Mashable : Tinder users are using ChatGPT to message matches

Tinder users are using ChatGPT to message matches
This is the "future of Tinder," apparently.

The launch of OpenAI's ChatGPT this month has ushered in a new era — of social feeds clogged with screenshots and discussions of the chatbot and its seemingly infinite uses. TikTokkers didn't hesitate to divulge how they're using ChatGPT: to message Tinder matches.

Using AI in dating apps isn't new. For years, programmers have been trying to further gamify the game of finding love on your phone. These Tinder users created bots to swipe and message for them and can do so with hundreds of users at a time. It's no surprise that Tinder bans users who do this, but even the app itself utilizes AI to generate conversation starters:

Those using ChatGPT, however, are putting in a bit more manual effort. Once they match with someone, they ask ChatGPT for an opening message based on their interests. Then they copy and paste the output and send it to their match. And honestly? From what folks are posting on TikTok, it's working.

One "Tinder veteran" used ChatGPT to generate a poem for the six-foot woman he was messaging. She loved it, saying a guy hadn't written a poem for her before. The caption on the video claimed this is the "future of Tinder."

Here's another example, this time a TikTok user requesting a weight lifting-themed opener. ChatGPT spit out, "Do you mind if I take a seat? Because watching you do those hip thrusts is making my legs feel a little weak."

Once again, the receiver of the message enjoyed it and soon dropped her Snapchat.

As with using an AI bot to completely use Tinder for you, there are potential ethical concerns at play here; the dominant from these examples is disclosure. How would a match feel if they knew your messages were AI-generated? Are you lying by omission by not telling them a bot actually "wrote" the message? What if they were using ChatGPT to message, too — then would it matter?

These are questions we can't yet answer but surely will have to grapple with as AI becomes further embedded in our lives. As one TikTok user captioned, "AI just too overpowered."

Wired : Physicists Rewrite a Quantum Rule That Clashes With Our Universe

Physicists Rewrite a Quantum Rule That Clashes With Our Universe
The past and future are tightly linked in conventional quantum mechanics. A tweak could let quantum possibilities increase as space expands.

A JARRING DIVIDE cleaves modern physics. On one side lies quantum theory, which portrays subatomic particles as probabilistic waves. On the other lies general relativity, Einstein’s theory that space and time can bend, causing gravity. For 90 years, physicists have sought a reconciliation, a more fundamental description of reality that encompasses both quantum mechanics and gravity. But the quest has run up against thorny paradoxes.

Hints are mounting that at least part of the problem lies with a principle at the center of quantum mechanics, an assumption about how the world works that seems so obvious it’s barely worth stating, much less questioning.

Unitarity, as the principle is called, says that something always happens. When particles interact, the probability of all possible outcomes must sum to 100 percent. Unitarity severely limits how atoms and subatomic particles might evolve from moment to moment. It also ensures that change is a two-way street: Any imaginable event at the quantum scale can be undone, at least on paper. These requirements have long guided physicists as they derive valid quantum formulas. “It’s a very restrictive condition, even though it might seem a little bit trivial at first glance,” said Yonatan Kahn, an assistant professor at the University of Illinois.

But what once seemed an essential scaffold may have become a stifling straitjacket preventing physicists from reconciling quantum mechanics and gravity. “Unitarity in quantum gravity is a very open question,” said Bianca Dittrich, a theorist at the Perimeter Institute for Theoretical Physics in Waterloo, Canada.

The main problem is that the universe is expanding. This expansion is well described by general relativity. But it means that the future of the cosmos looks totally different from its past, while unitarity demands a tidy symmetry between past and future on the quantum level. “There is a tension there, and it’s something quite puzzling if you think about it,” said Steve Giddings, a quantum gravity theorist at the University of California, Santa Barbara.

Concern over this conflict has been in the air for years. But recently, two quantum gravity theorists may have found a way to loosen unitarity’s buckles to better fit our growing cosmos. Andrew Strominger and Jordan Cotler of Harvard University argue that a more relaxed principle called isometry can accommodate an expanding universe while still satisfying the stringent requirements that first made unitary a guiding light.

“You don’t need unitarity,” said Strominger. “Unitarity is too strong of a condition.”

While many physicists are receptive to the isometry proposal—some have even come to similar conclusions independently—opinions vary as to whether the update is too radical or not radical enough.

A Fixed Sum
In everyday life, events can’t help but play out in a unitary way. A coin toss, for instance, has a 100 percent chance of coming up heads or tails.

But a century ago, the pioneers of quantum mechanics made a surprising discovery—one that elevated unitarity from common sense to a hallowed principle. The surprise was that, mathematically, the quantum world operates not by probabilities but by more complicated numbers known as amplitudes. An amplitude is essentially the degree to which a particle is in a certain state; it can be a positive, negative or imaginary number. To calculate the probability of actually observing a particle in a certain state, physicists square the amplitude (or, if the amplitude is an imaginary number, they square its absolute value), which gets rid of the imaginary and negative bits and produces a positive probability. Unitarity says the sum of these probabilities (really, the squares of all the amplitudes) must equal 1.

It’s this twist—the squaring of hidden amplitudes to calculate the outcomes we actually see—that gives unitarity teeth. As a particle’s state changes (as it flies through a magnetic field, say, or collides with another particle), its amplitudes change too. In working out how a particle is allowed to evolve or interact, physicists use the fact that amplitudes never change in a way that disrupts the fixed sum of their squares. In the 1920s, for instance, this unitarity requirement guided the British physicist Paul Dirac to discover an equation that implied the existence of antimatter. “I was not interested in considering any theory which would not fit in with my darling,” Dirac wrote, referring to unitarity.

Physicists keep probabilities and amplitudes in line by tracking how the quantum state of a particle moves around in Hilbert space—an abstract space representing all possible states available to the particle. The particle’s amplitudes correspond to its coordinates in Hilbert space, and physicists capture changes to the particle with mathematical objects called matrices, which transform its coordinates. Unitarity dictates that a physically allowed change must correspond to a special “unitary” matrix that rotates the particle’s state in Hilbert space without changing that the sum of the squares of its coordinates equals 1.

It’s a mathematical fact with philosophical consequences: If you know the specific unitary matrix corresponding to some change over time, any quantum state can be swiveled into the future or unswiveled into the past. It will always land on another viable state in the Hilbert space, which never grows or shrinks. “The past completely determines the future, and the future completely determines the past,” said Cotler. “It’s related to the statement that information is neither created nor destroyed.”

And yet, this bedrock assumption seems to conflict with the universe that surrounds us.

A Cosmic Clash
Galaxies are flying ever farther apart. While our expanding universe is a perfectly valid solution to the equations of general relativity, physicists have increasingly realized that its growth spells trouble for quantum mechanics, by presenting particles with an expanding smorgasbord of options for where to be and how to behave. As space grows, how can the Hilbert space of possibilities not grow with it? “It’s definitely true that there are more degrees of freedom in the universe now than in the early universe,” said Nima Arkani-Hamed, a theoretical physicist at the Institute for Advanced Study in Princeton, New Jersey.

“I’ve felt for many years [that] it was the elephant in the room,” said Strominger.

Giddings sharpens the issue with a paradoxical thought experiment set in a universe that’s both unitary and expanding. Imagine taking the current state of the universe, said Giddings, and adding “one innocuous photon”—perhaps lodged in newly created space halfway between here and the Andromeda galaxy. Unitarity insists that we must be able to calculate what this universe looked like in the past, unswiveling its quantum state as much as we wish.

But rewinding the state of the universe plus an extra photon creates a glitch. Going into the past, the universe gets smaller, and the wavelength of photons will shrink too. In our real universe, this isn’t a problem: A photon shrinks only until the moment of its creation through some subatomic process; the reversal of that process will make it disappear. But the extra photon wasn’t created by that special process, so instead of disappearing when you turn back time, its wavelength will eventually get impossibly small, concentrating its energy so greatly that the photon collapses into a black hole. This creates a paradox, absurdly implying that—in this fictional, expanding universe—microscopic black holes convert into photons. The thought experiment suggests that a naïve mashup of unitarity and cosmic expansion doesn’t work.

Dittrich thinks unitarity smells fishy on more general grounds. Quantum mechanics treats time as absolute, but general relativity messes with the ticking of clocks, complicating the notion of change from one moment to the next. “I personally never relied so much on unitarity,” she said.

The question is: What sort of alternative framework could accommodate both cosmic expansion and the rigid mathematics of quantum theory?

Unitarity 2.0
Last year, Strominger struck up a collaboration with Cotler, who splits his time between quantum gravity research and quantum information theory—the study of information stored in quantum states. The duo realized that there is a well-studied scheme in quantum information theory that resembles the expanding universe: quantum error correction, a scheme where a small message made from quantum states is redundantly encoded inside a bigger system. Perhaps, they thought, the contents of the young universe are similarly stitched into the modern cosmos’s swollen form.

“In hindsight, the obvious answer is this is exactly what people doing quantum encoding have been doing,” Strominger said.

In a paper earlier this year, the two homed in on a class of transformations that quantum error-correcting codes belong to, known as isometries. An isometric change resembles a unitary one with added flexibility.

Think of an electron that can occupy two possible locations. Its Hilbert space consists of all possible combinations of amplitudes in the two locations. These possibilities can be imagined as the points on a circle—every point has some value in both the horizontal and vertical directions. Unitary changes rotate states around the circle but do not expand or shrink the set of possibilities.

To visualize an isometric change, though, let the universe of this electron swell just enough to allow a third position. The electron’s Hilbert space grows, but in a special way: It gains another dimension. The circle becomes a sphere, on which the particle’s quantum state can swivel around to accommodate mixtures of all three locations. The distance between any two states on the circle holds steady under the change—another requirement of unitarity. In short, the options increase, but without unphysical consequences.

“Working with isometries is sort of a generalization” of unitarity, said Giddings. “It keeps some of the essence.”

Our universe would have a Hilbert space with a huge number of dimensions that proliferate continuously as real space expands. As a simpler proof of concept, Strominger and Cotler studied the expansion of a toy universe consisting of a line ending in a receding mirror. They calculated the probability that the universe would grow from one length to another.

For such calculations, quantum practitioners often use the Schrödinger equation, which predicts how a quantum system evolves in time. But changes dictated by the Schrödinger equation are perfectly reversible; its “literal purpose in life is to enforce unitarity,” Arkani-Hamed said. So instead, Strominger and Cotler used an alternative version of quantum mechanics dreamed up by Richard Feynman, called the path integral. This method, which involves tallying up all the paths a quantum system can take from some starting point to an endpoint, has no trouble accommodating the creation of new states (which appear as branching paths leading to multiple endpoints). In the end, Strominger and Cotler’s path integral spit out a matrix encapsulating the growth of the toy cosmos, and it was indeed an isometric matrix rather than a unitary one.

“If you want to describe an expanding universe, the Schrödinger equation as it stands just won’t work,” Cotler said. “But in the Feynman formulation, it keeps on working on its own volition.” Cotler concludes that this alternative way of doing quantum mechanics based on isometry “will be more useful to us in understanding an expanding universe.”

A Mirage of Possibilities
Relaxing unitarity could resolve the glitches in the thought experiment that has troubled Giddings and others. It would do so through a conceptual change to how we think about the relationship between the past and the future, and which states of the universe are really possible.

To see why isometry solves the problem, Cotler describes a toy universe, one born in one of two possible initial states, 0 or 1 (a two-dimensional Hilbert space). He makes up an isometric rule to govern this universe’s expansion: At every successive moment, each 0 becomes 01, and each 1 becomes 10. If the universe starts at 0, its first three moments will see it grow as follows: 0 → 01 → 0110 → 01101001 (an 8D Hilbert space). If it starts at 1, it will become 10010110. The string captures everything about this universe—all its particles’ positions, for instance. A considerably longer string made from superpositions of 0s and 1s presumably describes the real universe.

At any given time, the toy universe has two possible states: one arising from 0 and another arising from 1. The initial one-digit configuration has been “encoded” in a larger, eight-digit state. That evolution resembles a unitary one, in that there are two possibilities at the beginning and two at the end. But the isometric evolution provides a more capable framework for describing the expanding universe. Crucially, it does so without creating the freedom to add, say, an extra photon between here and Andromeda, which would spell trouble when you turn back the clock. Imagine, for instance, that the universe is in the 01101001 state. Flip the first 0 to a 1—representing a minor, local tweak, such as the extra photon—and you’ll get a state that looks fine on paper (11101001), with a seemingly valid set of coordinates in the larger Hilbert space. But knowing the specific isometric rule, you can see that such a state has no parent state. This imaginary universe could never have arisen.

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“There are some configurations of the future that don’t correspond to anything in the past,” Cotler said. “There’s nothing in the past that would evolve into them.”

Giddings has proposed a similar principle for ruling out paradoxical states he encountered while studying black holes last year. He calls it “history matters,” and it holds that a given state of the universe is only physically possible if it can evolve backward without generating contradictions. “This has been kind of a lingering puzzle,” he said. Strominger and Cotler “are taking that puzzle and using it to try to motivate possibly a new way of thinking about things.”

Giddings thinks the approach deserves further development. So does Dittrich, who came to similar realizations about isometry a decade ago while attempting to formulate a toy quantum theory of space-time with her collaborator Philipp Höhn. One hope is that such work could eventually lead to the specific isometric rule that might govern our universe—a rather more complicated prescription than “0 goes to 01.” A true cosmological isometry, Cotler speculates, could be verified by calculating which specific patterns in the distribution of the matter in the sky are possible and which aren’t, and then testing those predictions against observational data. “If you look closer at it, you’ll find this but not this,” he said. “That could be really useful.”

To Isometry and Beyond
While such experimental evidence could accrue in the future, in the near term, evidence for isometry is more likely to come from theoretical studies and thought experiments showing that it helps combine the malleability of space-time with the amplitudes of quantum theory.

One thought experiment where unitarity looks creaky involves black holes, intense concentrations of matter that warp space-time into a dead end. Stephen Hawking calculated in 1974 that black holes evaporate over time, erasing the quantum state of anything that fell in—a seemingly blatant unitarity violation known as the black hole information paradox. If black holes have Hilbert spaces that mature isometrically, as Cotler and Strominger hypothesize, physicists may face a somewhat different puzzle than they thought. “I don’t think there can be a solution that doesn’t take this into account,” Strominger said.

Another prize would be a detailed quantum theory that described not just how the cosmos grows, but where everything came from in the first place. “We have no universe, and all of a sudden we have a universe,” Arkani-Hamed said. “What the hell kind of unitary evolution is that?”

For his part, however, Arkani-Hamed doubts that swapping in isometry for unitarity goes far enough. He is one of the leaders of a research program that is trying to break free of many fundamental assumptions in quantum theory and general relativity, not just unitarity.

Whatever theory comes next, he suspects, will take a completely novel form, just as quantum mechanics was a clean break from Isaac Newton’s laws of motion. As an illustrative example of what a new form might look like, he points to a research program stemming from a 2014 discovery he made together with Jaroslav Trnka, his student at the time. They showed that when certain particles collide, the amplitude of each possible outcome equals the volume of a geometric object, dubbed the amplituhedron. Calculating the object’s volume is much easier than using standard methods for computing the amplitudes, which laboriously reconstruct all the ways a particle collision might play out, moment by moment.

Intriguingly, while the amplituhedron gives answers that obey unitarity, the principle isn’t used to construct the shape itself. Neither are any assumptions about how particles move in space and time. The success of this purely geometric formulation of particle physics raises the possibility of a fresh perspective on reality, one free from the cherished principles that currently conflict. Researchers have gradually been generalizing the approach to explore related geometric shapes pertaining to different particles and quantum theories.

“[It] may be a different way to organize unitarity,” Cotler said, “and perhaps it has the seeds to transcend it.”

NY Post : Elon Musk seeks Twitter investors at price he paid for company: report

The managing director of Elon Musk’s family office is seeking new equity investors for Twitter, news platform Semafor reported on Friday, citing two people familiar with the fundraising effort.

Musk’s money manager, Jared Birchall, reached out to potential investors this week, offering shares of Twitter at the same price, $54.20, that Musk paid to take the company private in October, according to the report.

Twitter and Musk did not immediately respond to Reuters requests for comments.

Musk sold another $3.6 billion worth of shares in Tesla earlier this week, making it nearly $40 billion worth of shares in the electric-vehicle company sold this year.

The sale is the second big chunk of Tesla stock the billionaire has cashed out since his $44 billion purchase of Twitter in October, despite saying in April that he was done selling the electric-vehicle company’s shares.

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Meanwhile, Twitter has seen advertisers flee amid worries about Musk’s approach to policing tweets, hitting revenues and its ability to pay interest on the $13 billion debt that Musk took on to buy the social media company.

Ross Gerber, a Tesla investor who said he put less than $1 million in Musk’s original takeover of Twitter, confirmed that he was contacted Thursday evening about another funding round, Semafor reported.

TheDailyBeast : Another Russian Oligarch, Dmitry Zelenov, Dies Under Mysterious

Another Russian Oligarch, Dmitry Zelenov, Dies Under Mysterious Circumstances
SЏSPЇҪЇФЦS
The real estate tycoon slipped down a stairwell while visiting friends in the French Riviera.


Russian real estate tycoon Dmitry Zelenov passed away earlier this month after tumbling down a flight of stairs while visiting friends in the French Riviera, according to a local outlet and an independent Russian outlet.

The French newspaper Var Matin reported Sunday that Zelenov, 50, had been dining with friends in Antibes on Dec. 9 when he suddenly became unwell, falling down a flight of stairs and suffering critical head injuries. He succumbed while receiving treatment at the Hospital Pasteur in Nice.

Baza, an independent news channel on Telegram, reported that Zelenov had toppled over a railing and hit his head. Authorities informed the oligarch’s friends around 7 a.m. the following morning that he’d died without regaining consciousness.

The channel also said it was “known” that Zelenov had previously undergone vascular surgery for unspecified heart problems.

The Antibes Police Department is currently investigating Zelenov’s cause of death, according to Var Matin.

The 50-year-old was the former owner of Russian developer Don-Stroy, which constructed the 61-story Triumph Palace Tower in Moscow, one of the tallest residential structures in Europe. Before the company fell under the control of Russia’s state-owned bank VTB after succumbing to the 2008 financial crisis, Zelenov’s net worth was estimated at $1.4 billion, landing him on the Forbes list of Russian billionaires.

Zelenov is the latest in a long line of top figures in the Russian oil, gas, technology, and financial sectors to meet suspicious and untimely ends—the most recent being Anatoly Gerashchenko.

The former head of Moscow’s Aviation Institute (MAI), Gerashchenko took a mysterious fall “from a great height” at the organization’s headquarters in September. The institute’s press office called the 73-year-old’s death “the result of an accident.”

A fortnight before Gerashchenko’s death, 39-year-old Ivan Pechorin, an executive appointed by Russian President Vladimir Putin to help oversee development in the Arctic, himself took a strange fall off a moving boat off the Russian coast. And two weeks before that, Ravil Maganov, the chairman of Russia’s second-largest oil company, died after purportedly falling out of a hospital window, plummeting six stories to the ground.

WWD : Cefinn Raises Fresh Cash as Demand for Dresses, Knitwear Fuels Double-digi

Cefinn Raises Fresh Cash as Demand for Dresses, Knitwear Fuels Double-digit Sales Growth
The clothing brand founded and run by Britain's former first lady Samantha Cameron has raised 1.2 million pounds in a new funding round, while sales are growing in the double digits, and the U.S. market is flourishing.
LONDON — For six years, the U.K. got used to seeing Samantha Cameron, sporting sneakers and skinny jeans (sometimes on a scooter), ferrying her kids to school or wearing sharp, colorful dresses as she posed with world leaders.
Britain has seen many prime ministers (and their spouses) come and go, yet no one has matched the easy elegance of the former first lady Cameron, who’d served as creative director of the high-end stationer Smythson before she moved into No. 10 Downing Street with her husband, former Prime Minister David Cameron, and young family.
Over the past five years since her husband stepped down, Cameron has been channeling that bright, youthful aesthetic into her clothing label Cefinn, which has been notching double-digit sales growth and which raised 1.2 million pounds in its latest round of funding earlier this month.


In the 12 months ended Oct. 31, sales were up 45 percent to 3.8 million pounds year-on-year while losses fell 32 percent to 166,000 pounds. The momentum has been building, with sales up 55 percent in the first two weeks of the new fiscal year, according to the company.
Cefinn declined to give details about the investors in the latest funding round, but said the money will go toward growth capital to support the sales and expansion of the range; customer acquisition marketing, and the recruitment of expertise in merchandising, production and digital.
Cameron founded Cefinn in 2017 and it remains a direct-to-consumer business with a handful of wholesale clients, including Net-a-porter, Matchesfashion and Trilogy.
Clients include the new Princess of Wales, who wore a blue Cefinn funnel neck blouse for a visit to Glasgow earlier this year (when she was Duchess of Cambridge), and Queen Consort Camilla, who donned a green printed midi dress during a trip to Cornwall.
Cefinn’s pussy bow blouses featured big in the Netflix series “Anatomy of a Scandal,” which starred Sienna Miller as the vengeful wife of a scandal-prone member of parliament.
The blouse is glamorous, but also practical. More than half of the collection — from the knitwear to the silk tops — is machine washable. The clothes are also built to travel, with most of the fabrics wrinkle-free.
Cefinn’s bestselling Daphne dress in fine corduroy.
Online sales make up 65 percent of the business, and were up 69 percent compared with the same period last year. Average order value increased by 10 percent in the past year, while the customer base has grown 49 percent.
A resilient and practically minded entrepreneur, Cameron powered through the lockdowns of 2020 and 2021 by shaping her offer around the changing needs of her consumers. She continues to do so now that many of them have returned to hybrid working — and special events.
From the get-go Cameron put the accent on dresses, which she has always designed to be worn with sneakers or heels. During an interview at her west London studio she embodied the look, wearing a Cefinn midi style with Victorian flair — and tall boots with a block heel from Mango.
Cameron said that when COVID-19 came along, the dress business collapsed “but we were lucky because we had just bought in knitwear and shirting, and we had a couple of styles that did really well.”

One of Cefinn’s top sellers, the Jacquetta.
Over the past two years, Cameron has worked on expanding the knitwear offer, which accounts for 22 percent of sales. True to Cameron form, it’s practical. Her sweaters are made from animal-friendly, non-mulesed merino wool. They’re also washable and don’t pill.
“Post-COVID-19, whether you’re in the office or on Zoom, they’re an alternative to a jacket. The shapes are very sculptural — one of our bestsellers has a blouson sleeve. And we do them in various necklines. You can wear them with smart denim, tailored trousers or a leather skirt,” she said.
The sleeveless ones are doing well, too.
The Janice style, which comes with a V-neck or a funnel neck, has been Cefinn’s top-selling product by units in the last two years, and Cameron believes it’s because it can be layered over a dress with statement sleeves without killing the look.
It’s also heavy enough “to keep you warm if you’re working from home during the day,” she said.
Knitwear sales have grown 83 percent over the past year.
Once lockdown eased, the dress business bounced back “overnight,” said Cameron, whose current bestseller is the Daphne, a dress made from fine corduroy that costs 290 pounds. Another popular style is the Jacquetta, a velvet maxidress with tie at the neck costing 320 pounds.
Both are part of Cefinn’s largest winter and Christmas party collection to date.
Cameron has been trying to design more sustainably, working with fabrics such as organic cotton poplin and voile, Lenzing Ecovero and recycled polyester. She’s eliminated plastic from Cefinn’s packaging while garment labels are now made from recycled yarns. She’s working on sourcing sustainable buttons and other trims.
She also keeps a close eye on inventory and said she’s happy to do smaller runs of styles. Cameron said her clothing “isn’t fast fashion or disposable,” and that she’s designing for the long term. She doesn’t like discounting, and keeps it to a minimum.
In addition to expanding the offer, Cameron plans to build the U.K. market, her largest one, and further penetrate the U.S., where Cefinn has a localized website. Sales in the U.S. grew 130 percent last year, and the region currently generates 6.4 percent of total sales.

Cefinn does not have any physical stores, although it has had pop-ups, and Cameron said she’d like to do more. The plan is to open one or two in London to enable customers to try the collection and get styling advice.
Cameron said she’s keen to continue investing, with the aim of it turning a profit in “the next couple of years.”
She said her vision for Cefinn has always been to create a full wardrobe of clothing, “and that needs time, and investment.”
It’s clear she’s enjoying the journey.
Cameron is in the office five days a week and said she’s involved with every aspect of the business, from financial to sales, creative and production. She designs all the prints and the clothing and relies on a strong studio team to bring her creations to life.
Cameron said she’s “obsessive” about fit, and her samples are a U.K. size 10 (a U.S. size 8). That’s considerably larger than the usual U.K. sample size of 4 to 8 (U.S. 0 to 4).
Cameron said she’d like to broaden out her offer even further, with clothing that ranges from a size 6 to 16, with an eye to dressing a variety of women — for the office, the Zoom screen or the photo op.

WWD : L Catterton Invests in BloomChic, a One-year-old Plus-size Play

L Catterton Invests in BloomChic, a One-year-old Plus-size Play

L Catterton is seeing more opportunity in the plus-size market.

The investment giant, which bills itself as the world’s largest fund focused on the consumer sector, has taken a stake in BloomChic, a digital-first fashion line for women wearing sizes 10 to 30.

The size of the investment was not disclosed, but the connection is intended to position BloomChic, founded in 2021, for the next stage of its growth.

Bill Hu, founder and chief executive officer of BloomChic, said, “L Catterton has an impressive track record of helping companies to build iconic brands, broaden product suites, enter new geographic markets and attract talent.”

BloomChic has offices across Greater China and California and is targeting shoppers in the U.S., Canada, Australia and Europe.

L Catterton, which has investments in Birkenstock, Savage x Fenty and many others, can lend its expertise in consumer insights and operations to help boost the brand, which is part of the broader trend toward body positivity.

Plus-size fashion has long been seen as an opportunity in fashion, but one that’s proven to be hard to tap into.

Scott Chen, a managing partner at L Catterton, said, “BloomChic’s product quality and range sets it apart from others in the plus-size womenswear market. Most brands that seek to tap this market simply offer enlarged versions of their existing offerings, with little consideration for body shapes, fit and comfort. Their products also do not cater for as wide a spectrum of customers as BloomChic’s.

“BloomChic’s community-building initiatives — especially the in-person events it organizes for customers to provide feedback — have also demonstrated that it believes the plus-size voice should be heard and valued,” he said. “This has resonated with the community as society increasingly embraces female empowerment, body positivity and social inclusion.”

The opportunity is significant.

L Catterton noted that about two-thirds of women in the U.S. wear size 14 and above, but that less than half of the apparel market is made up of larger looks, with only about 2 percent of women’s apparel stores focused on the category.

Globally, the plus-size women’s market was pegged at $186 billion in 2020, with the U.S. seen as about 45 percent of that and on track to grow at a compound annual growth rate of 3 to 5 percent, twice the pace of the country’s overall women’s apparel market.

BloomChic has what the company described as a “data-driven product development process” that finds trending colors, patterns and fabrics while taking different body shapes into consideration.

New looks are tested in small batches.

“There is a very real need for women of all sizes to be and feel seen, uplifted by fashion,” said Freya Hu, BloomChic’s chief product officer. “It is our mission to fulfill this need. We are only at the start of our journey and are incredibly excited about what’s to come.”

WWD : Louis Vuitton Goes Big With Yayoi Kusama Collaboration

Louis Vuitton Goes Big With Yayoi Kusama Collaboration
An array of products, activations and campaigns will unfurl throughout the first half of 2023.

Louis Vuitton is going dotty — on a global scale.

In its most extensive collaboration with a fine artist to date, the luxury giant is rolling out ready-to-wear, leather goods, accessories and even perfumes done in collaboration with Yayoi Kusama, along with dedicated campaigns and a host of high-profile activations.

Steven Meisel’s images of Gisele Bündchen, Liya Kebede, Devon Aoki, Christy Turlington, Anok Yai and other famous models break on Dec. 26 in Japanese fashion magazines. The first products drop on Jan. 1 in Japan and China, considered a pre-launch, and should be in all 460 Louis Vuitton boutiques worldwide on Jan. 6.

Delphine Arnault, who as Vuitton’s executive vice president supervises all of its product-related activities, described the collaboration as a meeting of two like-minded design studios and workshops obsessed with perfection in concept, execution and craft.

In an interview at Vuitton headquarters in Paris, with its staggering views of the Seine River, Arnault said the project was a year and a half in the making, conceived and realized in the midst of the coronavirus pandemic via Zoom and file-sharing technology linking the French capital and Tokyo, where the 93-year-old artist is based.

“One of the aspects of her work is happiness, and we thought it would be really refreshing after the pandemic to have the worlds of Vuitton and the world of Kusama meet again,” she said, alluding to an initial, successful first collaboration in 2012.

Vuitton began teasing the latest hookup last May, when Nicolas Ghesquière, the brand’s artistic director of women’s collections, accessorized some of his cruise 2023 outfits with polka-dot handbags.
The pace has quickened in recent weeks. A Tokyo takeover involved landmarks such as the Tokyo Tower, Zojoji Temple and Tokyo station with a mix of physical installations and augmented reality activations.

“The reaction was amazing,” Arnault enthused.

Indeed, an Instagram post of the anamorphic billboard Vuitton installed in Tokyo’s bustling Shinjuku district has racked up more than 10 million views. It depicts Kusama peering out from a decorated Vuitton trunk with some animated fruit friends.

Meanwhile, other posts on Instagram, where Vuitton counts more than 50 million followers, have shown Kusama handing spotted gourds to Dutch model Rianne Van Rompaey, one of the campaign faces, who also appears to be standing on top of the artist’s signature bright-red bob hairstyle.

Arnault hinted at other citywide takeovers in Paris, London and New York next year. “It’s really important to communicate globally, but also do work locally,” she said, promising “some surprises” in different parts of each city, along with pop-ups, pop-ins, augmented reality features and even a gaming app.

A second drop of products is scheduled for March 31, to be backed by another ad campaign still under wraps.

Kusama is best known for her obsession with polka dots, which she has painted since age 10 and applied to canvases, tree trunks, entire rooms and even people. She has also done collages, soft sculptures and performance art.
Known for her exacting approach — each dot in her “infinity” paintings is painstakingly placed — Kusama is a prolific artist who has had a hand in the conceptual, feminist, minimalist, surrealist, pop and abstract art movements since her first appearance on the scene in the 1950s.

Arnault lauded Kusama as one of the most famous female artists working today, and one of the most important artists to emerge from Japan.

“It’s a very inclusive art,” she said. “It speaks to everyone — it can speak to a child; it can speak to an intellectual. It’s not too hard to understand, although it’s very complex.”

Huge lines form whenever museums feature one of Kusama’s “Infinity Mirror Rooms,” which allow viewers to gaze upon endless reflections of colorful lights.

Arnault marveled that Kusama’s art has been so prescient of today’s appetite for immersive experiences, and works that are so irresistibly Instagrammable and shareable.

The Vuitton collaboration encompasses Kusama’s “infinity dots” and metal dots, first introduced in 1966, along with floral and pumpkin motifs.

Arnault pulled out a Capucine leather bag, one of the most expensive items in the range at 8,800 euros, and a petite Alma canvas bag, each of them covered with colorful, but irregular dots.

“We have a sense for perfection, for detail, for creativity, for innovation, and we felt that the studio of Mrs. Kusama was speaking the same language,” Arnault explained, a smile spreading over her face. “She has an obsession with the dot. And we have an obsession with the monogram.”

Vuitton’s repetitive design, with the LV initials interspersed with stylized flowers, first debuted on trunks in 1896 and has become one of its most potent, and popular, brand signifiers.

Arnault explained that Vuitton’s teams were tasked with reproducing the dots Kusama once hand-painted on a trunk. After countless trials, they achieved the desired effect: The dots seem to float on the leather goods, glistening here and there as if Kusama had just lifted her brush from each circle, the paint still wet.
“Everything was done with extreme precision,” she stressed. “What’s amazing about working with artists is that they really push the boundaries… It makes us even better and pushes also our boundaries.”

She motioned toward a photo on the wall of a wonky, top-handle Vuitton handbag by architect Frank Gehry, one of six “iconoclasts” tapped for a 2014 collaboration.

“There’s not one straight line on that bag, so for the atelier, that was a super big challenge,” she recalled.

Arnault described a massive, companywide effort to realize the Kusama project, which involved every product department and the company’s supply-chain, industrial, design, marketing, retail, communications and visual merchandising teams. Kusama’s dots will even invade the brand’s dot-com business, with a temporary makeover slated for its online store.

Artistic collaborations stretch back more than a century at Vuitton, to the founder’s grandson Gaston-Louis Vuitton, who conscripted artists and designers such as Pierre-Emile Legrain and Camille Cless-Brothier for products and windows in the ’20s and ’30s.

The pace picked up considerably during the Marc Jacobs era from 1997 to 2013, when he invited Stephen Sprouse, Takashi Murakami, Richard Prince — and Kusama — to collaborate on capsule collections. In 2013, the blockbuster Murakami collaboration — which featured colorful versions of the monogram, some interspersed with eyeballs — was said to generate one-tenth of the brand’s revenues that year.

When Kusama first met Jacobs, receiving him at her Tokyo studio in 2006, she presented the designer with a Vuitton Ellipse bag, whose monogram canvas she had painted over with dots. He invited her to collaborate on a line of clothes and accessories in 2012, some decorated with her tentacle-like “nerves” motif.

In recent years Vuitton has also collaborated with Sol LeWitt and Jeff Koons, also inviting hosts of emerging and established contemporary artists to take part every year in its Artycapucines project.

Vuitton’s “cultural dimension” reached another zenith with the opening in 2014 of the Louis Vuitton Foundation, a private museum that has exhibited works by Claude Monet, Vincent Van Gogh, Olafur Eliasson, Jean-Michel Basquiat, Cindy Sherman and Egon Shiele.

More recently, Vuitton figured as the only luxury brand to mount a booth at the inaugural edition of the Paris+ by Art Basel fair to highlight its long-standing relationships with artists.

“I think that Vuitton really has legitimacy in doing collaborations with artists, and it’s the brand most linked to culture,” Arnault asserted, characterizing them as a win-win.

While declining to discuss numbers, Arnault said its collections done with artists are “extremely successful” commercially. On the flip side, artists “want to do it because it gives them access to another public.”

“This collaboration is going to be in all our windows, it’s going to be in our advertising so it exposes their art to people who would not necessarily have been to a museum,” she explained.

Arnault noted that all of Vuitton’s artistic collaborations end up becoming highly collectible, often accruing greater value on the resale market. They attract art collectors and clients who might not be familiar with the artists, but become intrigued to learn more, she added.

For serious art aficionados, or partiers, 40 hard-sided Champagne trunks customized by Kusama’s studios are up for grabs at 400,000 euros each.

The print campaign, with its cast of models from various generations, is meant to reflect that Kusama’s art appeals to everyone. Its tagline, “Creating Infinity,” nods to a key subject in Kusama’s work, and to Vuitton’s travel roots, dreamy storytelling and seemingly endless growth trajectory.

The visuals will also appear as billboards, on street furniture, 3D screens and banners in cities including Paris; London; Munich; Dubai; New York; Los Angeles; Tokyo; Seoul; Taipei, Taiwan; and Shanghai, Chengdu and Shenzhen, China.

WWD : LuisaViaRoma Secures Lease for Manhattan Retail Destination

LuisaViaRoma Secures Lease for Manhattan Retail Destination
The Italian e-tailer is set to land at 1 Bond Street in NoHo.

MILAN — LuisaViaRoma is headed to the U.S. and likely with its first international door.

Leasing advisory firm Mona said Friday that the Italian e-tailer, part of private equity firm Style Capital’s portfolio, has inked a long-term lease for a 7,855-square-foot retail space at 1 Bond Street in Manhattan’s NoHo neighborhood.

The yearly rent rate stands at $3.2 million, the advisory firm said, and includes the lease of a 5,000-square-foot space on the building’s lower level.

Representatives for LuisaViaRoma did not immediately respond to request for comments.

Neighboring such retailers as Showfields and Kith and across the street from hip members club Zero Bond, the store would mark LuisaViaRoma’s second outpost globally, flanking the existing unit on Florence’s Via Roma which opened in 1929.

The retailer had already tested the brick-and-mortar waters in Manhattan, opening a pop-up store in 2018 in partnership with Spring Studios and Spring Place.

In 2021, Style Capital invested 130 million euros to acquire a 40 percent stake in the e-tailer aimed at supporting its growth. LuisaViaRoma had turnover of around 230 million euros in 2020.

Since the acquisition, Roberta Benaglia, chief executive officer at Style Capital, cited the expansion of the retailer’s international footprint as among her key priorities. A few months before the deal materialized, LuisaViaRoma had hired Kate Davidson Hudson to oversee its expanded content strategy and launch a magazine particularly geared at the U.S. market.

The e-tailer is helmed by CEO Alessandra Rossi, a Yoox Group (now YNAP) veteran. As part of the deal, Andrea Panconesi, whose grandmother Luisa Jaquin planted the seeds of the family company’s success and was the mastermind behind the retailer’s foray into e-commerce in 1999, serves as chairman.