Reflections On the Emerald Isle Landscapes That Inspire Authentic Donegal WeaveFilmmakers Jamie Delaney and Keith Nally’s beautiful short, made in collaboration with heritage enthusiast and Acne Paper Editor Charlotte Rey, profile one of the last surviving weaving mills, Molloy & Sons. Based in the windswept County Donegal, Ireland, current father and son duo Sean and Kieran Molloy have a pedigree dating back over six generations and weave premium tweed from the famous Donegal yarn. “I think that with old crafts which are indigenous to areas like this, it’s really hard to divorce them from their landscape,” says Delaney. Over the course of three days’ filming, Delaney and Rey captured the family’s impressive artisanal skill and dedication to a dwindling industry. Amidst the bleak but beautiful scenery surrounding the mill, the textile masters explained how their authentic Donegal weaves were inspired by the muted tones and flecks of color in the local heather, bracken and wild flowers. “Tweed is part of the cultural DNA in a sense; it’s been there for generations and it’s a pillar of a fabric industry that is now disappearing,” says Rey. “What should really be shining through is the love and the passion of these people.”
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mardi 13 décembre 2011
mercredi 7 décembre 2011
LONDON, December 7, 2011
By Tim Blanks
For Spring, fashion's rearview mirror reflected the sheen and glamour of the Jazz Age, but with Burberry's new pre-collection, Christopher Bailey dialed forward a few years to the pre-WWII thirties. Not Hollywood escapism, mind you, but true Brit grit, reflected in strict silhouettes, honest fabrics, and modest, almost demure details. For instance, cashmere intarsias featured the humble sparrow and the pigeon. In the spirit of play, all that was missing was a packet of bread crumbs. Elsewhere, the focus was firmly on serious, tweedy tailoring. Jackets had harder, extended shoulders and nipped waists, sometimes with a bell peplum. Knee-length skirts were lean, often flaring into a fluted hem. Polka-dotted chiffon blouses had pussy bows or puff sleeves and covered buttons.
The dark color palette told its own sober story: sage, bracken, lavender, charcoal, pewter. They meant the ruched evening gowns pointed to austerity rather than opulence. But hang on a minute—there's plenty of new documentation about the heady times had by London's demimonde both immediately before and during the war. Those gowns, with their slit bodices and slashed skirts, also had a wanton quality that suggested wingdings at the city's grand hotels. And, at the end of her wild night out, Bailey's pre-war party girl could grab her enameled Deco minaudière, throw a tweed mink over her bare shoulders, and head out into the fog.
(source:http://www.style.com/fashionshows/review/2012PF-BURBERRY/)
By Tim Blanks
For Spring, fashion's rearview mirror reflected the sheen and glamour of the Jazz Age, but with Burberry's new pre-collection, Christopher Bailey dialed forward a few years to the pre-WWII thirties. Not Hollywood escapism, mind you, but true Brit grit, reflected in strict silhouettes, honest fabrics, and modest, almost demure details. For instance, cashmere intarsias featured the humble sparrow and the pigeon. In the spirit of play, all that was missing was a packet of bread crumbs. Elsewhere, the focus was firmly on serious, tweedy tailoring. Jackets had harder, extended shoulders and nipped waists, sometimes with a bell peplum. Knee-length skirts were lean, often flaring into a fluted hem. Polka-dotted chiffon blouses had pussy bows or puff sleeves and covered buttons.The dark color palette told its own sober story: sage, bracken, lavender, charcoal, pewter. They meant the ruched evening gowns pointed to austerity rather than opulence. But hang on a minute—there's plenty of new documentation about the heady times had by London's demimonde both immediately before and during the war. Those gowns, with their slit bodices and slashed skirts, also had a wanton quality that suggested wingdings at the city's grand hotels. And, at the end of her wild night out, Bailey's pre-war party girl could grab her enameled Deco minaudière, throw a tweed mink over her bare shoulders, and head out into the fog.
(source:http://www.style.com/fashionshows/review/2012PF-BURBERRY/)
mardi 6 décembre 2011
CHANEL PARIS-BOMBAY
PARIS, December 6, 2011
By
Karl Lagerfeld has never been to India. "It's much more inspiring not to go to places than to go," he said today after a Chanel presentation that spectacularly evoked the sights, smells, and sounds of the last days of the Raj. OK, Michel Gaubert's sitar-free soundtrack might have been a stretch (unless the Raj was rocking to David Lynch's new album), but the towering tiers of fruits, sweets, and flowers that filled the center of the room definitely had a sense of palatial excess. They were circled by a toy train bearing decanters of…what was it that maharajas drank? scotch?…which rang true as a decadent detail, conveying the notion of a privileged few playing while empires crumbled. Sound familiar?
Lagerfeld resisted such topical insinuations, but he did concede that fashion historically tends to come into its excessively creative own during difficult economic times. A perfect moment for him, in other words. And this collection, an annual salute to the work of the craftspeople who make Chanel happen, including the recently passed François Lesage (hence the name, Métiers d'Art), was definitely a feat of creative excess, from the jaw-dropping set, which turned a curved space under the dome of the Grand Palais into a corner of Rajasthan, to the clotted silver embroideries, the gilded laces, the lustrous silks that determined the character of the clothes.
It's easy to imagine a canny designer making the decision to aim such shine and glitter at an emergent market feeling its fashion oats (I'm talking about India, BTW), but Lagerfeld's post-show declaration that bling was dated made it clear that he had something else on his mind. The theme "Paris-Bombay" was a reminder that Europe's fashion industry has increasingly turned to India to produce extravagantly handworked pieces as it has become prohibitively expensive to make them at home. Lagerfeld's fiendish plan was to flip the equation, so that everything that looked intricately Indian was actually made by Chanel's ateliers in Paris. That was some kind of tour de force.
All that aside, Paris and Bombay blended beautifully in pearl-swagged tweeds, in a raw silk tunic over leggings (they were actually sinuously bootlike, so we should probably call them beggings or loots), in sheer paisleys, or side-draped asymmetry in ivory silk. The elegance of a lightly peplumed jacket and matching skirt in ivory silk had absolutely nothing to do with geography. It was simply French chic. Not everything worked—there was a queen-of-the-fairies moment that felt like a malfunction of Florence's machine—but the sheer prodigious extravagance of the dream world that Lagerfeld pours onto his catwalk collection after collection allows for the flaw—the merest flaw—once in a while.
Lagerfeld resisted such topical insinuations, but he did concede that fashion historically tends to come into its excessively creative own during difficult economic times. A perfect moment for him, in other words. And this collection, an annual salute to the work of the craftspeople who make Chanel happen, including the recently passed François Lesage (hence the name, Métiers d'Art), was definitely a feat of creative excess, from the jaw-dropping set, which turned a curved space under the dome of the Grand Palais into a corner of Rajasthan, to the clotted silver embroideries, the gilded laces, the lustrous silks that determined the character of the clothes.
It's easy to imagine a canny designer making the decision to aim such shine and glitter at an emergent market feeling its fashion oats (I'm talking about India, BTW), but Lagerfeld's post-show declaration that bling was dated made it clear that he had something else on his mind. The theme "Paris-Bombay" was a reminder that Europe's fashion industry has increasingly turned to India to produce extravagantly handworked pieces as it has become prohibitively expensive to make them at home. Lagerfeld's fiendish plan was to flip the equation, so that everything that looked intricately Indian was actually made by Chanel's ateliers in Paris. That was some kind of tour de force.
All that aside, Paris and Bombay blended beautifully in pearl-swagged tweeds, in a raw silk tunic over leggings (they were actually sinuously bootlike, so we should probably call them beggings or loots), in sheer paisleys, or side-draped asymmetry in ivory silk. The elegance of a lightly peplumed jacket and matching skirt in ivory silk had absolutely nothing to do with geography. It was simply French chic. Not everything worked—there was a queen-of-the-fairies moment that felt like a malfunction of Florence's machine—but the sheer prodigious extravagance of the dream world that Lagerfeld pours onto his catwalk collection after collection allows for the flaw—the merest flaw—once in a while.
It was to day! the défilé Chanel for pre-fall s'collection. For the moment, I have some pictures, but I will post the video soon!
mardi 29 novembre 2011
Evanescent Metamorphoses
Evanescent Metamorphoses is a film created by Karl Lagerfeld for the Fall-Winter 2011/12 Pre-collection.
Karl Lagerfeld plays on the ambiguity between masculine and feminine. In a dreamlike atmosphere, he films model Kristina Salinovic, whose initially androgynous look becomes increasingly feminine as her numerous metamorphoses take place.
Karl Lagerfeld plays on the ambiguity between masculine and feminine. In a dreamlike atmosphere, he films model Kristina Salinovic, whose initially androgynous look becomes increasingly feminine as her numerous metamorphoses take place.
lundi 28 novembre 2011
Chanel | Spring Summer 2012 | Focus on Acessories/Details
Voici les close up de la collection Chanel S|S 12. Ces details sont directement reliés à mon thème des fonds marins.
GLORIFICATION OF THE NATURE-S O M E T H I N G E L S E - C A S T A W A Y
Something Else - Castaway from Lorin Askill on Vimeo.
Lorin is a Sydney based director, editor and creative collaborator who has worked both in Australia and overseas. He has been directing and editing commercials, music videos and other short and long form projects for over 5 years and has worked in the creative world since 2002.
Since graduating from the College of Fine Arts in Sydney, Lorin gained representation as a director with Collider Sydney and more recently Caporal Paris. He has created work for a variety of companies including BMW, Sony Ericsson, XBox, Nescafe, Acne, Sydney Dance Company and many others both as a director and collaborator with brother Daniel Askill. As an editor Lorin has worked freelance with a number of other production and post companies including Radical Media and Animal Logic.
Nature and man will become one for next season. this is what I can conclude with my observation. One can easily see how the theme of nature and the water is recurring this season. It does not involve the only fashionable as can be seen in the video below, one associates it with the decoration, to alcohol, food ... and so on. water is a recurring thread of the season.
Lorin is a Sydney based director, editor and creative collaborator who has worked both in Australia and overseas. He has been directing and editing commercials, music videos and other short and long form projects for over 5 years and has worked in the creative world since 2002.
Since graduating from the College of Fine Arts in Sydney, Lorin gained representation as a director with Collider Sydney and more recently Caporal Paris. He has created work for a variety of companies including BMW, Sony Ericsson, XBox, Nescafe, Acne, Sydney Dance Company and many others both as a director and collaborator with brother Daniel Askill. As an editor Lorin has worked freelance with a number of other production and post companies including Radical Media and Animal Logic.
Nature and man will become one for next season. this is what I can conclude with my observation. One can easily see how the theme of nature and the water is recurring this season. It does not involve the only fashionable as can be seen in the video below, one associates it with the decoration, to alcohol, food ... and so on. water is a recurring thread of the season.
lundi 21 novembre 2011
ALEXANDER McQUEEN-S|S 12
Sarah Burton has done an exceedingly good job at Alexander McQueen. That's not an opinion, it's a fact. Using the McQueen codes of femininity, sharp cutting and catwalk drama, she has not only upheld the legacy of Lee Alexander McQueen, but has given it her own handwriting. It's been exhilarating to watch.
But there's still a part of you that felt something was missing. There's still a part that hankered after the old McQueen danger, the chilling moments when the refined was married flawlessly with the macabre. The moments that gave you goosebumps, that made your hair stand on end with shock and awe. Burton achieved that with her Spring/Summer 2012 collection. She didn't ease up the romance, she didn't compromise the workmanship, but she combined these to a sense of showmanship and an eerie beauty that felt unequivocally McQueen.
Burton looked undersea for her inspiration this season. It's a place McQueen examined himself - his Spring 2010 Plato's Atlantis collection imagined a world of melted polar icecaps, flooded cities and evolved/devolved humanity scrambling to survive. Burton's take was woman as underseas predator. If Neptune were to take a wife, chances are she'd look just like this. 'Siren dressing' is a fashion journo stock-phrase, but Burton's women like sirens in the true mythological sense of the term - oddly alluring, fatally seductive, and utterly terrifying. Each and every one had their heads veiled, some in whisper-fine veils of lace framing the face, some obscured entirely with crystal-crusted barnacles or anemone-alike beading, faces tremblante with bugle-beads standing on end like Hellraiser's Pinhead. It was appalling, but it was also one of the most powerful catwalk statements of the season - and the most beautiful, albeit strange and warped.
I think that
The thrill factor was what was really great about this collection, but Burton is a canny businesswoman too. She didn't let the theme overpower the clothes. Rather it gave an edge to Burton's savage tailoring, exquisite embroidered sheath dresses and tatterdemalion chiffon ball-gowns floating down the catwalk like elegant algae. The latter two looked like private order and red carpet stuff, exquisite couture level (and price) pieces for editorial and the discerning clientele who can see the beauty amidst the menace. But the former was resolutely real: the curvy suiting, intricately seamed and bursting into rippled volume at the hip or hem, in beige wool bound with gold or a blue-hued multidimensional print that looked like a combination of refracted water and some aquatic reptile. They had a retail appeal, but also an engaging complexity. The evening-wear took that complexity and ran with it, producing garments that were unlike anything we've ever seen before. Coral clambered up chiffon, shells tumbled down a torso, beading formed exoskeletons over lace or tulle.
The drama of this show was palpable, but the clothes never felt secondary to the unfolding narrative as McQueen's woman descended into the depths and returned as a different creature entirely. When I say McQueen's woman, of course I mean Burton's woman. The two are now so completely fused that they have become one and the same. For this virtuoso, masterful fashion performance, I can think of no higher praise.
Report by Alex Fury on 5 October 2011.
(source: http://showstudio.com/collection/alexander_mcqueen_paris_womenswear_s_s_2012)
But there's still a part of you that felt something was missing. There's still a part that hankered after the old McQueen danger, the chilling moments when the refined was married flawlessly with the macabre. The moments that gave you goosebumps, that made your hair stand on end with shock and awe. Burton achieved that with her Spring/Summer 2012 collection. She didn't ease up the romance, she didn't compromise the workmanship, but she combined these to a sense of showmanship and an eerie beauty that felt unequivocally McQueen.
I think that
The thrill factor was what was really great about this collection, but Burton is a canny businesswoman too. She didn't let the theme overpower the clothes. Rather it gave an edge to Burton's savage tailoring, exquisite embroidered sheath dresses and tatterdemalion chiffon ball-gowns floating down the catwalk like elegant algae. The latter two looked like private order and red carpet stuff, exquisite couture level (and price) pieces for editorial and the discerning clientele who can see the beauty amidst the menace. But the former was resolutely real: the curvy suiting, intricately seamed and bursting into rippled volume at the hip or hem, in beige wool bound with gold or a blue-hued multidimensional print that looked like a combination of refracted water and some aquatic reptile. They had a retail appeal, but also an engaging complexity. The evening-wear took that complexity and ran with it, producing garments that were unlike anything we've ever seen before. Coral clambered up chiffon, shells tumbled down a torso, beading formed exoskeletons over lace or tulle.
The drama of this show was palpable, but the clothes never felt secondary to the unfolding narrative as McQueen's woman descended into the depths and returned as a different creature entirely. When I say McQueen's woman, of course I mean Burton's woman. The two are now so completely fused that they have become one and the same. For this virtuoso, masterful fashion performance, I can think of no higher praise.
Report by Alex Fury on 5 October 2011.
(source: http://showstudio.com/collection/alexander_mcqueen_paris_womenswear_s_s_2012)
vendredi 18 novembre 2011
Givenchy- FALL COUTURE 2011
Just over a week ago, Riccardo Tisci dazzled the menswear crowd with a lush, colorful show inspired by bird-of-paradise flowers. For his new haute couture collection, it was paradise in general that intrigued him. "Purity, lightness, fragility," was how he summed up his focus. At first glance, this was a much more restrained affair. The ten looks were all white, or very nearly so. But Tisci held nothing back when it came to the handwork.
Months and months in the planning, a long tulle dress was decorated with tiger's-eye pearls that had been inserted with crystals to catch the light and arrayed in the exact same pattern as the marks on an ostrich skin. Another gown was even more painstakingly embroidered with tiny silvery-gray caviar beads. In a callback to his women's ready-to-wear, Tisci paired it with a matching jumper boasting a sheer front panel and beading everywhere else so thick it was 3-D. A third dress, the most expensive and time-consuming to make of all the pieces, was entirely sewn of symmetrically placed hand-cut silk tulle paillettes. The result looked like some sort of exotic fish--in the most flattering possible way.
And, really, that was just the beginning of the embellishments. Hand-curled feathers; plumes so densely embroidered they looked like fur; dégradé beading that not only changed color but also went from shiny to matte—all rewarded the sort of up-close inspection that Tisci has made a point of his Place Vendôme couture installations. At these presentations, every detail, however small, warrants his attention. On the one hand, a fragrance diffuser misted the scent of spring roses through the rooms; and on the other, Popol Vuh, circa Werner Herzog's Aguirre: The Wrath of God, played on the speakers.
Tisci, in other words, hasn't entirely abandoned his dark side, nor lost his taste for provocation. Mingling among all those high-priced embellishments were the oversize plastic zippers that have become a signature of his modern take on the traditional art of custom dressmaking. And don't forget all the flesh laid bare by his cutouts, peekaboo fringe, and tulle. Still, the exquisite technique was the big story here, pointing as it did to the continuing evolution of this designer's unique couture vision.
lundi 14 novembre 2011
Biological basket's movement
Publié le 26 février 2011 à 05h00 | Mis à jour le 26 février 2011 à 05h00
Les paniers bios débordent de demandes
(Québec) Parti de zéro il y a 15 ans, le réseau d'agriculture soutenue par la communauté (ASC) de l'organisme Équiterre permet maintenant à 10 000 ménages québécois de recevoir un panier de produits biologiques chaque semaine pendant la belle saison. Et la demande ne fléchit pas, puisque la centaine de fermes inscrites ne suffit pas à répondre aux besoins.
Inspiré d'une initiative japonaise, le projet d'Équiterre est maintenant le plus important du genre au monde, selon l'organisme. Il dessert aujourd'hui quelque 30 000 personnes de 13 régions, dans 350 points de chute.
Une cinquantaine de personnes assistaient jeudi à une journée de formation sur l'agriculture biologique à Beaupré, principalement des agriculteurs déjà en activité ou en devenir.
Pour la relève en culture maraîchère, la vente directe aux consommateurs apparaît comme la principale voie de développement, indiquait lors d'une pause Martine Côté, agronome au ministère de l'Agriculture, des Pêcheries et de l'Alimentation du Québec (MAPAQ). Et le marché bio offre davantage de possibilités, plus que le marché conventionnel. Impossible pour un cultivateur débutant de percer auprès d'une chaîne d'épicerie, dit-elle.
Pour les consommateurs, appelés «partenaires» dans le contexte de l'ASC, l'engagement auprès d'un «fermier de famille» dépasse largement le simple achat de légumes. Il s'agit également d'un geste de solidarité envers ceux qui cultivent la terre.
La formule est simple : les partenaires s'engagent à prendre un panier par semaine pendant la durée de production, laquelle varie de 16 à 22 semaines selon les régions.
Certains fermiers fournissent aussi des paniers d'hiver. Le tout est payable d'avance, ce qui permet au maraîcher de ne pas avoir à s'endetter à un moment de l'année où les rentrées d'argent sont autrement nulles, et d'avoir une assurance de revenus.
Selon Mathieu Roy, qui faisait une présentation au nom d'Équiterre, le système s'est rodé au fil du temps. Il y a eu des erreurs, convient-il, en citant l'exemple d'une ferme qui a cessé de livrer ses paniers en pleine saison en refusant de rembourser ses clients. Désormais, la sélection est beaucoup plus serrée. Quant aux fermiers qui s'engagent dans ce mode de distribution, ils bénéficient d'un mentorat, de formation et d'accompagnement. Tous sont certifiés biologiques ou en voie de l'être.
Pour les fournisseurs, il y a des règles de base à respecter. Ce n'est pas parce que vous avez un surplus de haricots qu'il faut en mettre trois livres par semaine dans le panier, illustrait pour sa part Clément Roy, un maraîcher de Donnacona qui participe au réseau depuis une dizaine d'années. «Les gens ne seront pas plus contents.»
En effet, si les consommateurs veulent une belle variété de légumes dans leur panier, ils n'aiment pas se sentir débordés au point d'en gaspiller ou de devoir cuisiner à n'en plus finir.
Les visages de l'agriculture
Ce que les gens adorent par contre, c'est rencontrer régulièrement celui ou celle ayant fait pousser toute cette fraîcheur, lors des livraisons hebdomadaires, et la possibilité de faire une visite à la ferme. Ce que Mathieu Roy appelle «mettre un visage sur sa tomate».
Il faut aussi y aller mollo sur les produits moins connus, pour lesquels il est bon de fournir des recettes, dit Clément Roy.
Pour sa part, il dit ne pas avoir de scrupule à mettre une «carotte croche» dans le paquet. «Elle est aussi bonne que les autres.» Une façon d'éduquer les consommateurs à la réalité de l'agriculture, et à l'immense gaspillage qu'entraînent nos goûts pour des produits parfaits.
Pour en savoir plus sur l'agriculture soutenue par la communauté, voir le site d'Équiterre, www.equiterre.org, dans la section Projets.
(source:http://www.cyberpresse.ca/le-soleil/affaires/agro-alimentaire/201102/25/01-4374191-les-paniers-bios-debordent-de-demandes.php)
According to me, this movement shows that people are more and more raised awareness by the good habits of life. This movement will help to raise the economi , because it emphasizes products from our home.
This movement is directly to connect to my trend of the GLORIFICATION OF THE NATURE, to the point of view that we appreciate more and more products in the point of view appearance. We accept the defects of the fruit or the vegetables, because these result from the nature.
jeudi 10 novembre 2011
The Very Best of Versace for H&M - H&M Winter 2011
I pretty love Versace for this baroque touch, which is a part of the DNA of the brand. however I' not to pack so much that I thought by this collection for H&M. Far from me the idea to say that's not a beautiful collection, however I don't find the current touch of Versace. I believe that this collection would have had to have a more modern look. Furthermore, Donatella Versace, I think that collection look like a Gianni Versace collection, if it was the idea of this collection, is successful... But I think that we need to see a more modern Versace, We have to look towards at intended... but I have to say that the collection is nevertheless made a success well.
vendredi 28 octobre 2011
RICK OWENS- TIMELESS DESIGN
Here's my new obsession... of the DAY (hahaha!). Rick Owens, which talented creator! Working at La maison Simons, in men's collections, downtown Montreal, I have the luck to see his line DRKSHDW, every time I work!. I like particularly his work for his pures line, the proportions of his clothes, his work is raw and that's the way I appreciate it. Each universes that he show to us, every collections, he's a very talented designers.
This is a portrait of Rick Owens by... you will be surprised... by Nick Knight and Ruth Hogben that exploring the decadent, dandyish elegance of Owen's menswear and the man himself. You have also, the "making off" with a small interview.
Black, signature slim buttoned closure denim jacket with angular pockets on either side, slim leather sleeves, ribbed cuffs and slim collar.
100% Cotton$CAD 1399
When I tell you about pure lines, here's what I'm talking about. I discovered this coat at Reborn, in the Old Port of Montreal.
Black, signature ultra-low drop crotch lengthy casual short with contrasting drawstring, deep pockets on either side and rear panel insert construction.
100% Cotton
$CAD 450
(source: http://reborn.ws/shop/DRKSHDWByRickOwensMen/)
I'm not fan of that kind of pants, but it is pants made for me tlmt indeed, I like them. They are definitively on my shoppinglist!
I'm not fan of that kind of pants, but it is pants made for me tlmt indeed, I like them. They are definitively on my shoppinglist!
So, I leave you on this video of the last collection Rick Owens for summer, 2012.
If you have comments or advice, go for it, I'll be happy to recieve them.
jeudi 27 octobre 2011
RAD HOURANI-UNISEX FASHION
Sometimes we are surprised hearing people talk, we realise that, sometimes, people have a vision similar to ourself. I believe that Rad Hourani is a pretty good example. His pieces are printed by modernity. I believe that kind of clothes will be eternal by their timeless cuts and their colors .
Rad Hourani reinvents fashion by transcending its conventions, creating a unisex luxury that is changing women’s and men’s wardrobes since he launched his namesake label in 2007 in Paris. Like all truly great visionnaires, Hourani not only depicts fashion, he defines it, and gives it cultural resonance. Gender-agnosticism is the driving conceptual direction in Rad Hourani's work, and growing up and living in such different parts of the world has certainly contributed to Hourani’s rather holistic design approach: self-tought and driven by a passion for modernity, Hourani creates a luxurious yet affordable lifestyle that has rid itself of any conventional restrictions : no gender, no season, no rules, epitomising the values of freedom and unisex elegance. (source:http://www.radhourani.com/)
mercredi 26 octobre 2011
GOOGLE is launching a ecommerce
According to Huntington, Google will be entering the online fashion retail arena, helped by the technology and know-how it gained with the acquisition of visual search technology company Like.com last August.
Huntington adds that the fashion ecommerce site will be called Boutiques.com (the domain name is owned by Like.com but the website is password-protected):
Well frockwriter can fill in a few blanks. Our sources say that the new Google fashion initiative is called Boutiques.com and boasts not only online boutiques selling merchandise offered by various designers and retailers, but a large number of curated “boutiques” selling the looks worn by celebrities and other influencers.
This is line with earlier reports (WSJ) that Google is poised to upgrade its shopping site Google Product Search (once called Froogle) to compete more fiercely with the likes of Amazon and eBay.
Update: Google Product Search just got a major revamp.
If the rumors check out, the launch of a fashion-specific comparison shopping site pits Google squarely against eBay first and foremost.
The latter has steadily been ramping up its fashion offerings lately: the company released an iPhone app for the vertical, a one-stop-shop for all things fashion on its marketplace dubbed eBay Fashion and a flash sales site that sells designer clothes at discounted prices called FashionVault. eBay also launched a site that showcases street style of eBay shoppers, called LookBook.
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