THE BUSINESS OF BEAUTYAN ISSUE OF WOMEN’S WEAR DAILY

THE CREATIVE

ISSUEANGEL’S

ASTONISHING RUNON THE EDGE

WITH NEIL KRAFTFASHION TAKES ON

BEAUTY—AGAIN

INSIDE THE MAGICAL WORLDOF MAKEUP ARTIST PAT McGRATH

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The new age of protection: Page 28. Photograph by Philippe Salomon.

FEATURES

DEPARTMENTS

20 In Living Color Superstar makeup artist Pat McGrath is as influential as she is inventive.

24 When Worlds Collide With consumers clamoring for aspirational goods, more and more fashion designers are testing the waters of a category once thought impossible for most to break into: color cosmetics.

28 The New Sun Times Once viewed largely as a commodity category, sun care is quickly becoming synonymous with skin care.

30 Halo E!ect By single-mindedly pursuing an unconventional approach to fragrance marketing, Groupe Clarins has made Angel a powerhouse in the world of perfume.

WWD BEAUTY INC

ON THE COVER: Pat McGrath photographed for WWD Beauty Inc by Ben Hassett. Hair by Karina Castenada at Ecco Gioia Salon.

WWD IS A REGISTERED TRADEMARK OF ADVANCE MAGAZINE PUBLISHERS INC. COPYRIGHT ©2012 FAIRCHILD FASHION MEDIA. ALL RIGHTS RESERVED. PRINTED IN THE U.S.A. VOLUME 205, NO. 127. SATURDAY, June 22, 2013. WWD (ISSN 0149–5380) is published daily (except Saturdays, Sundays and holidays, with one additional issue in March, May, June, August, October and December, and two additional issues in February, April, September and November) by Fairchild Fashion Media, which is a division of Advance Magazine Publishers Inc. PRINCIPAL OFFICE: 750 Third Avenue, New York, NY 10017. Shared Services provided by Condé Nast: S.I. Newhouse, Jr., Chairman; Charles H. Townsend, Chief Executive O!cer; Robert A. Sauerberg Jr., President; John W. Bellando, Chief Operating O!cer & Chief Financial O!cer; Jill Bright, Chief Administrative O!cer. Periodicals postage paid at New York, NY, and at additional mailing o!ces. Canada Post Publications Mail Agreement No. 40644503. Canadian Goods and Services Tax Registration No. 886549096-RT0001. Canada Post: return undeliverable Canadian addresses to P.O. Box 503, RPO West Beaver Cre, Rich-Hill, ON L4B 4R6. POSTMASTER: SEND ADDRESS CHANGES TO WOMEN’S WEAR DAILY, P.O. Box 15008, North Hollywood, CA 91615 5008. FOR SUBSCRIPTIONS, ADDRESS CHANGES, ADJUSTMENTS, OR BACK ISSUE INQUIRIES: Please write to WWD, P.O. Box 15008, North Hollywood, CA 91615-5008, call 800-289-0273, or visit www.subnow.com/wd. Please give both new and old addresses as printed on most recent label. For New York Hand Delivery Service address changes or inquiries, please contact Mitchell’s NY at 1-800-662-2275, option 7. Subscribers: If the Post O!ce alerts us that your magazine is undeliverable, we have no further obligation unless we receive a

corrected address within one year. If during your subscription term or up to one year a"er the magazine becomes undeliverable, you are ever dissatisfied with your subscription, let us know. You will receive a full refund on all unmailed issues. First copy of new subscription will be mailed within four weeks a"er receipt of order. Address all editorial, business, and production correspondence to WOMEN’S WEAR DAILY, 750 Third Avenue, New York, NY 10017. For permissions requests, please call 212-630-5656 or fax the request to 212-630-5883. For all request for reprints of articles please contact The YGS Group at condenast@theygsgroup.com, or call 800-501-9571. Visit us online at www.wwd.com. To subscribe to other Fairchild Fashion Media magazines on the World Wide Web, visit www.fairchildpub.com. Occasionally, we make our subscriber list available to carefully screened companies that o#er products and services that we believe would interest our readers. If you do not want to receive these o#ers and/or information, please advise us at P.O. Box 15008, North Hollywood, CA 91615-5008 or call 800-289-0273. WOMEN’S WEAR DAILY IS NOT RESPONSIBLE FOR THE RETURN OR LOSS OF, OR FOR DAMAGE OR ANY OTHER INJURY TO, UNSOLICITED MANUSCRIPTS, UNSOLICITED ART WORK (INCLUDING, BUT NOT LIMITED TO, DRAWINGS, PHOTOGRAPHS, AND TRANSPARENCIES), OR ANY OTHER UNSOLICITED MATERIALS. THOSE SUBMITTING MANUSCRIPTS, PHOTOGRAPHS, ART WORK, OR OTHER MATERIALS FOR CONSIDERATION SHOULD NOT SEND ORIGINALS, UNLESS SPECIFICALLY REQUESTED TO DO SO BY WOMEN’S WEAR DAILY IN WRITING. MANUSCRIPTS, PHOTOGRAPHS, AND OTHER MATERIALS SUBMITTED MUST BE ACCOMPANIED BY A SELF-ADDRESSED STAMPED ENVELOPE.

CORNER OFFICE10 The Spirit of the Moment Playing it safe was

never his style: Image guru Neil Kraft knows the bigger the risk, the bigger the reward.

12 Black Book: Patricia Wexler The dermatologist to the stars shares her favorite resources for business and pleasure.

BEAUTY BULLETIN14 Launch Window Key products hitting stores now.

15 Rosy the Riveter Summer’s fresh take on blush.

16 Milan’s Makeup Sensation Inside Europe’s fiercest new beauty concept.

CONSUMER CHRONICLES18 Shopper Stalker Who’s buying what—and why—

in New York’s Meatpacking District.

MISC8 Pete Unplugged WWD’s executive editor of

beauty Pete Born on the main message at the 2013 WWD Beauty Summit: Innovate or run the risk of extinction.

34 Flash Point Keeping up with beauty’s movers and shakers.

THE NEW WAVE photographed by Peter Gabriel

hen we were generating ideas for this, the first issue of WWD Beauty Inc devoted to creativity, I knew there could be only one cover subject: Pat McGrath, the superstar makeup artist who is as influential as she is inventive.

McGrath, as is her way, didn’t immediately say yes. Later, I found out over the course of our interviews that it took her roughly the same amount of time to consider director David Fincher’s offer to create the look for Rooney Mara’s character in the film, The Girl with the Dragon Tattoo. As I learned, McGrath is an absolute perfectionist who won’t take on any project—a shoot, a show, an interview, a film—unless she’s absolutely sure that she can deliver what’s expected to her very exacting standards. Happily, she agreed to be profiled, and gave WWD Beauty Inc unprecedented access to her magically creative world for our story, “In Living Color” on page 20.

McGrath creates the makeup looks for some of the best-known designers on the planet—Gucci, Dolce & Gabbana, Lanvin, Louis Vuitton and on and on. Whereas once the work of such designers hardly intersected with hers, more and more fashion designers are entering the world of color cosmetics with launches of their own. The terrain for such brands is treacherous, littered with unsuccessful attempts from names like Calvin Klein, Ralph Lauren and Diane von Furstenberg. Come August, however, giants like Marc Jacobs and Michael Kors will test the water with makeup, while others including Gucci and Christian Louboutin reportedly have lines in the works. Have designers finally come into their own at the beauty counter? Find out what the market’s top analysts think in “When Worlds Collide” on page 24.

Designer Thierry Mugler and his fragrance partner, Groupe Clarins, were absolutely fearless 20 years ago when they launched Angel. The fragrance broke the rules of traditional scent marketing—and won big. Today, Angel is a bestseller worldwide. Printemps’ Charlotte Tasset tells European beauty editor Jennifer Weil in “The Halo Effect” on page 30, “It was a concept that was audacious, innovative and brought a new approach to selective perfumery.” Doubtless McGrath would be the first to agree that creativity comes in many forms indeed. —JENNY B. FINE

EDWARD NARDOZA EDITOR IN CHIEF, WWD

PETE BORN EXECUTIVE EDITOR, BEAUTYJENNY B. FINE EDITOR

JENNIFER WEIL EUROPEAN EDITORJULIE NAUGHTON SENIOR PRESTIGE MARKET BEAUTY EDITORMOLLY PRIOR BEAUTY FINANCIAL EDITORFAYE BROOKMAN CONTRIBUTING EDITOR BELISA SILVA BEAUTY MARKET EDITOR, MASSJAYME CYK EDITORIAL ASSISTANTKATIE KRETSCHMER COPY EDITOR

ARTBARBARA SULLIVAN ART DIRECTOR

CONTRIBUTORSSAMANTHA CONTI AND NINA JONES (London), MILES SOCHA (Paris), CYNTHIA MARTENS (Milan), MARCY MEDINA AND RACHEL BROWN (Los Angeles), MELISSA DRIER AND SUSAN STONE (Berlin), AMANDA KAISER (Tokyo)

PHOTOCARRIE PROVENZANO PHOTO EDITORLEXIE MORELAND ASSOCIATE PHOTO EDITORJENNA GREENE ASSISTANT PHOTO EDITORERIN FITZGERALD STUDIO MANAGEREILEEN TSUJI PHOTO COORDINATORROBERT COHEN PHOTO FACILITATORJOHN AQUINO, GEORGE CHINSEE, STEVE EICHNER, KYLE ERICKSEN, THOMAS IANNACCONE PHOTOGRAPHERS

CONTRIBUTING PHOTOGRAPHERSRUVEN AFANADOR, KENJI AOKI, DAN BORRIS, NIGEL DICKSON, BEN HASSETT, HENRY LEUTWYLER, MARK HANAUER, MICHAEL NAGLE, JEFF RIEDEL, PHILIPPE SALOMON, DAVID LEWIS TAYLOR, YASU+JUNKO

BEAUTY INC ADVERTISINGPAUL JOWDY VICE PRESIDENT, GROUP PUBLISHERPAMELA FIRESTONE ASSOCIATE PUBLISHERJENNIFER MARDER ADVERTISING DIRECTORELLIE GHADIMI ADVERTISING DIRECTOR, BEAUTY JILL BIREN WEST COAST DIRECTORBAVA GUGLIELMO INTERNATIONAL DIRECTOROLGA KOUZNETSOVA ACCOUNT MANAGER, ITALYBRITTANY MUTTERER BEAUTY SALES ASSISTANT

MARKETING/CREATIVE SERVICES JANET MENAKER EXECUTIVE DIRECTOR, MARKETINGEMILY CORTEZ EXECUTIVE DIRECTOR, CREATIVE SERVICESKRISTEN M. WILDMAN EXECUTIVE DIRECTOR, EVENT MARKETINGJENNIFER PINCUS DIRECTOR, INTEGRATED MARKETINGFABIO SALLES CREATIVE DIRECTORJULIA DONAHUE COPY DIRECTORALEXIS WARCHALOWSKI DIGITAL DEVELOPMENT DIRECTORBRIANNA LIPOVSKY ASSOCIATE MARKETING DIRECTORJENNIFER BORCK SENIOR MANAGER, INTEGRATED MARKETING MICHAEL FOUNTAS MANAGER, EVENT MARKETINGJULIE JACOBY MANAGER, EVENT MARKETING ALISSA GROSS MANAGER, INTEGRATED MARKETING SHAMILA SIDDIQUI MANAGER, INTEGRATED MARKETINGAMANDA MULLAHEY ASSOCIATE MANAGER, INTEGRATED MARKETINGELLYN PULEIO ASSOCIATE MANAGER, DIGITAL DEVELOPMENTCHRISTINA MASTROIANNI PR ASSISTANT

PRODUCTIONGENA KELLY VICE PRESIDENT, MANUFACTURINGCHRIS WENGIEL GROUP PRODUCTION DIRECTORKEVIN HURLEY PRODUCTION DIRECTORJILL BREINER ASSOCIATE PRODUCTION MANAGER

CIRCULATIONELLEN DEALY SENIOR EXECUTIVE DIRECTORJOHN CROSS PLANNING AND OPERATIONS DIRECTORPEGGY PYLE MARKETING DIRECTORALISON EHRMANN MARKETING DIRECTORSUZANNE BERARDI SENIOR ONLINE MANAGERALISON CHRISTIE ASSISTANT MARKETING MANAGER

FAIRCHILD FASHION MEDIAWILL SCHENCK EXECUTIVE VICE PRESIDENT, CRO SUZANNE REINHARDT VICE PRESIDENT, FINANCE & OPERATIONSDAN SHAR VICE PRESIDENT, GENERAL MANAGER, DIGITALMELISSA BRECHER CHIEF MARKETING OFFICERNICOLE ZUSSMAN VICE PRESIDENT, HUMAN RESOURCESMICHAEL ATMORE EDITORIAL DIRECTOR, FOOTWEAR NEWS & DIRECTOR OF BRAND DEVELOPMENT DEVON BEEMER FINANCE DIRECTORJANET JANOFF BUSINESS MANAGERCARMEN MENDOZA ASSISTANT OPERATIONS MANAGER

NANCY BUTKUS CREATIVE DIRECTOR

PETER W. KAPLAN EDITORIAL DIRECTOR

GINA SANDERS PRESIDENT & CEO

WCreation Nation

WWD BEAUTY INC

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“While it is critically important to have clarity about

your ideal job, in our current economic climate you may need to consider accepting a suboptimal job in order to get some work experience to position you better for your ideal job in the future.” —ALAN T. ENNIS, president and chief executive o!cer, Revlon Inc.

“Treat graduation as a massive opportunity to accelerate your life’s dreams and goals. Determine who the five key people are that can help you achieve your career goals and make contact with them. Don’t be afraid to ask someone to be your mentor and start building the relationships early. (Oh yeah, also take at least six months to travel through Asia and India on $20 a day.)” —IDO LEFFLER, cofounder, Yes To Inc.

The Real WorldWith graduation season in full swing, we asked some top execs what advice they have for recent graduates.

“Neither be discouraged nor distracted by the outside ‘noise.’ Follow your passion, reach high and know no boundaries—you’ll be surprised by what you can accomplish.” —CLAUDIA POCCIA, president and ceo, Gurwitch Products

“Build analytical skills. My first job was as a business analyst for McKinsey. I learned how to run spreadsheets; forecast revenue, costs and profit, and analyze large quantities of data. This is the skill that helped me start my business. When we look for sta! today, we want the most analytical people who know how to make sense of data. And go the extra mile—ask for extra work. Everyone notices a sta!er who goes above and beyond and takes on extra projects. This shows interest, commitment and a willing-ness to try new things.” —MARLA MALCOM BECK, ceo and cofounder, BlueMercury Inc.

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reating a vibrant, winning chemistry for a brand can be tricky business.The process depends on a company’s creative impulse quickening

at just the right moment to pick up on the consumer’s latest whim or fantasy or fit of angst.

The right mixture of inspiration and daring can reap a golden payoff or turn into dread, as nagging existential questions creep in, like “Are

we delivering real innovation? Are we pursuing the customers we will need in the future? Are we keeping pace or just sleepwalking? Are we losing our edge?”

“You have to have a vision of where you want to be,” advised Leonard A. Lauder, during the sweeping, landmark speech he gave at the recent WWD Beauty Summit in Manhattan. Lauder, who is now chairman emeritus of the industry giant he built, delivered arguably the most-quoted line of the summit: “A business without a vision isn’t a business, it’s just a pastime.”

He gave the keynote address during a day and a half of cogent, analytical and thought-provoking speeches. One prevalent theme was that the beauty industry, which prides itself on continuous innova-tion, can never take its foot off the gas. In fact, it needs to push harder on the accelerator right now. Much harder.

Deb Henretta, group president of the Global Beauty Care Group at the Procter & Gamble Co., called for a digital revolu-tion. She sized up the beauty industry’s level of achievement in the world of digital and found it sorely wanting. The industry may “evangelize” the digital way, “yet still under invests. The music does not match the words,” she said.

Invoking memories from beauty’s revolutionary past, like the advent of metal lipstick tubes and at-home hair dye, she declared, “We have to step it up and innovate at the speed of digital, lest we risk becoming the Polaroid camera, the analogue telephone or the business pager of our industry.” Her solution is a fundamental shift, from thinking of digital technology as purely a marketing tool to it being fully integrated into all phases of brand building. She calls it General Purposes Technology. “Digital must become integral to everything we do—how we think, how we design, how we manufacture,” she said. “The world is no longer moving at a linear rate, but an exponential rate. It is the pace of Generation Y and all generations to come.”

Speaking of generations, Julia Goldin, Revlon’s chief marketing officer, harkened back to the golden era of Charles Revson in the Fifties—pointing to seismic shifts triggered by provocative products like the Fire and Ice and Cherries in the Snow makeup collections and Charlie fragrance, which trumpeted women’s liberation. Goldin then compared that era to the present mood. “The beauty industry has been very safe,” she said. “Are we ready to shock?”

Taking a page from her prior experience at Coca-Cola, Goldin stressed that long-standing brands have “an enduring perspective.” For marketers, it’s no longer about having a point of difference. “It’s about a point of view,” she declared. “If you don’t have a strong perspective of who you are as a brand, that’s when things start falling apart at the seams. Brand point of view sits at the heart of cultural relevance, universal values and consumer relevance.”

Individual brand identity is a subject dear to the heart of Wende Zomnir, chief creative officer and cocreator of Urban Decay. She found cause for complaint in

the number of documented times that her best-selling Nakeds eye shadow palette appears to have been copied by her competitors. But Zomnir came up with a universal suggestion. “I propose using all the creative bandwidth of the beauty business to create something fresh and new and forge a genuine connection with your customer,” she said. “If we all stay true to our individual brand positions, there’s plenty of room for everyone to create an original that’s a home run.”

Few topics are more relevant than the world we live in. “There used to be a very narrow definition of success, which was being number one, no matter what the cost,” said Gina Boswell, executive vice president of personal care, North America, at Unilever. “It’s our belief that that model doesn’t work in today’s world....Businesses have to learn to be successful while contributing to society and supporting ecosystems and biodiversity and livelihoods.”

Unilever took action by unhooking financial performance from environmen-tal performance and creating a “plan for sustainable living” with three goals: to

halve its environmental footprint while doubling the size of the business; to help one billion people worldwide improve their health and well-being, and to sustainably source 100 percent of its agricultural raw materials by 2020.

What Boswell called “purpose-driven brands” are at the back-bone of the plan, because social consciousness is built inside the brands. “It’s always been imperative that businesses create value,” she said. “It’s now even more critical that we create value for the communities where we operate.”

Listening to consumers enables companies “to empower consumers to own our brands and adopt our brands,” she said.

As an example, Boswell showed Dove’s Real Beauty Sketches spot. It shows a police artist drawing pictures of seven women based on their own descriptions and those of others. The video has become the most-watched on the Internet, and led to a key insight: “Only 4 percent of adult women think they are beautiful,” Boswell said. “We also learned that this is a universal truth,” she said, “and a universal truth is the best basis for any kind of brand campaign.”

Now is the time to reinvent the very nature of marketing for the post-sustainability, post-developing and post-emerging markets, and the post-digital world, Boswell believes. “We must help people tell their brand stories rather than simply listening to ours,” she said.

The one speaker who has both the experience and insight to bridge the generation gaps was Lauder himself. His speech—Tomorrow is Today—was structured to demonstrate that the events of today can be used to read the future. He described how the creation of interstate highways and the invention of third-party credit cards ripped the supports out from under the cozy world where big, established department stores long ruled. “No one at the time realized what was happening,” Lauder said. “The concept is tomorrow is today and today is tomorrow. The things that happen today inform us for the future and where we are going.”

He illustrated the last point by recalling a Neiman Marcus buyer who tipped him off to how powerfully Lauder’s Youth Dew bath lotion was selling. That inspired Lauder to gamble all the money the company had to turn the fragrance into a sensation that rocketed Lauder into orbit. “There are opportunities everywhere you go,” he said, “if you just listen.”

8 PETE UNPLUGGED

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PETE BORN distills the major messages from the recent WWD Beauty Summit.

Brand Building in An Age of Uncertainty

eil Kraft is the rare individual who combines true creative expertise with business acumen. In his work with the likes of Barneys New York, Calvin Klein, Coty and Elizabeth Arden, he has created campaigns that transcend advertising to become cultural phenomena. Who can forget

a naked Kate Moss lying languidly on a couch for Klein’s Obsession or frolicking topless with Marky Mark to sell blue jeans, to name just the most famous examples. Kraft is known for being as direct as he is directional. Here, during a recent conversation in his SoHo office, which is dominated in equal parts by stacks and stacks of art books and eye-popping orange office accessories, Kraft opens up about defying conventions in a world resistant to radical change.

Can you describe what you do? How do you see your role?

My father used to call me and he’d go, ‘Do you take the pictures?’ And I’d say, ‘No.’ He’d say, ‘Do you write the ads?’ And I’d go, ‘No,’ and he goes, ‘So then what is it that you do do?’ [laughs] What I do is try to create beautiful things and create something simple and meaningful that will break through. The hardest part of my job is trying to create things that break through with clients who don’t always want you to break through.Are most clients reluctant to push the creative envelope?

In our business, you’re only as good as your clients. When we did CK One, it was the cosmetics company, which at the time was owned by Unilever, that was pushing us to break all the rules, not Calvin. That created ground-breaking advertising. We still get people who come in and say, ‘I want to do CK One’ or ‘I want to be Gucci’ and I ask, ‘Are you willing to change everything?’ It doesn’t happen overnight.Are people willing enough to take risks today, and does

reward necessarily follow?

There are people out there who take risks. One of the things that is interesting about Elizabeth Arden is that they are questioning the basic precepts of beauty advertising. That is more rewarding than doing a straight beauty ad. But on the whole, when the economy is bad, as it has been, people take less risks. If you look at the advertising, you can see the testing. The basic thing that is going to come out of any testing procedure is that customers want to see themselves. That can be done well, in the way that Dove does it. Or

Neil Kraft graduated from the Rhode Island School of Design with a degree in photography. In 1982, he joined Barneys New York as senior vice president of advertising

and marketing, where he helped transform the retailer’s image from a dowdy men’s suit emporium to a hipster downtown designer haven. A decade later he was appointed senior vice president of Calvin Klein, and in 2000, he created his own company: KraftWorks. Today, he serves as president and chief creative o!cer of the firm, which has a client roster that includes Elizabeth Arden, La Prairie and Voss, among others.

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it can be done poorly. If you see a foundation ad, there’s four different people in the ad—there’s a white model, an African American, an Asian and a Latina. That comes from testing.Is that done poorly in your opinion?

It’s not that it’s done poorly. Some people do it well. It’s that it’s uninteresting. It’s expected. There’s got to be another way to do that. But there’s probably not another way to do it and have it test well.Are we overreliant on testing?

Advertising in general is overreliant on testing. What did Henry Ford say—if we asked people what they wanted we’d be riding around in horses instead of cars. To some extent that’s true. Testing is valuable for getting a sense of what’s going on in the world. For example, on CK One, we tested the concept, and learned a lot about how that generation spoke to each other and related to each other, and that’s what the campaign was about, but we never showed them the campaign. You’ve been involved in some seminal moments in

the worlds of fashion and beauty. Which stand out?

The thing that changed a lot for me was Obsession at Calvin Klein. Obsession was an existing fragrance, but we were trying to figure out where to go next. That’s when Patrick Demarchelier found Kate Moss. The layout originally had a picture of Vanessa Paradis, and we couldn’t get her. Patrick said, as only he can, ‘This girl, Kate Moss, she is almost the same. She will be fine.’ Of course, once we saw her we loved her. And to be allowed to run a picture of her naked on a couch—that was the first time I was given utter freedom.What did you learn from it?

It taught me that the bigger the risk, the bigger the reward. If you look at the big successes, from the Volkswagen Beetle to Apple, they took risks. Apple came out with an MP3 player. It wasn’t a unique product, but they took risks in how they sold it, how they marketed it and how they designed it. Calvin taught me risks are worthwhile.How have you seen the role of creativity evolve?

It has become more democratized. It’s so easy to do, in a way, it somehow starts to lose its value, because it’s so pervasive in our culture and media is so easy to create. When I was first an art director, you had to cut out pictures and cut out type and figure out what it was going to look like and send it to a typesetter. It was a lot harder. It’s just really easy now. Therefore, because everyone has access to the same tools, you have to try harder. In this supersaturated, overcrowded market, what

is attention grabbing today?

It’s much harder to shock people now. The Internet has not only democratized things, it’s opened up the world to everyone. You have to find a way to start a dialogue with the customer and listen to them and engage them on a social level.How have you done that successfully?

With the Taylor Swift fragrance, for example, instead of just doing a commercial, we created a movie that

we rolled out in bits. We were able to leverage her millions of Facebook followers by showing a part of Taylor they hadn’t quite seen yet. It was a fantasy.

Celebrity advertising has to be real to the person. Taylor’s life is so open that if you did an ad with something that didn’t feel right for her, people wouldn’t react to it. Celebrities today are not Elizabeth Taylor, who had this incredible mystique. You knew she was with Richard Burton, but you didn’t know the details of her life. In a way, those people were more malleable. Are you seeing more creativity today in product,

packaging or communications?

The most interesting stuff is coming out of the interactive world, because you can tell a much longer story. There is nothing wrong with print, but it’s going to be two-dimensional. That being said, a TV ad campaign is three-

dimensional, and you said after you watched

the Grammy Awards you were struck by the

homogeneity of the 30-second beauty ads.

There are two types of spots. The hair spot, where the girl always has perfect hair that falls in a shiny cascade. Then there’s [skin care] and when you go beyond [makeup], you start to get into the world of claims and the claims are just an arms race. I watched both, [and thought] does anybody believe this? How does the message need to evolve?

It’s time for people to be honest. It’s time we said, ‘Look, we are not miracle workers. That’s not to say our product doesn’t work. But it’s not going to transform you into a radiant beauty.’ The girls in these ads went through five hours of hair and makeup and have been heavily retouched. That is where the backlash is coming from. The less real it becomes, and the better the technology becomes to make it unreal, the more people get unreasonable images of what can and cannot be done and the more disenchanted consumers become.

How has that impacted the new campaign you’ve

created for Elizabeth Arden?

Arden has embarked on a five-year plan to turn the brand around. We’re trying to modernize the brand by using both the heritage and modernity together. The only job I ever got fired from was Arden in the mid-Nineties. We were trying to do the same thing then, but they weren’t willing to go the whole nine yards—redo the packaging, the stores. Arden has now gone the whole nine yards. It’s very easy to change an image, but when the other consumer touch points don’t live up to it, you are in deep s--t. Creating a new ad campaign is not that expensive. Redoing all your stores is. You just saw that with J.C. Penney. Redoing real estate and physical packaging is an enormous undertaking and Arden has done that. Now we have no excuses. We have to show people what’s new about Arden. That was what they didn’t do before—the important half of the re-branding.Did the firing of Ron Johnson at J.C. Penney

surprise you?

There are people who said they are surprised it happened so fast and there are people who said they are surprised it took so long. I’m on the took-so-long side. He ran into exactly what I’m talking about, which is the cost of remaking that much real estate is unreasonable. It’s a tough position that many big chains are in. If they want to remake their image, they have to remake their stores, and that is incredibly expensive. How would you describe your management style?

I try hard to inspire people. There are times when I speak in shorthand and I think people understand but they don’t always. There is a difference between what I hope my management style is and what it sometimes is.How do you manage creative people, who by nature

aren’t quantitative and analytical?

It’s not easy. When you work with creative people, the motivations for what they say and why they do it are sometimes unfathomable. It is very hard to keep them engaged, and that’s what you have to try to do.What do you look for when you hire?

Interactive has gone from zero percent of our business to 70 percent. That being said, my aesthetic is modern and beautiful. People with an interactive background have absolutely no idea how to make anything look good. People who can make stuff look beautiful have no idea how to do interactive. That’s where the rubber hits the road—to find people who understand both. It doesn’t happen every day. I wish it would happen more. It’s starting to. What do you love about your job?

I love seeing the work in public. One of the great experiences of my life was at a sushi bar in L.A., when they put the Voss water bottle that I designed on the table. I’m not normally like this, but I was like, ‘That’s my bottle!’ That is just incredibly rewarding.

CORNER OFFICE 11 WWD BEAUTY INC

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Patricia Wexler Dermatologist Patricia Wexler has become as famous as her clients—think Brooke Shields, Kathie Lee Gi!ord and Christie Brinkley, to name a few—thanks to an unerring sense of the aesthetically pleasing. Superfashionable with impeccable taste, Wexler is an avid practitioner of the art of beauty, in both her personal and professional lives. Here, Wexler’s go-to guide for the best that New York City has to o!er.

BLACKBOOK

Health & BeautyD E R M AT O L O G I S T: Dr. Francesca Fusco at Wexler Dermatology.145 East 32nd Street; 212-684-2626D RY C L E A N E R: Bright Cleaners. Ask for Claudia.1406 First Avenue; 212-772-6472H A I R S T Y L I S T: Rebekah Forecast at Sally Hershberger Salon. She always listens to what I want—it changes all the time. 425 West 14th Street; 212-206-8700M A N I C U R I S T: Liz George at John Barrett Salon. I’ve gone there for more years than I can count. 754 Fifth Avenue; 212-872-2700M A K E U P A RT I S T: Berta Camal at Jed Root Inc. or Linda Hay at The Wall Group. Jedroot.com; thewallgroup.comS T Y L I S T: My mother trained me well!T R A I N E R: Claire Morgasen. Pilates, yoga, she does it all.Saperestudio.com; 718-715-0911C L O T H I N G S T O R E/B US I N E S S: Bergdorf ’s by a small margin. I love The Row, Lanvin and Céline. 754 Fifth Avenue; 212-753-7300C L O T H I N G S T O R E/E V E N I N G:

I wear Carolina Herrera, Donna Karan, Lanvin, Chanel and Vera Wang. I love them all.S H O E S T O R E: Tie between Barneys and Bergdorf ’s. Do not make me choose!660 Madison Avenue; 212-826-8900C L O T H I N G S T O R E/W E E K E N D: Barneys Co-op. I Love J Brand, Alexander Wang and Tory Burch.

PleasureBAND: The Doors,The Grateful Dead.CELEBRATION RESTAURANT:

Sette Mezzo. Feels like home. We know the staff and it feels effortless. Always a happy experience. 969 Lexington Avenue; 212-472-0400Crown. Exceptional food and atmosphere for special guests.24 East 81st Street; 646-559-4880C H A M PA G N E:

Billecart-Salmon Brut Rosé. You don’t get a headache after.

C H O C O L AT I E R: Debauve & Gallais at Barneys.C O F F E E O R D E R: Venti Latte with half-and-half from Starbucks.D I N E R: Three Guys Restaurant. Great comfort food and great with little children.1232 Madison Avenue; 212-369-3700F L O R I S T: Floréal. They know just what I love.info@florealnyc.com; 212-662-7929H I D E AWAY: Then it wouldn’t be a hideaway!P L AY: The Trip to Bountiful. The Stephen Sondheim Theatre; 212-239-6200Matilda the Musical.Shubert Theatre; 212-239-6200S TAT I O N E R: Crane and Co.T I C K E T B RO K E R: American Express Centurion.VAC AT I O N S P O T:

The One & Only Ocean Club in the Bahamas in the winter and The Plaza Athénée in Paris in June. What could be better? Oceanclub.oneandonlyresorts.comPlaza-athenee-paris.com

BusinessAIRLINE: United Airlines. Always friendly, roomy and I get my luggage fast.A P P: Gilt. You can find the same clothes as in stores, but at half the price! But, you must be fast.C A R S E RV I C E: Regal. regalcar.comB US I N E S S T R AV E L C I T Y: Chicago. They have the best hotels and restaurants.R E S TAU R A N T F O R B US I N E S S LU N C H:

Eleven Madison Park. Great for special meetings. It’s quiet and the tables are nicely spaced. 11 Madison Avenue; 212-889-0905Fred’s at Barneys. Always warm and inviting. Fun people watching, too.660 Madison Avenue; 212-833-220 R E S TAU R A N T F O R B US I N E S S D I N N E R:

Estiatorio Milos. Great food. The front room is less noisy and their two private rooms for

conference meetings are great.125 West 55th Street; 212-245-7400

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12 CORNER OFFICE WWD BEAUTY INC

PATRICIA WEXLER,DERMATOLOGIST AND ENTREPRENEUR

CAROLINA HERRERA

CROWN

FLORÉAL

“I WANT TO HELP

CUSTOMERS ACHIEVE

TRULY HEALTHY SKIN FOR

THE LONG TERM.”

WHAT INSPIRED YOU TO BECOME A KIEHL’S

CUSTOMER REPRESENTATIVE?

I’ve been a Kiehl’s customer since 2001. When I wanted a part-time job after retirement, I came to Kiehl’s.

WHAT IS YOUR FAVORITE PART OF THE JOB?

I love our product, and the sense of community with people I wouldn’t have met if it weren’t for this job.

ANY ADVICE ON BUILDING RELATIONSHIPS WITH

YOUR CLIENTS?

Sincerity and honesty are key. Genuinely try to help customers build healthy skin routines for the long term.

WHAT ADVICE WOULD YOU OFFER AN ASPIRING KIEHL’S

CUSTOMER REPRESENTATIVE?

Take advantage of Kiehl’s educational tools. Get to know the product, so you can provide customers with a truly useful consultation

WHAT ARE YOUR CAREER ASPIRATIONS?

This is probably the most enjoyable career I’ve had. I am so lucky to have landed at Kiehl’s. .

WHAT ARE SOME OF YOUR FAVORITE BEAUTY PRODUCTS?

I love our Calendula Toner, Rosa Arctica Lightweight Cream and the Avocado Eye Cream.

WHAT DOES YOUR BRAND MEAN TO YOU?

Kiehl’s means natural, and it’s all about connecting to others. Our outreach programs really foster a sense of community and education.

HOW WOULD YOU DEFINE BEAUTY?

Beauty is health. And what’s inside will show on the outside.

WHO ARE YOUR BEAUTY ICONS?

Audrey Hepburn—she was beautiful inside and out, and Meryl Streep.

ADVERTISEMENT

Kiehl’s is proud to recognize exceptional customer servicein luxury beauty.

KATHY CHEN HAS

PROVIDED OUTSTANDING

SERVICE TO KIEHL’S SINCE 1851

IN SANTA CLARA, CALIFORNIA,

FOR SIX YEARS.

RECOGNIZING EXCELLENCE

IN LUXURY SERVICE

MEET KATHY CHEN,

KIEHL’S CUSTOMER REPRESENTATIVE AT

VALLEY FAIR MALL, SANTA CLARA, CA

14 WWD BEAUTY INC BEAUTY BULLETIN

ALMAY COLOR + CARE LIQUID LIP BALMThis hybrid lip product combines vitamin E and a blend of oils to deliver the hydrating features of a balm with the glimmering shine of a gloss. $5.99

MITOQ POWER ANTIOXIDANT REJUVENATIONPurportedly 1,000 times stronger than coenzyme Q10, MitoQ’s signature molecule is said to revive skin cells and prevent fine lines and wrinkles. $185

AVON MEGA EFFECTS MASCARAReplacing the standard mascara wand, this comblike applicator fits the curve of the eyes to define and lift lashes. Available in two shades. $7.99

PANTENE PRO-V EXPERT COLLECTION ADVANCED + KERATIN REPAIR KERAGLOSS OIL MIST Keratin and a blend of argan, jojoba, sa!ower, olive and sesame oils fight split ends, frizz, dryness and dulled color. $13.99

BENEFIT STAY FLAWLESS 15-HOUR PRIMER Housed in a portable stick, this helps foundation stay intact for as long as 15 hours. Reportedly, 94 percent of testers claimed it helped their foundation last longer. $32

TARTE LIGHTS, CAMERA, FLASHES STATEMENT MASCARA This double-sided, two-toned brush features flexible bristles and a vitamin-infused formula to lengthen, intensify, separate and magnify lashes. $23

CARVEN LE PARFUMPerfumer Francis Kurkdjian brings out Carven designer Guillaume Henry’s signature mix of whimsy and simplicity in this blend of mandarin blossom, jasmine and white sandalwood. $109

CHANEL LE JOUR, LA NUIT AND LE WEEKEND Designed to work in tandem, Chanel’s new trio reactivates, recharges and renews skin throughout the week and is targeted towards a younger consumer in her 20s. $85, $85, $115

TAYLOR BY TAYLOR SWIFT The seven-time Grammy winner’s second fragrance marries top notes of fruity lychee with a heart of vanilla orchid and a base of apricot nectar. $59.50

BOND NO.9 NYC HTTP://WWW.BONDNO9.COMFusing bergamot amid blackcurrant and amber, this Internet-inspired scent has coded packaging consumers can scan with a QR reader to be taken to the fragrance’s URL for instant purchase. $250

L’ORÉAL PARIS YOUTH CODE TEXTURE PERFECTOR DAY/NIGHT CREAM This has perline-p, an ingredient blending three actives to help minimize pores and lines as well as improve skin discoloration. $24.99

Rounding up June and July’s most innovative products. BY JAYME CYK

What’s In StoreLAUNCH WINDOW

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Contains only eight

ingredients

MARC JACOBS HONEY On the heels of a triumphant fall collection, Marc Jacobs builds on his empire with his 11th scent, this time mixing juicy mandarin amid honeysuckle and a drydown of golden vanilla. $72

POWDER PLAYDry is the new wet. Powders are showing up in a variety of formats for the second half of the year, from L’Oréal Paris’ innovative liquid-to-powder foundation to Oribe’s delectable dry conditioner spray. “Among the fastest areas of growth are less-traditional formats and hybrids,” says The NPD Group’s Karen Grant, “which o!er a mash-up of benefits and new applications.”

ON TARGETFrom René Furterer’s frizz-fighting fluid to Nioxin’s styling elixir for thinning locks, a bevy of brands are rooting for hair repair. And no wonder: According to The NPD Group, targeted hair treatments increased 46 percent in dollar growth and accounted for sales of $11.7 million in 2012.

ARROJO Whipped Treatment, $24DR. DENNIS GROSS Root Resilience

Anti-aging Scalp Serum, $54NIOXIN Rejuvenating Elixir, $14.50

RENÉ FURTERER PARIS Lissea Leave-In Smoothing Fluid, $30

Available online only

Oribe Soft Dry Conditioner Spray, $35Bumble and bumble Bb Thickening Dryspun Finish, $29L’Oréal Paris Magic Nude Liquid Powder Bare Skin Perfecting Makeup, $12.95Maybelline New York Color Tattoo Pure Pigments, $6.99 each

BEAUTY BULLETIN

Rosy the Riveter

Dior Diorblush Cheek Crème in Capri, $30.

Butter London Cheeky Cream Blush in Naughty Biscuit, $20.

By Terry Hyaluronic Blush in Blushberry, $42.

Marc Jacobs Shameless Bold Blush in Rebellious, $30.

Josie Maran Argan Color Stick in Pink, $22.

Chanel Le Blush Crème de Blush in A!nité, $38.

PHOTOGRAPH BY ANNA PALMA

After taking a backseat to eyes and lips, the cheek is reemerging as a focal point of the face. This summer sees a spate of blush launches, particularly in lighter textures such as creams and gels. “Blusher is back because everyone loves to have that fresh look on their face, like you just went for a jog,” says Terry de Gunzburg, whose newest blush, in a tube, infuses the treatment properties of hyaluronic acid with eye-popping pigments. For its part, Chanel is launching a powder-cream iteration, while Dior’s version comes in a pot and Josie Maran’s in a handy stick format. “Cream and liquid blushers are great because they are more natural looking,” says de Gunzburg. “They adhere to the skin like a color print.” —JAYME CYK

The Bright Idea: Inside Kiko

Make Up Milano’s multifaceted,

multicolor universe.

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ove over MAC.Kiko Make Up Milano is quickly

carving out a lucrative niche in the European color cosmetics market. Founded by the Percassi Group in 1997, Kiko’s vibrant colors,

trendy selection, accessible prices and easygoing atmosphere have generated a loyal following.

The brand’s store experience is built around pop music, a rainbow display of cosmetics and service that is hands-on without being pushy. “The customer comes in and is able to try all the products freely, with the support of the staff. The shopping experience has to be fun,” says marketing director Margherita Cecchini, adding that with new items in stores every two weeks, many shoppers come back regularly—not unlike those perusing the racks at retail powerhouses H&M and Zara.

The connection is tangible: The Percassi Group, a Bergamo, Italy-based commercial and real estate giant, formed a joint venture with Inditex Group in 2001 and brought Zara to Italy in 2003. Last year the group also bought Madina Milano from the cosmetics supplier Intercos, acquiring the Madina Revolution and Madina C brands as part of the package.

While the fast fashion–loving 15-to-35 crowd represents Kiko’s core customer, Cecchini says the age range for shoppers is wide. “Our target customers tend to return with their mothers and grandmothers,” she says. “They’re people who love

Meet Kiko, the hottest beauty concept on the European retail scene. BY CYNTHIA MARTENS

BEAUTY BULLETIN 17 WWD BEAUTY INC

RETAIL REPORT

MMilan’s Makeup Sensation

to take care of themselves and play with makeup…They’re looking for innovation. This is a fast-moving brand.”

Kiko offers more than 1,000 stockkeeping units, from powders, pencils, lipsticks and glosses galore to facial cleansers, antiaging creams, sunblock, self-tanner, fake eyelashes and about 20 different mascaras. Over the past few years, the company has expanded its range of foundations and concealers to cover all complexions, from darkest to lightest. The brand’s philosophy is to offer well-made, attractive products made in Italy, and sell them for “the right price,” says Cecchini. To that end, pencils start at 4.20 euros, $5.45 at current exchange; lip gloss at about $9; foundations and powders at $15.50 and mascaras at $9.30.

While the skin-care offering has expanded since the brand’s inception—the antiaging serum Skin Trainer ($30) is a recent bestseller—the real draw remains eye-popping color. Particularly popular are Kiko’s eye products, including Water Eyeshadow ($11.40) and Long Lasting Stick Eyeshadow ($9). A rotating series of one-shot color collections, available for three to six months, has also been good for business.

Currently, Kiko has more than 530 sales points in eight countries, including Germany, France, Spain, Portugal, the U.K., Austria and Switzerland. Italy accounts for roughly half of all sales. Cecchini says the door count will rise to about 600 by yearend, and while she declined to divulge where

the company will expand, she does say: “We certainly have an international vision.”

Kiko also has a significant e-commerce presence, which Cecchini says has been crucial for reaching customers outside city centers or major shopping districts. The site features detailed explanations of all products and a forum where customers can review products and discuss them with each other. Noting that the transparency online has built trust between the brand and its devotees, Cecchini says, “The Web site is the ultimate representation of our way of working.”

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*Pretax totals. (McLeod’s total reflects one free product she received through Kiehl’s Recycle and Be Rewarded program.)

CONSUMER CHRONICLES

$75.00*

TOTAL SPENT$327.50*

TOTAL SPENT

MEATPACKING DISTRICT, N.Y.C.

SHOPPER STALKER

What’s in Amanda Celia’s Bag?

SHOPPER: Amanda Celia ThompsonDATE/TIME: 5.10.2013, 2:42 p.m.STORE: Michael Angelo’s Wonderland Beauty Parlor LOCATION: 418 West 13th Street

Danae McLeod was at Kiehl’s to take advantage of the Recycle and Be Rewarded program, which incentivizes consumers to bring back empty tubes and bottles. Today, she was returning her 10th bottle, which entitled her to choose a free product worth up to $25. “Four years ago I started coming here and learned better ways to take care of my skin,” says McLeod, a 32-year-old philosophy teacher. “I’m pretty low maintenance and, with a bit of encouragement, can be convinced to try harder. I’ve had these bottles for a while. It’s a good reminder to restock.” McLeod spends around $360 annually on beauty, and is a brand loyalist. “I look for brands that don’t animal test and contain few ingredients,” she says. “I know what I like, so I rarely try new things unless someone gives me a reason to.”

SUPERBLY SMOOTHING ARGAN SHAMPOO AND CONDITIONER $18, $19McLeod’s hair tends to get frizzy and the argan oil helps to keep it smooth.

SHU UEMURA HAIR ESSENTIALS

ON THE GO $55Thompson

gave this gift set to her mom for

Mother’s Day.

ORIBEDRY TEXTURIZING

SPRAY $19.50 Thompson loves this

spray for the scent, and uses it to create

a just-rolled-out- of-bed look.

RARE EARTH DEEP PORE CLEANSING MASQUE $23“If I don’t use this a few times a month my skin usually breaks out,” says McLeod.

ULTRA FACIAL CLEANSER 2.5 FL. OZ. $9“I’m going to be traveling in a few weeks to Norway and Poland, so I need travel-sized products,” says McLeod.

DERMATOLOGIST SOLUTIONS

CLEARLY CORRECTIVE WHITE SKIN BRIGHTENING

EXFOLIATOR $29“This was one of

the initial products someone told

me to use,” says McLeod. “It had a legitimate impact

on my skin.”

SHU UEMURA MEDIUM ROUND BRUSH $68“I use a round brush to blow out my hair,” says Thompson. “I like to give it a little flow rather than wear it stick straight.”

KÉRASTASE NUTRITIVE MASQUINTENSE $60“This keeps my hair moist, because blonde hair tends to get really dry,” says Thompson.

Amanda Celia Thompson won’t scrimp on quality when it comes to hair care. “Hair stuff I’ll spend money on,” says Thompson. “100 percent.” The 23-year-old fashion designer, who spends about $800 annually on beauty, is a regular at Michael Angelo’s Wonderland Beauty Parlor, where she is drawn by the hipster appeal. “I love the atmosphere,” says Thompson. “It’s worth the trip to Wonderland just to feel the vibes. I like how it has an appeal of an editorial salon. You get an experience when you walk in.” When asked what she loves most about shopping for beauty, she compares it to buying intimate apparel. “I love feeling like a girl,” says Thompson. “It’s like when you wear silk panties. No one sees them, even though you bought the nice ones. It’s kind of like hair products. No one knows how expensive your hair product is, but you feel it when you put it on.” —JAYME CYK

SHOPPER: Danae McLeodDATE/TIME: 5.10.2013, 1:15 p.m.STORE: Kiehl’sLOCATION: 400 West 14th Street

What’s in Danae’s Bag?

MAKE MATTE LIPSTICK IN NUDE $18

“It gives a Sixties feel,” says

Thompson, “and has a really nice

consistency.”

KÉRASTASE RESISTANCE CIMENT THERMIQUE $39This provides heat protection and keeps flyaways at bay.

SHU UEMURA ESSENCE ABSOLUE

NOURISHING PROTECTIVE OIL $68“My hairdresser told

me that it’s healthy to brush your hair to get

the oils from your roots down to the ends,” she says. “I never brush my

hair, so I use this as a replacement.”

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BY COMBINING TECHNICAL

VIRTUOSITY WITH A SINGULAR

VISION, PAT MCGRATH HAS

BECOME THE MOST INFLUENTIAL

TRENDSETTER IN MAKEUP.

BY JENNY B. FINE

20 WWD BEAUTY INC

CMcGrath working on model Alana Zimmer of Women Management. Hair by Stefano Greco at Bryan Bantry using Oribe.

race Coddington says there is only one way to de-scribe her great friend, superstar makeup artist Pat McGrath.

“I always think of her as a very shiny person,” says Coddington, the creative director of Vogue. “Maybe it’s her manner. Maybe it’s just her per-

sonality. She is extremely warm and she is so pleasant to be with. And on top, she is totally brilliant.”

Coddington is, of course, right. McGrath speaks with a smile in her voice, peppering her ideas,

thoughts and observations with frequent terms of endearment like “my darling” or “my love.” She’s a physical conversationalist, always reaching out to give a little squeeze or leaning forward with eyes widened, completely engaged in the moment.

That charm, coupled with her unparalleled approach to make-up—those who work with McGrath agree the term “genius” is not an overstatement—has elevated her to the very highest echelons of the style world, where she is the makeup artist of choice for photog-raphers like Steven Meisel and top fashion houses including Prada, Gucci, Lanvin, Louis Vuitton, Dolce & Gabbana, Calvin Klein and many, many more.

She may spend much of her time in the rarefied world of couture, but what truly makes McGrath powerful is that when it comes to commercial considerations, she’s got killer instincts.

Take her approach to in-store appearances, which, as global cos-metics creative design director for P&G, she does occasionally for Dolce & Gabbana The Make Up.

“I’m obsessed,” McGrath says, using one of her most favorite words. “I tell the salespeople, ‘We have to beat every counter here. Tell me when the last appearances were, with who, which brand. Did we break the record?’ That’s all that matters.

“If you’re going to turn up at a store,” she finishes, “you want to know that people love the products.”

“Pat wants to win,” seconds Esi Eggleston Bracey, vice president of global cosmetics at P&G. “She feels like the brand’s success is her success. That is something I didn’t expect in the beginning.”

The line that snakes around the entire beauty floor whenever Mc-Grath and her team turn up at Saks Fifth Avenue for a personal ap-pearance attests not only to her product-development prowess, but to her power as one of the beauty industry’s most influential creators

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of trends. As fashion shows have become a global phenomenon avidly followed by the general public in real time, McGrath’s work as the most prolific artist working today—she does about 25 shows a season—means that every time she opts for a neon-red lipstick or bold brow, the news is instantly transmitted and immediately noted by style-obsessed women worldwide.

“When a beauty trend is happening on the runway, 90 percent of the time Pat is behind it,” says Sarah Brown, Vogue’s beauty director. “She is the most direc-tional makeup artist working today. It’s an understatement to say that her work for various runway shows filters down. What she does absolutely effects global beauty trends.”

McGrath herself has noticed the change in consumers firsthand. “Before, if a new product came to the market, they’d read about it and run out and buy it, whereas now, women want to know how to do it, how a certain celebrity did their makeup or how to do the look at a show,” she says. “They want to know how the look came about, the history of it—it’s all about information. The coverage of beauty has gone through the roof.”

Information is something that McGrath thrives on. “The thing that is so special is that Pat’s always supremely interested,” says designer Anna Sui. “She wants to hear the story behind every collection. She loves to be inspired, and ends up doing even more research on her own, and then shows up with all of the ingenious elements to create that ideal look.”

Creating the ideal look is no simple matter. McGrath is legendary for traveling to shoots and shows with as many as 50 large black duffel bags in tow. Each is individually labeled—there are bags for lashes, colored lashes, cream color, fab-ric, mesh, feathers, foundation, lipstick, lip gloss, Swarovski crystals, pigments, pencils, etcetera, etcetera, etcetera—a practice which started at a very early age. “My mother started taking me shopping to buy makeup when I was six,” says Mc-Grath, when asked if she remembers the first beauty product she ever bought. “I had quite a trunk of makeup from age seven. Tons.”

(Frequent travelers will appreciate the fact that McGrath checks her bags for each flight herself. While nothing has ever been lost, delays are not unknown. When Mc-Grath went to Monaco to do the makeup for the Dior resort show in May, there was just such an occurrence. “The [conveyor] belt went round and round and the bag didn’t come off. The horror!” she says, eyes wide. “The special-services desk said it was on the next flight, so I waited in the airport and then all of those bags came off. Nothing. Finally, everyone was gone and off came my little bag.”)

There are also numerous bags—“five, eight, 15,” McGrath says, when asked how many—filled with books, many of which are bookmarked with yellow Post-it notes. There are art books, photography books, fashion books. Books on tattoos and books on beauty. There’s a book called simply “The Eyebrow” and another

devoted to film stars of the Fifties. Pho-to albums filled with Polaroids of the looks McGrath has created for different magazines and designers round out the collection.

“She has a huge library, and she in-stinctively has a great reference of his-tory, film, pictures, theater, characters on the street, club land, every kind of youth cult is in her mind” says hair stylist Guido Palau, who often works with Mc-Grath on photo shoots and on multiple shows. “She might pull out a book at a shoot or a show. She’s looking for an eye, a period, a feeling. At a shoot, when she’s talking to the editor, she might pull out the Polaroids of the girl who we’re work-ing with that show the different make-ups she’s done on her over the years or last season. She details everything.”

Snippets of everyday life also inspire her. “I walk into the most incredible fashion houses and see the most incredible things—new technology, new ideas, new music. Incred-ible lighting, new girls,” she says. “Maybe it’s a feature on a girl, maybe it’s her mouth, maybe it’s her eyes. It’s like an energy that just happens because of what you’re faced with. It’s almost like a puzzle.”

ut what catches McGrath’s eye can just as easily be the mundane as the sublime. Terry Jones, the editor in chief, creative director and publisher of i-D magazine,

met McGrath during her early days in London and quickly enlisted her to be the beauty director of his then-fledgling magazine. “She loved the way older women that she would see in London did their makeup. It would have that smudgy qual-ity, because as you get older your eyesight goes and it’s not as specific and you favor brighter colors,” recalls Jones. “Pat used that as inspiration for a story. She wasn’t a makeup artist who just did as she was told. She brought creativity to the table, and she wouldn’t stop until she had what she wanted.”

While she’s adept at referencing the past, what really drives McGrath is the fu-ture. “I’m always looking for new things,” she says. “Wherever I am in the world, I try to find the time to go and look for something new. Doing so many shows every season is very demanding. Every show has to be different.”

And every show is, from the starkly minimalist to the wildly theatrical and ev-erything in between. “What sets Pat apart is her enormous variety and range,” says Coddington. “She can turn her hand to anything, from no makeup to almost stage makeup. She attacks whatever it is with the same vigor and enthusiasm. That is why she works for absolutely everybody. She works on every show. I don’t know how she does it.”

Coddington is exaggerating when she says McGrath does every show—but only just. Last season, McGrath did 26, the bulk of them in Milan and Paris. She likens the entire process to a military operation, complete with multiple motorcycles to transport herself and her team of 50-plus artists from show to show and multiple vans to ferry their gear. “It’s like a huge makeup army,” McGrath says. “I love it. Sometimes nothing happens at a show for the first two hours and in the last hour we have to do all 70 girls. It’s an adrenaline rush.” (McGrath adds a big black duf-

“Pink for Cover Girl. Lustrous sheer color. E!ortless beauty!”

“Lydia Hearst. Enchanted beauty.”

“Shaved eyebrows and bold, graphic shapes on Karen Elson!”

2012 2005

PHOTOGRAPHERSWHO INSPIRE McGRATH

Steven MeiselIrving Penn

Richard AvedonBrassaï

Bill BrandtErwin Blumenfeld

Man RayCecil Beaton

ARTISTS WHO INSPIRE McGRATH

Leigh BoweryRichard PrinceAndy WarholJohn CurrinJenny SavilleGustav KlimtOtto DixB

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fel devoted exclusively to flu medicine, relaxing aromatherapy bath oils and the like during show season.)

Those who have seen her in action say she thrives on such moments. “Under pressure is when she works best,” says designer Donatella Versace. “When the pres-sure is on backstage, there is no more-welcome sound than Pat’s infectious laugh-ter. You know everything is going to be all right.”

Some of the most memorable looks McGrath has created were for Dior under its former designer, John Galliano, fantastical creations that might feature multihued paper cut-outs, crystal-studded lashes and feathers, all on one eye.

“John and his team really played with makeup. I remember bringing a girl down once, and she had on probably 10 pairs of lashes and three pounds of eye shadow and the hugest, glossiest lips,” McGrath says. “We brought her into the studio for a make-up test, and John said, ‘We’re not do-ing a beach story. This is not about a natural look.’ He wanted more.”

McGrath relishes executing the wide range she’s become known for, and notes that simpler doesn’t always mean easier. “People always say the wildest makeups are the most chal-lenging, but the most natural can be challenging, too,” she says. “When you have to make every girl serenely beautiful with the most perfect skin and then for that girl to look as if she’s not wearing an ounce of make-up, when one girl has rosy cheeks, one has eyelashes, one doesn’t, one has light blonde brows, one black brows. That can be the most difficult thing to do because you’re trying to replicate Mother Nature.”

There is one signature to her work, no matter the look, says Palau. “Pat has a way of making a face feel alive and breathing. It doesn’t mat-ter how much makeup there is, it still feels like it’s breathing,” he says. “She is an expert at creating differ-ent balances of light and dark, moist and dry. She makes the face come alive like no other.”

That ability hasn’t gone unnoticed by the corporate arm of the beauty industry. In her current role at P&G, McGrath works on Cover Girl, Max Factor, Dolce & Gabbana The Make Up and SK-II, with wide-ranging duties that include ideating shade ranges, starring in how-to videos, providing product-development feedback and consulting on creative direction for ad campaigns. “She’s more than a makeup artist. She’s really a creative director for our businesses,” says Eggleston Bracey.

“Pat sees things differently than other people,” says Luigi Feola, who, as vice president of the luxury pillar of P&G Prestige, oversees Dolce & Gabbana The Make Up. “She sees nuances in shades and application that others miss. She helps shape the palette with colors and textures that express the designers’ vision and advises us on how the product needs to perform, where we can make it bet-ter,” he adds. “She brings to our product line a level of depth and refinement that wouldn’t be possible without her.”

McGrath tests products on herself, on models, on friends and at shoots and shows. A true product junkie who likes to hit Barneys and Saks early in the morning to buy the latest launches, McGrath describes what she loves about products as if she’s reciting poetry and says too much is never enough. “When people say products are always the same, well, they aren’t. There is always something a little different,” she says. “If you’re a makeup addict, there’s always a reason to buy cosmetics.”

Her passion for all things makeup begs the question: Is McGrath considering her own line?

“Maybe soon,” McGrath says. “I’d love to do my own line in the future.” Still, rumors have swirled for years—she is, she isn’t, soon, maybe not. As to what’s

stopped her in the past? “I’m a busy girl, you know? I work with a lot of amazing brands,” she says. “Every day my life is nonstop. It’s challenging and exciting.”

McGrath may be tentative about the timing of such a venture, but not about the clarity of her vision. “There is always space in the market,” she answers when asked if she sees white space. “Women never stop needing new ideas—there is a lot of space for new ideas and new products and different approaches.”

As someone whose livelihood is based on creating the next trend, McGrath’s ideas about limitless possibilities for new products mirror her approach overall. She professes to never becoming attached to a look, idea, color or texture. “She has no qualms about erasing what she’s just spent an hour creating,” says Palau. “She is not scared of doing things, of pushing herself, of wiping it off and starting again. She is passionate about her work, but not precious about it.”

McGrath would be the first person to agree with that assessment. Ask her if she ever goes through phases where she’s loving a particular direction, and she just laughs. “Maybe for a minute. No one will allow you for longer,” she says. “Trust me, you think you’re on to something, but the next thing, you’re thinking, I love the color but now it’s too heavy, I need to sheer it out, now I need it to stay.

“You are always constantly moving,” she concludes. “In this business, you are never resting on your laurels.”

McGRATH ON McGRATH

“Lydia Hearst. Enchanted beauty.”

“Shaved eyebrows and bold, graphic shapes on Karen Elson!”

“Modern chic with Fei Fei Sun.” “Bold fearless beauty.”

THE MAKEUP ARTIST SHARES HER THOUGHTS ON SOME OF HER MOST MEMORABLE CREATIONS.

1997 2013 2004

ARTISTS WHO INSPIRE McGRATH

Leigh BoweryRichard PrinceAndy WarholJohn CurrinJenny SavilleGustav KlimtOtto Dix

WOMEN McGRATH WOULD LOVE TO MAKE UP.

Jordan the original punk icon

Billie HolidayMarie Antoinette

Sophia LorenBette Davis

Siouxie SiouxDorothy Dandridge

Marilyn MonroeTamara de Lempicka

Audrey HepburnGrace KellyDora Maar

Renee Perlethe muse of Jacques Henri Lartigue

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esign is a series of creative choices. It’s editing and adding, it’s a dialogue, it’s a collaborative effort,” says Marc Jacobs.

It’s a late Thursday afternoon in May, and Jacobs is talking about his creative ideation process with around 90 beauty editors, who sit captivated in little gilt chairs

in a room where the black-and-white geometrically pat-terned marble floors bear a striking resemblance to the

designer’s spring collection. They’re gathered here for the unveiling of Jacobs’ color cosmetics collection, a 120-stock-

keeping-unit line which Sephora has developed and will sell exclusively in its stores beginning August 9.

“Of course, me, I’m in a director role,” Jacobs goes on, “saying, ‘that works or doesn’t work,’ ‘I like that’ or ‘I don’t like that’ or ‘maybe we can tweak

this into that.’ It’s about putting things together. It’s an evolutionary process.”The editors have just seen the line in its entirety—supershiny black compacts

with slightly rounded edges and mirrors inspired by the idea of an infinity pool; nail lacquers in colors ranging from moody to vivid, all named by Jacobs him-self; and elliptical blushes stamped to look like faille, a favorite fabric of the de-signer. Lip glosses in two different finishes reflect his love of texture, Blacquer eye liner his penchant for the blackest black imaginable and unisex products

HISTORICALLY, FASHION DESIGNERS HAVE FOUND THE MAKEUP COUNTER

HOSTILE TERRITORY FOR EXPANSION. BUT AS A NEW GENERATION OF CONSUMERS

LOOK TO IMMERSE THEMSELVES IN THE TOTALITY OF A DESIGNER’S WORLD,

FASHION BRANDS ARE INCREASINGLY MAKING THE FORAY INTO BEAUTY.

BY JENNY B. FINE ILLUSTRATION BY

AMELIE HEGARDT

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with quirky monikers like Makeout lip balm are a nod to his love of humor.“I wanted to do makeup because I love the entire ritual of getting dressed,” Ja-

cobs continues, who today is wearing a pristine white shirt, black cotton trousers, white leather Adidas sneakers and black-and-white striped socks. “When we cre-ate a fashion show, we think of a spirit, a mood. We choose colors, textures, fab-rics. We think about the set, the spirit of a girl and we even try to send out a new message. We couldn’t do that without thinking about the hair and the makeup. The whole is equal to the sum of its parts.”

Jacobs isn’t the only designer with makeup on his mind. Alber Elbaz, Michael Kors, Matthew Williamson, Pierre Hardy—each has affixed his name to cosmetics projects that are launching this year, joining the likes of Tom Ford, Burberry and Dolce & Gabbana, all relatively recent entrants to the category. Meanwhile, shoe designer Christian Louboutin signed a joint venture with industry veteran Robin Burns’ Batallure Beauty to enter cosmetics and is reportedly readying a launch for later this year, while P&G is said to be working on a Gucci line to launch in 2014 and Lancôme is collaborating with Jason Wu, the designer who shot to fame after First Lady Michelle Obama wore his gowns to both inaugurations.

“It’s baaaaack,” says John Demsey with a laugh, when asked about the designer cosmetics category.

A group president at the Estée Lauder Cos. Inc. who oversaw the launch of Ford’s line, Demsey is a virtual walking encyclopedia of the modern-day beauty industry. “The last time we saw such an iteration of designer cosmetics was in the Seven-ties, when you go back to the years of Halston and DVF. From that, we went into the designer as megabrand, which translated itself more into fragrance than the experiential aspects of the cosmetics business,” Demsey says. “Then we went into a strong celebrity dynamic for the last 10 to 15 years, where the aspirational nature of the business was either celebrity or based on authenticity, which begat the growing of the makeup-artist brands,” he continues. “The knowledge of the makeup artists became aspirational, because they know what makes you look best.”

While the makeup-artist brands haven’t lost their cachet, and collectively are the largest-selling group of brands in prestige cosmetics (led by MAC, which Demsey also oversees), it is the designer brands which are outper-forming the overall category at the moment, according to The NPD Group. Established French brands like Chanel, Dior and YSL are driving sales, but more recent entries like Giorgio Armani Beauty and Tom Ford are showing strong gains too. “We’ve seen that while it’s been difficult for a de-signer to break in, those who have become entrenched have become color authorities,” says Karen Grant, vice president and global beauty industry analyst of NPD. Noting that de-signer brands represent about 12 percent of prestige color cosmetics sales, Grant says designer brands gained 14 per-cent in the face category versus an overall market gain of 6 percent in 2012, and 14 percent in the lip category versus an overall gain of 10 percent. “Throughout the market, we con-tinue to see them leading the way and they are also helping to push the premium end of the marketplace,” she says.

Still, as Grant notes, for every hopeful entry into the mar-ket, the landscape is littered with those who didn’t make it. Ralph Lauren, Diane von Furstenberg, Anna Sui, Versace and Calvin Klein have all tried to crack the color code in the past, some numerous times, most with scant success, particularly in North America.

The hurdles for a designer to establish a viable presence in the cosmetics depart-ment are as high today as they’ve been in the past, point out market experts. “Beau-ty is a natural extension of a designer’s creativity,” says Luigi Feola, vice president of the luxury pillar of P&G Prestige, who oversees Dolce & Gabbana The Make Up. “The challenge is to link the creative vision with the high level and pace of innova-tion required. It takes a great deal of investment to make this a reality. You have to get the in-store experience perfect, with the right real estate, packaging, etc., to not only bring customers in to shop, but to leave them with an exceptional experience

that they’ve come to expect from a luxury brand.”

“It is very complex and expen-sive, and you need to be prepared to invest for the long run,” agrees Louis Desazars, the chief execu-tive officer of Nars, which launched a limited-edition collection with cult footwear designer Pierre Hardy this spring. “Space in department stores is very scarce and it’s difficult to survive for the long term if you don’t have a real point of difference. The problem with lots of brands that we’ve seen come and go is that they didn’t have a point of difference versus what exists today.”

What is different, however, are consumers. High-end aspira-tional luxury brands continue to drive sales of prestige beauty products—and what’s more aspirational than a well-known de-signer? “Consumers have a desire for an investment purchase, something that feels like a treat, something that is a bit special,”

says Grant. “People are more careful in their spending and when they do spend, they want to know it’s worth investing in.”

Such customers are also extraordinarily well versed in the entirety of a design-er’s universe, more so than ever before. “The digital age has provided accessibility for consumers to have this direct view, this visibility, into designers’ worlds in real time,” says Margarita Arriagada, chief merchant of Sephora USA. “They are able to perceive a level of authenticity between the originality and point of differentiation, between designers and their ability to impact trends relevant in beauty.

“Within the beauty space, consumers are becoming more savvy about their expec-tations in terms of trends and high performance,” Arriagada continues. “The digital

Michael Kors

Marc Jacobs

Giorgio Armani

Alber Elbaz

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age has opened their eyes and they are able to see directly how designers can impact what is happening in beauty.”

That has shifted the sphere of in-fluence—or at least made it broad-er—and made designer cosmetics a viable category again. “In the era of instantaneous information and streaming live video and red carpet and fashion everywhere, hair and makeup has become an intrinsic part of the look,” says Demsey. “For today’s generation, the validation of the de-signer matters again.”

he newest iterations of designer makeup take many differ-ent forms. Some are full lines, such as Tom Ford and Marc Jacobs. Equally as prevalent are beauty brands collaborat-ing with fashion brands for limited-edition projects—such as Matthew Williamson and Benefit, Pierre Hardy and Nars and Alber Elbaz and Lancôme. “People love being surprised by brands—there are so many brands, so many people doing good products, so many bloggers talking about everything, that today you’re not launching a product, you’re telling peo-

ple a point of view,” says Youcef Nabi, the former president of Lancôme who spear-headed the project with Elbaz. The collection features mascara and eye shadow palettes covered in the designer’s signature whimsical drawings. “We are moving from the notion of showrooming our products to entertaining people.”

Noting that everyone from her 7-year-old son to 90-year-old L’Oréal heiress Liliane Bettencourt were charmed by the products, Nabi continues, “There is a strong change in our industry. There is less and less excitement about having another BB cream or antiaging product. Brands are selling a point of view and storytelling. With this collaboration, you can’t say, ‘This mascara lengthens your lashes more than the competitor’s.’ People don’t care. They want the product that everyone is talking about. There are new dimensions and the collaborations with designers are a strong part of that.”

Nabi and Desazars both agree that for such a collaboration to be truly success-ful, the participants have to be creatively aligned and the end product true to the ethos of both brands. “Retailers are looking for strong stories and angles which are very creative,” says Desazars. “It’s not only about coming out with new colors,

but bringing a point of view that is innovative. The execution is as impor-tant as the collaboration.”

To wit, designer lines with staying power are those with star products—Yves Saint Laurent has Touche Eclat, Giorgio Armani has Luminous Silk Foundation, Dior has mascara, Chanel, nail lacquer and lipstick and Tom Ford, Illuminating Primer. “There needs to be a strong point of view or a dif-ferentiator that goes beyond packaging,” says Demsey. “They all have a cult beauty product, one item that is highly differentiated from the pack.”

Other designers are testing the waters with capsule collections, an approach that is much less onerous financially. Michael Kors, whose Leg Shine bronzing stick engendered a cult following when it launched in 2006, is introducing a tight lineup of color cosmetics in August exclusively at Macy’s. Working with

its licensee, the Aramis and Designer Fragrances division of Lauder, Kors created three collections—Sporty, Sexy and Glam—each with a fragrance, two lip glosses, two lipsticks and two nail polishes. “Everything we’ve done in the beauty world has been because I’ve genuinely felt something’s missing,” Kors told WWD in April. “As we see this evolve, if I see something that’s going to be an added component, that helps tell the story and helps simplify the whole beauty process for the customer, absolutely. But there won’t be a set formula. It’s an emotion, not a commodity.”

Since taking its fragrance license in-house in 2011, Oscar de la Renta has also been testing the waters to see what resonates with its customer base, most recent-ly by launching three limited-edition nail polishes on Net-a-porter.com. “Color is such a part of our brand DNA, and we’re constantly trying to find authentic ways to bring a truly luxurious Oscar product to consumers at a lower price point,” says Alex Bolen, chief executive officer of the house. “If our bread and butter is a $5,000 cocktail dress, the world of people who can not just afford it but have the need to wear it is not that big. On the other hand, the world of people who consume lipstick or nail polish is very large.”

As attractive as the potential is, Bolen is quick to add a caveat. “Having said that, beauty is a hugely competitive business,” he continues. “You’ve got the dichotomy of the big global brands, all of whom do a great job, so how do you compete in the face of that? We have to find a different way to move forward and establish a presence and get the confidence to make more material investments.”

Partnering with a retailer—as Sephora did with Marc Jacobs—is one such op-tion, provided the retailer is prepared to make a significant investment to achieve a distinctive assortment. “If retailers are looking for differentiation, it may feel like it is more necessary to create such a line, to create this point of difference,” says Wendy Liebmann, ceo of WSL Strategic Retail. “But you have to balance the level of differentiation with the cost of differentiation, and it’s not an easy route.”

Having a global presence is one key to amortizing the cost of producing a new line. “Marc Jacobs and Michael Kors are recognized in the emerging markets like China, Brazil and Russia, in markets with a lot of potential,” says Liebmann. “The economic situation and population growth in emerging markets is one of the driv-ers that, when brands looked at this opportunity 10 years ago, didn’t exist.”

“As we’ve grown, we’ve emphasized the fact that we’re a lifestyle brand with a global, democratic approach to style,” says Kors. “You can shop for Michael Kors anywhere in the world and get a totally luxurious handbag and a quick chic flip-flop. The color line fits into the strategy of being a one-stop brand for everything you need to look great.”

That vision of world domination will become a major factor in whether design-ers can establish long-term viable beauty businesses. “Today, in our business, to be truly successful, if you don’t have a business that plays in at least two out of the three major markets—Asia, Europe and North America—you don’t have a busi-ness,” Demsey says. “There are not that many designers with international cachet.”

Still, the executive expects to see more such lines launching before the dust set-tles. “It’s like what happened with the makeup-artist craze. First there are none, then a few, then someone breaks through, then there are more, then there are too many and then the market rationalizes,” says Demsey. “It’s a superinteresting phe-nomenon. I don’t know if it’s a backlash against the makeup artist or an evolution of the makeup artist, but it is definitely a trend.”

Tom Ford

Oscar de la Renta

Christian Louboutin

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unscreen is out to shed its reputation as simply a beach-bag staple.Once viewed largely as a commodity product found seasonally,

sun care has evolved into a bona fide part of a beauty regimen, the first line of defense against the signs of aging and skin cancer.

Beauty brands are working to convert consumers into more ar-dent users of sun care by refining the textures and infusing tradi-tional protective products with serious skin-care benefits.

There is even room for sun care in the luxury tier, as evidenced by La Mer’s introduction of the Soleil de la Mer collection in

April, which combines broad-spectrum protection with antiaging ingredients such as golden algae to reduce irritation and alaria esculenta to fight free radicals.

“We wanted to take sun care one step further with a reparative line that revitalizes the look of skin as well as protects it, focusing on diminish-ing signs of sun damage that had already occurred,” says Loretta Miraglia, La Mer’s corporate vice president, global brand product development and innovation.

La Mer is not alone. Many brands are increasingly em-phasizing the link between sun care and antiaging, and the message is only expected to get louder with the re-cent report from Australia’s Annals of Internal Medicine, which is the first research that shows sunscreen has an actual effect on the appearance of skin.

“The lines are so blurred right now between sun care and skin care. It’s all coming together,” says Holly Thag-gard, founder and chief executive officer of Supergoop!, who adds that multifunctional sun-care products give the once-seasonal business year-round staying power. This fall, QVC plans to exclusively launch Supergoop! Advanced SPF 37 Anti-Aging Eye Cream—well after the traditional sun season. “We found a big white space for sun care for the eye area that also had the benefits of an eye cream,” says Thaggard.

Ever-evolving regulations are also changing the dynamics of the category. During her speech at the WWD 2013 Beauty Summit, BlueMercury cofounder and chief executive officer Marla Malcolm Beck cited sun care as a key area of opportunity. “Over the past [several] years, the FDA has changed the labeling requirements so many times that often after we launch a new product it gets discontinued,” says Beck. The investment required to keep pace with the regulations has scared off some smaller brands, with mass lines picking up the slack.

Beck is encouraged by new offerings from La Mer, Kiehl’s and SkinCeuticals. But she longs for a dermatologist-created sun-care range with refined textures that are organized by skin type. “You’ve got a wide-open market in prestige to own sun care.”

While the prestige market is still small, it is growing—a trend expected to con-tinue. “Given the movement we’ve seen in complexion products, sun care will likely become more important,” says Karen Grant, vice president and global industry ana-lyst of the NPD Group. The prestige in-sun care category, which excludes self-tan-ners and after-sun products, gained 8 percent to $54 million in 2012, with products that feature an SPF of 30 or more gaining 15 percent.

Shiseido, which has a strong footing in the higher SPF category, occupied the top spot in the overall sun-care category in 2012 according to NPD data.

“Sun care is the ultimate antiaging practice,” says Gisela Ballard, executive direc-tor of marketing at Shiseido. “A sunscreen product is only effective if it’s applied correctly, so our focus is to create textures that are pleasant.” To that end, in March Shiseido expanded its Urban Environment range with Tinted UV Protector 43, us-ing new technology to perfectly distribute sunscreen across uneven surfaces.

The consumer clamor for multifunctional products—as evidenced by the BB craze—has prompted many brands to rethink their approach. “The consumer’s demand for convenience is a big factor in the effort to marry sun protection into serious skin care,” says Diana Howard, PhD, vice president of research and devel-opment at Dermalogica. “With new technology, we’re able to develop more elegant formulas that are more along the lines of skin care versus sun care.” In July, Derm-alogica will launch Age Smart Dynamic Skin Recovery SPF 50 featuring oleosome

technology, to deliver active ingredients like sunscreen directly to the skin’s surface and release them over time.

Kate Somerville and Alchimie Forever are also shifting from a separatist approach to a combined one. Ada Polla, Alchimie Forever’s president and ceo, says clients have been clamoring for a day cream with SPF, but the brand had opted to keep the two categories separate in the interest of efficacy. But that changed when Alchimie Forever’s scien-tists formulated a product that provides effective protection with a desirable texture and antioxidant-rich ingredients. The result is Daily Defense SPF 23. “Consumers wanted a product with both—and they were right,” says Polla.

Kate Somerville is launching Daily Deflector Water-light Broad Spectrum SPF 50+ Anti-Aging Sunscreen, which relies on a delivery system that ensures the sun-screen stays in a reservoir on the skin’s surface, while an-tiaging ingredients address moisture and skin tone. Says Elizabeth Vanemburg, vice president of marketing, “Sun care is coming into skin care, which is easier for consum-ers to accept” rather than the reverse.

For its part, L’Oréal’s La Roche-Posay is working to refine sunscreen textures while using as few ingredients as possible. The brand found that almost three-quar-ters of women are concerned about the ingredients in their sunscreen, particularly the high concentration of chemical fillers. In response, it introduced Anthelios Cell-Ox Shield XL in April, which uses 21 percent fewer ingredients than before.

“Texture has been a need-gap in the sun-care category for a long time,” says An-gela Bennett, vice president of La Roche-Posay, who adds that fewer ingredients aligns with the consumer trend of “no nasties and all goodies.”

Mass skin-care brands are also angling for a piece of the action. L’Oréal Paris has infused its Revitalift Triple Power Day Lotion with SPF 30. The new formula is de-signed to boost collagen production, while defending against UVA and UVB rays.

Meanwhile, Neutrogena’s new Beach Defense Sunscreen line provides both broad-spectrum and photostable protection designed to make the product last longer; Aveeno’s Protect+Hydrate collection melds protection and moisturization.

The increased amount of activity seems to be driving consumers to the category: Sunscreen sales gained 4.7 percent to $1.47 billion across all retail channels last year, with the premium tier gaining 11 percent, says Euromonitor’s Tim Barrett.

“Our message hasn’t changed,” says Ballard. “But the consumer has.”

THE LATEST GENERATION OF SUN CARE GOES BEYOND—FAR BEYOND—THE TRADITIONAL PARAMETERS OF PROTECTION. BY MOLLY PRIOR / PHOTOGRAPHED BY PHILIPPE SALOMON

THE NEW SUN TIMES

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Makeup by Vincent Oquendo at See Management; hair by Yoichi Tomizawa at Art Department; styled by Mary Fellowes. Model: Zhenya at Women Management.

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every woman there’s a nice and a naughty angel. “Each element of the marketing mix—from the fra-

grance to the bottle, name, communication—was in rupture with the codes of the market and permitted the brand to bring a real added value,” says Charlotte Tasset, Printemps chief merchandising officer for beauty, child and lingerie. “It was a concept that was audacious, innovative and brought a new gesture, a new approach to selective perfumery.”

Some retailers welcomed Angel, while others re-jected it.

“When Angel launched in the U.K., it was a fra-grance like we had never seen in the country before,” reminisces Mark Tranter, fragrance buyer at Selfridg-es, where Angel—and Mugler’s newer from-another-planet scent, Alien—remain in the top five.

Those rankings are not an anomaly. Rather, they illustrate Mugler’s unique model for creating block-buster fragrances. “They are really about creating a long-term business model with the emphasis on the customer experience,” says Walters. “What worked then works today.”

orget about thinking outside the box. How about outside the entire solar system?

That’s pretty much what Thierry Mugler did some 21 years ago when it dreamt up Angel, a blue fragrance that smells a bit like candy and comes in a star-shaped bottle that seems spawned from a UFO.

Hardly an obvious winner, sales started out slow, but Angel quickly became a commercial force that remains out of this world.

It’s estimated that a bottle is sold every 10 seconds worldwide, and the scent continues to top rankings in many countries. Some years ago it even supplanted France’s perennial number-one women’s perfume, Chanel No. 5, for a period of time.

Turns out going against the grain is a recipe for success in the fickle world of fragrance sales.“You definitely have to find a concept which is out of time—or timeless,” offers Vera Strubi, the fragrance mar-

keting visionary who launched the Angel project in 1992.“[Angel] was a game-changer—in many ways,” says Deborah Walters, senior vice president and general mer-

chandise manager for cosmetics, fragrances and intimates at Saks, which carried the fragrance exclusively in the U.S. for several months after its introduction.

Angel had multiple unusual facets: The juice was based on edible notes and housed in a bottle that lay flat and was refillable. Fittingly for a scent backed by no market research, it employed guerilla sampling techniques and relied on high service quotients.

Even its name was newfangled. “When Thierry Mugler created this fragrance, the tag line was ‘Beware of Angel,’” recalls Christian Courtin-

Clarins, chairman of the supervisory board at Groupe Clarins (Mugler’s owner), who explains the idea is that in

BY BREAKING THE RULES OF TRADITIONAL FRAGRANCE MARKETING,

GROUPE CLARINS HAS PIONEERED A NEW WAY TO BUILD A MODERN CLASSIC.

BY JENNIFER WEIL / PHOTOGRAPHED BY NATHAN PASK

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JOËL PALIX

“Mugler has always thought differently,” agrees Lucian James, creative director and founder of Paris-based strategic consultancy Agenda Inc. “More than anything, it’s a brand that knows how to make people feel some-thing. In marketing, as well as in life, that’s 90 percent of the battle.”

Paradoxically, much of Mugler’s strategy sprang from corporate limitations.“One of my first mottoes when I arrived here was to say that constraints create talent,” says Joël Palix, the

energetic president of Clarins Fragrance Group and director general of Thierry Mugler SAS. Palix, an exuberant executive partial to Mugler suits, became the president of Thierry Mugler Parfums in early 2007 when Strubi retired. He says family-owned Clarins doesn’t have deep pockets and is by nature risk averse, since the firm’s foundation is in skin care—a category that demands the utmost precision.

Another big constraint is brand awareness. “We are not a major fashion brand [today],” says Palix. “We don’t have the traditional conditions for succeeding in fragrances. I tell my team to leverage those constraints and turn them into advantages.”

Creating unique products is key in the “ultracompetitive landscape,” he says. “The product needs to be stron-ger than the brand.”

From the outset, Angel was nothing if not unique. “The scent was polarizing,” says Walters, of the juice con-cocted by perfumer Olivier Cresp, then of Quest.

“If two percent of women love it and 98 percent hate it, that’s fine,” laughs Palix, with an accent on “fine.” “We are the happiest. It’s a fragmented market. So if you manage to capture 2 percent of women in every market with one product, you are among the top-10 women’s fragrance leaders. That’s what we try to do.”

“Mugler knows that by trying to appeal to everybody, you appeal to nobody, and that it’s better to get the pulses racing of a few than to try to convert everyone into a consumer,” says James. “They’ve always understood that you need to draw consumers in, not chase after them.”

Angel, first carried in just 200 French doors, also had La Source—a fragrance fountain to refill bottles—from the outset. The idea stemmed in part from the fact that manufacturing the scent’s bottle was so expensive that there had to be an additional revenue stream.

The brand was also one of the first to employ social marketing, even before the digital age. As with Clarins skin care, each box of Angel contained a card for con-sumer feedback. That evolved into what’s today called the Circle, comprised of clients who can receive special products, previews, information and tips. It now ties in more than a million members.

“Our best ambassadors, our evangelists, are the first women who wear it,” says Palix. “Initially there was only a very small fraction of women willing to take the risk.”

Angel’s rollout was gradual because Clarins didn’t have a large team or the subsidiary network it has to-day. Palix estimates Angel took about five years to re-ally gain traction and considers the two to three years after its launch as a “seeding period.” “I see our re-sponsibility like a gardener’s; we have these beautiful plants or beautiful trees,” continues Palix. “They are at various stages—some are little seeds in the earth, some have started to blossom and some are like solid, big trees. But all need care.”

Still, by the mid-Aughts, Angel’s business had started to plateau. “The business model had to evolve,” says Pa-lix. “We were becoming a classic, and a classic for us had to combine some unique ways of marketing Angel.”

For one, Mugler expanded distribution in the U.S. and stepped up the advertising budget, signing on Naomi Watts to represent the romantic side of the scent, and then Eva Mendes to embody its more sensual part.

Limited-edition line extensions were also launched, such as the Liqueurs de Parfum, involving perfumes treated similarly to luxury spirits, and The Taste of Fragrance, which introduces into juice compositions what the company calls a “taste enhancer.”

“We explore the boundaries of perfumery, mixing the savoir-faire of perfumery with one of the other métiers,” says Palix, adding that every once in a while, Mugler opts to add “a new branch to the tree.”

A full 18 years after introducing the Angel eau de parfum, the brand launched Angel Eau de Toilette, for instance.

“Time is the essence,” he says. “Masterpieces take time to create. We launch when we are ready and sometimes we postpone.”

Since 2009, Angel’s sales have grown by 30 percent. (By comparison, the premium women’s fragrance market worldwide rose just 4.1 percent between 2009 and 2010; 9.8 percent between 2010 and 2011, and de-clined by 0.4 percent between 2011 and 2012, accord-ing to Euromonitor.)

Mugler has also set itself apart by creative social networking—in addition to The Circle, the brand has created platforms such as the Blogalaxy, which started by inviting fans from the Circle to write blog entries on the Mugler brand. Mugler instigates fetes, too—Angel parties, for instance. Here, through the Internet in some markets, the label locates its best ambassadors, invites them to organize parties and sends them a kit of materials, such as samples, to animate them. In the U.S. it has held Celestial Events after hours in depart-

PHOTOGRAPHED BY GEORGE CHINSEE / STYLED BY BEVERLEY HYDE

Limited-edition Angel bottles from 1992 to 2007.

33WWD BEAUTY INC

ment stores, where, for instance, new prod-ucts are presented to consumers, who can also buy limited editions.

The Angel Room Service, also launched in the U.S. through its e-commerce sites, involves a monthly subscription fee (with three options) allowing people to get three packages of the scent’s products, includ-ing full and sample sizes, during a year.

“I like to mix digital and the physical,” says Palix.

Today Mugler’s overall strategy is bear-ing fruit. Angel ranks in the top 10 world-wide among women’s prestige fragrances, according to Palix’s estimates. Last year it was fourth in France, seventh in both the U.S. and U.K. and 13th in Italy, according to The NPD Group.

Hoping to strike twice with another un-usual fragrance concept, Mugler introduced Alien in 2005 with a similar strategy, albeit in broader selective perfumery distribution.

“We were not the best-selling new fragrance of the year,” allows Palix, qualifying the scent was in the top 20 in 2006, the top 25 in 2007 and 22nd in 2008. “[In April] our ranking was number 10 in France. So you see the time it takes to become a classic?”

Not to mention a certain degree of convincing, especially when a fragrance carries such an unusual name.“There is no way many women suddenly decide that ‘Alien’ is their fragrance,” Palix reasons.According to Strubi, some people won’t even try the scent because of its name. “You have to be sure that

your fragrance is so good that once people start wearing it and other people smell it, then slowly you build the success,” she says.

“Alien is a more deliberate attempt to provoke the audience, to be deliberately extreme and to extend the idea of Angel to a darker, more mysterious territory,” says James. “It’s marketing built more on the visceral appeal of the brand.”

Further, some people believed the opulent juice with an overdose of jasmine sambac was almost masculine in nature. The company deployed a massive sampling campaign to develop Alien, both at point of sale and in the press. And three years after its launch, Alien’s communication was changed. “The initial concept that Mr. Mugler had in mind was a messenger of peace, and we found this a bit too mystical,” says Palix. “It evolved into a solar goddess, and that image was very well-received and gave a boost to Alien.”

Since the purple bottle was considered a bit dark, summer versions were introduced along with other line extensions, such as Essence Absolue, which involved a new generation of flacon.

“We create a collection of bottles,” says Palix, noting that it’s become a signature of the Mugler strategy. “We don’t replicate each bottle. This is a way of differentiating.”

Alien may have started slowly, but sales are soaring now. Palix’s goal is to make it one of the top-five fragrances globally in the next three years. “It has the potential to overtake Angel,” he says. “Right now it’s 80 percent of [the Angel business], and in markets like Italy, England, Germany and the Middle East it has already overtaken An-gel.” According to NPD, in 2012, Alien ranked fifth in the U.K., seventh in Italy, 14th in France and 43rd in the U.S.

The third major fragrance introduction by Mugler was Womanity three years ago. It’s taking longer to gain traction than its predecessors, which Palix acknowledges could be due in part to the fragrance’s fig-caviar accord.

“It is a segmenting juice that, like with Angel or Alien, has managed to stand out from the competition, and that pleases a certain category of clients. The weakness may be in the communi-cation, which is less aspirational than on the preceding launches,” says Printemps’ Tasset. “It’s a launch that allowed us to recruit a younger clientele to the brand.”

“It’s a slower build, but steady,” agrees Selfridges’ Tranter.Despite the company’s track record, it’s increasingly difficult to get retailers

to agree to such a prolonged time frame. “Where it’s more difficult nowadays is to convince retailers that we have got time to install a new product,” says Palix. “We’ve seen on Womanity that the time line of giving us several years to build such a fragrance is more difficult to obtain. This is something to think about, in terms of strategy.”

Strubi stresses the importance of patience rather than having great expecta-tions from the outset. “Everybody today makes a plan, a two-year plan, with

huge figures. You have to be brave enough to put in small figures and grow the figures every year because you are quite sure that it will work but it needs some time. If the retailer is not overloaded with product and your brand is strong enough, you can convince him to keep the products in stock.

“We created a lot of buzz when we launched” she continues. “Everybody is looking to please the retailer, while in fact customers—they love something special. A good fragrance is something that’s an evocation, an emotion—it’s not a commodity.”

Executives believe that to solidify Mugler’s emotional relevance today, it needs a closer tie-in with fashion, and in April, Palix announced he is looking for a full-time creative director to oversee both the fashion and fragrance businesses. “We need to give more thought about how important and how much we invest behind fashion, because we have managed to compensate for the lack of fashion until now,” he says. “But to go to the next stage and be in the top five feminine fragrance brands, now is the time to obtain more support from the brand itself.”

“No fragrances are successful without the image of fashion,” says Courtin-Clarins.

“This idea of one brand, one creative vision is very modern, very contemporary,” says Palix. “It’s what peo-ple are asking for today, and that could have an impact on our future business.”

Mugler fragrances, which currently place eighth globally among luxury feminine scent brands, perform best in the U.S. and Europe and have registered strong growth in the Middle East and Latin America. The company has targeted Russia, Asia and travel retail as key areas of future growth.

As for a new fragrance? “Not in the near future—our last launch was in 2010,” says Palix.

“Mugler doesn’t play by the rules of luxury, which are now so overestablished that innovation has become dif-ficult,” says James. “There is a purity about Angel, which is unique. It’s a great product which appeared at the perfect moment, and everything appeared to be aligned to guarantee its success when it came out. Like all great successes, it seems to have been a perfect mix of talent, strategy and some happy accidents.”

So could lightening strike for another label with an out-there fragrance idea?

“Many brands have tried to replicate the success of Angel,” says James. “But none have succeeded.”

The Angel Advantage: 5 Key PointsUncommon Goods: Uniqueness counts. Products that try to be all things to all people end up appealing to no one. Give It Time: Strong businesses often require a slow build.Limit the Launches: Angel waited 18 years to introduce an eau de toilette version of the classic parfum, instead opting for interesting iterations of the bottle and concept to fuel newness.Social Studies: Mugler has tapped into the power of the brand’s advocates from the start; activities today range from a dedicated blog to bespoke parties to mail-order replenishment.Evolution of Growth: Rather than jettison a project, Mugler makes continual tweaks to its brand’s strategies to maintain their relevance with consumers.

An ad campaign from 2003.

34 WWD BEAUTY INC GOOD TIMES

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At the 2013 CEW Insiders’ Beauty Awards ceremony, the event’s veteran host Mario Cantone ordered attendees to keep their speeches short. “I said keep your speeches to 10 seconds, not 30, and people did,” Cantone said wonderingly, as winner after winner came up and delivered the briefest of remarks. In another new twist, CEW tapped beauty’s biggest retailers to present this year’s awards. Those making multiple trips to the dais to collect the coveted crystal disc included Ojon’s Jane Lauder, Dior’s Terry Darland, Lancôme’s Silvia Galfo, Fresh’s Lev Glazman and Sonia Kashuk, each of whom won two awards.

Beauty’s movers and shakers came out in full force to hear Leonard A. Lauder’s keynote address at WWD’s 2013 Beauty Summit. The chairman emeritus of the Estée Lauder Cos. immediately zeroed in on a subject he knows a lot about: vision. “You have to have a vision of where you want to be,” he told the packed room. “A business without a vision isn’t a business, it’s just a pastime.” It was a theme numerous speakers expounded on, from P&G’s Deb Henretta discussing the imperative for beauty companies to lead the charge for digital innovation to Liberty’s Ed Burstell, who sounded the call for retailers to reinvigorate stores with individualism and creativity. In fact, said Revlon’s Julia Goldin, it’s just such daring that will infuse beauty with an ever-increasing relevance to consumers. “The beauty industry has been very safe,” she said. “Are we ready to shock? That’s something that iconic brands do and that helps them to endure.”

WWD Beauty SummitMAY 21-22, THE METROPOLITAN PAVILION

“The things that are happening today inform us for the future and where we are going....Remember, the world is shrinking just as our market is expanding.”

—LEONARD A. LAUDER

CEW Insiders’ Beauty AwardsMAY 17, THE WALDORF-ASTORIA

Leonard A. Lauder and Fabrizio Freda

Julia GoldinEd Burstell and Claudia Poccia

Marla Malcolm Beck and Barry Beck

Ido Le!er, José Barra and Katie Erickson Brooke Shields

Kelly Vanasse and Deb Henretta

John Demsey and Lynne Greene George Cleary Pamela Baxter

Claudia Lucas, Mally Roncal and Aurelian Lis Carol Hamilton Dario Ferraro

Gina BoswellCorinne Jacques and Michel Mane

Carlotta Jacobson andJill Scalamandre Francis Kurkdjian

Bruce Teitelbaum and Ian Ginsberg Wende Zomnir

Sonia KashukCarlotta Jacobson and Claudia Lucas

Lynne Greene and Jane Lauder Howard Kreitzman Shannon Curtin

Sarah Kugelman and Deanna Kangas

Frédéric Fekkai Barbara Zinn-MooreHeidi Manheimer and Jadzia Tirsch

Diane Nicholson and Deborah Walters Mario Cantone Jerry Vittoria

Log on to watch leaders in the industry—including Julia Goldin, Gina Boswell and Marla Malcolm Beck— discuss the evolution of beauty consumers and the strategies for effectively engaging them. Use code 2013BEAUTY for a 20% discount.

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