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japanessie · 6 years

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Ochanomizu Rock Soundtrack Review 【レビュー】

While this one is NOT a MY FIRST STORY release but as this one is largely the work of MFS leader Sho Tsuchiya, I am, therefore, more than happy to write about it here. That’s because I am encouraging all MFS fans to support the guys’ work outside of the band.

The album is available on major online retailers in Japan and internationally on iTunes too. Of course, yours truly bought the version with the DVD. My readers would know me XD 😄

MY FIRST STORY & Ochanomizu Rock teams

There are 6 songs on this CD which can be heard throughout the drama series. ALL songs were composed by Sho while the lyrics were written by Youhei Matsui 【松井洋平】. Sho is credited as the “director” of the music while MFS producer Nori Ohtani was credited as the “supervisor”. I’m guessing it’s similar to their roles on MFS post-Masack releases? Sho as the Sound Producer and Nori as the Executive Producer?

I was curious how involved MFS members were in the music. I was guessing that at least Kid’z might have participated as a studio drummer as he was there to coach the actors. Unfortunately, the studio musicians were not listed on the CD sleeve 😩. While they were not the ones playing on the record, the actors have to perform for real on camera and onstage though. Actors Ryuji Sato and Tsubasa Sakiyama served as the vocalists for both studio and on-camera recordings.

I am not going to talk about the lyrics though as this was made for a TV drama. I will be talking mainly about the music in relation to the characters and storyline 😉.

Overall feel

I think the main challenge for Sho is to make both the fictional bands DYDARABOTCH and The DIE Is CAST a.k.a DIC sound distinctive from each other.Generally, each band got 1 “hard rock” song, 1 “pop rock” song and and 1 sombre “rock ballad”. My impression from the drama was DYDARABOTCH was supposed to be the harder and darker-sounding band. Somehow, the drama creators decided to go for the pop rock song SIMPLE PLAN to be DYDARABOTCH’s MV against The DIE is CAST’s hardest song BELIEVER in the DVD.

I love the fact that these recordings preserved the “raw indie band” sound which is back to basic without much fancy layering or electronic sound effects. These songs were supposed to be the ones both bands played in the small Livehouses. They were not supposed to have too much money for big production. Even the vocals were kept minimalistic without heavily layered backup vocals which we normally hear on MFS CDs.

Sound-wise, I think Sho successfully put aside MY FIRST STORY and created songs suitable for Ryuji and Tsubasa’s vocals. I can’t imagine any of the songs with Hiro’s voice. I CAN however imagine certain songs with Hiro’s brother Taka’s voice though because they kinda fit the early ONE OK ROCK to my ears 😁.

The songs

1. FREE YOUR HAND by The DIE is CAST

The first song performed by DIC in the drama. This is their “pop rock” song that I talked about earlier. It immediately distinguished the directions of both bands as it was played right after DYDARABOTCH’s performance in the small club scene from the 1st episode. It’s light, uplifting and overall sweet-sounding. A nice guitar solo followed by acoustic guitar at the bridge. Musically it is more the feel of teen J-love dramas rather than a rock theatre.

Lyrics and romaji by Riku here. TQ ❤ .

2. SA MI DA RE by DYDARABOTCH

The only song from this CD that was performed by TWO different actors in the drama. Remember, their original vocalist left and Ryuji Sato’s character Hajime then took over. The creators had chosen to put Ryuji’s voice onto the CD.

This is DYDARABOTCH’s “hard rock” song. It has heavy and crunchy guitar riffs which are well complimented by the equally heavy bass lines. Ryuji has a deeper and rougher voice compared to Tsubasa which gives the song and DYDARABOTCH a rockier edge than their rival DIC.

Lyrics translation by Jocelyn here and the kanji/romaji here. TQ ❤ .

3. WHY by The DIE Is CAST

DIC’s sombre “rock ballad”. Beautifully arranged with a lot of acoustic guitar picking all over. This is an excellent song which was performed during the scenes when the band was getting frustrated by the way they were treated. I personally feel that this one is Tsubasa’s best performance out of the 3 songs by DIC. The song suits his voice to a tee. Even though he didn’t sing with much vibrato or distinctive phrasing but to me he transmitted the character’s feeling very well especially at the chorus. Better if you watch his facial expression when he performed this song in the drama.

Lyrics and romaji by Riku here. TQ ❤.

This song is my personal favourite from Ochanomizu Rock ❤ 😙💕.

4. SIMPLE PLAN by DYDARABOTCH

This is their “pop rock” song which brings out actor Ryuji Sato’s own youthful enthusiasm. Sure, it’s supposed to show off Hajime Katayama’s personality but somehow I feel Ryuji is also just being himself for this one. The song’s uptempo arrangement is so representative of Hajime who is the more energetic frontman than the rival vocalist SHO from DIC. Impossible for me to listen to this and not think “youthful". If we look at the other band members in the drama, DYDARABOTCH has a kind of innocence and naivety aura around them. Melody-wise, I feel that this song is the simplest of the all the 6 songs on this album but its simplicity is also the factor that keeps its youthfulness and energy in abundance. Enhanced even more by Ryuji Sato’s performance.

Lyrics translation by Jocelyn here and kanji/romaji here. TQ ❤ .

5. BELIEVER by The DIE Is CAST

DIC’s “hard rock” song. This song is brilliantly agressive without overwhelming Tsubasa’s clean and lighter natural voice. Please listen particularly to the guitar riff arrangement with the drums at the verses. Uwaahhh!!! The combination of those two certainly is the selling point of this song to me! OK, I am going to be honest with my feelings ….. I think this song will suit the early ONE OK ROCK well. The 5-piece OOR when Alex Onizawa was still in the band. I certainly can imagine Taka carrying this song and giving it an even harder edge.

Wow! I basically just said that MY FIRST STORY leader had composed a song perfect for the rival brother’s band ONE OK ROCK!

Lyrics and romaji by Riku here. TQ ❤ .

6. TRIPLET by DYDARABOTCH

Their definitive “rock ballad”. It grabbed my ears when the melodic guitar intro was played partially by Hajime as he was shown working on the song. Certainly designed to sit somewhere between the heavy SA MI DA RE and the slightly poppy SIMPLE PLAN. The most melodic song for DYDARABOTCH and arguably the one arranged to be the most melancholic in the drama. This is after all the song that brought big brother Ryo back to Hajime in the drama.

The clean guitar line behind the plucking and rhythm guitar riffs is signature Sho Tsuchiya arrangement. Ryuji performed this in a determined delivery rather than begging-for-sympathy style which is exactly what his character Hajime is. Hajime isn’t the one to act like a poor victim of a situation but to face life fearlessly no matter what comes his way.

Lyrics translation by Jocelyn here and kanji/romaji here. TQ ❤ .

My Verdict

I think Sho Tsuchiya really did give the two fictional bands their own distinctive sounds. DYDARABOTCH doesn’t sound like The DIE Is CAST and vice versa. The songs also seem to have been “tailored” to suit both the lead actors’ natural voices respectively. I personally feel that DYDARABOTCH is the harder one between the two but it doesn’t mean The DIE Is CAST can’t carry a hard rock number. Ryuji Sato has the stronger voice for Rock but Sho Tsuchiya had also given Tsubasa Sakiyama materials that put him on equal footing with Ryuji to portray the two bands as rivals.

As for the MVs, I still wish they had used SA MI DA RE to represent DYDARABOTCH since they had chosen BELIEVER to represent The DIE Is CAST. Then we can musically compare the two in a fair manner. Hard rock vs hard rock.

#ochanomizu rock #sho tsuchiya #my first story #kid'z

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sandlerresearch · 4 years

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Train Battery Market by Type & Technology (Lead Acid-Gel Tubular, VRLA, Conventional; Ni-Cd-Sinter, Fiber, Pocket, & Li-Ion), Advanced Train (Autonomous, Hybrid, Fully Battery-Operated), Rolling Stock Type, Application and Region - Global Forecast to 2030 published on

https://www.sandlerresearch.org/train-battery-market-by-type-ni-cd-sinter-fiber-pocket-li-ion-advanced-train-autonomous-hybrid-fully-battery-operated-rolling-stock.html

“Rapid increase in urbanization and government initiatives for rail network expansion is the significant factor for growth of the train battery market globally”

The global train battery market size is projected to reach USD 255 million by 2030, from an estimated value of USD 143 million in 2020, at a CAGR of 5.9%.

The growth is influenced by factors such as rapid urbanization in emerging countries and advanced economies is considered to be one of the largest drivers of infrastructure spending over the next few decades, which is expected to bolster the demand of rail expansion. The incorporation of these developments in urban rail infrastructure is expected to lead to the demand for energy storage systems and hence is expected to propel the demand for train batteries during the forecast period.

“Sinter Plate segment is expected to grow at the fastest CAGR by 2030, owing to enhanced high power density and less maintenance cost than lead acid batteries, which presents considerable growth opportunities for battery manufacturers”

The sintered plate battery performs better than other batteries at variable load and temperatures. The sintered plate nickel cadmium battery requires lower maintenance than other batteries and is highly reliable. Sintered plate nickel cadmium batteries are used for high power discharge applications such as aircraft turbine engines, diesel locomotives, etc. These batteries are used in DMUs and diesel locomotives to start engines and for the auxiliary functions of the trains because they have 50% higher energy density than pocket plate nickel cadmium batteries. Also, sinter nickel cadmium batteries are more stable at higher temperatures than lead acid batteries. The sinter/PNE nickel cadmium battery is projected to dominate the market in the Asia Pacific owing to its high energy density which makes it ideal for starting engines. Since the Asia Pacific has a significant share of diesel locomotives, the demand for the sinter/PNE nickel cadmium battery is expected to grow during the forecast period.

“Lithium ion battery segment is expected to be the fastest growing segment throughout the forecast period owing to high density and maintenance free”

Li-Ion batteries offer various advantages over other battery types such as maintenance-free, battery health tracking, high energy density, lighter in weight, and compact in design. Developed countries are expected to increase their adoption of Lithium-Ion batteries in rail transport faster compared to emerging countries because of the regulations and the higher costs associated with adopting Lithium-Ion batteries. Also, Lithium-Ion batteries are best suited for high-speed trains and China being the largest market for high-speed trains, the demand for Lithium-Ion batteries in the region is projected to grow during the forecast period.

“Asia Pacific market is expected to hold the largest market share by 2030”

The rolling stock power conversion systems industry in the Asia-Pacific has witnessed year-on-year growth. The region is the leading producer of rolling stock across the globe and is expected to retain this position during the forecast period as it has the largest rail network, rapid urban developments, and government initiatives towards the development of energy-efficient transportation. Additionally, Asian countries such as China is planning to extend the network to 45,000 km by 2030. High-speed trains, suburban trains, and urban transit trains are majorly run in China, which is expected to make the country the leading market for railway batteries. Furthermore, several developments are being undertaken in Indian railways, and fixed a target for the electrification of 7,000 RKM for the year 2020-21. Moreover, the Indian railways target at 100% electrification of routes by 2024. This offers significant opportunities for train battery manufacturers in the coming future.

In-depth interviews were conducted with CEOs, marketing directors, other innovation and strategy directors, and executives from various key organizations operating in this market.

By Company Type: OEM – 30%, Tier I – 60%, Tier II – 10%

By Designation: C Level – 40%, and Others – 60%

By Region: Asia Pacific – 50%, Europe – 30%, North America and ROW – 20%

EnerSys (US), Exide Industries (India), Saft (France), Amara Raja Batteries (India), and GS Yuasa Corporation (Japan) are the leading manufacturers of train batteries in the global market.

Research Coverage:

The study segments the train battery market and forecasts the market size based on Battery type (Lead Acid, Nickel Cadmium, Lithium ion), Battery Technology (Conventional Lead Acid Battery, Valve Regulated Lead Acid Battery, Gel Tubular Lead Acid Battery, Sinter/PNE Ni-Cd Battery, Pocket Plate Ni-Cd Battery, Fiber/PNE Ni-Cd Battery, Lithium Ion Battery), By Rolling Stock (Diesel Locomotives, DMUs, Electric Locomotives, EMUs, Metros, High-speed Trains, Light Trains/Trams/ Monorails, Passenger Coaches), By Application (Starter Battery, Auxiliary Battery (HVAC, Doors, Infotainment)), By Advance Train (Autonomous Trains, Hybrid Locomotives, Fully Battery Operated Trains) and region (Asia Pacific, Europe, North America and Rest of the World).

The study also includes an in-depth competitive analysis of the key players in the market, along with their company profiles, key observations related to product and business offerings, recent developments, and key market strategies.

Key Benefits of Buying the Report:

The report will help the market leaders/new entrants in this market with the information on the closest approximations of the revenue numbers for the overall train battery market and the sub-segments. This report will help stakeholders understand the competitive landscape and gain more insights to better position their businesses and plan suitable go-to-market strategies. The report also helps stakeholders understand the pulse of the market and provides them information on key market drivers, restraints, challenges, and opportunities.

#Automotive

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businessweekme · 6 years

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Can America Build a Luxury Powerhouse to Rival Europe’s LVMH?

The new 700,000-square-foot headquarters of Coach is a state-of-the-art campus in one of New York’s newest skyscrapers. Showrooms along a 15-story atrium look out over tourists walking the High Line, the elevated railroad track-turned-park, and terraces on the 23rd floor poke out from a dine-in cafe that offers sushi and sandwiches. There’s even a special chicken wing bar for staffers who don’t want the usual lunch fare.

A lot of work remains to be done, though. The building occupies the southeast corner of the city’s new $20 billion Hudson Yards complex, and cranes have loomed around the 52-story glass tower since the brand moved in two years ago. Even now, the buzz of jackhammers and welding machines greet Coach’s 1,200 or so employees each morning as they enter their pristine new office.

Inside, a similarly radical restructuring is underway. Sales at Coach are just starting to recover after a disastrous three-year stretch from 2012 to 2015, when the label shed $928 million, or more than 18 percent, of its annual revenue. During that time, shares plummeted more than 62 percent, from an all-time high of $77.28 to $28.93.

To restore the fading fashion house, the plan is to turn it into America’s answer to European luxury conglomerates such as Kering and LVMH, which run wide-ranging portfolios of brands. LVMH, the world’s largest luxury company at nearly $50 billion in annual revenue, owns everything from Louis Vuitton clothing and Veuve Cliquot Champagne to Guerlain perfumes, TAG Heuer watches, and Sephora cosmetics.

The man steering this strategy, perched in a corner office high above the Hudson River, is taking a page out of his former boss’s playbook. Victor Luis, a 52-year-old executive, ran two divisions at LVMH before joining Coach: fashion label Givenchy in Japan and Baccarat crystal glassware in the U.S. An immigrant from São Miguel, a little Portuguese island in the Atlantic, he has a master’s degree in international economics and, from the looks of it, a Ph.D. in swagger.

Since his promotion to the top job in January 2014, Luis has announced two acquisitions: a $574 million deal for women’s shoemaker Stuart Weitzman and, last July, $2.4 billion for Kate Spade, one of the brand’s nemeses. He announced layoffs, culled about a third of his domestic store fleet, and hired replacements for several high-level executives, including former brand chiefs Craig Leavitt and Wendy Kahn. He eliminated the Jack Spade menswear business. He has also severely cut down on promotional activity, such as flash sales and discounted merchandise, purposely hurting sales in the hope that it would wean customers off lower-priced fare.

Perhaps the most controversial announcement, at least for the millions of shoppers who buy Coach’s bags and wallets, occurred last fall, when Luis gave the 77-year-old fashion house a new corporate name: Tapestry Inc. The move signals that Luis is looking to reposition the company as an American LVMH, one that has evolved beyond “core fashion.”

This year’s performance has been much better, with the stock up about 18 percent this year to $52.03 through Tuesday’s close. Coach, Tapestry’s biggest business at more than $4 billion, is coming off a strong 12-month run, with same-store sales, a key metric for the retail industry, turning positive over the holiday season last year. “The biggest question mark for us—and for me—was how much time do these things take?” Luis says. “Anxiousness? Short-term concern? Absolutely.”

A Brief History of American Luxury

It wasn’t always like this. Coach was known as an originator of what’s called “affordable luxury.” The company began in 1941 as a leather goods workshop in New York that sold only men’s goods: bags, wallets, flask-holders. It didn’t sell women’s handbags until Lillian and Miles Cahn bought the factory 20 years later. Some of the label’s oldest pieces are still stored in its archive, deep in the labyrinth of its headquarters. They’re relics that designers now use to jog their creativity.

Many of those bags were designed by Bonnie Cashin, who was hired in 1962 and is considered a pioneer of women’s sportswear. In her 12 years there, she transformed Coach from leather shop to fashion house. Her shoulder bags with interchangeable straps, bucket bags and clutches became mainstays, and her signature brass turn lock, which was inspired by the toggles on the roof of her convertible, is still used on many of the brand’s styles today.

In 1985, the Cahns sold the company to the Sara Lee Corp., a now-defunct consumer goods conglomerate, and Coach expanded quickly. It hit $100 million in sales by 1989 and made longtime executive Lew Frankfort its president. Appointed CEO in 1995, he spent the next 19 years turning Coach into a multibillion-dollar global luxury powerhouse. Head designer Reed Krakoff became a fashion superstar, thanks to runway-worthy leather goods that could also be sold to the masses—at much lower prices than European peers could offer. When Sara Lee spun off its leather goods business in 2000, Coach had just surpassed the half-billion mark in annual revenue.

Krakoff’s most lasting contribution came in 2001, when the label released a line of bags covered in interlocking Cs, a design that coincided with the very beginning of fashion’s logo craze: Abercrombie & Fitch had its logo tees, Gap had its logo sweatshirts, and Coach had its logo bags. The print was applied to premium leather satchels, as well as to its cheap nylon tote bags. In a little over a decade, Coach would grow into one of the world’s largest handbag labels, peaking at nearly $5.1 billion.

Frankfort and Krakoff left Coach in 2014. The company said that the CEO’s departure was part of a long-term succession plan and that it didn’t require an interim chief for the transition. Frankfort took a role as an executive-in-residence at private-equity firm Sycamore Partners. Krakoff, too, left before Coach had found a replacement. (He is now the creative head of U.S. jeweler Tiffany & Co.)

Luis spent eight years under their leadership and watched the empire they built come crashing, in a very literal sense. Coach’s old industrial building, at 516 West 34th St, has since been taken down. One executive kept a brick as a souvenir.

Six months after Luis became CEO, executives held an investor day to reveal their turnaround plans. It would get worse before it gets better, they said. A 2014 company-wide memo asked not to panic, even though sales would be down more than 20 percent for the quarter. “That’s not a pretty number,” says Luis. “Even if you know it’s coming, it never feels good.”

In Search of “Elevation”

On the bottom floor of Tapestry’s new headquarters, seamstresses and leatherworkers sit at sewing machines, churning out sample clutches and hobo bags among spools of bonded leather and rubber fleece. Upstairs, a squad of designers sketch at high desks, surrounded by sheets of fabric. Pin-up boards line the merchandising floor, a vast menu of styles for a brand that sells thousands of different products.

On the 19th floor is the glossy C-suite. Senior management has experienced near-total turnover under Luis, and new faces now run the company’s global supply chain, finance, international business development, and technology. All three of Tapestry’s labels have new top executives, each recruited from outside the company. Kate Spade is run by fashion veteran Anna Bakst, who came over from Michael Kors in late March. In April, Stuart Weitzman announced that its new boss was Eraldo Poletto, the former head of Italian fashion house Salvatore Ferragamo.

Coach CEO Joshua Schulman, who joined from Neiman Marcus Group last June, is the company’s longest-tenured brand chief. The former president of posh department store Bergdorf Goodman speaks conceptually about Coach’s “brand DNA” (a label’s most distinctive attributes), the impact of “omnichannel commerce” (selling seamlessly both online and in stores), and where each new handbag line fits into his theoretical product “pyramid” (higher margin items with a smaller market at the top; lower ones with a bigger market at the bottom).

Coach has begun to diversify its offerings beyond handbags. It started selling ready-to-wear apparel, and it plans to expand into new product categories and grow its menswear selection, which accounts for about 20 percent of the business. Its merchandise now includes outerwear, jewelry, watches, scarves, and fragrances. Schulman is open to expanding into home décor and other segments, when the time comes.

“Elevate” is a word that Coach executives use on a near-constant basis, whether it’s elevated product, elevated price points, or an elevated brand. The average price of a Coach handbag was once under $300. Now, according to Schulman, the sweet spot for price is from $300 to $500. The Rogue, at $795, is Coach’s most expensive line of handbags. Made from glove-tanned pebble leather, it has detachable straps and suede lining and can also come in bold patterns and embellishments. It was designed with die-cut snakeskin tea roses and priced at an elevated $1,500 in the recent season.

In February, the brand welcomed celebrities and influencers to a runway show for Coach 1941, an upscale offshoot of its main brand, designed by creative head Stuart Vevers. “He’s taken the brand in directions that it had never been,” says Schulman. The catwalk itself was more abstract art than clothing showcase, presented as an eerie forest full of video monitors gone haywire. As the show closed, lights dimmed and strobes pulsed as the models hurried through the set. You couldn’t see the clothes at all—not that it mattered. This was about artistic credibility.

“Maybe a shopper who buys a Fendi or a Dior might come in and buy Coach apparel or Coach footwear, because it does now have a luxury point of view,” says Erinn Murphy, an analyst at Piper Jaffray. “That customer would have never bought a logo-oriented Coach tote from seven or eight years ago.”

More Brands, More Problems?

Tapestry’s other brands remain in recovery from a variety of ailments. Stuart Weitzman’s business largely relies on two styles: an over-the-knee, super-tall boot called the “5050” and a line of minimalist “Nudist” sandals with a delicate ankle strap. But if consumers aren’t wooed with compelling versions of those franchises for one season, it can mean disaster. Earlier this year, the shoemaker ran into production delays with new styles, forcing the company to admit that the issue will persist through next winter. On top of that, Tapestry ousted Stuart Weitzman’s creative director, Giovanni Morelli, in May, citing issues with his “behavior.”

With $1.4 billion in annual revenue when it was acquired, Kate Spade had different problems, primarily that it had torpedoed its own brand with constant online flash sales. As a more youthful, less serious brand, it sells sneakers covered in rose gold glitter, jacquard dresses in multi-color daisies, and giant, heart-shaped hoop earrings. But the label’s whimsical items were often too strange for luxury shoppers unwilling to shell out $300 on bags that looked, for example, like a giant cat’s head. Weak traffic at its outlet stores forced the brand to offer deeper discounts. Even worse, several seasons of inventory missteps hindered stores that failed to stock enough of the merchandise that people actually wanted.

Sales at Kate Spade fell 3 percent in the last period—its sixth-straight negative quarter—but that qualified as good news since it still beat analysts’ estimates, sending the stock up as much as 11 percent. In June, fashion designer Kate Valentine, better known as Kate Spade and co-founder of the label, died in an apparent suicide at her Manhattan apartment. Grieving fans had an “immediate heartfelt response” to the news, executives said, and shoppers bought up products bearing her name.

At first, Tapestry estimated it would see from $30 to $35 million in savings from the Kate Spade integration. Next year, it expects to hit from $100 to $115 million. Analysts see Kate Spade’s growth potential as an attractive opportunity, if its new owner is willing to shrink first and keep enduring months of bad results as it reduces flash sales. “If they have the discipline to see this through, then the reality is they’ll emerge better off at the end of the tunnel,” says Simeon Siegel, an analyst at Nomura’s Instinet. “It’s important to understand what was the healthy sales versus what was the extra dollar that management wanted to grab.”

But if the company is to fulfill the promise of becoming an American luxury conglomerate, Tapestry will eventually have to spend billions more to acquire additional brands. Luis insists that the company must first fix Kate Spade before resuming the hunt. When it’s time, though, the company will be looking for labels in accessories, footwear, apparel, and outerwear to add to its offerings.

And he has no plans to stop at things you wear. “We’re very focused on our planning horizon, which tends to be three to five years, but that doesn’t mean there’s no opportunity for Tapestry, as a house of brands, to evolve well beyond the core fashion categories,” he says. “The opportunities are endless.”

In analysts’ and media reports during the past year, numerous brand names have been mentioned as potential acquisition targets: Burberry, Britain’s largest luxury label, as well as Barbour, Mulberry, and Longchamp, the French accessories brand. Italy has its share of attractive targets, too, such as Furla handbags and Canali tailoring. PVH Corp., owner of Tommy Hilfiger and Calvin Klein, is the closest thing to an existing American fashion multi-brand house, and it could potentially be in the mix as a buyer. But PVH is considered more a mid-range apparel seller than a glitzy luxury group.

Tapestry’s American competition won’t be so easily left behind. Last November, Michael Kors bought shoe label Jimmy Choo for $1.2 billion, its first foray outside its legacy brand. Famous for its Sex and the City stilettos that Sarah Jessica Parker loved so much, the pumps can cost $600 to $1,200 or more, making Choo higher-end than its new owner is. The addition gives Kors a strong foothold in footwear as the handbag war spills into shoes and clothing. At the time, Michael Kors CEO John Idol said the acquisition signaled the start of new strategy: to build an international group of luxury brands.

The post Can America Build a Luxury Powerhouse to Rival Europe’s LVMH? appeared first on Bloomberg Businessweek Middle East.

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