We should rename see-now-buy-now to "fashion's fight-or-flight response." JESSICA IREDALE wrote about recent developments in facilitating instant purchases from the runway. Iredale's analysis is refreshing because it takes into account the large number of variables involved with each see-now-buy-now experiment, and how these variables contribute to success. See-now-buy-now has been adopted by vastly different companies with different customers and different business models. So why is it talked about as a uniform model? It's a delicate equation, this see-now-buy-now. TOM ≠ TOMMY (as in FORD, HILFIGER). Add a direct-to-consumer focus, subtract the median age of target customer. Multiply by GIGI and divide by two HADID influencers. Multiply by the square root of the population in the downtown area in which the fashion show takes place. Divide by number of #hashtag mentions on INSTAGRAM. Figure in actual sales. You get the idea. There is no formula. It's not the deus ex machina people were hoping for, but it's working out for others. Cue this meme... EDUARDO DENTE created interior spaces for MARTIN MARGIELA as the label's former head of interior design. Those raw, stark white interiors in cities like BRUSSELS, PARIS, TOKYO, HONG KONG, OSAKA, and LONDON were informed by the label's commitment to spontaneity and play, crafted by a team that "operated like a baroque machine." 1GRANARY, the (student-run!) publication consistently putting out excellent features on fashion, published part 1 of this interview with Dente. Great read. More on fashioning spaces: a fantastic feature on MASAMICHI KATAYAMA of WONDERWALL, known for his work with NIGO and THOM BROWNE, among others. Here's a look at CECIL BEATON's interiors along with some thoughts on "ghastly good taste"... The latest HALSTON exhibition is organized by his niece... Wearables, now and then.