Oh to look old. What a difference a product-base makes.

Skincare brands fight for who can sell the most youth-inducing product. Their most expensive, often best selling, products are designed to make you look young. To convey this, the brands themselves want to look young; fresh; light. Anti-ageing serums. Light diffusing makeup. The aim is to reverse the effects of time.

Not so for some clothing brands it seems. They, on the other hand, want to look "old". Especially the newer brands. Fashionista has often wondered what random dates on t-shirts mean. For example, "Hollister 1922"? Well, in Hollister's case (Abercrombie & Fitch's sister-brand), it apparently means nothing. According to the BBC website, the Hollister brand was establish in 2000, and the brand's "history" of John Hollister senior - an adventurous traveller who set up the Hollister brand on his return to the US after a brief stint in the Dutch East Indies - is also fictional.

So why go to such extreme lengths? and what are the effects and implications of portraying a fake brand history as the truth? How much do consumers really care?

Fashionista suspects that this depends on who the consumers are. Does this come back to the issue of age? or does it come down to a price tag? do you have to pay for the truth?

A BBC article suggests that Hollister fans are unlikely to care, or they're not likely to feel misled or disgruntled by the falsification of facts. Fashionista wonders whether this is because Hollister products (at fairly standard high street prices) are aimed at a younger audience who may give more attention to the look of a brand rather than to what is behind it.

Compare this to how puchasers of high end luxury goods would feel if they were sold their (real not counterfeit) "It-bag" together with a fake story of brand conception and history? Fashionista suspects that this consumer would feel misled or disgruntled, and may abandon the brand. When a fashionista buys a luxury product, she is buying "into" that brand and what it represents. So, for her to then find out that what she has been sold is a lie, well doesn't that somehow tarnish what she has just bought into?

In terms of effects on the brand: new brands which suggest long-ago establishement are trying to create better images of themselves for consumers. Longevity, especially in the current economic climate, suggests an ability to withstand all sorts of problems, trials and tribulations. It suggest success. Beating the competition. Quality. Value. All attributes which older brands have spent many years (and resources) cultivating. Fashionistas often have their favourite brand and will continue to add to their collection out of loyalty for the brand. And so, the question for brands to consider is this: if the story customers are being sold is fake - even if the product is not - are those customers likely to come back for more?

Life is good: Jenden's not jaded

Fashionista has been busy this week! On Thursday afternoon she attended the most recent Fashion Business Club meeting, at which Aquascutum's head of womenswear Michael Herz interviewed Diane von Furstenburg's Creative Director Nathan Jenden. The interview came hot on the heels of Jenden's successful show at London Fashion Week which, for Jenden is the best showcase for a brand. When commenting on the use of films to promote brands as an alternative to a fashion show, Jenden quipped "It's all about the show".

Having worked in Paris for John Galliano and Kenzo, and in the US for Tommy Hilfiger and Daryl K, Jenden joined forces with Diane von Furstenburg: his self styled icon and brand - preferring to see her in Dior menswear on a Harley Davison, than in couture. Now designing for both DvF and his eponymous brand, Jenden was asked how he manages to keep the two brands separate.

Fashionista mused: this must surely be a difficulty faced by any designer having to wear two design hats, whether in the case of Jenden, seeking to design for two separate high end brands; or whether in the case of designers such as Matthew Williamson, Karl Lagerfeld and Stella McCartney, who have designed for both high end brands and high street stores. How do designers recreate the signature styles associated with their names without blurring the distinction between brands?

For Jenden, the two brands are easy to separate. His designs for his Nathan Jenden brand tell his story and, whilst he loves working for DvF, his DvF designs tell Diane's story. "A collection should feel like a part of life" Jenden explained, and so, a DvF "Lawrence of Arabia" themed collection was based on a holiday Diane took in Oman. Fashionista suspects that the job may be harder for luxury brand designers who agree to create a range for a high street store. They have the difficult job of showcasing their brand to a different audience at a reduced price level, whilst not diminishing the value of their brand - which justifies the price tags that the main collections can demand.

Ultimately: times are good for Nathan Jenden. Maybe its the thought behind the designs that is a winning formula. The prints, the colours, the styles: they are tailored for his market to ensure that garments are going to suit whoever tries them on. But the most important thing? Remembering that fashion is about attitude; about being fun, upbeat and not too serious - it is not really about clothes.

An enlightening "behind the scenes" look into the life and work of such a busy man, and Fashionista is already looking forward to the next FBC meeting...

Never Knowingly Undersold

Breaking away from the recent spate of designers designing more accessible (read "cheaper") ranges for high street stores (think: Matthew Williamson and Jimmy Choo for H&M for example), John Lewis has just announced that it will launch a premium label own-brand collection in September. Rather than seeking to appeal to the masses, John Lewis are seeking to appeal to a smaller audience. An interesting strategy in the current economic climate. Surely brands want to maximise sales and make their products as accessible as possible, rather than narrowing the pool of potential customers?

Well, no, and Fashionista thinks it a savvy move. John Lewis is a high street favourite. According to the John Lewis Partnership website, "John Lewis has been recognised as top for customer service by the UK Customer Satisfaction Index" and, in January, was voted "Britain's favourite retailer 2008" (as part of a customer satisfaction index). Whilst this may all be true, Fashionista thinks the general perception is that John Lewis is the "sensible" department store. It doesn't quite have the glitz, the luxury, or the cutting edge fashion of Harrods, Harvey Nichols or Selfridges - but you know you are going to get good quality, good value goods if you walk into John Lewis. You also know you'll find most things you are looking for from their huge stock of more than 350,000 separate lines. Except, perhaps, that luxurious "a little bit special" evening dress, or impeccably tailored suit. Enter the new premium label.

John Lewis already draws in most people off the high street. So one of its aims for the new label must be to draw in the small handful of fashionistas who will shop in "The Big 3" or will more frequently be seen snaking in and out of stores on London's Bond Street or Sloane Street. Another aim must be to provide even more choice to the existing John Lewis customer, filling the only gap in its product range to avoid losing business to rival department stores. If this move works, John Lewis really could become a one stop shop for all shopping needs. But will customers go for it?

Fashionista will be interested to see whether this works. She thinks it is an ambitious move and queries: can the brand distance itself sufficiently from its current reputation (echoed in the strapline "never knowingly undersold") so that customers will want to spend money on a luxury piece branded "John Lewis"? Fashionista anticipates that it will take great products, the right price point, clever PR and marketing, and has her fingers crossed for this high street favourite.