FT : Global shortage of fibre optic cable threatens digital growth

Global shortage of fibre optic cable threatens digital growth
Rising prices of critical components casts shadow over 5G rollout and development of data centres

A worldwide shortage of fibre optic cable has driven up prices and lengthened lead times, endangering companies’ ambitious plans to roll out state of the art telecommunications infrastructure.

Europe, India and China are among the regions most affected by the crunch, with prices for fibre rising by up to 70 per cent from record lows in March 2021, from $3.70 to $6.30 per fibre km, according to Cru Group, a market intelligence firm.

Although the pandemic prompted some of the biggest tech and telecoms groups to slash their capex, there has been a surge in demand for internet and data services, leading to a shortfall in availability of the crucial but often overlooked material.

Companies like Amazon, Google, Microsoft and Facebook owner Meta are expanding their data centre empires to meet soaring demand, including laying vast international fibre networks under the ocean. Meanwhile, governments have set ambitious targets for the rollout of superfast broadband and 5G, both of which require vast quantities of fibre optic cable to be laid under the ground.

“Given that the cost of deployment has suddenly doubled, there are now questions around whether countries are going to be able to meet targets set for infrastructure build, and whether this could have an impact on global connectivity,” said Michael Finch, an analyst at Cru.

Total cable consumption increased by 8.1 per cent in the first half of the year compared to the same time last year, according to Cru estimates. China accounted for 46 per cent of the total, with North America representing the fastest growing region, at 15 per cent year on year.


Underpinning the shortage are rising prices of some of the critical components that go into fibre optic technology, in which light is carried along flexible fibres with a glass core.

There has been a shortage of helium, a crucial component in the manufacture of fibre optic glass, in part caused by plant outages in Russia and the US, which has caused prices of the element to increase by 135 per cent over the past two years. Meanwhile, prices of silicon tetrachloride, another key component in fibre production, have increased by up to 50 per cent according to Cru.

“In my professional career I’ve never seen anything like this inflationary crunch,” said Wendell Weeks, chief executive of Corning, the biggest producer of fibre optic cable in the world, which played a significant role in inventing the technology in 1970.

Weeks added that the company is ramping up production to meet soaring demand from governments, telecoms companies and big tech groups, including building new facilities in the US and Europe.

Prices of fibre have now reached their highest level since July 2019, according to Cru, although North America has been less severely hit than Europe, China and India.

Weeks said that in the US prices had increased by only 2 per cent in 2022, and had otherwise fallen every year since 2012. “It’s going to continue to be tight for a while but we’ll get through this hyper-crunch,” he added.

Martijn Blanken, chief executive of Exa Infrastructure, an international digital infrastructure company, said fibre prices had increased by at least 20 per cent over the past six months and that “in some cases it’s so erratic you need to check it by the day”. “We add clauses with our clients so that we’re not liable for these price hikes,” he added.

This has led to significant increases in lead times for some fibre products, stretching out from 20 weeks to almost a year for many smaller customers.

“All of us are prioritising giving fastest delivery to our biggest customers,” said Ankit Agarwal, managing director of STL, one of the largest fibre suppliers in Britain.

FT : ‘I’m so bearish that I’m bullish?’

‘I’m so bearish that I’m bullish?’

Investors cut equity allocations to lowest level since Lehman collapse
There is certainly no shortage of reasons for investors to feel gloomy at the moment: no end in sight to the war in Ukraine, high energy prices, soaring inflation, rising interest rates, lingering Covid . . .

The growing risk that all of this will drag leading economies into recession has spoked large institutional investors, writes Chris Flood in London. As a group, they have chopped their allocations to equities to the lowest level since the collapse of Lehman Brothers in September 2008, according to Bank of America’s widely followed monthly fund manager survey.

Pessimism has reached a “dire level,” says Michael Hartnett, BofA’s chief investment strategist. One indication of this: the survey, of 259 investment managers with combined assets of $722bn, found cash holdings last month had reached a 21-year high. And almost four in five of those polled expected corporate profits to deteriorate than at any point during the coronavirus pandemic or when Lehman collapsed.

Contrarians may see all the gloom and pessimism as a “buy” signal. But the “I’m so bearish that I’m bullish” argument doesn’t wash with Hartnett. He cautions that any bounce for stocks or bonds is unlikely to turn into a sustained rally until it is clear that the Federal Reserve has decided that it has tightened monetary policy sufficiently to control inflation.

Meanwhile Albert Edwards, global strategist at Société Générale, is true to his customarily bearish stance. He thinks that central banks’ role in fuelling rising prices and their misjudgement about the severity of the current increase in inflationary pressures could prevent them from stepping in again to provide support if financial markets continue to weaken. He asks:

“Has the arrogance and hubris of western central bankers now been curtailed? And if so, what will that mean for the future?”

It’s a big question and one that will haunt investors following a prolonged period of central bank largesse. This is unlikely to be repeated while inflation remains a problem in the eyes of policymakers.

Do you think it’s time to buy equities? Email me: harriet.agnew@ft.com

Why young investors aren’t ready to give up on risk
With $1,000 in savings and two US government stimulus checks, Chris Zettler began investing in 2020. First he bought companies he knew, he says, “but then I got bored with it”. He moved on to call options in companies with volatile share prices, riding the price swings, writes Madison Derbyshire in New York. He used a win to buy 100 shares in the meme stock AMC at $30 in May and sold at about $65 in June.

The 35-year-old finance major at the University of Alabama, Birmingham, had a TD Ameritrade account that allowed him to trade on margin and place nearly $8,000 in bets with his original $4,000 of capital. He turned that into $18,000.

Zettler saw his account balance rise to $50,000 before falling to $35,000 when a bet went sideways. He sold $20,000 of shares and paid his college tuition fees: “I got lucky as heck,” Zettler says.

Yet the risk was worth it, he adds. The possibility of making outsized returns outweighed the risk of loss: “If I did it again, would I have done it the responsible way and just sat on that $4,000? Shoot, no . . . You don’t have anything to lose so you might as well shoot your shot.”

Zettler is part of a generation of investors who came of age around the 2008 financial crisis and in its aftermath. Having struggled to accumulate wealth through traditional means over the past decade, many have turned to speculating in the riskier corners of financial markets.

Experts say the growing appetite for speculative assets such as cryptocurrencies, NFTs and “meme stocks” (whose value skyrocketed in early 2021, driven by retail traders and social media hype) is about more than just getting rich quick.

Stagnant wages, rock bottom interest rates, soaring house prices — and now, corrosive inflation — have cut away at the idea that the under-40s can follow the well-trodden path to financial security that their parents took. Younger investors report feeling like the game is rigged and that playing by the old rules is a losing strategy.

Read the full story here on how even amid a meltdown in crypto markets, there are few signs that “generation moonshot” is planning to retreat from the game.

Business Of Fashion : Navigating Retail’s New Era of Risk

Navigating Retail’s New Era of Risk
In the post-Covid era, retailers who rethink their supply chains will lower their exposure to risk and unlock profound competitive advantage, argues Doug Stephens.

KEY INSIGHTS
  • Globalised supply chains optimised for low cost come with profound risks to capital, brand reputation, society and the planet.
  • As the world becomes more interconnected and turbulent, these risks are growing.
  • Rebuilding supply chains for shared risk, transparency and intelligence is the answer.

If a single image has come to define the failure of global supply chains amid the Covid-19 crisis it’s that of the Ever Given — one of the world’s largest container ships — stuck in a diagonal death grip inside the Suez Canal, heavy with more than twenty thousand units of cargo destined for Western retailers. For almost a week, the ship jammed up worldwide shipping, halting nearly $10 billion in trade a day, before eventually being freed.
But the plight of the Ever Given was just the tip of the proverbial iceberg. Indeed, the entire global shipping industry had seemingly run aground – if only metaphorically – as dock workers at many of the world’s largest ports suffered from the effects of the virus. Soon, merchants everywhere began to see panic buying, empty shelves and bottomless backlogs to fill them: a shock to the system of western merchants and consumers who had largely operated with an assumption of unconstrained access to whatever they’ve wanted, whenever they’ve wanted it.
How could our supposedly modern supply chains be so fragile?
On closer inspection it’s clear that today’s global supply chains are the product of centuries of growth but little meaningful evolution when it comes to risk management. Indeed, Covid-19 was not the first major derailment of the global supply chain. Less than 200 years earlier, a similar breakdown brought an entire global industry to its knees.

When America Ran on Cotton
At the turn of the 19th century, the economy of the freshly constituted United States of America ran principally on cotton, which, by 1825, had found significant demand in England and Europe. While cotton could be sourced elsewhere, the US had several advantages. Boundless, fertile land, an objectively superior strain of cotton, and most significantly, slave labourers.If anything, it was the use of slave labour that made it simply impossible to compete with the United States with on the global cotton market.
By the mid-1800′s two thirds of all cotton imported by Great Britain and Europe was being sourced from America. India, Brazil and Egypt struggled to make up the remaining third. According to some historical reports, close to 80 percent of England’s cotton imports came from America. Fully half of the factories in Britain at the time were for cotton production. Goods made from cotton comprised nearly 40 percent of all British exports. And about 1 in 5 British workers relied on the cotton trade to put food on the table.
Then on April 12, 1861, something happened that would throw America and global cotton supply into a state of chaos. Confederate troops fired on South Carolina’s Fort Sumter, plunging America into civil war. By July of that same year, a mere three months after the start of the conflict, supply of American cotton to England was reduced to nearly nothing, where it would stay for the better part of three years. The effects on England’s economy were devastating, with factory closures and rampant unemployment, coupled with meteoric inflation in the price of cotton and cotton goods.
By the time the American Civil War ended and US cotton exports resumed, England and other countries had learned their lesson, spreading their cotton imports across alternate sources of supply. Thus preventing the US from ever again recapturing such an outsized share of the global cotton market.
At this point you might reasonably imagine that having experienced what many saw as the first true global raw materials shortage, the retail industry would have completely rethought the premise of supply chains and the inherent risk of putting all one’s eggs in a single, distant basket for the sake of low price. You’d surely assume that governments would never again allow their economies and labour forces to become so inextricably dependent on a single industry, commodity or source of supply.
But you’d be wrong.
Flash forward 76 years to America’s Port Newark. It was here in 1937 that trucking entrepreneur Malcom McClean had an idea. As he sat for hours while his cargo of cotton (yes, cotton) was unloaded and reloaded onto a waiting ship, McClean imagined how much more efficient it would be if only his entire truck could be lifted onto the ship. A huge saving of time and labour, he thought.
In 1956, after almost two decades of planning, McClean’s musings became reality when he loaded 58 metal containers in Port Newark onto the S.S. Ideal X, a recommissioned tanker ship that McClean had specially outfitted to carry uniform cargo containers on a maiden voyage to Houston, Texas. It was a short journey with long lasting consequences.

McClean had managed to reduce the cost of loading and unloading cargo from $5.83 per ton to just 16 cents. And with that, intermodal transportation was born,an innovation that would usher in a new era of supply chains.
Modern cargo ships like the Ever Ace, a leviathan of a vessel with a capacity of almost 24,000 containers, have made it possible to venture farther and with more payload than America’s cotton barons ever could have dreamed.
This single innovation,the container ship, swung open the doors of the global economy to countries like China. Like the US of 200 years earlier, China was a nation rich with land, resources and a low cost labour market plagued with widely reported instances of modern slavery. The combination of ultra-cheap transport coupled with the fractional labour costs drove a wave of hyper-globalised supply chains that delivered plentiful goods to western consumers but in the process also created risks that would make the cotton collapse of 1861 look like a picnic.
Today, the vast majority of what is consumed in the world is made in the East. Roughly eighty percent of Walmart’s non-food inventory is made in China. Seventy-five to eighty percent of Amazon’s new marketplace sellers, in its top four markets, are also based in China. Just as England found itself dangerously addicted to American cotton, western economies have become alarmingly addicted to Asian manufacturing. If the US of the 1800′s became the world’s cotton factory to disastrous ends, Asia in the 1990s and 2000s became its everything factory, creating risks we are only now beginning to understand.

The High Risk of Low Cost
Although separated by almost 200 years of history, the cotton famine of the 1860′s and the supply chain crises of today share the same root cause: a myopic and often perilous focus on lowest landed unit cost. Procuring vast quantities of cheap goods has driven and continues to drive most of today’s top brands because most see price as the cornerstone of competitiveness. However, as supply chain expert John Thorbeck often says, we operate in an era where business leaders must once and for all appreciate that the singular pursuit of low cost comes with an extraordinary number of risks that make businesses far less competitive, the first being the risk to financial capital.

Most companies today, according to Thorbeck, are accounting only for the front-end advantage that low cost might afford them. What they’re failing to properly consider are the deleterious back-end costs that accompany it. For example, the massive orders and long lead times implicit in most globalised supply chains make responding to fluctuations in demand nearly impossible. In a world where consumer preference can shift on a viral TikTok video, fashion-based products may be out of fashion even before they reach the rack. The result is slow turns, deep markdowns, write-offs, and heaps of dead stock in warehouses, much of which eventually becomes landfill. Increasingly unpredictable weather events may disrupt seasonal weather changes, once again throwing demand into chaos. And given record levels of consolidation in manufacturing across many categories of goods, a hiccup at a single factory on the other side of the planet can spur weeks of supply shortages.
It is also logical to assume that risks to global supply chains will become more frequent and profound as we become increasingly interconnected as a global community. Whether driven by economic turmoil, civil unrest, climatic events, or yes, the next pandemic, disruption today moves at light speed compared to only a few decades ago, so frequent and fast-moving, that we must completely rethink and rebuild our supply chains. But how?

Rebuild for Shared Risk
Most supply chains are merely a loosely connected set of individual companies, each with its own goals, data and resources, as well as an accepted share of the financial risk inherent in any supply chain. Often, within such groups, one party or parties will try to gain some material advantage over the others, perhaps by seeking lower prices, more favourable terms, or any number of other concessions. To some this might seem simply like shrewd business. But when this happens, it’s essentially one party attempting to shift its risk to another party or parties. If, for example, a retailer can secure a 10 percent lower price, it clearly lowers its risk to capital. The problem in doing so, however, is that it sets off a daisy-chain of risk shifting. Because, in theory at least, parties forced to take on more risk will likewise similarly seek to off-load that risk to others in the chain. Soon, trust suffers, performance wanes, corners are cut and links in the chain grow weaker, subjecting everyone to greater risk, which often only becomes fully clear when a crisis hits

So, instead of simply shifting risk, brands should aggressively work to transform their supply chains into digital ecosystems where members share risk and work collectively to reduce it for all. An ecosystem, operated on a shared platform of data analytics and operational resources, along with a jointly used set of tools for managing demand planning, business continuity, key raw material or product stockpiles, transportation contingencies and even inter-industry materials demands to avoid shortages due to spikes in demand across categories. The goals of the group may also include plans to regionalise a percentage of supply to provide a fallback position should a crisis arise.
The point is that each member of the ecosystem protects not only their own interests but those of the group and in so doing, reduces risk and improves business outcomes for all, making every link in the supply chain, from upstream design and production through to retail, stronger.

Rebuild for Transparency
Most retail buyers today know their primary suppliers. They know who they are, where they are located, and may even have some understanding of their practices and reputation. However, when it comes to knowing secondary suppliers (their suppliers’s suppliers), things get murky fast with most companies reporting little to no visibility into this layer of their supply chains. This is the very definition of risk. And too frequently today it’s one that is showing up to undermine the reputations of retailers and brands.
In 2020, for example, the Australian Strategic Policy Institute, “identified 27 factories in nine Chinese provinces that are using Uyghur labour transferred from Xinjiang since 2017.” In all, 87 well known international brands were identified in the report as (wittingly or unwittingly) using these factories for production. Indeed, numerous studies have shown that beyond tier one vendors, most supply chains are essentially black boxes offering very little visibility, traceability or transparency.
Whether or not they have been sideswiped by allegations of environmental crimes or human rights abuses, brands are quickly realising that a new and radical level of supply chain transparency is essential — not only to avoid reputational damage to their brands but also to attract consumers, 75 percent of whom in a recent University of Pennsylvania study indicated that a brand’s sustainability credentials are an “important factor” when choosing products. It follows then that those brands that can supply consumers with verifiable data to back up their social and environmental claims will outperform. Technologies like RFID tagging and blockchain are already helping proactive brands begin better trace their products through the supply chain from point of origin to point of sale.
Consumer sentiment on corporate social and environmental accountability is converting directly into investor demands. According to a Reuters report, “investors managing over $130 trillion in assets have written to more than 10,000 companies calling on them to supply environmental data to non-profit disclosure platform CDP.” The CDP (Carbon Disclosure Project) manages an open scorecard, listing participating companies, countries and regions and their disclosures on performance across issues like climate change, water security and deforestation. With increased pressure by the investment community for such disclosures, it’s only a matter of time before outlying companies become conspicuous by their failure to report and are cut off from global capital markets.
In turn, such investor demands are forcing governments to accept the writing on the wall. If they hope to attract investment in their national economies, they and their corporate citizens will have to achieve above average performance on environmental, social and governance issues. It’s reasonable therefore to assume an increasingly aggressive stance by government regulators, because failing to do so will send capital, growth and prosperity elsewhere.

Rebuild for Intelligence
For most companies today, supply chain planning remains largely a finger-to-the-wind exercise. Most use some combination of volume, velocity and visibility to project supply and demand. Many still rely on fairly rudimentary data sets – stock on-hand, sales velocity, order lead-time, and in-transit order quantity. Sprinkle in some accounting for seasonality and you’ve got inventory management 101 - a system that was feasible when the planet was less interconnected and change was slower.
But in an increasingly fast-paced, globalised landscape, these considerations only scratch the surface of what brands need to factor into their planning. Weather patterns, industry sales projections, consumer trends and macro-economic indicators are now also vital. Stepping out even further, what about geopolitical issues, transportation costs and environmental performance optimization? All these new and dynamic data points are increasingly vital. The problem is no human being can possibly consider all these things at once.
Therefore, the incorporation of artificial intelligence and machine learning into an organisation’s planning systems is becoming a critical investment that is helping pioneering companies outperform competitors in both revenue growth and margin expansion. While most brands today are still playing checkers, forward-thinking brands are already beginning to play 3-D chess, modelling supply and demand data across dozens of new real-time data inputs.

Rebuild for Good
And finally, beyond all the business cases supporting a rethink of supply chain goals and behaviours, there’s the human case. As primatologist Jane Goodall once said, “The most intellectual creature to ever walk Earth is destroying its only home” a jarring truth in which retail has a conspicuous hand.
A recent report from the environmental advocacy group Ship It Zero indicates that “Container imports from America’s 15 largest retail giants in 2019 caused the same climate pollution as three coal-fired power plants or the energy needed to power 1.5 million American homes. These retail giants have produced 7.3 times more carcinogenic sulphur oxide emissions than all road vehicles in the United States combined, or 2 billion trucks and cars.” And that’s just the 15 largest U.S. retailers. The apparel industry is responsible for 10 percent of global emissions. And the next time you’re admiring the beauty of an ocean, know that beneath its surface lies 16 million tons of plastic. In fact, 90 percent of the plastic that has ever been created — whether from packaging, parts or products themselves — still exists, in some form today.
Our obsession with low price also exacts a human cost. Whether it’s the garment workers in Pakistan who are paid $112 per month, the forced labour camps of China or the victims of factory fires and collapses in places like Bangladesh, our fellow human beings are paying an inhuman toll for our low-cost consumer products. But such abuses are hardly limited to foreign workers. As our lust for cheap products becomes increasingly insatiable, we in the west have become willfully blind to abuses closer to home. Whether it’s working conditions in the Amazon warehouses of America or documented instances of forced labour in England’s garment factories, we have become increasingly consumerist at the expense of human suffering, even when that suffering takes place close to home.
Regrettably, too many companies today take all this to mean that their goal should be to do less harm. This, says Cradle to Cradle author William McDonough, is the wrong way to think about it. Consider, he once said to me, your reaction if your local water treatment facility announced an effort to gradually, over time, reduce deadly levels of lead in your drinking water. You’d be outraged and demand that all lead be removed immediately.

Becoming a Force for Good
The goal of brands should not be to simply lessen the damage caused by their supply chains. Rather the aim ought to be to do zero harm and indeed even transform their business activity into a force for good. For many companies this might sound like a pipedream, yet inspiration for such transformation can be found around us today.
For example, denim production tends to be a messy business, and one that uses conspicuous amounts of energy and water, resulting in an effluent sludge containing dyes and a range of other toxins, much of which escapes through the process into local sources of drinking water. It’s been an inconvenient truth in the denim industry for decades and one that Sanjeev Bahl was determined to tackle head on.

Bahl is the founder of Saitex, a unique denim manufacturing company in Vietnam. He and his team devised an entirely new system of manufacturing; one that recycles 98 percent of all water used in the process (2 percent evaporates). Where heat and steam are recycled. Where 100 percent of the jeans are air-dried and biomass is used to generate heat. A facility where solar energy is used to generate electricity. Where ozone technology and lasers are used to replace old harmful methods for distressing fabrics. And to top it all off, Saitex reclaims the waste sludge from the process, turning it into bricks, which are then used to build affordable housing for Saitex workers, all of whom, as it turns out, receive wages well above industry and regional standards.
This is what being a force for good looks like. But beyond the obvious societal and environmental payoffs, Bahl has done something else. He’s all but completely de-risked Saitex as a supply chain partner, thereby harnessing a remarkable competitive advantage over his competitors, while also becoming a force for good.
It’s time to fix a system that has, for at least 200 years, run amok. Time to not only repair but also reverse the damage done by a global retail industry addicted to low cost. That also means redefining our concept of “cost” for the tumultuous age in which we find ourselves, where the true cost of every product now includes an array of risks: to capital, to brand reputation, to the planet and to humanity at large. If reducing unit cost was the competitive advantage of the past, eliminating risk is the competitive advantage of the future.

Business Of Fashion : The 5 Biggest Threats to Luxury’s Remarkable Run

The 5 Biggest Threats to Luxury’s Remarkable Run
This week, luxury’s biggest brands must demonstrate they have a plan to navigate China’s Covid Zero policy, a tumultuous global economy, the crypto crash and more. Plus, BoF tells you what else to watch for in the coming week.

When we talk about pandemic stocks, we typically think about e-commerce retailers or direct-to-consumer brands that rode the lockdowns to record results, and fell back to earth just as quickly as the world opened up again. Luxury brands have experienced a gentler version of this roller coaster. Their wealthy clientele never stopped shopping, and the post-pandemic consumer boom has fuelled big increases in sales and profits. But investors think the category is running out of track: shares of most big luxury firms, among the best performers in 2020 and 2021, have underperformed the wider market this year.

Investors can be (and frequently are) wrong. Still, when LVMH, Kering, Hermès, Prada and Moncler report quarterly results this week, each is likely to put their best spin on the latest numbers while managing expectations for the future. They’ll also need to offer up a game plan for navigating tough times ahead.

Below are five potential ways the luxury party could end, in descending order of threat level:

1 — The Economy
It’s not looking good out there. Inflation continues to rise in most countries, and GDP projections keep getting revised down (the US and Eurozone will report both indicators this week; see the calendar below for more). Fortunately, the one economic indicator that’s remained strong is the one that matters most for the fashion industry: retail sales, which continue to exceed expectations in the US and some other markets. Luxury’s best customers are also relatively insulated from the wider economic picture. Many won’t even notice a mild recession, or whether gasoline prices are $4 or $5 a gallon. But brands will feel it if middle-class shoppers trade down from Louis Vuitton to Coach, or worse yet, keep carrying around last year’s handbag. And a deeper downturn would squeeze even wealthy consumers’ budgets.

2 — China
This week’s earnings cover the bulk of China’s “Zero Covid” lockdowns in Shanghai and other major cities. It won’t be pretty. Burberry reported quarterly sales rose just 1 percent after revenue in China plunged 35 percent. Brands like Gucci and Prada that have relied most on China for growth are the most exposed. That’s doubly true if China’s recent slowdown turns into a recession, or if its alliance with Russia turns into a broader move away from the West, luxury brands included. No wonder so many labels that once talked about China as the future are touting their ambitious American store expansion plans.

3 — Overexposure
Speaking of expansion plans, mega labels like Louis Vuitton and Chanel have seemingly put to rest the old idea that luxury brands can only grow so big before they run out of new customers, or lose their cachet. That bit of conventional wisdom is due for another test, as LVMH and Kering are promising to boost their biggest brands’ sales by billions of dollars in the next few years. Even the biggest brands have new markets they can enter, from cosmetics to furniture and hospitality. The plan is to sell lots more clothes too: Kering says it will open dozens of Saint Laurent and Gucci stores, both in luxury hotspots and relatively untested markets (Kering’s investor day presentation in June indicated at least three new Gucci locations are planned in Ohio alone).

4 — Currency Fluctuations
The euro is at parity with the dollar for the first time in 20 years. For now, there’s mostly upside for European luxury brands, which benefit from hordes of American tourists flexing their newfound spending power at the new Dior megastore in Paris. All those new Gucci boutiques in Ohio will be that much more lucrative for the brand, which thanks to currency fluctuations can charge 20 percent more for the same bag in Cleveland as it does in Milan. The downside is that the euro is weak for a reason: it’s acting as a proxy for the war in Ukraine, and the possibility that Russia will withhold energy supplies to the continent, triggering a recession.

5 — The Crypto Crash
Crypto millionaires and billionaires are some of luxury brands’ best new customers. Or were, anyway. With cryptocurrency and NFT prices crashing, some of the category’s biggest boosters, who once flaunted their wealth in head-to-toe Louis Vuitton or Gucci, are now fending off creditors. Brands say they’re still bullish on crypto, plowing ahead with NFT releases and plans to accept cryptocurrency in stores. One reason they can safely ignore the chaos is that none of these brands had invested all that much in the technology to begin with. If their next NFT project bombs, they can quietly drop plans for the next one. The reason crypto makes this list at all is that so many of the industry’s visionaries see web3 driving fashion’s future, from how we buy clothes to whether we wear them in virtual worlds in addition to the physical one. For that transition to happen, crypto needs to make a comeback.

WWD : Roger Dubuis Introduces the Excalibur Sorayama Monobalancier

Roger Dubuis Introduces the Excalibur Sorayama Monobalancier
Hajime Sorayama adds his "sexy robot" aesthetics to create a limited-edition timepiece.
Swiss brand Roger Dubuis has made a point of collaborating with contemporary artists — last year, it recruited tattoo artist Dr. Woo to design a watch — and now, the brand is releasing a project with Hajime Sorayama.
Best known for his mirrored, metallic, female robots — which were the centerpiece of Dior’s 2019 men’s collection — the Japanese illustrator applied his aesthetic to Roger Dubuis’ signature time-only wristwatch to create the Excalibur Sorayama Monobalancier.
Tapping into his boundary-breaking style, Sorayama endowed the watch with hyper-expressive details, provocative curves, and a sculptural grade 5 titanium finish that enhances the sharp 42mm case design and contrasts with finishes usually marked in Roger Dubuis masterpieces.


The artist also reimagined Roger Dubuis’ micro-rotor to create a hypnotizing moiré optical illusion initiated by the natural fluid movements of the wearer’s wrist.
Roger Dubuis Excalibur Sorayama Monobalancier.
Roger Dubuis Excalibur Sorayama Monobalancier.
Roger Dubuis Excalibur Sorayama Monobalancier.
Equipped with an automatic calibre, the timepiece’s power reserve of the RD720SQ was increased by Roger Dubuis engineers by up to 72 hours, with micro-rotor vibrations greatly reduced, and diamond-coated silicon meant to allow for an improved escapement wheel and adjustable pallet stones, creating new standards of horological craftsmanship.
The Sorayama edition also sports several features that are new for the brand, such as the fully polished titanium bracelet equipped with a quick-release mechanism for easy strap interchangeability.
The Excalibur Sorayama Monobalancier will be limited to only 28 pieces, made available to Sorayama’s native Japan first before the rest of the world.
The Sorayama release will mark the third timepiece from Roger Dubuis “Urban Culture Tribe” series.
Roger Dubuis Excalibur Sorayama Monobalancier.
Roger Dubuis Excalibur Sorayama Monobalancier.
Roger Dubuis Excalibur Sorayama Monobalancier.

WWD : Burberry Digs Deeper Into the U.S., Opening at Bal Harbour in Miami

Burberry Digs Deeper Into the U.S., Opening at Bal Harbour in Miami
The new store, designed by the Italian architect Vincenzo De Cotiis, stocks womenswear and accessories, and is part of an aggressive drive by Burberry to push deeper into the U.S. market.

LONDON — Burberry is ramping up its presence in the key U.S. market and aiming to appeal to locals and tourists alike.

A month after staging a mega-takeover of Neiman Marcus’ Atlanta store at the Lenox Square mall, the brand has moved south to Miami, and is set to open a store at Bal Harbour Shops.

The new womenswear store, which opens on Monday, is located on the lower level of the open-air luxury shopping mall and features the brand’s latest design concept by Italian architect Vincenzo De Cotiis.

“Bal Harbour is one of the most established and well-known luxury destinations in Miami, and is among the most visited shopping malls in the United States. It also caters to a broad range of both local and international customers. We are excited to bring our new global design concept to this iconic destination,” said Thibaut Perrin-Faivre, president of Burberry Americas.

The store, which spans 2,023 square feet, carries handbags and small leather goods, including the bestselling Lola and TB Monogram bags. The Lola features quilting inspired by the signature Burberry check, and color combinations ranging from classic black and beige to orange and peach pink.

There is also a selection of the spring 2022 pre-collection, including sketch-print T-shirts and hoodies, monogram map-print shorts and anoraks, dark brown chevron check oversize cardigans and miniskirts.

The store concept sees the house codes, such as the Burberry check, reinterpreted. There are mirrored ceilings with intersecting metallic grids and tiled checkerboard floors meant to create a sense of openness.

The facade features a blend of stone and champagne metal arranged in the signature house pattern and finished with black edging. Inside, the walls have been decorated in a trench-colored mosaic tile and reflective white lacquer, or covered in beige mohair.

The concept debuted a year ago at 1 Sloane Street in London, part of a new development by The Knightsbridge Estate. As reported, Burberry nabbed the key corner site overlooking Brompton Road and Sloane Street and was the first tenant to occupy one of seven planned flagships.

The immersive installation at the retailer’s Atlanta store was meant to showcase the latest Burberry TB Summer Monogram collection.

It was the first time in Neiman Marcus’ history that the entire exterior of a store was taken over by a brand. The outside of the Atlanta store at the Lenox Square mall was wrapped in a pattern that fused the Burberry check with the TB Monogram print. Inside there was a graphic, sculptural space that included the Burberry signature patterns.

At the time, Perrin-Faivre said that Burberry has “continued to unlock new possibilities” in the U.S. market. This year alone it has staged a takeover of its Rodeo Drive store themed around the spring 2022 collection; brokered a partnership with downtown New York City restaurant Lucien, and undertaken the collaboration with Neiman Marcus Atlanta in June.

As reported, Burberry has been doubling down in the U.S., and courting customers in smaller cities where demand for luxury goods is on the rise.

Despite Burberry’s many efforts, the brand’s sales in the U.S. slowed by 4 percent in the first quarter due to “very tough comparatives” with the corresponding period last year.

Julie Brown, Burberry’s chief operating and chief financial officer, said there was “good growth in outerwear with bags also outperforming” in the region, while U.S. customers have been moving to higher AUR [average selling price] categories.

“We haven’t seen any major pressure on [U.S.] consumers at this moment in time,” Brown said in response to a question about whether shoppers were spooked by surging inflation.

WWD : The 2022 Summer Guide to London: What to See, Watch and Where to Eat

The 2022 Summer Guide to London: What to See, Watch and Where to Eat
London is back in full swing for the summer. Here's what's on the agenda, from exhibitions to restaurants, that celebrate the city’s multiculturalism.

London is back in full swing for the summer. The city is on a high after celebrating Queen Elizabeth II’s Platinum Jubilee celebration in June, and there’s more on the agenda from exhibitions to restaurants that celebrate the city’s multiculturalism. Here are some of the spots worth going to.


What to see
AFRICA FASHION
Alphadi, otherwise known as the ‘Magician of the Desert’ in Nigeria — a shot from his 1992-3 runway show.
COURTESY OF THE V&A

The Victoria & Albert museum is displaying its first African fashion exhibition in its 170-year history. The exhibition is divided into two parts — the downstairs will explore photographs from the ’50s onward, with historical outfits, while upstairs will focus on contemporary designers and photography. The show features designers with powerful political messaging on feminism and LGBTQ rights by Rich Mnisi, Orange Culture and Sindiso Khumalo. Also making an appearance is the brand Tongoro, which has been worn by Beyoncé, Alicia Keys and Naomi Campbell, but is still under the radar in the western fashion industry.


MILTON AVERY, AMERICAN COLORIST
Milton Avery’s artwork at the Royal Academy crosses between two movements: American Impressionists and the Abstract Expressionists
COURTESY OF THE ROYAL ACADEMY OF ARTS

Dubbed as the American Henri Matisse, Milton Avery’s artwork often goes unnoticed in Europe, where the big stars are Claude Monet, Vincent van Gogh and Pablo Picasso. Avery’s artwork at the Royal Academy crosses between two movements: American Impressionists and the Abstract Expressionists, from the ’30s to ’60s, with a selection of 70 paintings on display. His pieces spotlight tranquil landscapes from his visits to Maine and Cape Cod, portraits of his inner circle and studies of daily life. Avery was celebrated by the likes of Mark Rothko and Barnett Newman.
IN JEST
Colombian-born and New York-based artist, Ilana Savdie is staging her first London show at the White Cube
HARRY GRIFFIN

Colombian-born and New York-based artist, Ilana Savdie is staging her first London show at the White Cube, home to artists such as Theaster Gates, Tracey Emin and Damien Hirst. “In Jest” is a visual analysis of “performance and excess as modes of dissent and resistance.” Savdie focuses on the carnival tradition by using repeated items throughout her work via a curtain, a hoof, a ball and a hoop. She also draws on human bodies and insects, from muscles, ribs, bones to worms, slugs, parasites. In November, she is set to join the inaugural Artists-in-Residence at Horizon Art Foundation, Los Angeles.
PENNY WORLD
Artist Penny Goring’s 30-year art career will be display at The Institute of Contemporary Arts, which is showing her expansive work of self-portraits, drawings, digital collages, videos and brightly colored paintings. She takes her inspiration from history and contemporary culture with her own take on fictional mythologies — many of the themes in her art pull from grief, fear, loss, panic and powerlessness. “‘I have always lived under the rule of men and money, and right now, I am angry at the ways it hobbles my life and my body. I find the future we are in to be terrifying,” says Goring.

What to watch
CRUISE
At the Apollo Theatre, Jack Holden will reprise the role of Michael, a gay man on his last night on earth in 1988 in Soho
PAMELA RAITH

Jack Holden has made a name for himself on the London theater scene, from playing the lead (Albert) in “War Horse” to taking a role in Amazon’s “Ten Percent,” an English reinterpretation of the hit Netflix show “Call My Agent!” At the Apollo Theatre, Holden will reprise the role of Michael, a gay man on his last night on earth in 1988 in Soho. The 90-minute monologue production was inspired by the stories Holden heard when first volunteering at the LGBTQ helpline, Switchboard, where he encountered countless stories of AIDS-related illness and tragedies.


PATRIOT
“The Crown” creator Peter Morgan is bringing a Russian political drama to the stage at the Almeida Theatre
MARC BRENNER

“The Crown” creator Peter Morgan is bringing a Russian political drama to the stage at the Almeida Theatre. “Patriot” plays out in the post-Soviet, post-perestroika era. The subject of Morgan’s new work is Boris Berezovsky, played by Tom Hollander, a former friend of Vladimir Putin, turned exiled oligarch. It bears similarities to Morgan’s 2006 play, “Frost/Nixon,” which was adapted for the big screen in 2008.
MY FAIR LADY
Eliza Doolittle and Henry Higgins are back on stage again, but this time for a new generation at The London Coliseum. It’s a world away from the classic 1964 musical starring Audrey Hepburn and Rex Harrison about a man teaching a girl how to fit into society. Amara Okereke stars as the first Black Eliza, alongside Dame Vanessa Redgrave as Mrs. Higgins. The play may not be set during the Regency period, but there are many motifs to be found throughout the Edwardian onstage drama.
JEAN PAUL GAULTIER: FASHION FREAK SHOW
The story of Jean Paul Gaultier is getting an all-singing and all-dancing treatment at The Roundhouse
BOBY

The story of Jean Paul Gaultier is getting an all-singing and all-dancing treatment at The Roundhouse. The show is written and directed by the French designer himself and features more than 200 of his original couture pieces, from the conical bra famously worn by Madonna on her “Blond Ambition World Tour” to his nautical and burlesque designs that have transformed him into a household name. The couturier will be taking his “Fashion Freak Show” to Tokyo in 2023.

Where to eat
TATALE
Ghanaian-British chef Akwasi Brenya-Mensa is bringing a taste of his childhood to London with his new restaurant Tatale
FELIX SPELLER

Ghanaian-British chef Akwasi Brenya-Mensa is bringing a taste of his childhood to London with his new restaurant Tatale, named after the Ghanaian plantain pancake. His new venture will reside at The Africa Centre. The restaurant has been going on an international roadshow for the last four months, by taking a taste of pan-African dishes to Lisbon, Amsterdam, Puerto Rico and more. The menu will house many of Brenya-Mensa’s personal favorites dishes, including chichinga chicken, spiced rice pudding and red red, a black-eyed bean stew that he used to ask his mother to make him every Tuesday after football.
MIRO
When opening a restaurant, it’s always about going big — and sometimes, that’s with the menu prices. For Miro on Old Burlington Street, that philosophy manifests with the “Sunken Treasure Chest,” a 3,000-pound dish that includes a kilo of caviar, blinis, mini brioche buns, croissants and a variety of condiments. The restaurant is headed up by Michelin-starred chef Toby Burrowes, who has held positions at Elystan Street and Zuma.


ISIBANI
Knightsbridge is getting a West African restaurant that promises to “bring the light,” which translates to the venue’s name, Isibani, in Zulu. Chef Victor Okunowo from “MasterChef: The Professionals” leads the restaurant as head chef. It will be a two-floor fine dining experience that focuses on Nigerian cuisine, featuring smoked monkfish filet with charred okra, kachumbari and brown shrimp; mackerel with iru, apple and celery tartlet; jollof rice with grilled broccoli and fermented scotch bonnet and more.
MRIYA
Yurii Kovryzhenko’s menu is already filled with classics such as borsch, chicken Kyiv, zucchini pancakes, smoked trout and more.
ELENA BAZU

Chef and ambassador of Ukrainian cuisine, Yurii Kovryzhenko has opened a restaurant in Chelsea that will only employ Ukrainian refugees. Mriya, which translates to dream, will reside on Brompton Road. After the start of the ongoing Russian invasion of Ukraine, Kovryzhenko hosted dinners to raise money for relief, with his counterparts in the food industry Jason Atherton, Jamie Oliver and Tom Sellers. Kovryzhenko’s menu is already filled with classics such as borsch, chicken Kyiv, zucchini pancakes, smoked trout and more.

WWD : Hollywood Is Finally Living Up to Its Glittery Reputation as a Place Stars

Hollywood Is Finally Living Up to Its Glittery Reputation as a Place Stars Want to Hang Out
Where to eat, drink and hang out in L.A.'s glamorous new old neighborhood.

Gucci was onto something with its “Love Parade” runway show — Hollywood is L.A.’s most glamorous place to hang out this summer.
Once the embarrassment of the city, with seedy streets and down-on-their-luck costumed characters, Hollywood was a place that made tourists scratch their heads, and say, “Is this all there is?” But the neighborhood is finally living up to its glittery reputation as a destination actual stars want to see and be seen in thanks to buzzy new hotels, first-class restaurants, rooftop bars and private clubs, all near where Netflix and Paramount have leased office space.
On most nights women in bandage dresses, designer handbags and heels, and guys rocking Dior Jordans, can be seen sliding out of slick cars, ducking into restaurants, waiting on line for bars and sneaking puffs off of vapes.

Much of the action is centered off the seedier Hollywood Boulevard, on the side streets bordered by Cahuenga Avenue on the east and Wilcox on the west. The area is also known as the Vinyl District because of its history of recording studios, one of which is preserved as the Grandmaster Recorders restaurant.
Mama Shelter was the first new hotel to plant a flag on Selma Avenue in 2016, launched by Paris-based hotelier Benjamin Tragono, followed in 2017 by The Dream from real estate firm Relevant Group, which has put $1 billion into projects in Hollywood and downtown L.A.
“Hollywood has a unique history in the annals of L.A., and we thought if we could curate a really unique set of hotel and dining experiences we could attract a wide ranging, multigenerational and multicultural demographic,” says Dan Daley, chief executive officer and cofounder of Ten Five Hospitality and a partner at Relevant Group, which also developed The Thompson and Tommie hotels, with their popular restaurants Mother Wolf and Ka’Teen, and rooftop bars Bar Lis and Desert 5 Spot.
The Prospect Hollywood, designed in Hollywood Regency style by Martyn Bullard Lawrence, and the Godfrey Hotel are also new upscale lodging destinations.
The epicenter of the culinary scene is Mother Wolf, chef Evan Funke’s take on Roman cuisine, where the fiori di zucca fritti and tonnarelli cacio e pepe shine as bright as starry diners like Michelle Obama, Jay-Z and Beyonce, and Jens and Emma Grede.
Located in a chic, renovated Art Deco building that once housed the Hollywood Citizen News, the 10,000-square-foot restaurant is massive by L.A. standards and on weekend nights really hums.
“A lot of Los Angeles restaurants are small, quaint, chef-driven; this is very much a New York, London-style restaurant with the grandness and opulence and size of the room,” says Funke, an L.A. native who trained with Wolfgang Puck before moving to Italy to master the art of making pasta, and opening his first restaurant, Felix, on Abbot Kinney in 2017. “I knew in my gut we were going to make some noise.”
In the Thompson, chef Lincoln Carson’s French-meets-farmer’s market brasserie Mes Amis is another delicious spot, with a crudité plate that’s a work of art, a terrific raw bar and French onion burger. Cocktails with names like “Some Like It Hot” (gin, lemon, strawberry and Lo-Fi Dry) play off the glam old Hollywood black-and-white photos on the walls. Upstairs, the rooftop Bar Lis has a Côte d’Azur-inspired vibe, and a burlesque night on Wednesdays.


Around the corner at Ka’Teen, guests enter through an Instagrammable tunnel made from branches into a jungle-like oasis with a thatched roof, wicker light fixtures and plentiful palms. Chef Wes Avila serves up Yucatan-inspired fare, including tuna aquachile, vegan birria, banana leaf-wrapped heritage pork, and stiff mezcal drinks, including the Witchdoctor, which comes with its own smoldering sage stick, for a cocktail that’s also a spiritual cleanse.
Tommie’s rooftop Desert 5 Spot brings the spirit of “Stagecoach” to Hollywood, with a cowboy hat-wearing neon cactus sign beckoning, country rock inside, and a boots-and-bikinis weekly Sunday afternoon party at the pool.
On Cahuenga, Grandmaster Recorders is a rooftop bar, restaurant and the sexy Studio 71 disco rolled into one, where Anya Taylor-Joy hosts monthly dance parties. The entrance delights with boom boxes, 8-track tapes and other rock ‘n’ roll relics of the circa-1971 studio where David Bowie, Mötley Crüe, Foo Fighters, Kanye West and many more recorded.
The casual, 4,500-square-foot rooftop serves views of the Capitol Records Building, DJ beats, pizza and drinks. And the warehouse turned 5,000-square-foot dining room, helmed by chef power couple Monty and Jaci Koludrovic, features nouveau Italian food, including a Petrossian caviar cannoli appetizer that’s as decadent as it sounds, and a tiramisu made to look like a GMR vinyl record, just waiting to be cracked open. Cocktails are named after songs (“Shake Your Money Maker,” “Hard to Handle Now”).
Grandmaster Recorders’ tiramisu.
COURTESY/JENNIFER JOHNSON
“It’s one of those come for a meal stay for a night venues…you start on the roof, end up in the restaurant, then the Studio and you’ve done three things in one night…Or now you can start here and go to the Thompson, go to Bar Lis. You want that camaraderie and it’s all walkable,” says Grandmaster Recorders co-owner Grant Smillie.
Further west on Sunset Boulevard, in the former site of old Hollywood favorite Ye Coach & Horses pub, the modern Cal-French Horses restaurant is emerging as a next-gen Les Deux Cafes, Michelle Lamy’s ’90s Hollywood hot spot where one could go every night.
Stylist Elizabeth Saltzman is one of the regulars at Horses, which is helmed by another chef power couple, Liz Johnson and Will Aghajanian, who serve a spectacular smoked salmon and caviar lavash, endive Caesar salad with breadcrumbs, Cornish game hen with warm dandelion panzanella, a Sunset Mess dessert and plenty of Vesper cocktails.


To the east, on Fountain Avenue, chefs Ori Menashe and Genevieve Gergis of Bestia and Bavel fame just opened Saffy’s, a jewel box of a casual Middle Eastern eatery designed by Nicky Kaplan, in an Art Deco building in the shadow of Hollywood’s Scientology Celebrity Center. Open for dinner, with a next-door coffee, tea and pastry shop open from 8 a.m. to 3 p.m., it’s the kind of place to stay awhile nibbling on shishito peppers, hummus and a knockout shawarma plate, while downing tequila-spiked cherry limeade or orange wine.
Saffy’s restaurant in East Hollywood.
COURTESY/JOSEPH WEAVER
Hollywood, like the rest of L.A., also can’t get enough members’ clubs. Revamping the historic CBS radio building, Neuehouse was the first, opening in 2015. Now there are more.
On Aug. 1, David Bowd, a hospitality veteran of London’s Chiltern Firehouse, New York’s Mercer and L.A.’s Chateau Marmont, will open The Aster with his business and life partner, Kevin O’Shea, as part of their Salt Group hotel collection. This is act three for the building at Hollywood and Vine, formerly SBE’s Redbury Hotel and Paul Allen’s h club.
Bowd may have been trained by Ian Schrager, who helped usher in West Hollywood’s ’90s nightlife heyday with The Mondrian and Sky Bar, but he is positioning The Aster differently, as a hybrid 35-room hotel and club that will try to be a good neighbor to the area’s unhoused by providing excess food from its Lemon Grove restaurant to the Hollywood Food Coalition, and employment opportunities for people in transition.
“We want The Aster to be inclusive and diverse from an employment and members point of view,” he explains of the approach, which lets guests have a membership while they stay, and will emphasize programming, from volunteering to wellness. Also in keeping with the times, the rooftop restaurant and bars will have a large nonalcoholic program.
Rooms start at 700 square feet and feel residential, with dining areas and dressing rooms, which the founders envision stylists using around awards season, as well as an onsite recording studio and screening room.
On La Brea Avenue, German fitness conglomerate RSG Group, which also owns Gold’s Gyms, just opened its first upscale fitness concept club, Heimat, in a 1928 building. Across 58,000 square feet and five floors with playful California modern interiors, original artwork and graffitied staircases left over from when the building used to host raves, there are state-of-the-art fitness facilities, co-working rooms, a juice bar, spa, pool deck, and healthy Michael Mina restaurant Mother Tongue.


“L.A. is the birthplace of bodybuilding and physical fitness with Muscle Beach,” says Sebastian Schoepe, president of RSG Group, of selecting the location for the first Heimat (which means “home,” or “belonging” in German). “We wanted to create a space that changes the mind-set of ‘I have to go to the gym’ to ‘I want to go to the gym.’
Cardio room at Heimat.
COURTESY
“Growth has been moving east from West Hollywood and Beverly Hills because everything is pretty much done there…We saw Prizma’s apartment building going up, CIM Group building in the Sycamore District,” he says of the real estate firm developing an eight-story headquarters for Sirius XM.
One street over from Heimat, the Sycamore District on Sycamore Avenue is also home to the newish French brasserie Gigi’s restaurant, Tartine bakery, the Hideaway cocktail bar and multibrand fashion and art-filled concept store Just One Eye.
And the momentum isn’t stopping anytime soon.
On Sunset Boulevard, a $500 million, 22-story office building dubbed The Star is in development, with a curvilinear, sci-fi-looking silver dome construction that would play off the area’s other landmarks, including the Capitol Records Building and the Griffith Observatory.
After closing in 2021 because of the pandemic, the Arclight Hollywood movie theater and landmark Cinerama Dome have taken another step toward reopening by receiving approval for a liquor license.
Will retail follow in the area, meaning stores that aren’t selling souvenir T-shirts, sex toys and bongs? It could.
Opened along the Walk of Fame in 2001, the Hollywood & Highland shopping center once welcomed 25 million annual visitors. Earlier this year, it was purchased by DJM Capital and renamed Ovation. A $100 million renovation is slated to be completed by the end of August, with a new public space and new “local-driven” tenants to follow.
Key addresses:
Mother Wolf, 1545 Wilcox Avenue, Los Angeles, motherwolfla.com.
Mes Amis and Bar Lis, 1541 Wilcox Avenue, Los Angeles, mesamisla.com; barlisla.com.
Ka’teen and Desert 5 Spot, 6516 Selma Avenue, Los Angeles, kateenla.com; desertfivespotla.com.
Grandmaster Recorders, 1518 Cahuenga Boulevard, Los Angeles, grandmasterrecorders.com.


Horses, 7617 Sunset Boulevard, Los Angeles, horsesla.com.
Saffy’s, 4845 Fountain Avenue, Los Angeles, saffysla.com.
The Aster, 1717 Vine Street, Los Angeles, theasterla.com.
Heimat and Mother Tongue, 960 N. La Brea, Los Angeles, heimat.com; hellomothertongue.com.