Moncler and Stone Island: A merging of two distinct outerwear visions

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Moncler and Stone Island: A merging of two distinct outerwear visions

At the end of 2020, Moncler announced their acquisition of outerwear brand Stone Island. This merger is significant in the luxury outerwear sector, where few brands have developed the loyal following and cool-factor across global markets as Stone Island. While Moncler has maintained a unique place in the industry by making space for both high-end fashion and elite activewear in their brand ethos. The remarkably high price tag does a lot of the work, keeping the Moncler brand well apart from competitors like Boegner and Mackage.

Stone Island

Stone Island

There are mutual benefits to the brands’ connected fates which include access to each other’s audience and markets, and the infrastructure where each has its own strengths:

“With Stone Island, Moncler is diversifying with a more technical brand after a streak of double-digit sales growth ended…Moncler may be able to help Stone Island improve its distribution. The acquirer gets 77% of its revenue through its own network of 218 stores, while Stone Island only has 24 shops and gets three-quarters of sales from wholesale partners.” (Bloomberg)

The two brands have unique histories. This makes them distinct from each other, and also is a strong case for their respective brand equity. Moncler, founded as a skiwear brand in 1952, is best known for quilted jackets and heritage as a supplier for alpine expeditions throughout the ‘50s and ‘60s.

In the ’80s, Moncler made a push towards an urban clientele that would eventually shift the brand away from its sporting goods origins to a high-fashion brand. The timing of Moncler’s streetwear strategy coincides with the launch of Stone Island. Although their audiences were always different, both brands seem to have been responding to a similar cultural moment.

“Men’s wear brand Stone Island was established in 1982, and it is known for its extensive research on fibers and textiles, experimenting with dyes and treatments.” (WWD)

Both brands push the boundaries of the outerwear category. Some of the most interesting work that comes from Stone Island has to do with the company’s technical experimentation. While for Moncler, it is the genius collection that most captures the imagination, references new ways of thinking, and develops the medium of outerwear.

Moncler Genius, Pierpaolo Piccioli

Moncler Genius, Pierpaolo Piccioli

What Moncler did, through this acquisition, is re-position itself from being a target for acquisition to the master of its own fate. Elite in its own way, Stone Island, under the ownership of Moncler, actually seems to bring some agility and freshness to the older brand which otherwise might have become folded into a stifling luxury conglomerate.

Hopefully, the spirit of exploration that launched them is what carries these two brands together into the coming decades.

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Outerwear in the Art of Barkley Hendricks

The attitude and outerwear in these paintings is captivating.

Top of the list of things we miss during the pandemic closings are museums. Can’t wait to see art in person again. In the meantime, enjoy:

Fig.2 Barkley L. Hendricks George Jules Taylor 1972 Oil and acrylic on cotton canvas 2323 x 1530 mm National Gallery of Art, Washington, D.C. © Estate of Barkley L. Hendricks. Courtesy of the artist’s estate and Jack Shainman Gallery, New&…

Fig.2
Barkley L. Hendricks
George Jules Taylor 1972
Oil and acrylic on cotton canvas
2323 x 1530 mm
National Gallery of Art, Washington, D.C.
© Estate of Barkley L. Hendricks. Courtesy of the artist’s estate and Jack Shainman Gallery, New York

BARKLEY L. HENDRICKS, NORTH PHILLY NIGGAH (WILLIAM CORBETT), 1975.

BARKLEY L. HENDRICKS, NORTH PHILLY NIGGAH (WILLIAM CORBETT), 1975.

BARKLEY L. HENDRICKS, SIR NELSON. SOLID!, 1970

BARKLEY L. HENDRICKS, SIR NELSON. SOLID!, 1970

“Blood (Donald Formey),” 1975 by Barkley L. Hendricks

“Blood (Donald Formey),” 1975 by Barkley L. Hendricks

Bahsir (Robert Gowen), 1975 by Barkley L. Hendricks

Bahsir (Robert Gowen), 1975 by Barkley L. Hendricks


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Mood Board July 2019: Softness

This month I’m trying something new with the blog and instagram. I’m going to be creating a mood board for the month’s theme, and including some more concept and mood images to complement the straight up outerwear imagery. I hope that this will create a more dynamic and interesting feed, overall. The goal is to show the breadth of where inspiration comes from, and link images together in a way that gives them new meaning.

Air movement study, Étienne-Jules Marey, 1901

Air movement study, Étienne-Jules Marey, 1901

Flamingo, Source Unknown

Flamingo, Source Unknown

Photo by Barry Lategan for Vogue UK, 1970

Photo by Barry Lategan for Vogue UK, 1970

Catherine Deneuve in Tristana (Luis Buñuel, 1970) by François Fontaine

Catherine Deneuve in Tristana (Luis Buñuel, 1970) by François Fontaine

 
Wool, Source Unknown

Wool, Source Unknown

Deborah Turbeville

Deborah Turbeville

kate moss backstage at maison martin margiela spring summer 1993

kate moss backstage at maison martin margiela spring summer 1993

Zack Seckler, Botswana

Zack Seckler, Botswana

This mood board could come together in so many different ways, and the mixed format that instagram adds will hopefully give some more dimension to this static one.

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The Design Process: The crux

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The Design Process: The crux

The Crux has become a staple item for the Starkweather collection, but where did the idea come from? 

The inspiration

My design process for Starkweather has always started by looking at images of explorers, and rural portraits, where people weren't concerned about fashion – they were concerned primarily with function - yet they still would find ways to add character and identity through their clothes. This manifested in distinctive layering, embellishment, color, pattern, and modification. 

It fascinated me how across many cultures, the chest and neck area are like canvases for decoration. This happens in cold and hot climates, alike. And subconsciously those shapes, centered around the neck and torso, became a focal point of my creative development for Starkweather.

Kicking Bear // Oglala Sioux

Kicking Bear // Oglala Sioux

Slick Rick ca 1988

Slick Rick ca 1988

A turkmen woman of the goklan tribe in jargalan, Bojnord // Nasrollah Kasraian

A turkmen woman of the goklan tribe in jargalan, Bojnord // Nasrollah Kasraian

ca 1900 // Sarte Woman, Uzbekistan

ca 1900 // Sarte Woman, Uzbekistan

Dogon Shaman, Mail

Dogon Shaman, Mail

Norway, Hardangerjoklen, ca 1908. // Anders Beer Wilse

Norway, Hardangerjoklen, ca 1908. // Anders Beer Wilse

How would all of these colorful, textural, unique designs apply to an environment like the one pictured above? It is in the imagination and through design that these cultures can collide...

It seemed natural, after a point, that that part of the outfit should not only take on it's own identity, but that there were real functional benefits to developing it that way...

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Re-imagined as the Crux...in it's purest form

With so many more ideas for the future, it is always a huge challenge to pare an idea down to its simplest form. This is the T-Crux: Starkweather's most essential interpretation of the crux concept. Essential, because it becomes a blank canvas for so many future ideas, and because it represents the core concept of adaptability. On one hand, it offers adaptability for the wearer to make it their own, and on the other hand, it offers adaptability in its own design. 

Fall I // Nude Cashmere Wool

Fall I // Nude Cashmere Wool

Fall II // Burnt Ochre Bouclé Wool

Fall II // Burnt Ochre Bouclé Wool

If you would like to learn more about the Starkweather layering system, click here.

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