PARIS--Yves Saint Laurent Parfums is aiming to put the fizz back into the fragrance formerly known as Champagne. The company is moving ahead with its plan to rechristen and relaunch the scent under the name Yvresse on Oct. 21. The unusual challenge it now faces is how to communicate the change to consumers, while reassuring them that the fragrance remains the same. The product has been sold without a name for over two years in France and Switzerland and more recently in Germany. The name change will roll out first in France, before reaching the rest of Europe over a year, starting in January. The company is also closing the book on the bitter legal dispute it had with French champagne growers in 1994, which ended with YSL agreeing to drop the name Champagne immediately in France and withdraw it worldwide by the end of 1998. "This rebirth marks the end of the legal problems," said Francoise Mariez, marketing director for YSL women's fragrances. The promotional campaign for Yvresse--a play on the designer's first name and the French word ivresse, which means intoxication or rapture--will focus on the original concept of celebration. New imagery has been shot by Ellen von Unwerth, and a new logo--Parfum de Fete--will be placed on the packaging and on the advertising. The bottle remains the same. Sales have not lived up to the 1993 launch objectives of $100 million. Worldwide wholesale volume was $48 million (250 million francs) last year, with sales in France dropping as much as 20 percent. "We were handicapped by having no name in our major market--France," said Mariez. "The situation since its launch has been so unusual, you cannot call the fragrance a success or failure, as we don't yet know how it will behave in normal market conditions." The company predicts the relaunch will produce sales for Yvresse of just under $58 million (300 million francs) next year. As of yet, there are no plans to relaunch in the U.S., where the fragrance will be sold under the Champagne name through the end of 1998. "Normally, we'd want a worldwide image, but we invested a lot in the launch and we want to take advantage of that," said Donald Loftus, president of Sanofi Beaute Inc., the U.S. subsidiary. "We're hoping that by the time we have to change, the name Yvresse will be well known." In addition, he pointed out, the new name's pun is lost on English speakers. Meanwhile, the new print campaign will break in France on Oct. 21 in Elle and Femme Actuelle, in Belgium in November magazines. In addition, one million phone cards with Yvresse advertising will be distributed, and the company will undertake direct mail and sampling campaigns. While executives would not reveal specific figures, spending will be substantially lower than the massive $18.5 million advertising and promotional budget for the first launch, which included television spots.
“Azzedine has been one of the biggest influences in my life. He has always been such a strong, loving, fatherly figure to me. I call him Papa. His designs are indescribably unique, they are pieces of art. He knew how to make the female form look its loveliest. I have so many memories of him; my favorite might be during my first show with him in Paris. He liked me and he wanted to help me get more work. He called all his friends at Kenzo and Comme des Garcons, and asked them to book me. They said, ‘But she can’t walk!’ And he said, ‘but she has such a great ass!' His friendship and support has been the great privilege of my career. I can't imagine life without him. Repose en paix mon Papa.” - @stephanieseymour tells @wwd. #wwdfashion (📷: @steveeichner) #alaia #azzedinealaia
Azzedine Alaïa, flanked by two of his closest friends, models Stephanie Seymour and Naomi Campbell.
He designed Seymour’s dress for her 1995 wedding to Peter Brant, and treated Campbell (who famously called him Papa), like a daughter. For more on the legendary designer, tap the link in bio. #wwdfashion #alaia #azzedinealaia
Azzedine Alaïa's “I-did-it-my-way” ethos stood out starkly at a time when brands are experimenting with consumer-facing fashion shows, coed formats and trans-seasonal collections – anything to perk up lackluster sales of ready-to-wear in an age of Insta-everything. “It’s not creation anymore. This becomes a purely industrial approach,” the late designer told WWD in an interview last year. “But anyway, the rhythm of collections is so stupid. It’s unsustainable. There are too many collections.” Read more about the iconic designer’s life and work on wwd.com, link in bio. #wwdfashion #azzedinealaia (📷: @WWD Archive, 1986) #alaia
Sneaker reselling app @goat’s latest exhibit, "The Greatest: New York," tells the story of New York's sneaker culture. To celebrate the exhibit, an intimate crowd gathered on Thursday night at the pop-up gallery space, located at Platform in Culver City, to hear guest speaker and illustrator @esymai talk about her own rise in streetwear and women in the business. "For me I'm just someone who is creative. I like to create things," said Chang. #wwdfashion
Azzedine Alaïa, one of the most iconic couturiers of the modern era whose body-con designs defined Eighties fashion, has died in Paris. The diminutive Tunisian-born designer, known for his structured knitted dresses with fitted waists and impeccably cut, figure-hugging second skin silhouettes was deeply admired by his peers, and counted supermodel Naomi Campbell - his adoptive daughter - among his inner circle, one of a gang of glamazons including Farida Khelfa, Carla Bruni and Stephanie Seymour who became ambassadors of his style. (📷: Alexandre Guirkinger) #wwdblast