, to show the influences and inspirations behind my work,” said Li.
Aganovich, the label founded in 2005 by husband-and-wife design duo Nana Aganovich and Brooke Taylor, is taking a break from the runway, and will instead reveal their fall collection in what they are describing as an “enigmatic” look book of the brand’s inspirations on Feb. 28. In addition to their women’s wear offer, the Aganovich will also include images of a new capsule collection for men.

Follow WWD on Twitter or become a fan on Facebook.

Read More…

Your front row view, no ticket required.

Their Palm Beach looks are almost identical.

“I find out later Simon Miller is not a person.”

Pretty sure Bey is one of the only people in the world who could pull this off.

Zac Posen’s little sister Zac Zac Posen is slowing growing up. The secondary line tends to skew youthful, with bright colors, casual separates, lively prints, et al., but this season it began gravitating toward a moodier offering of occasionwear. A brocade from the late 1800s inspired an overarching Victorian theme that Posen updated with sportswear elements.
It’s hard to imagine takes on Victorian not feeling overplayed. Stylistically, there are blouson sleeves, sheer layers, volume, jacquard and embellishments, all of which are literal draws from Victorian fashion; they all factor into Posen’s collection. But where he differentiates himself successfully is when he takes the idea of dark romanticism and applies it to a street context.
He maximized evening offerings because they sell and, along with other occasion attire separates, put together a sophisticated collection that will appeal to a vast age range. Styles ranged from a sleek black gown featuring a spliced spacing technique to pantsuits featuring the same, paired with bow-adorned bustier tops. A pinstripe capsule is worth noting for its versatility — a floor-length coat could be worn as a dress, as could an elongated blazer with plunging neckline. Floral threadwork, daisy prints, silk jacquards and tulle were offered in diverse dress silhouettes.

Follow WWD on Twitter or become a fan on Facebook.Read More…

Frame founders Jens Grede and Erik Torstensson are moving right along, with an expanded and evolved collection. And while they don’t feel any inclination to abandon that skinny jean, which made them a hot resource fast, they seem tapped into exactly what their fans — and 2,000 retailers worldwide — will want. “We have one foot set firmly in the Seventies, while the other does more with trends,” Torstensson explained. “We want to give our customer what she comes to Frame for; over time, it becomes a wardrobe,” Grede added. For fall, leather has become more important — a terrific, midcalf trenchcoat, a cool biker jacket. Recently, the team found that their velvet sportswear was becoming popular, so they added more of a silk-viscose-nylon version for crisply tailored blazers over matching jeans. The newest of these was in a rich, Persian-carpet print. One of the best additions to Frame’s repertoire were the charming, feminine blouses — ruffle-edged in black silk or given a high frilly collar in white cotton.
While fashion is the focus for women’s wear, Torstensson said the men’s collection is about style. For fall, they aimed to provide the Frame customer with basic pieces that are surprisingly hard to find,

Follow WWD on Twitter or become a fan on Facebook.Read More…

Some things never change: for one, Johnson Hartig’s runway shows for Libertine are always a riotous good time. And there’s never a singular theme on deck in his collections; that’d be too far restrictive for Hartig’s wild, imaginative aesthetic. Both points held true at his fall show, where Hartig cited Romanian gypsies; George Frideric Handel’s opera, “Xerxes”, and the poetry of Robert Burns as inspirations backstage before the show. “And always our whimsy, our cheeky wit,” he added.
Case in point: A few looks featured prints of the Hindu goddess Kali, with the words “Goin’ Back to Kali,” a play on The Notorious B.I.G. song. Elsewhere, there were jackets that were embellished in crystals that spelled out “Don’t Bug Me,” “Mon Dieu!” and “Holy F–k” in colorful letters. The gypsy vibe came through in a witchy black-fur shawl coat worn with a free-flowing chiffon skirt covered in floral embroidery. Not to be overlooked was the painstaking craftsmanship that was poured into Hartig’s pieces, as in a lush fur coat pieced together from 600 pieces of rainbow-dyed mink, arranged in a pattern that spelled out a verse from Burns’ poem, “O Were My Love Yon Lilac Fair.”
Hartig’s humor and elaborate use of embellishment

Follow WWD on Twitter or become a fan on Facebook.Read More…

In the lead-up to the Proenza Schouler show on Monday, some people spoke about it with elegiac gravitas, as if the house’s “last show in New York” were a matter to mourn. Folks, as far as Jack and Lazaro are concerned, they’re moving up, to an earlier schedule during the pinnacle season of haute in the city that deifies fashion like nowhere else on Earth. Don’t cry for me, Argentina.
For New York, however, the exit of McCollough and Hernandez’s Proenza is a loss — or perhaps a milestone, and not of the happiest sort. It marks the end of an ascendant period in American fashion that saw an explosion of new talent into the mainstream, and thrust New York into the center of the proverbial international fashion conversation, a place it hadn’t often found itself and from which it has now been pushed off to the side.
Lazaro Hernandez and Jack McCollough were on the front of that explosion. We can all read what we will into their fashion week exile, but one thing is certain: They think that right now, Paris makes more sense to them as a showcase for their work.
Backstage before their show, they admitted to having approached

Follow WWD on Twitter or become a fan on Facebook.Read More…