NEW YORK — Ennio Capasa, head designer for Milan-based Costume National, knew there was only one place to look for inspiration for the company’s contemporary collection. He turned to the streets.
From there, C’N’C Costume National, the younger, edgier sister to the designer line, was born. The collection, which was launched for fall 2004 selling in Milan, will be introduced to U.S. stores in June.
“Basically, I am trying to bring a new concept into streetwear,” Capasa said by telephone from his Milan office. “It’s modern sophistication. I think there has been an evolution of the consumer and the desire is to now have streetwear.”
C’N’C Costume National, as Capasa puts it, is “a sophisticated jeanswear collection.” Ittierre, manufacturer of such secondary lines as D&G, Versus and Just Cavalli, will distribute and produce the line. C’N’C Costume National is priced 25 to 30 percent lower than Costume National.
While denim is undoubtedly the nucleus, the spring collection encompasses nondenim tops, skirts, dresses, outerwear, accessories and footwear. There are 298 women’s clothing pieces and 88 accessories. T-shirts will retail for roughly $145; jeans, $280; basic knits, $325, and leather jackets, $1,000.
Italy was home to the official launch of the collection last fall. The launch brought in more than 10 million euros, or $13.2 million at current conversion rates.
“We wanted the collection to arrive in the States when it was more focused,” said Capasa. “I feel much more satisfied now.
Like Costume National, C’N’C’s focus is on fit and sophistication. “We have both of those things in this new collection,” said Enrico Di Muccio, chief executive officer of IT USA, the American branch of Ittierre, in an interview at the company’s showroom here. “The difference is in the mood.”
Capasa agreed. “Costume National is more luxury,” he said. “C’N’C is more modern streetwear. It’s a collection that can take a woman from morning to night.” Key pieces for spring include chiffon dresses, metallic jackets, skinny-leg jeans and bustiers.“Women today are more aware of fashion and they are much more, in a way, refined, but still very chic and still with the energy of the streets,” Capasa said.
The collection is aimed at women between the ages of 15 and 32. “Those women are waiting for something exciting,” Di Muccio added. “This is the moment to do something younger.” He expects C’N’C’s wholesale volume to reach $1 million to $1.5 million in the U.S. this year.
“The only concern I have is that the economic situation now is not the economic situation of 10 years ago,” Di Muccio said.
The collection will be available in specialty stores such as Barneys New York and The Lounge in New York and Chasalla in Chicago.
“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