The Business of Fashion Podcast

In the late 2010s, and particularly after George Floyd’s murder in 2020, the fashion industry appeared to embrace a progressive awakening on issues like racial justice and climate change. Diversity, equity, and inclusion (DEI) departments were established, and companies announced ambitious sustainability targets. Yet, from the outset, critics - often from the same communities these initiatives aimed to support - questioned the authenticity of this activism, suggesting it was more about marketing than meaningful change.Now, those sceptics may have been proven right. Following the 2023 Supreme Court ruling against affirmative action, companies have begun scaling back hiring initiatives, grants for Black founders, and other DEI efforts. Sustainability commitments are also under scrutiny, with the industry far behind its climate goals and facing a hostile political environment in the US. Executive editor Brian Baskin is joined by sustainability correspondent Sarah Kent and senior correspondent Sheena Butler-Young to untangle the future of DEI and ESG (environmental, social, and governance).Key Insights: Diversity and inclusion in fashion was built on already fragile foundations. “Most companies didn’t have a DEI department before George Floyd,” Butler-Young points out. She explains that these departments were often created hastily and emotionally, which left them vulnerable to becoming performative. “We never moved beyond that conversation into ‘how is this good for business? Why does this matter for a company beyond social good?’”"The acronym DEI has become so politicised,’” continues Butler-Young. "Something that started off as having some good intentions and some really value-driven tenets, and suddenly it's co-opted and becomes something almost derogatory." Companies are now moving away from the language, but that often means moving away from the work as well. The story in the world of sustainability contains some parallels. “What we’ve begun to see in a handful of cases is a quiet reframing of sustainability commitments, making them less ambitious and, in some ways, more realistic,” says Kent. This includes “the restructuring of sustainability teams, significant layoffs, and a shifting focus.” Although sustainability efforts are losing traction in the US, Kent points out that European regulations will keep the pressure on global brands. “From an investor standpoint, this is a compliance issue - companies need to meet laws or face significant penalties, which is obviously not good for business.”Additional Resources:What Fashion’s Advocacy Will Look Like in the Trump EraTrump’s Impact on Fashion Takes Shape | BoF Hosted on Acast. See acast.com/privacy for more information.

Many fashion brands are realising that operating across multiple cultural sectors is a business necessity. In our social feeds, fashion competes with music, film, and sports for our attention.Learning how to tap into other cultural sectors is something that many fashion brands are trying to do, but few have done it better than this week’s guests.At BoF VOICES 2024, BoF founder and CEO Imran AmedI spoke with Jens Grede, co-founder and CEO of Kim Kardashian’s Skims, the shapewear brand and David Allemann, co-founder and executive co-chairman of the Swiss sportswear company On, to learn how they’ve tapped into the cultural zeitgeist, especially at the growing intersection of sports and fashion.  Key Insights: For both Grede and Allemann, the foundation of a successful brand lies in creating exceptional products. Grede emphasises the critical importance of innovation, crediting Skims’ success to years of fabric development before launching the brand. “Before a brand, there are products, and you can’t build a great brand without a great product,” he explains. Similarly, Allemann shared On’s origins, which began with a makeshift prototype crafted from a garden hose to test their signature “cloud tech” soles. Sports and fashion have become deeply interconnected, reflecting how cultural and personal identity have evolved. Allemann notes that, over the past 15 years, sportswear has transitioned from functional equipment to an extension of one’s personality, becoming a new uniform. “Because it becomes part of our personality, it’s elevated to a whole different level, and so in a sense, [sport] becomes fashion.” Athletes now use fashion as a platform to build their personal brands, with Grede describing it as “a superpower” that amplifies their influence beyond their sport. Tapping into culture is essential for brands looking to stay relevant and expand their influence. Grede describes building a brand as finding “a little part in this moment in popular culture,” which requires an understanding of the zeitgeist. For Skims, partnerships like their recent collaboration with Dolce & Gabbana push the brand into uncharted aesthetic territory while providing customers with something entirely new. On takes a similarly thoughtful approach, having turned Roger Federer from an ambassador into an investor. As brands grow, the decision to go public can be a significant milestone, but timing is critical. Grede acknowledges that Skims will eventually become a public company but stressed the importance of focusing on expansion and building away from the scrutiny of the public eye. Allemann shared advice from On’s IPO journey, describing the need to stay close to the customer: “On really tries to be very close to the consumer and be the brand that helps the explorers and the dreamers and probably even the rebels to ignite their spirit. I think that's what's really important right now.”Additional Resources:BoF VOICES 2024: Global Culture and Creativity The BoF Podcast | Jens Grede on Building Skims, Frame and the Future of FashionWhy On Running Could Be Worth $6 Billion | BoF Hosted on Acast. See acast.com/privacy for more information.

Resale is no longer confined to thrift stores or niche platforms; it has grown into a roughly $50 billion industry in the U.S. alone, by some measures. Platforms like Poshmark, The RealReal and Vestiaire Collective have transformed the experience, making it more accessible and attractive to consumers at every price point. At the same time, brands are increasingly stepping into the space, with some launching their own programs to resell returned or used merchandise, transforming what was once a reactive practice into a strategic business opportunity. And new start-ups hope to create a new secondhand market out of brands’ returned merchandise. Retail editor Cat Chen and e-commerce correspondent Malique Morris join senior correspondent Sheena Butler-Young and executive editor Brian Baskin to unpack the evolving resale landscape. Key Insights:  The destigmatization of secondhand fashion is closely tied to convenience. “A large part of the equation is how easy it is to shop and sell secondhand,” explains Chen. “There are dozens of platforms that do peer-to-peer shopping options where you can buy something secondhand for, you know, at a fraction of the cost of retail where you can sell something that you've had for a while.… When resale is top of mind like that, I think the market adapts to that acceptance mentality.”But establishing a leading position in the market has proven difficult, despite rapid adoption. “The learning for operators of these platforms is that there’s very little consumer loyalty in this space,” says Chen. “When I consider selling something, I’m going to look at every single platform - whichever one gives me the quickest sale, the easiest sale, and the most money.” This dynamic has created a fiercely competitive landscape, with platforms racing to attract sellers by offering the best incentives.  Bazar is taking a different approach to resale, stocking its marketplace with returned, goods brands would struggle to restock without refurbishment, including some fast fashion. “Bazar doesn’t go through the trouble of necessarily fixing items. It’s kind of listed as is, and customers get a ‘what you see is what you get’ experience,” says Morris. Additionally, Bazar allows fast fashion brands like Cider to offload inventory, which many traditional resale platforms avoid. “There is a level of transparency there which is supposed to be a part of the proposition of sustainability and a part of the proposition of resale as well.”As the industry develops, Morris envisions brands taking more ownership of resale, as platforms like Revive are already helping brands create their own resale programs to handle returned merchandise. Such efforts could turn resale into a sustainable, profitable venture, making it a key part of brand operations. “If resale can prove that it is an avenue for [brands] to achieve profitability … I can see it becoming a bigger priority brands which will make the shopping experience all the better for consumers."Additional Resources:Fashion’s Big Opportunity in Reselling the Unsellable | BoFShould Brands Stop Offering Free Returns? | BoF Hosted on Acast. See acast.com/privacy for more information.

In 2024, luxury e-commerce faced a harsh reckoning. A pandemic-era boom gave way to a bruising downturn that exposed deep-seated weaknesses, as rising marketing costs, excessive discounting, outdated technology management and intensifying competition hit profitability. MatchesFashion went into administration at the start of the year, shortly after it was sold off in a fire sale to Frasers Group. Farfetch’s share price plummeted by 98 percent, bringing the company to the brink of bankruptcy, only for it to be rescued by South Korea’s Coupang. Richemont sold off Yoox Net-a-Porter to rival luxury e-tailer Mytheresa in October, ending a years-long effort to offload the struggling business.This week on the podcast, Mytheresa CEO Michael Kliger and Lauren Santo Domingo, co-founder and chief brand officer of Moda Operandi, join BoF Founder and CEO Imran Amed on stage at BoF VOICES 2024. Together, they explore what went wrong in the luxury e-commerce sector, how they are navigating the ongoing luxury slowdown, and what comes next for the industry.“We didn’t know that this big slowdown in aspirational demand would happen, but we were well prepared,” Kliger said.Key Insights: What separates the winners and the losers in the luxury e-commerce reckoning comes down to preparedness, said Kliger. Mytheresa also “felt the pressures,” but the business was better suited to handle an environment laden with high inflation, high interest rates and middle-income shoppers retreating. Kliger added that he still believes in the viability of the luxury e-commerce model because “there is a consumer that wants to shop like that.” “Rumours of our demise have been greatly exaggerated,” added Santo Domingo. Despite the challenging market environment, some customers are still spending. E-tailers need to create desirability and find ways to attract shoppers to their platforms through curation, storytelling and other forms of differentiation. “They want from us more experience than just access to product,” said Kliger. “That’s why the brands want to be with us. We are brand enhancing,” echoed Santo Domingo. Mytheresa has also invested in optimising its marketing funnel to identify customers who are more likely to remain loyal over the long-term. “We’re not bidding for traffic. We’re not bidding for revenue. We’re bidding for customers,” said Kliger. The business built an algorithm to predict based on past purchases, addresses, types of payment, and time of purchase, whether a customer is likely to return, and they focus their marketing efforts accordingly. Additional Resources:BoF VOICES 2024: Fashion's Next Moves: Industry insiders including designers Simon Porte Jacquemus and Glenn Martens, H&M CEO Daniel Ervér, e-commerce executives Lauren Santo Domingo and Michael Kliger and more spoke about key challenges and opportunities for their businesses and fashion at large. Meanwhile, McKinsey provided an outlook for 2025. Hosted on Acast. See acast.com/privacy for more information.

When Simon Porte Jacquemus came on to the scene in 2009, he did so with a bang. The French designer’s playful take on Parisian fashion draws inspiration from 20th century sculpture, the French New Wave, and sunny afternoons in Marseille. His creations have catapulted him and his label into stardom, with the brand’s campaigns often going viral on social media. “It’s [all about] having fun,” said Jacquemus. “Having fun is being creative, it's going one step aside and it's playing with the system.”Jacquemus has been able to build on the social media buzz and create an independent label garnering more than 200 million euros ($210 million) in annual turnover. His fashion shows have been staged in picturesque locations across France, including the Chateau Versailles. In October, he opened his first store in New York City, drawing crowds akin to those mostly reserved for movie stars. This month, he opened another location in London, part of the designer’s plans for a global retail expansion. At VOICES 2024, BoF founder and CEO Imran Amed sits down with Jacquemus to discuss how the designer has been able to build a successful independent business in the competitive luxury sector and amidst a consumer downturn. Key Insights: Jacquemus credited creating attention and buzz in unconventional ways for the success of his brand and his ability to remain independent for 15 years. The designer recalled staging his debut runway show disguised as a fake protest outside of a Dior boutique on Avenue Montaigne as a media stunt that gained him notoriety early in his career. “I only had one rule when I [started]. I need to be visible,” he said. Jacquemus said his love for imagery and the hit TV show “Sex and the City” inspired to go into fashion. “I wanted to build images and create the sensation of a young boy looking at magazines,” the designer said. This fascination with imagery has translated to the brand’s social campaigns, namely the CGI versions of the label’s signature purse Le Bambino roaming through the streets of Paris. The brand’s design codes deviate from traditional luxury fashion, in that Jacquemus wanted his designs to appeal to ultra-luxury shoppers as well as mass consumers. “I [wanted] to do something everyone can understand – the post guy, my grandmother. And references to niche things.”Now, the designer wants to transport his feelings of familial bliss and his childhood in the south of France to his retail locations around the world. “I want them to feel like home,” he said. The design elements of the brick-and-mortar stores call back to Provence with soft linens, high windows and traditional furniture. As the CEO of the brand, Jacquemus said he finds he may often lean more toward the business side than the creative side. This is something he wants to balance in the near future. “I’m interested in everything,” he said. “I wake up every morning looking at the sales, not because I love money but because I want my work [to become] something real.”Additional Resources:Jacquemus: A Fashion Star's Business VisionJacquemus Is Seeking a Minority InvestorThe Debrief | What Makes Jacquemus So Successful? Hosted on Acast. See acast.com/privacy for more information.

The beauty industry has witnessed a wave of disruptors rise and fall. Brands like Anastasia Beverly Hills, Glossier and Morphe leveraged social media and influencer marketing to achieve rapid success and unicorn valuations. But maintaining momentum has proven challenging, and some of these disruptor brands have seen sales fall and financial hurdles mount. As Glossier proves, there is the possibility of a second chance, but it requires radical changes to the business to pull off. As beauty correspondent Daniela Morosini points out, “The barriers to entry have been removed. You can get a critical mass of fans and build an aesthetic for your brand quite quickly. Making it stick is more difficult.” In today’s crowded market, sustainable growth and a deliberate strategy are essential for standing out.Key Insights: Slower growth in a crowded market can ensure longevity. “It’s the ones that are maybe growing a little bit slower, not having this initial huge rush and then a massive drop-off,” says Morosini. While brands can gain a critical mass of fans and build an aesthetic quickly, sustaining that momentum is much harder in today’s saturated market. “You go on TikTok, and there are 50 brands fighting for your attention. You go to Sephora, there's another 50,” Morosini adds. By focusing on steady, intentional growth, brands are better equipped to stand out and thrive in an environment where consumer choices are overwhelmingly abundant.In a saturated market, having a knowledgeable and authentic founder can differentiate a brand and build trust with consumers. “Brands that had a founder with expertise as a makeup artist or some other kind of professional qualifications helped bear out the brand and add a little bit more credence to it,” says Morosini. These founders often bring a personal approach to their brand, which resonates with consumers.Glossier’s success shows the value of balancing adaptation with staying true to a brand’s core mission. Despite being digital-first, the brand quickly established a physical presence, which “helped enmesh them and establish themselves with more the kind of quote unquote, middle-American consumer, just like a general shopper versus someone who is like a die-hard beauty fan,” explains Morosini. By moving away from an exclusively direct-to-consumer model, Glossier also refocused on its product assortment and customer needs. “Giving up on the DTC-only thing probably allowed them to take a hard look at their product assortment and build out more products that people were really interested in,” Morosini adds.A key lesson for emerging beauty brands is to prepare for both boom and bust cycles. As Morosini explains, “You’re probably going to be getting your most attention both from consumers and investors or acquirers during your fat years. And you need to be ready for the lean years because they're going to come.” She emphasises the importance of hedging strategies, noting, “No matter how well things are going, there will be a competitor snapping at your heels around the corner. Making sure that you’re keeping your strategy and product assortment broad enough to weather that.” Flexibility and foresight are essential to navigating inevitable market shifts.Additional Resources:How Anastasia Beverly Hills Lost Its Footing | BoFUrban Decay’s ‘Naked’ Relaunch Is a Hit. Now Comes the Hard Part. | BoF Hosted on Acast. See acast.com/privacy for more information.

Tina Brown is a force of nature in the world of journalism, offering unflinching and sometimes provocative glimpses into the lives of the world's most famous figures. Born in England and educated at Oxford, she stormed the traditionally male bastions of print media, becoming editor-in-chief of Tatler at just 25. A few years later, she ushered in a new era as editor-in-chief of Vanity Fair, which was tens of millions of dollars in debt when she took over. Her unique formula of seductive storytelling, combined with hard-hitting journalism, increased the magazine’s monthly circulation from 200,000 to 1.2 million.As an editor, Tina has never been afraid to push boundaries or challenge the orthodoxy, and she has not lost her magic touch. Last month she launched a weekly Substack newsletter, “Fresh Hell: Tina Brown’s Diary.” where she has already opined on trending topics from the Menendez Brothers to the re-election of Donald Trump. Right now, one of her main pre-occupations is around the future of journalism. “More serious than anything is the death of truth and what that can do to a society,” she warns. “The resistance is going to have to come from the media.’At VOICES 2024, Brown reflects on the seismic shifts in media, what this means for truth and democracy, and the role of journalism in the age of Donald Trump. Key Insights:  “I love the art of magazines …  but I don’t read them anymore,” Brown admitted, echoing the sentiments of a changing audience. She argues that while print media might be fading, the real battle is to sustain investigative journalism, which remains critical to democracy. “What matters is that we have thoughtful, curious, truth-telling journalists in the roles that matter.”Brown criticises tech companies for profiting from journalism’s decline. “Twenty years ago, traditional media was too passive in the face of digital disruption,” she explains. “Content was taken for free and monetised by tech platforms, and we’re seeing it happen again with AI.” Highlighting the existential threat posed by the erosion of public trust in journalism, Brown calls for tech companies to take responsibility and invest meaningfully in journalism. On the battle between creativity and technology, Brown lamented the undervaluation of human creativity in an increasingly algorithm-driven world. “I do not know why writing sentences is not valued more than writing code, because they last longer, that's for sure. One Shakespeare sonnet - beat that algorithm.”   Reflecting on Trump’s influence on both media and politics, Brown describes him as “the world’s great showman”. “He ran a campaign that was just endlessly watchable and was so extraordinarily sort of resourceful on improvising all the time,” she notes. However, Brown questions this approach to politics as entertainment. “We've become so debased by entertainment values that we now require our politicians to be entertainment,” she argued. “I actually question whether the old style politician will ever be in favour again.”Additional Resources:BoF VOICES 2024: Confronting an Age of Uncertainty  Hosted on Acast. See acast.com/privacy for more information.

For nearly a decade, the luxury sector has experienced what seemed like limitless growth, with brands like Louis Vuitton, Gucci, and Chanel pushing product prices higher — and seeing consumers pay up. However, recent quarterly reports have marked a sudden shift, with even industry giants reporting disappointing revenue. As luxury editor Robert Willliams explains, “These brands are omnipresent and people are seeing them everywhere. Whether consumers finally pull the trigger is so much about their economic confidence, this feel-good factor. Are things going to be better for me next month than they are today?”This week, BoF executive editor Brian Baskin and luxury editor Robert Williams discuss the forces contributing to this downturn, the implications for top brands and potential strategies luxury players are exploring to reignite growth.Key Insights: Global economic uncertainty has hit U.S. and European luxury spending hard. “Whether they finally pull the trigger [on a big purchase] is about economic confidence,” explains Williams, noting that factors like inflation, wage stagnation, and election cycles have consumers second-guessing expensive purchases. There are similar issues in Europe, with proximity to conflicts in the Middle East, Ukraine and Russia additionally impacting consumer sentiment and spending power.However, according to Williams, the biggest issue is China pulling back on this type of spending. China’s luxury market has always been a growth engine, but changing economic sentiments and less travel due to COVID are affecting luxury sales. “[Chinese consumers] are really holding out for when they feel better about the economy. … They’re holding out for when they can feel like they can get a deal because prices are higher in China than most of the world for luxury brands,” says Williams. Many consumers are frustrated with steep price increases, as seen with Dior’s Lady Dior bag, which has jumped 76% in price since 2019. “Customers are quite fed up with how dramatic the price increases have been often for like for like products,” Williams states, adding that consumers often feel they’re “spending a lot more for something that’s not necessarily as good.” Even if quality hasn’t declined, the perception has, especially with social media spotlighting any issues. “With the way our Internet culture works, if someone has an issue with the product, they can make that so public in a way and really disenchant a lot of people and their audience and make them question, is this high price worth it?”Facing a saturated market after years of rapid growth and price hikes, many forecast that 2025 and 2026 are to be similarly stagnant or negative periods for sales.” Even if it wasn't just a question of the prices or if there weren't these other macroeconomic factors, there could be a sense of having saturated the market, of people needing to be bored with fashion a bit so that then they can rediscover it. I'm not sure that it's the right time to introduce the next big idea if you were the one who had it,” says Williams. “Because if you're among the brands whose sales are quite negative … then how much can you really invest in telling the world that you're the one who has the next big idea?”.Additional Resources:Inside Luxury’s Slowdown | BoFWhy Some Luxury Groups Are Doing Better Than Others | BoF  Hosted on Acast. See acast.com/privacy for more information.

Sammy Basso left an indelible mark on our community last year at BoF VOICES 2023. Sammy had a rare genetic condition called Progeria that accelerates ageing, affecting only one in 20 million people, with an average life expectancy of 13-and-a-half years. Last year at VOICES, Sammy celebrated his 28th birthday with us, and shared his extraordinary resilience and passion, for life and for research. “To be a patient and scientist is beautiful for me because it is a great antidote against fear,” he reflected. “Never think you are not enough to make a difference ... So many people said it’s impossible to do research into such a rare disease. But now thanks to that, we are opening ways to treat so many others. We are making a difference.”This week on The BoF Podcast, Basso in conversation with friend Annastasia Seebohm Giacomini about the importance of his research and his philosophy of how to live a full life.Key Insights: When asked how he maintains such a positive outlook despite the daily challenges of his condition, Basso explains, “I must be positive, because if I won’t be, I would limit my life more than progeria itself. My life is worth living, progeria or not. I love my life …This is the only possibility for the universe to be myself. And you are the only possibility for the universe to be in the stars. So we can’t waste this great opportunity. We need to be the best copy of ourselves.”Reflecting on his outlook toward life, Basso shares the importance of gratitude in his daily routine: “Progeria taught me not to believe anything to be granted. I’ve risked my life so many times, I’ve wished to die several times, so now every day for me is a gift. When I wake up in the morning, I have to be grateful for that day. I must be grateful for that day.”  Basso finds strength in community and expresses his deep gratitude for the role of his family and friends in his life. “They are the reason why I wake up every morning. Sometimes when I’m too tired, I remember that my life is not only mine. So if I can’t do it for myself, I must wake up for them and do it.”Additional Resources:BoF VOICES 2023: Finding Hope in the DarkRegister now to join us at BoF Voices 2024, our annual gathering for big thinkers, streaming live from November 12 to 14 Hosted on Acast. See acast.com/privacy for more information.

In recent years, sports has provided a rich ground for fashion partnerships. Where even three years ago Dior’s tie-up with Paris Saint-Germain was relatively novel, today it’s harder to find luxury brands that aren’t at least dabbling in football, Formula 1 or other sports. These deals are also getting increasingly elaborate, with brands outfitting athletes, teams and even entire leagues on and off the field.  This new wave of partnerships is about more than just looks or finding new audiences — it’s about cultural relevance.  “Fashion brands have looked to [sports] to market their products to groups of consumers who maybe weren’t targeted by these brands previously, and athletes themselves have become major brands and media businesses in their own right,” says BoF sports correspondent Daniel-Yaw Miller.This week on The Debrief, Executive Editor Brian Baskin and Senior Correspondent Sheena Butler-Young sit down with Daniel-Yaw Miller to explore how the worlds of fashion and sports are colliding like never before.Key Insights: For a partnership to be successful, it must feel authentic. Arsenal's collaboration with London-based brand Labrum, which presented a runway show at Arsenal's stadium is a prime example. The jersey colours draw influence from the Pan-African flag and hint to the histories of the players and the club. "That partnership makes sense on a cultural level and fans can buy into that authentic messaging rather than just a logo swap,” he says.As individual athletes gain larger followings, brands see more appeal in creating tailored partnerships with rising stars like Coco Gauff and Angel Reese. “Athletes now have a direct bond with fans that the previous generation of stars never had,” Miller notes. “Sports fans have had insights into Coco Gauff and Naomi Osaka’s lives since they were teenagers. They’ve grown with them, and that’s at the very essence of their appeal to these brands.”The rise of women’s sports has opened doors for fashion brands that previously overlooked the sector. "And that's really opened up the sports industry, which has traditionally been extremely male dominated. So a whole range of luxury womenswear brands that previously never really had an entry point into the sports industry,” Miller explains. Some sports struggle to find traction in the fashion world. While Formula 1 has embraced luxury, baseball remains on the sidelines. “Baseball has never quite broken out to have true global appeal in a sense that fashion could leverage,” Miller says. “I think baseball is very similar to where Formula One was before the Liberty Media acquisition, where there was a strict atmosphere around showing an interest in things that are outside the direct line of business for a baseball organisation that's hampered how much the sport and the athletes have been able to be in fashion.”Additional Resources:Fashion’s Sports Obsession Is No Accident | BoF How Athletes Became Fashion Week Royalty | BoF.Inside the Big Business of Styling Athletes | BoF  Hosted on Acast. See acast.com/privacy for more information.

Khalid Al Tayer, Managing Director of Al Tayer Insignia and CEO of the luxury e-commerce platform Ounass, leads one of the Middle East’s most powerful retail networks. In his first public interview at Oud Fashion Talks, Al Tayer shares insights into the rapid evolution of the Middle Eastern luxury market, the region's growing influence on global trends, and how his business approaches e-commerce with a customer-first mindset. He also discusses the strategic importance of respecting and investing in the Middle Eastern customer while creating opportunities for regional talent to flourish in the luxury landscape.“The brands that have taken [the Middle Eastern] customer as a very important customer and respect them are seeing benefit. The ones that approach this customer as, ‘They’re just going to buy what we make, and we’re going to do … a good enough job because we’re busy somewhere else,’ are not benefiting. Respect the Middle Eastern customer,” shares Al Tayer.This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Al Tayer to discuss the growing influence of the Middle Eastern luxury market and how businesses can succeed by prioritising the evolving needs of the regional customer.Key Insights: Despite challenges in global luxury, Al Tayer points to the Middle East as a resilient outlier in the industry, especially post-Covid. Brand investment in top-tier store experiences, thoughtful activations, and tailored assortments have fostered a deeper connection with the local customer. “The Middle East … has been a shining candle in the industry generally because of the resilience and the growing sophistication of the Middle Eastern customer,” Al Tayer notes, attributing this shift to brands recognising the importance of this loyal market.Al Tayer forecasts that e-commerce will soon make up half of all luxury retail in the region, with Ounass already pushing double-digit growth in this area. “In the next few years … 50 percent of the sales of retail will be online,” he says, describing an evolving model he calls “luxury convenience.” While physical stores will still offer unparalleled experiences, online platforms like Ounass meet the growing demand for digital access and seamless customer journeys.Al Tayer attributes his company’s success to “fanatical focus” and the dedication of his team. “First and foremost, it's all about team and surrounding yourself with the right people,” he says. “I try to build trust by allowing them to have ownership. When they have ownership, they really drive the business like it's their own.” In an industry that requires high levels of execution, he recommends patience and focusing on the details that matter. “Focus on what you’re doing and get it right,” he advises, urging new entrepreneurs to remain committed and data-driven.Additional Resources:BoF Insights | Fashion in the Middle East: Optimism and Transformation What Escalation in the Middle East War Means for the Industry | BoF  Hosted on Acast. See acast.com/privacy for more information.

Online shopping promises convenience, but finding the right product among thousands – or hundreds of thousands – of options can often feel like a chore. To address this, retailers are experimenting with AI tools that aim to cut through the clutter with improved search capabilities and personalised shopping experiences. These models don’t just match keywords; they understand user intent and interpret complex search terms, moving closer to a more personal shopping experience online.“Search works really well when you know specifically what you're looking for,” senior technology correspondent Marc Bain notes, “but there’s potential for AI to bridge that gap when you don’t.”This week on The Debrief, BoF executive editor Brian Baskin and senior correspondent Sheena Butler-Young sit down with Bain to explore how AI is transforming e-commerce.Key Insights: New AI search tools are evolving past traditional keyword searches, enhancing users’ ability to find what they’re looking for online with greater ease. “These large language models could change search in a way that you can interact with it more naturally,” explains Bain. With AI’s advanced understanding of nuanced searches like “what should I wear to Burning Man?”, these systems can now deliver results based on context, location, and style preferences, making online shopping a more seamless, intuitive experience.AI in e-commerce aims to serve as an attentive, personalised assistant, but brands face the challenge of enhancing the customer experience while maintaining a respectful distance in the digital space. AI must fall on “the right side of the line between concierge and creepy,” Baskin explains. "The ideal is having an online sales associate … where it doesn’t feel like … it’s just throwing products at you to see what sticks,” continues Bain. The goal of AI in e-commerce is to make shopping more intuitive by simplifying search. As Bain notes, “search is notoriously terrible on retail e-commerce sites,” highlighting the need for improvement. However, despite these advancements, consumers may remain hesitant to fully trust AI-driven recommendations. Bain reflects this sentiment, adding, “I would probably look at what it says and then still go do my own research because I don’t fully trust it.” Additional Resources:The E-Commerce Search Bar Gets an AI Makeover | BoF How AI Could Change Online Product Search and Discovery | BoFCase Study | How to Create the Perfect E-Commerce Site | BoF Hosted on Acast. See acast.com/privacy for more information.

Growing up in Hamburg with a photographer father and a stepmother who ran a vintage boutique, Robert Geller was immersed in the world of fashion, art and creativity from a young age. His journey from Marc Jacobs intern to co-founder of cult New York fashion label Cloak to creative director at Rag & Bone is the result of his personal philosophy of saying yes to new opportunities. “The key thing is saying yes. Just do it and try it. It's always better to do something than not to do it,” shared Geller. “Even if it doesn't go right, you learn a ton from it. You're always better off going out and trying something."This week on the BoF Podcast, founder and CEO Imran Amed sits down with Geller to explore his journey, learn about the ups and downs of building an independent fashion label, and why he’s taken on his new role as creative director at Rag & Bone.Key Insights: Growing up, Geller was deeply influenced by his creative surroundings and his stepmother played a pivotal role in shaping his fashion sensibilities. “She owned a second-hand store in Hamburg, but she only sold Japanese fashion labels,” he recalls, pointing to brands like Comme des Garçons and Yohji Yamamoto. Trips with her to Paris, where she would take him to “beautiful boutiques,” ignited his passion for fashion. “At a very young age, I really enjoyed it. I sort of found the magic of fashion in these places and in these clothes.”Geller’s first major venture in fashion, Cloak, became a cult label in New York in the early 2000s. Geller left Cloak after the A/W 2004 collection, with the brand finally closing down in 2007. As Geller candidly explains, “We were not really focusing on making money. We didn’t know how to do it, but we knew how to make great clothes and how to put on fun shows.” The purity of vision behind Cloak was undeniable, but it ultimately lacked the business foundation needed for sustainability.  While Geller has always embraced creativity, he also understands the importance of balancing it with the practicalities of running a business. “I respect the need for the sales and need for the business, that’s the fuel,” he says. “One cannot exist without the other. You can’t have a collection without getting the business right and having sales,” Geller adds.After years of running his own label, Geller made the leap to become creative director at Rag & Bone in 2023. Reflecting on his approach, he says, “It just needed another layer of excitement... I felt like it was lacking conversations, the exciting pieces, the layer on top that really exemplified the peak of the brand.” Geller’s vision involves integrating the brand's core strengths, like denim, with modern elements to create a cohesive, elevated collection. “It’s not a revolution... we're just trying to layer something on top that’s exciting.”Additional Resources:Groundhog Day at Rag & Bone | BoFMarcus Wainwright on Rag & Bone and Going It Alone | BoF A Different Kind of Dream at Rag & Bone | BoF Hosted on Acast. See acast.com/privacy for more information.

A growing number of direct-to-consumer brands are disrupting the luxury market by offering high-quality alternatives at more affordable prices. As traditional luxury brands focus on the ultra-wealthy and fast fashion dominates the budget market, these “dupe” brands cater to middle-class consumers who feel priced out of luxury but still want value for their money. Through transparent pricing and savvy use of social media, they are reshaping how consumers think about value and quality.“The term dupe stems from duplication, but it also does speak to consumer sentiment around pricing today - they do feel duped,” says e-commerce correspondent Malique Morris. “Luxury brands have exponentially raised their prices for hip products in a way that is locking out middle class shoppers who typically could splurge on a few nice bags or a few nice sweaters a year.” Key insights:As luxury brands continue to hike prices for their most popular products, middle-class consumers are feeling increasingly excluded from the luxury market. This sentiment is fueling the rise of brands like Quince and Italic. “Luxury brands have exponentially raised their prices for hip products in a way that is locking out middle class shoppers who typically could splurge on a few nice bags or a few nice sweaters a year,” says Morris. “The check is going to come due for luxury brands to explain why their prices are so high.”Dupe brands take advantage of this dynamic by being open about their costs, breaking down exactly how much it takes to produce their items and what they’re selling them for. “Dupe brands are almost annoyingly transparent about pricing in terms of breaking down,” Morris explains. “That’s refreshing for middle-class shoppers who are seeing the prices of things like milk and eggs rise inexplicably. Outside of this vague bogeyman of inflation, their dreams of owning a Chanel bag is moving further away with no real explanation on that front either.” Platforms like TikTok and Instagram have been instrumental in the rise of dupe brands, where influencers showcase cheaper alternatives to high-end products. However, the sustainability of this trend is uncertain. “If consumers stop caring about dupes and engagement goes down, then social media leverage on this front will die out for these brands, but right now, it really is a boon for them,” says Morris.While price is the main draw for dupe brands now, they will need to evolve beyond being simply the cheaper alternative. “What is our differentiator beyond offering good prices now? What is our storytelling? What are our products that are unique to us? If dupe brands can answer those questions, they’ll stop being seen as just cheaper versions,” says Morris. Additional Resources:What Luxury ‘Dupe’ Brands Get Right About Shoppers | BoF Is Dupe Culture Out of Control? | BoF Hosted on Acast. See acast.com/privacy for more information.

Michelle Yeoh has captivated audiences for decades, from her iconic role in Crouching Tiger, Hidden Dragon to her Oscar-winning performance in Everything Everywhere All at Once. Over her storied career, she has consistently pushed boundaries, proving her versatility both on and off the screen, breaking paths as an Asian woman on the global stage. Now, at the age of 62 Michelle has scored coveted global ambassador roles at not one, but two of fashion’s top luxury brands — Balenciaga and Bottega Veneta."Fashion has changed, and it’s not just about dressing younger people," Yeoh says. "You have to find representation across different generations, and I think what I represent is being proud that you are different, that you are older — and there’s nothing wrong with that. Just before the Oscars a silly television commentator said, ‘You’re past your prime because you’re 50-something.’ How dare you? How dare anybody tell you what you are capable of?”This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Yeoh to discuss her winding journey to the big screen and why fashion is finally embracing older women.Key Insights:  Yeoh’s path to stardom began with her early passion for dance, which she began as a child in Malaysia before travelling to England to study further. When she had to set her dance dreams aside due to injury, the shift opened the door to acting in action and martial arts films alongside actors like Jackie Chan, Sammo Hung and Jet Li. “I watched [Hung] do the choreography and the fighting, and I thought, ‘this is exactly like dance,’” she says. “This is choreography. We all know what we are doing, it's about how you transfer the energy and the speed of the rhythm.”On success and failures, Yeoh embraces the lows moment as opportunities to transform. “Failures are what make you learn. If you're only successful, how do you know that's the way? ... It's the journey, not just the destination," says Yeoh. "And in that journey, that's where you learn. That's where you grow, where you meet, where you engage, and that's where you have a full life.”Yeoh places a deep emphasis on trust and collaboration when choosing her creative partners. “Once I choose to work with you, then I have to trust you. I have to believe that you have the right vision,” she shares. “If I don’t trust you, then I don’t think I’ll be able to give you my best. I have to believe in your vision, that you know what you’re doing, and that we’re in this together."Additional Resources:How Michelle Yeoh Conquered Fashion | BoF  Hosted on Acast. See acast.com/privacy for more information.

The beauty industry thrives on virality, but in the age of social media, that can be a double-edged sword. One viral TikTok video can catapult a brand to success — or bring it to its knees. From Youthforia’s foundation shade controversy to Huda Beauty’s mislabeling error, brands are discovering that managing customer expectations and addressing backlash swiftly is critical to their survival.“It happens pretty fast when it does happen. … Sometimes it’s an unknown creator who can make [a product] go viral for all the wrong reasons,” says beauty correspondent Daniela Morosini. “You have to be willing to listen when they tell you that you got it wrong.”Key InsightsBuilding a strong brand community involves more than just creating a product; it means engaging with your customers and allowing them to have a meaningful role in your brand’s development. “If you're going to create a community to help your brand grow, you need to understand that those customers want a seat at the table,” says Morosini. Listening to customer feedback, especially when things go wrong, is crucial. Being proactive in addressing customer complaints is crucial. As demonstrated by Huda Beauty’s mislabeling issue, taking responsibility early on and offering solutions can stop a backlash from spiralling. Morosini notes, “She took full accountability and offered to make everybody whole if they’d bought the wrong shade.”Hair care products, especially those tied to hair loss, tend to evoke emotional responses and intense scrutiny. The stakes are high as hair loss is a sensitive, deeply personal issue. As Morosini points out, “There are so many factors that can cause hair loss… people don't want to roll the dice if there's even a 1% chance a product could be the cause.”Complexion product mishaps can be particularly damaging for beauty brands, as they quickly highlight inclusivity gaps. “It’s just so obvious when a brand has missed the mark with complexion,” says Morosini. “Oftentimes the scandals that seem to cause a lot of blowback, they come back to that exclusionary point,” she adds. “Nobody likes to feel left out.”Additional Resources:What to Do When a Beauty Product Launch Goes Wrong | BoFWhy Beauty Brands Keep Getting Accused of Causing Hair Loss — and What They Can Do About It -Editor's Note: This podcast was amended on Oct. 17 2024 to clarify YSL as the maker of the blush product. Hosted on Acast. See acast.com/privacy for more information.

Zac Posen burst onto the fashion scene in the early 2000s, gaining acclaim for his glamorous designs and dressing Hollywood's elite. After nearly two decades, Posen closed his label in 2019, finding himself at a crossroads that eventually led to a meeting with Richard Dickson, the new CEO of Gap Inc., and the chance to join the company as creative director. Now, he's on a mission to bring cultural relevance and excitement back to brands like Gap, Old Navy, Banana Republic, and Athleta.“Within five minutes [of meeting Dickson], I knew that there was something very special. It was a cosmic moment where there was like a magic connection, where I saw that I had met my dreamer,” Posen says.This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Posen to explore his journey of redefining success, his transformative role at Gap Inc., and his vision for the future of fashion.Key InsightsClosing his eponymous fashion label forced Posen to reevaluate how he defined success, shifting his focus from external achievements to personal fulfilment and creative expression. "Success for me is about being able to inspire a larger public, to be able to work within my own creativity and to use that and what I represent to help a larger public be in touch with their own creativity” he says. “To me, creativity is as essential as sleeping and eating and everything else wonderful in life."  Posen found new creative inspiration through returning to his roots of draping and garment creation. “I was back on a mannequin … and just expressing and sculpting in space, it felt exciting,” he shares, describing the joy of reconnecting with hands-on creative work in his father’s studio, the same place where his journey in fashion began. “It felt like a full circle moment.”As creative director of Gap. Inc, Posen is working to modernise brands like Old Navy and Gap by emphasising storytelling, redefining brand identities, and making subtle evolutions that reignite consumer interest. "Building a brand is about being part of the cultural conversation and moving at the speed of culture and actually being able to help move culture forward,” he says.Posen advises young designers to be patient, embrace the balance between art and commerce, and appreciate the opportunity to inspire others. “Creativity is a lifelong pursuit … You can't foresee the path and where it will take you,” he says. “If you are able to work in this industry, to be able to work in a creative field and … understand that fabulous, amazing, magical pendulum that has to be in balance, you are so lucky and so fortunate.”Additional Resources:The Gap Comeback That’s Actually Working | BoF Do Mass Brands Need Creative Directors? | BoFCreating Cultural Moments in the Age of Algorithms | BoF Hosted on Acast. See acast.com/privacy for more information.

The influencer landscape has shifted dramatically over the last decade. While the image of influencers posting flawless selfies on exotic, brand-sponsored trips still resonates, the reality has become far more complex. Influencers now host live shoppable streams, publish newsletters on Substack and engage in intimate group chats. Their goal is not just to build a following and wait for brands to come calling, but to establish multiple sources of income through affiliate links, brand deals, and subscription models.“Influencers and creators have realised that they need to diversify and be on multiple platforms. They need to be connecting with their followers in multiple ways and have a deeper relationship with their followers,” says Diana Pearl, senior news and features editor.  “Even five years ago, there were people who didn't really take this industry very seriously and didn't realise the difference they could make for their brand. Now it is impossible to ignore.”Key Insights:In the evolving digital landscape, influencers and creators are no longer relying on a single platform for success. Diversifying their presence across platforms, from Instagram to Substack, is key. Pearl emphasises, “It’s really all just about diversification... not relying so much on one source, not having to rely so much on Instagram, the algorithm, affiliate links and brand deals.”While macro-influencers may reach a broader audience, smaller influencers often have more engaged, loyal followers. “Once you get so big and you've got millions and millions of followers, you can't have that type of relationship with 5 million people the way you can with 100,000,” says Pearl.The rivalry between influencer marketing platforms LTK and ShopMy highlights a shift in the landscape, with ShopMy offering influencers more control and transparency. Pearl explains that while LTK encourages creators to centralise their content on its app, ShopMy allows influencers to share across platforms. “We know our audience, we know what content resonates with them. But if you hand us this really detailed brief and expect us to act like a traditional ad agency... it’s just not going to come off as authentic,” Pearl explains.The industry is becoming more nuanced, with clear distinctions emerging between influencers and creators. While creators focus on producing unique, engaging content, influencers drive sales and hold sway over purchasing decisions. Influence remains the key asset in the industry, one that can be translated across platforms like Instagram, TikTok, or Substack. "At the end of the day, the most valuable commodity in this business is influence," Pearl explains.By understanding their goals and selecting the right partner to meet them, brands can optimise the impact of their influencer campaigns and better connect with their target audiences. “Brands just need to be smart about what are your goals, what’s the right type of person to achieve these goals or right type of partner and who should we go with from there?” says Pearl. Additional Resources:The Widening Gap Between Influencers and CreatorsThe Fight for Influencer Marketing Dollars Heats UpWhat’s Driving the Influencer Subscription Boom Hosted on Acast. See acast.com/privacy for more information.

Amid economic uncertainty, a global luxury industry slowdown, and conflicts erupting around the world, designers at the Spring/Summer 2025 shows balanced restraint and expression, resulting in collections that sought deeper emotional and intellectual impact. Megabrands scaled back fashion week festivities as they battened down the hatches with budget cuts and streamlined shows.“I think there's a general caution and a realignment. I think the state of the world is more conducive to reflection than extravagance,” says Tim Blanks, The Business of Fashion’s editor at large.It was the designers who took creative risks that stood out. At Marni, Francesco Risso created a cinematic spectacle, transforming cotton into expressive designs, emphasising simple beauty amid turmoil. Alessandro Michele made his anticipated debut at Valentino, honoring the legacy of Valentino Garavani while infusing his flair. At Loewe, Jonathan Anderson played with scale, encouraging audiences to rethink aesthetics.In this episode of The BoF Podcast, Imran Amed sits down with Tim Blanks to unpack the highlights of Fashion Month and discuss how the current global climate is influencing designers and brands.Key InsightsIn his eagerly awaited debut for Valentino, Alessandro Michele seamlessly integrated his unique creative approach with the storied heritage of the house. Blanks describes the collaboration as “a natural consummation ... like lovers meeting after decades of being apart and that kind of explosion of joy.”Sabato De Sarno's recent work at Gucci reflects the complexities of redefining a brand with a rich and influential legacy. While attempting to honor Gucci's heritage, his collections have faced criticism for lacking the distinctive and bold creative direction of his predecessors. Blanks remarks, “the problem is creating a new story for Gucci when the old stories are just so overpowering.”At Loewe, Jonathan Anderson pushed boundaries by experimenting with scale and perspective. His designs included oversized hoop skirts that seemed to hover. "He likes to challenge people's points of view," Blanks observes, adding that Anderson provokes thought "by showing them something that makes them wonder, how would I wear that? How would I sit in that?"Emerging designer Duran Lantink made a strong impression with his collection featuring extreme shapes refined into wearable forms. “Those clothes are a physical realization of independent thinking. What we need is more independent thought... fashion needs more of that," Blanks says.Amed echoes the importance of nurturing new talent, saying, “I think the future of the fashion industry is in good hands with some of these younger designers that haven't necessarily had a big role in a house yet but certainly deserve an opportunity to show what they can do. I think that's part of what we need in the industry—to move away from this lack of risk-taking. Safety and being safe, that's just boring.”Additional resourcesIn Paris, the Boys Can’t Help It!Beauty Is Still DefianceWhat Does Pressure Look Like in Milan? Hosted on Acast. See acast.com/privacy for more information.

For decades, department stores were symbols of American retail success, but their shine has long since faded. Overexpansion that began in the 1990s, the growth of e-commerce and the decline of many malls has left a saturated market, with more stores than there is demand. Major department stores have been struggling for decades to adapt to changes in the way their customers shop, with little to show for it. "These challenges existed ten years ago, but the problem we have today is that it’s getting later and later, and more and more desperate for these department stores. Time is running out, and they still haven’t figured out the solution,” says retail editor Cat Chen.In this episode of The Debrief, BoF senior correspondent Sheena Butler-Young speaks with Chen about why department stores are struggling to stay relevant, how activist investors are complicating the picture, and whether following the approach of European department stores like Selfridges can save this iconic segment of the retail industry.  Key Insights:Activist investors have been targeting department stores like Macy’s and Kohl’s, but they are more interested in these companies’ real estate portfolios than retail. Chen highlights the parallels with Sears, where the investor Eddie Lampert spun out Sears’ real estate into a separate entity, ultimately leading to its bankruptcy. “The sentiment in the industry is that if these companies were bought out by activist investors it would not be a good sign for the health of these department stores. There wouldn’t be a long-term strategy for maintaining their health,” she says.Nordstrom's strategy for revival includes focusing on experiential retail, enhancing customer service, and possibly going private under the Nordstrom family’s ownership. These moves would allow them to invest in the long-term health of the company without the pressure of quarterly earnings. “The Nordstrom family is really set on making some radical, transformative changes to Nordstrom that they just can't make as a public entity,” Chen explains.European department stores are a potential model for American department stores to replicate. “Look at Selfridges or look at Le Bon Marché. People love spending time in those stores — tourists but also locals,” Chen says. Explaining how European stores are treated like flagships, with significant investments in customer experience and meticulous attention to detail, she adds, “these companies invest in the layout of the store — fixtures, carpeting, lighting — all of these details matter, and European department stores have done a great job making it happen.” Additional Resources:Why Nordstrom’s Founding Family Wants to Take the Retailer Private | BoFInnovation Won’t Save Department Stores. The Right Products Will. | BoFCan Saks, Neiman Marcus and Amazon Save the American Department Store? | BoF Hosted on Acast. See acast.com/privacy for more information.

Alessandro Michele’s whimsical, bold vision as creative director of Gucci revitalised the brand, turning it into a cultural juggernaut. Now, he’s attempting to do the same at Valentino, bringing his signature blend of nostalgia, craftsmanship, and artistic risk-taking to reimagine the Roman couture house. “This place has such a specific story,” he says. That name, Valentino—it’s a real name, with real life, with real love. … There is always Valentino somewhere with me.”This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Michele to discuss his evolution as a designer, his deep connection to Valentino’s heritage, and the importance of passion and obsession in achieving creative success.Key insightsAs creative director, Michele said that the weight of Valentino founder Valentino Garavani’s legacy continues to inspire and guide him, even in the smallest details of his work. “When I'm working by myself, with the people of the studio, with Jacopo, there is always Valentino somewhere with me. … There is always an open conversation with him because I can feel the things talking to me, through the dresses, the walls," he said.Contemplating the meaning of success, Michele emphasises the importance of remaining true to himself as a designer. “It’s more moving left and right, rather than up and down. … Success is when you are in the right place, when you're free to be yourself,” he said. His approach to fashion is personal and deeply intuitive, and he protects his creativity by concentrating on his own creative fulfilment rather than trying to please everyone. “I don't need to be someone else. I think a big designer or a good designer needs to be himself.” Michele approaches his work with a deep understanding that creativity comes with taking risks, both in life and in fashion. He views risk as an essential element of growth and evolution in his designs. "You are taking beautiful risks, but they are risks,” he said. “I like myself also for the things I did wrong. … Now that I’m a big boy, I like the Alessandro who did so many wrong things.”For Michele, the magic of fashion and creating a collection lies in the uncertainty. "You put all the ingredients inside, and it’s going to be real only when the first person starts to walk on the catwalk. That’s the magic," he said. “You feel that you were pregnant, but now the baby has a proper life and you can no longer be in control. It's outside and it's gonna walk by himself or herself.”Additional Resources:Alessandro Michele, Michelle Yeoh, Francesca Bellettini, Zac Posen and Angel Reese Are Our BoF 500 Cover Stars‘Hyper Beauty’: Inside Alessandro Michele’s Surprise Valentino Collection | BoFThe Logic Behind Valentino’s Alessandro Michele Appointment | BoF Hosted on Acast. See acast.com/privacy for more information.

A style renaissance that changed how many men dress – mostly for the better – has congealed into a sea of sameness, at least in the eyes of a growing number of fashion critics and influencers. Too many interchangeable brands take the same approach, blending tailoring with casualwear in neutral-toned collections that are stylish but often fail to inspire. The look is often derided as a menswear “starter pack,” but remains popular with consumers. This week on The Debrief, Brian Baskin sits down with correspondents Malique Morris and Lei Takanashi to discuss why this “starter pack” approach works for the industry - but at the cost of long-term brand building and customer loyalty. Additionally, they probe what brands must do to recapture consumers' imagination.“Any brand can make a good product, but what makes a brand good, especially a good menswear brand, is having a great story that's worth telling,” says Takanashi.Key Insights:Menswear brands today are following a familiar formula, leading to a prevalence of “starter pack” lookbooks. “They all do some sort of version of this. Approachability, timeless, stylish and handsome but inoffensive look,” says Morris. This marketing playbook, popularised by brands like Aimé Leon Dore and followed by many others, has led to a lack of creativity and experimentation. As Morris puts it, “everything is good and nothing is great. So if everyone can dress well, then no one is actually cool.”What makes brands stand out over decades isn’t radical changes in design, but compelling storytelling and mythmaking. Morris argues consumers may not be loyal to today’s menswear brands in the long term if they're just buying into a trendy and easy to copy aesthetic. But Takanashi notes that for certain brands that are seen as authentically embracing this style, their best bet is stick to what’s worked: “I feel like in the case of brands like Aimé Leon Dore and Supreme, the long game for them is becoming a heritage label … they have such a distinct point of view that they will always have a core consumer.” As Morris puts it, “what brands should think about is just being themselves.”Additional resources:Why Menswear Is Getting a Marketing Refresh | BoFCan Off-White Get Back on Track? | BoFHow the Streetwear Customer Is Evolving | BoF  Hosted on Acast. See acast.com/privacy for more information.

The renowned grime MC and rapper Skepta knows that there’s no such thing as an overnight success. After the rapper launched his fashion brand, Mains, in 2017, it was put on pause after a split from his manufacturer before making a return to London Fashion Week last year. Progress, he believes, takes time and resilience.  "Like anything in the world, the best way to learn is to do it and fail,” he said. “I know that it’s not a short road … you have to be in it to win. And it could take one pair of shoes. It could take a hat, could take one bag … If you don't carry on trying and failing, you won't get there." This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Skepta to discuss Mains’ revival, his philosophy of perseverance and why he refuses to follow conventional rules in the fashion industry. Key InsightsSkepta’s love for fashion was sparked by his passion for underground music and the style he saw at garage events. “I'm getting turned away from clubs… and when I'm getting turned away, I'm looking in the queue and there's people wearing Versace, Moschino, Patrick Cox loafers,” he says. The way that clothes and music felt, tied together to shape his taste. “That was where I really fell in love with fashion. The aspiration of wanting to wear the clothes, but also listening to the music that you listen to when you wear the clothes."Skepta’s journey as a fashion customer, with a keen eye for garment construction and detail, led him to launch his own brand. "Years and years of experience of buying clothes and looking at stitches and the inside jackets, the panels, I just felt like I was experienced enough to give the tailoring expertise as well as the love and the true magical passion that's not taught in school. ... Paired with a great designer, Mikey Pearce, and team, it was almost like divine intervention for me to just do it."Skepta’s creative process is iterative. "With music, you can actually change the audio after it’s even out, but with clothes you definitely can’t, so until it’s out I'm always changing. I'm always adapting and figuring out,” he says. “I don't like putting boundaries on thought. I think we should always be able to adapt and change.”"I'm doing one show a year. Spring, summer or winter altogether. Boys and girls in my show, they're all wearing the same clothes." This creative freedom allows Skepta to fully enjoy the process, believing it's important to not take fashion too seriously. "It should be fun. And I see a lot of people that go into fashion and adhere to the rules that have been set, then they start having a bad time doing something that they love. That’s crazy to me."Associated Articles:In London, Plasticine and Messy Dressing | BoFHow to Bring a Personal Touch to PR | BoF  Hosted on Acast. See acast.com/privacy for more information.

Luxury fashion remains an exclusive club, where leadership positions are often filled from within tight, familiar circles. Despite industry-wide commitments to diversity and inclusion, the sector continues to struggle with gender and racial diversity in its top creative roles. Many luxury companies still operate within networks that favour traditional backgrounds, making it difficult for new, diverse talent to break through.“It's a role where I think people's unconscious biases really can come into play because whether or not they receive something as good design or bad design is going to be so much influenced by the person who told them that it's good design or bad design,” said BoF’s Luxury Editor Robert Williams. This week on The Debrief, BoF Senior Correspondent Sheena Butler-Young sat down with Williams to discuss the structural barriers that keep women and minorities from ascending to these coveted positions. They explore how the industry’s patriarchal business models perpetuate these challenges, the influence of consumer expectations in driving change, and how mass brands like Uniqlo are beginning to shift the narrative by appointing creative directors from unconventional backgrounds.  Key Insights:The role of the creative director in luxury fashion has traditionally been defined by a singular, authoritative voice that dictates trends and tastes, often imposing what is considered "right" or "wrong" in design. Williams explains that this model, which elevates the creative director as a gatekeeper of style, makes it challenging for those who don't fit the traditional mould of authority in fashion to rise to the top.“The creative director defined in a very traditional sense … is so much about imposing this authority from the top. And while that's not how everyone operates a brand anymore, … when you have that tradition, that makes it harder for people who don't fit the bill of what someone is used to seeing as a person of authority and in power to rise up.” Women in creative leadership face unique challenges, needing to prove their creative vision with commercial success. Williams explains, “Women have had to maybe back up their creative contributions with commercial results. And I think when you look at the women at the top of the luxury industry, you have a group of women who really know how to say something on the runway and say something with the brand. But then also really to back that up with products that women will want to buy and wear.” This dual expectation places added pressure on women creative directors, which may not be applied to their male counterparts.Luxury fashion remains a highly insular industry, where hiring and promotion often occur within exclusive networks that favour familiar faces and traditional backgrounds. “Many luxury companies still operate within a very exclusive network, which makes it difficult for new, diverse talent to break in,” Williams notes. “It's a very contacts and relationship driven industry, and so reinforcing diversity is quite tricky. If the people in positions of power don't have a really diverse group around them, it's going to be less and less likely that they're going to find out about an interesting talent, someone that they want to kind of cut into the action in terms of their studio.”Additional Resources:Luxury Fashion’s Designer Diversity Problem Persists | BoFDo Mass Brands Need Creative Directors? | BoF Hosted on Acast. See acast.com/privacy for more information.

Clare Waight Keller’s career in fashion has been defined by her versatility as a designer and desire to step outside her comfort zone. She started out specialising in knitwear at the Royal College of Art before taking on a role in knitwear at Calvin Klein, before moving on to Ralph Lauren. She returned to Europe to work at Gucci under Tom Ford, and then stepped into creative director roles at Pringle,  Chloé and Givenchy. Last week, it was announced that she was becoming the creative director of Japanese clothing retailer Uniqlo, which is targeted at the masses, not the classes. Seeing new challenges as an opportunity to learn and grow, has led Clare to make many unexpected decisions from the start of her career. “Those moments when you are pushed to your boundaries and don't quite know how to navigate… bring a great sense of drive for me. I love the idea of being uncomfortable with what I'm working on because it makes me learn quickly,” she said. “I enjoy the process of change, and I guess that's why I've worked in so many different places.”This week on The BoF Podcast, BoF founder Imran Amed sits down with Clare to discuss her varied career path and her experience working in American, Italian, British, French and now Japanese fashion companies and how this has shaped her outlook on the industry.Key InsightsGrowing up in Birmingham, England, Waight Keller was captivated by the vibrant subcultures she encountered. That influence led her towards art school, and eventually, fashion. “I distinctly remember standing at a bus stop, going to college, with punks, skinheads or goths — people who really expressed themselves through fashion and took it to a real sense of identity,” she said. “They just seemed like the most interesting people. I wanted to be part of that.”After working for predominantly male creative directors, Clare felt it was time to express her own perspective, leading her to the creative director position at Chloé in 2011. “There's such a sensibility that women have in fashion because you try it on yourself, you wear it, you feel it,” she said. “I'm putting together what I believe to be my point of view of fashion."Waight Keller’s move to Uniqlo marked a shift from working in the world of luxury to mass fashion, which has required some adjustment. “Understanding the scale was just extraordinary. In luxury fashion, you work on a much smaller scale, even at big brands,” she said. However, with this came new opportunities. “With that scale comes incredible access to innovation, amazing fabric mills, and quality.” Even as her career flourished, Waight Keller came to discover the inherent gender bias women face in the industry. “It's still fairly male-dominated in management and across the business side of fashion ... I had to make my family work around my career because even a season out in fashion can put you back a year, and people look at you differently.” With that, her advice to fellow female designers is not to “be afraid of a challenge and having to learn on the ground."Additional ResourcesDo Mass Brands Need Creative Directors? | BoF The Logic Behind Givenchy's New Designer Appointment | BoFUniqlo Appoints Clare Waight Keller as Creative Director | BoF Hosted on Acast. See acast.com/privacy for more information.

Shein has fundamentally changed the fashion market, challenging fast fashion giants that were not so long ago in the disruptor position themselves. Once the category's upstart, H&M now finds itself struggling to keep pace as Shein redefines consumer expectations with ultra-low prices, endless selection and lightning-fast production. In response, H&M’s new CEO has unveiled a strategy to target the elusive middle market, hoping to position the retailer as more affordable than Zara but higher-quality than Shein. This week on The BoF Podcast, executive editor Brian Baskin sat down with Senior Sustainability Correspondent Sarah Kent and Retail Correspondent Cat Chen to delve into the contrasting paths of these two retail giants and what it means for the future of fashion.“H&M has been stuck in the middle with kind of a muddled identity … It's trying to figure out how to differentiate itself,” said Chen. Meanwhile, Shein’s breakneck growth comes with a heavy environmental toll, raising questions about the industry’s efforts to reduce emissions.“Shein’s growth is phenomenal, but its environmental impact has grown even faster than its sales… now outpacing all other large fashion companies,” Kent said.Key Insights:H&M’s CEO Daniel Ervér is focusing on a strategy to occupy the middle ground between ultra-budget brands like Shein and more premium fast fashion like Zara. The goal is to appeal to both ends of the market with a mix of affordable basics and higher-end pieces, as Ervér explained to Chen in her interview with the CEO. “[Ervér] said they were committed to this position of wanting to offer something to everybody.Shein’s rapid growth has turned it into fashion’s biggest polluter, surpassing even Inditex in emissions. The company’s production model, reliance on cheap polyester, and coal-powered manufacturing contribute heavily to its environmental impact. “Over the last three years, their emissions have tripled as their sales have grown hugely,” Kent explained. Shein’s rapid growth has turned it into fashion’s biggest polluter, surpassing even Inditex in emissions. The company’s production model, reliance on cheap polyester, and coal-powered manufacturing contribute heavily to its environmental impact. “Over the last three years, their emissions have tripled as their sales have grown hugely,” Kent explained. As Shein continues its rapid growth, the company faces increasing scrutiny from regulators and potential investors regarding its environmental and labour practices. But Shein is unlikely to face major restrictions on how it operates anytime soon. “The hand of regulation moves slowly, and so far, most companies are being asked to provide a bit more transparency,” Kent said. “No one's facing any real penalties for being the worst polluter at the moment.” Shein’s growth may be peaking, creating opportunities for competitors like H&M. The market is always evolving, allowing established brands to find ways to stand out. “We are at the end of the beginning for Shein and Temu. … And at the end of the day, there will always be new disruptors,” Chen shared.Additional resources:H&M’s Big Bet on Fashion’s Elusive Middle Shein Emissions: Fashion’s Biggest Polluter? Hosted on Acast. See acast.com/privacy for more information.

Fashion narrator Lyas is one of the most compelling and authentic fashion communicators to have arrived on the scene, and whose takes on fashion shows and editorials are incisive, honest and well-informed.  “I think we’ve lost the mindset of thinking that it’s possible to be creative and make money for the company, because the golden age of designers is over,” he says. “Now, every designer is disposable. It’s like musical chairs—every month, there’s someone leaving, someone coming.”Lyas’s journey has been shaped by his belief in the emotional power of storytelling, which he sees as central to fashion communication. Using  TikTok and Instagram  to communicate his thoughts and opinions, his fashion roulette videos and witty runway dissections have captured the attention of hundreds of thousands of viewers. Recently, he has bemoaned the dilution of creativity across the fashion industry.Key Insights: Growing up in France and studying drama, Lyas was first drawn to the visual world filmmaking. Frustrated by the rigid criteria of the film industry, Lyas found freedom in fashion, where he could create personas and critique without fitting into predefined moulds. He connected with fashion insiders at parties, building his presence through social media and discovering a space that allowed his voice and persona to thrive. "I didn't find the sense of belonging in that cinema crowd, so I started going out with fashion people,” he said. “It became this way of creating this superstar persona at night and I fell in love with that."Lyas quickly noticed the gap between private opinions and public silence in the fashion world. He began voicing unfiltered critiques, challenging the industry's hypocrisy. This unapologetic stance led to temporary blacklists but also opened doors, proving the value of staying true to his voice. “I started just saying it like it is on my TikTok... the first Sabato de Sarno I really didn't like, and I think most of the industry did not like it, but no one wanted to say it, so I took the bullet."Lyas is critical of the corporatization of fashion, where creativity is often sidelined for profit. "We've lost the mindset of thinking that it's possible to be creative and make money for the company, " he said. “The golden age of designers is over. Now any designer is disposable. We've seen it, it’s like musical chairs."On advice, Lyas keeps it simple. “Have no fear. But it's very easy to say, but I think fear is the biggest issue for anyone's confidence. … Just be fearless and if you're scared of doing it, do it.”Additional Resources:Commercialising the Zeitgeist: Crafting a Successful TikTok Strategy | BoFWhy Brands Are Inviting Customers on Influencer Trips | BoF Finding Fashion Consumers Beyond Instagram | BoF  Hosted on Acast. See acast.com/privacy for more information.

Nike’s streak as the undisputed leader in the activewear category spans generations, but the brand is facing its most significant hurdles in decades. However, recent shifts in leadership, oversupply issues and a botched direct-to-consumer strategy have chipped away at its once-untouchable brand image. As challengers like Hoka and On gain ground, and archrival Adidas surges, Nike faces mounting pressure to innovate and reconnect with consumers. “Nike remains a behemoth, … but all is not well,” says Miller. “The brand is on course for its worst financial performance in over a quarter of a century, and unfortunately for Nike, trouble is happening everywhere, all over the brand.”This week on The Debrief, BoF executive editor Brian Baskin and senior correspondent Sheena Butler-Young sit down with sports correspondent Daniel-Yaw Miller to explore how Nike fell off track and the strategic moves it’s making to reclaim its market dominance.Key insightsNike’s reliance on retro sneaker lines like Air Force 1 and Dunks is driving consumer fatigue, as these once-coveted styles now languish on shelves. “At one point not so long ago, they were like gold dust,” says Miller. “But now they’re sitting on shelves for months and sometimes being discounted.” This overabundance is diluting the brand’s appeal and paving the way for smaller, more agile competitors to capture the spotlight.Despite substantial investment in R&D, Nike’s innovation efforts have faltered, allowing rivals to define the next wave of sneaker trends, like performance sport styles and technology-driven designs. “Nike didn’t really have any new products to turn to and point consumers towards,” says Miller. Brands like On and Hoka have gained traction with innovations such as On’s CloudTec Technology and Hoka’s MetaRocker running silhouette.The “Winning Isn’t For Everyone” campaign marks a return to Nike’s swaggering marketing playbook of the 90s and 2000s, and a potential early sign of the brand’s resurgence. “It wasn’t just one simple video; it was meant to communicate a new brand ethos,” Miller explains. “This Nike campaign needed to be divisive. Consumers are looking for brands that have a point of view, and that’s what Nike is trying to bring back.”Additional resourcesHow Nike Ran Off CourseInside Nike’s Big Marketing Vibe ShiftThe Rise of Sportswear’s Challenger Brands, in Four ChartsThe Debate Over Nike’s CEO Bursts Into the Open | BoF Hosted on Acast. See acast.com/privacy for more information.

As the first female, Black, and South Asian Vice President of the United States, Kamala Harris’s every move is closely watched — from her policy decisions to her wardrobe. With Harris now leading the Democratic ticket in the 2024 presidential election, her style and beauty choices — from her for her sleek silk press hairstyle to her endless variety of pantsuits — have sparked renewed discussion. “She is communicating something, even if it's not remarkable,” said BoF senior correspondent Sheena Butler-Young. “No one truly opts out of signalling something with how they present themselves.”This week on The Debrief, BoF executive editor Brian Baskin sat down with Butler-Young and editorial apprentice Yola Mzizi to explore how Harris’s beauty and fashion choices are being interpreted by different audiences across the political spectrum, and what that means for the future of political style. Key Insights:Harris’s signature silk-pressed hairstyle has deep roots. “It's a centuries old way of straightening hair, and it's been around for generations upon generations. Most people associate it with just the hair that they have to have for Easter Sunday, or the style that the grandmothers would have,” Mzizi explains. Despite the history, Black Gen-Z voters have embraced the style, calling it the presidential silk press. “It's a way to support her candidacy in a fun way,” said Mzizi. Harris’ wardrobe choices are being closely scrutinised, which has led her to more streamlined, straightforward ensembles. “The pantsuits, specifically the colour schemes — black, grey, navy blue, or just blues, with an occasional pastel, a pump as the shoe, or occasional Converse and pearls — are very much in line with how politicians dress,” said Butler-Young. Meanwhile, male politicians, like Harris’s vice-presidential nominee, Minnesota Governor Tim Walz, have more freedom to experiment. “You look at her running mate Tim Walz, and his ability to sort of play around with style with those well-worn red wing boots, the camouflage hats, rather than being distracting, they actually endear some voters to him. … Kamala, for all intents and purposes, doesn't seem to have the licence to do that.” The 2024 election has highlighted the growing role of fashion and beauty in politics. Black-owned beauty brand BLK/OPL was centre stage at the DNC providing makeup services as the event’s first beauty sponsor. “Harris's candidacy is opening up new avenues for different kinds of brands to have their say in this larger conversation,” Mzizi notes.Should Harris win the presidency, she could use her platform to further influence the intersection of fashion and politics. Harris has already hinted at this with her past choices by wearing Black designers like Christopher John Rogers and Sergio Hudson. “She'll have more leeway to [support minority designers] when she's empowered. Right now, I think she's constrained … by this idea of having to cater to this broad, collective public palette.”Additional resourcesHow Kamala Harris’ Signature Tresses Became a Gen-Z Hit | BoF Why Kamala Harris Isn’t Making Bold Fashion Choices – Yet | BoF Hosted on Acast. See acast.com/privacy for more information.

2024 has brought forth the arrival of the “Sephora tweens,” which refers to members of Gen Alpha (roughly defined as those born between 2010 and 2024) who have enthusiastically taken to buying up skincare and makeup. This phenomenon, driven largely by beauty-related chatter on social media, has resulted in a new wave of brands catering specifically to this younger demographic.“There are now teen brands, tween brands, 20-something brands, 30-something brands. … I think we can thank the DTC movement and everything that happened from 2014 on for this kind of innovation,” Rao says. “There's been a total disruption in beauty overall with challenger brands like Glossier that have come and really taken market share away from the big conglomerates and companies … that have been household names for a really long time.”This week on The BoF Podcast, senior correspondent Sheena Butler-Young and executive editor Brian Baskin sat down with Priya Rao, executive editor at The Business of Beauty at BoF, to delve into how tweens have taken over the beauty aisle and what this means for the future of the industry.Key Insights Kids have long experimented with beauty products, but today, they’re starting earlier and earlier. "If you look at social media today, it's not just 10-year-olds or 11-year-olds. There are 5- and 6-year-olds putting on makeup and trying different lipsticks and lip glosses," shared Rao. This early engagement with beauty is not just a passing trend, but is becoming a norm, fueled by the accessibility of products to try in stores like Sephora and the influence of social media platforms like TikTok.Another driving force behind this trend is the rise of celebrity-led beauty brands that resonate with young people. For example, Rare Beauty, founded by Selena Gomez, not only offers products but also promotes mental health awareness. "Tweens and teens can identify with these brands not just because of the products, but because of what they stand for," explained Rao.The proliferation of skincare products has also led to some confusion and concern, with tweens using products like retinol that are meant for an older demographic. Brands and influencers play a crucial role in teaching young consumers what’s right for their skin. "Fear is not the way to lead here. It's about education first," advised Rao. Brands must strike a balance between engaging young consumers without overwhelming them with too many steps or products.As the beauty industry continues to evolve, brands that wish to stay ahead will need to be responsive to the needs of Gen-Z and Gen Alpha consumers. "Smart companies have to be agile and constantly communicate with their customers," noted Rao. This means reflecting the diverse experiences of young consumers back to them, whether through representation in ad campaigns or through the products themselves.Additional resources How Tweens Took Over the Beauty Aisle | BoFHow Should We Feel About Tweens at Sephora? | BoFTweens Obsessed With Skin Care Drive Brands to Say: Don’t Buy Our Stuff Hosted on Acast. See acast.com/privacy for more information.

Many of fashion’s largest manufacturing hubs, particularly in South and Southeast Asia, are increasingly at risk of dangerous, record-breaking heatwaves. As extreme heat becomes more frequent, more intense and longer-lasting, what is the cost to industry and how will we adapt to the growing climate risks?Senior correspondent, Sheena Butler-Young and executive editor, Brian Baskin sat down with BoF sustainability correspondent Sarah Kent to understand what rising global temperatures means for the future of garment production.“We have to assume that it’s the new norm and or at least a new baseline. It’s not like every year will necessarily be as bad, but consistently over time, the expectation is things are going to get hotter for longer,” says Kent. “We both have to take steps to mitigate and prevent things getting worse, and we have to accept that we have not done enough to stop things getting this bad - and so we have to adapt as well.”Key Insights:Extreme heat leads to productivity problems, including increased instances of illness and malfunctioning machinery — even air conditioning units. The reason this isn’t surfacing as a significant supply chain issue is that it occurs in short, sharp bursts. “The supply chain is flexible enough and sophisticated enough that it can be papered over for the moment, particularly at a time when demand is not at its peak,” shared Kent. “Not all factories are working at full capacity all the time, so if your productivity isn’t 100% you can manage that for a few days or a week.”When it comes to working conditions in garment factories, climate also tends to take a backseat, both for manufacturers and, often, the workers themselves. “The biggest issue for a worker is going to be okay, I’m not earning enough to feed my family, my job isn’t secure, and then it’s really hot and that’s making it worse,” Kent recalled hearing from union representatives in Bangladesh.Whilst brands understand the interconnectivity between their emissions and supply chain issues, the drive to produce what consumers want as swiftly and cheaply as possible doesn’t leave much room for manufacturers to prioritise investments to improve their environmental footprint or adapt their factories to be more resilient to climate extremes. “We’re going to need to raise the prices in order to do that. That becomes a very tricky conversation very quickly,” says Sarah. “The disconnect is between the delightful picture of peace, love, Kumbaya, green planet that the industry would like to suggest that it is gunning for, whilst at the same time paying prices that in no way support that.”Additional Resources:Why Hotter Weather Matters for Fashion | BoFWhat Happens When It’s Too Hot to Make Fashion? | BoF. Too Hot to Handle? | BoF Hosted on Acast. See acast.com/privacy for more information.

Creative directors and brand strategists Juan Costa Paz and Nordine Benotmane, who founded Paris-based creative agency Convoy in 2012, are paid to think outside the box for clients from Nike  to Louis Vuitton. “We care about having conversations outside of the fashion echo chamber,” said Costa Paz. “I like to create tension, even if people don't like things, because I do think that it's good to try to create the conversation,” added Benotmane. This week on The BoF Podcast, Costa Paz and Benotmane join BoF founder and editor-in-chief Imran Amed to discuss how they do it and their paths to fashion.Key insights:Convoy’s Costa Paz and Benotmane came to fashion from the worlds of music and cinema, respectively, and that’s a good thing. “The fact that both Nordine and I come from different spaces, we don't tend to abide by the rules of what makes a fashion moment,” said Costa Paz. “We're a little bit kamikaze in the way that we try to not think as the brand wants us to think,” added Benotmane.Over the years, Convoy has produced content around fashion shows for brands like Miu Miu, Vuitton and Balmain. Describing these moments as, “like going to war”, Paz Costa believes there is an element of both care and challenge that is required when realising ambitious ideas with clients. “Sometimes you just need to hold hands with your clients and jump together into the void. I think that we usually land very well when there is communication and transparency.”Convoy also leads creative direction for Condé Nast’s Vogue World, which kicked off Paris Couture Week with a pre-Olympics sports-themed extravaganza. “This is a new way of seeing media,” said Benotmane. At the same time, he recognises there is always still space to explore. “Maybe this is a new way of doing the media, but we could have told stories of the athletes, the way they prepare for the competition, their relationship to fashion, a lot of things that we maybe didn't manage to do this time because it's still a new project and it's very ambitious.” Offering advice for up-and-coming creatives, Benotmane said: “Don't be scared, do it your own way.” Added Costa Paz: “Being a little bit punk also doesn't hurt.”Additional resources Vogue Names Juan Costa Paz as Global Creative Director | BoF‘Vogue World’ Takes on Paris — and Sports | BoFVogue World to Kick Off Couture Week With Olympics Tribute | BoF Hosted on Acast. See acast.com/privacy for more information.

Willy Chavarria has become a force in American fashion, known for his Chicano-inspired take on menswear. Last year, Willy broke through, winning the CFDA award for Menswear Designer of the Year. For more than two decades before that, Willy worked behind-the scenes in major American fashion companies like Ralph Lauren, American Eagle and Calvin Klein.But now, he is focused on building his own business. At the centre of his designs is a focus on community and equality: “I sat with my team before we actually started the Willy Chavarria label and I said that this is how we're going to move forward with this brand. Everything that we do is going to be aimed to raise people up and to make people feel good and to celebrate human dignity,” he said. “That will be the foundation of the brand.”This week on The BoF Podcast, Willy joins me to discuss his journey from the San Joaquin Valley into the fashion big-time in New York City, his commitment to social justice, and how the American fashion industry is evolving today.Key InsightsChavarria has always been fascinated by the way people dress. Growing up in the San Joaquin Valley in California, he was far away from the centres of fashion, but still paid close attention to style around him. “Part of my personal outlook was the way people chose to dress themselves in order to project an inclusion in a particular group,” he recalls. “The women in the family, I think of them in the red lipstick and the dark floral dresses getting ready for mass every Sunday, the black veils for the widows and the men with their fine pressed shirts.”Growing up half white and queer in a macho, predominantly Latinx environment, Chavarria often felt out of place. “I was always looking at my surroundings as an outsider. It was difficult when I was young, but now I look back on it and I'm so grateful because it gave me a perspective that was highly visual, very analytical, and it gave me so much time to work on my own creativity and to be just kind of in my own world as I grew up.”Chavarria says the American fashion system is in flux, and industry leaders need to meet customers where they are in order to stay relevant. “Our lives are so different now than they were ten years ago. It's so important for business leadership to be much more flexible and much more challenging with ideas in order to stay on top. People really need to be touched in a way that's more personal and more emotional and more connected to where people are,” he shared, adding that he believes that work involves “being communicative about social issues.”Chaavarria’s advice for young designers is simple: “Experience is your best friend, because what you learn in school is not what you're going to learn in the real world,” he says. “I suggest that people get jobs in every level of fashion for the experience. Even if it's a job you hate, stick it out for a year. It doesn't matter if you hate it, because that's where you're going to learn the most.”Additional Resources:Willy Chavarria | BoF 500 | The People Shaping the Global Fashion IndustryWhat Does the American Dream Look Like Today? | BoF Hosted on Acast. See acast.com/privacy for more information.

Sport and fashion have always been a part of Stéphane Ashpool’s life: He was raised watching his artistic parents socialise with designers like Claude Montana in Paris, while simultaneously falling in love with basketball watching the LA Lakers on TV. He followed both of these passions into adulthood, eventually launching streetwear brand Pigalle in 2008 and going on to collaborate with brands like Nike. “I have as much curiosity for couture as I have for sport kit,” said Ashpool. “I knew I wanted to kind of blend those things spontaneously. I had no clue what it was going to bring me but that's why I started to put things together.”This week on The BoF Podcast, Ashpool joins BoF founder and editor-in-chief Imran Amed to share his journey with clothing brand Pigalle and how his unconventional path into fashion led him to designing the French national team’s Olympic uniforms.Key InsightsRaised in the Parisian suburbs with his dancer mother and artist father, Ashpool was deeply rooted in the worlds of sport and fashion from a young age. “I had this charming home, and when I went in the streets, I had this more masculine type of vibe. And that was related to the sport I love the most, which is basketball,” he says. “My mother and her friends were dancers, so I've been surrounded by a lot of the gay community, people coming from all over the globe, eccentricity, people that really embrace style.”  Established in 2008, Ashpool’s brand Pigalle was named for the Parisian neighbourhood he grew up in and born with the district’s multi-dimensional spirit in mind. “I didn't exactly know what I was doing, but what I did know was the best of both worlds. I like to blend, so I have as much curiosity for couture as I have for sports kits,” he shares. “[At the start] we didn't know how to handle things, to organise ourselves, but the fire was burning. It was really exciting to enter a lane that no one really did before.”When Ashpool was approached by Le Coq Sportif to design the uniforms for the French Olympic team, it came with new challenges and constraints, but Ashpool relished this learning experience. “I really embraced it because even though they put you in a frame, if you managed to break the frame even a little bit, you always got more than what they gave you. I made sure I was pushing the boundaries.”For young creatives, Ashpool’s advice is simple. “Dream big, but manage your expectations. Create your own lanes, be inspired, but don't let yourself be someone else. If you start something, you need to finish it. Don't teach yourself to not finish something. Otherwise, it's going to enter your DNA,” he warns. “Be nice to people. It works. Be yourself. It works. Be patient. It works.”Additional resources Indie Brands Are Making This Fashion’s Biggest Olympics Ever | BoFVogue World to Kick Off Couture Week With Olympics Tribute | BoFHow the Paris Olympics Will (Really) Impact Fashion Week | BoF Hosted on Acast. See acast.com/privacy for more information.

2024 has the potential to be a dynamic year for dealmaking in beauty, as brands including Makeup by Mario, Kosas, Merit and even Selena Gomez’s Rare Beauty begin exploring their strategic options. But strategic buyers and private equity firms are also adopting more selective acquisition strategies.At The Business of Beauty Global Forum 2024, Vennette Ho, managing director and global head of beauty and personal care at investment bank Financo Raymond James shared her expert views  on this year’s M&A scene in the beauty industry. Vennette is the industry’s most respected investment banker, so when she talks, the beauty industry listens.“M&A happens when there's a fundamental change in the consumer. The consumer needs and the consumer wants are something that the strategics today don't have,” Ho explained. “Every time there's an evolution of a consumer need or want or expectation, M&A has to become a necessity for large strategies to look at.”This week on The BoF Podcast, Imran Amed, BoF founder and editor-in-chief sits down with Ho to discuss the evolving nature and market of the beauty industry. Key Insights: According to Ho, consumer expectations for beauty brands have changed, as well as how they engage with them. Acquiring indie brands helps conglomerates meet those expectations. “A lot of the big companies don't have … the ability to incubate internally, they don't have the ability to come up with something. It really comes honestly from the hearts of founders and it comes from private companies. As a result, M&A becomes really necessary,” she says.Ho advises founders to get to know lots of potential acquirers when considering a potential acquirer, in order to understand who shares your values before making a deal. “It also goes for the other side that they feel like they know you and you can have a better alignment from the beginning,” she adds. .The perfect exit process is not just about the closing of the deal but also what happens after. “What happened six, 12 months, three years after the deal happened? Are people still feeling the same way? I think that's where we get the most pride and say, ‘Okay, this actually impacted the industry in some huge way that went beyond just that moment of the deal,’” says Ho. Looking towards the future of the industry, Ho believes we’ll continue to see the breakdown of beauty category silos. “I think some of the most interesting and most disruptive companies don't actually fit into that mould and don't actually fit into a traditional thing,” she said. “The consumer doesn't think, ‘Is this a prestige brand? Is this a mass brand? Is this a skincare brand?’. They're thinking, ‘Is this a brand that I want to engage with that engages me in a certain way?’ There's a really exciting democratisation of things where brands can exist in different channels at the same time.”Additional Resources:Why L’Oréal Is Investing in Niche Chinese Fragrance Brands | BoF The Changing Shape of Beauty M&A | BoFBeauty’s Top M&A Targets | BoF Hosted on Acast. See acast.com/privacy for more information.

In a special episode, BoF founder and editor-in-chief Imran Amed joins Bob Safian on the Rapid Response podcast, part of the respected Masters of Scale series.“The most interesting thing you can do, if you look at historical photos going back 50 or 100 years, is to look at what people are wearing. It gives you a sense of what's happening in the world at that time,” said Amed. “When we look back to 2024, and see the Hoka sneakers, the athleisure, and the streetwear looks that people are wearing, these are a reflection of what's happening in the world right now. That's what makes fashion so powerful.”In their conversation, Amed and Safian discuss the rapid growth of the global fashion business, the dominance of the megabrands and the resulting crisis of creativity and challenges faced by independent fashion brands, as well as the impact of ultra fast fashion brands like Shein and Temu.  Key Insights: According to Amed, the fashion industry's focus on business growth is stifling creativity,  leading to a homogenised market, where innovation is increasingly scarce. "Creatives are being put into boxes and forced to work in ways that are all about meeting the demands of these large, now publicly traded companies that are analysed by all the same investment banks and analysts as Procter & Gamble and Apple. When you're in these big public companies, every quarter you have to show growth, and it really puts a drain on creativity."Independent designers are facing significant hurdles in a market dominated by mega brands. "The big brands in this industry have become so big, so dominant that it makes it really hard for younger independent designers,” Amed explains. “Lately, I've just had this feeling that the early stage part of our industry is not very healthy. There's been a lot of things happening in the industry that have just made it really, really hard."Amed believes artificial intelligence is poised to revolutionise the fashion industry. "It's going to be really interesting to see how leaders on both the creative and the business side of fashion begin to integrate AI tools and processes into the way they run the business but also the way they run the creative process. Some of the designers I'm talking to are already using some of these tools."Additional Resources: The Fashion System Is Creaking. Will It Collapse? | BoFThe BoF Podcast | Imran Amed: ‘It Is in Our Struggles That We Find Our Purpose’  Hosted on Acast. See acast.com/privacy for more information.

Paris Couture Week has come to a close, and Tim Blanks and Imran Amed sat down for their seasonal review of all the most important  collections — from Schiaparelli to Armani, the standout looks, and of course the designers who brought them to life. They also discuss the significance of Dries Van Noten’s final collection, which was the most important moment during the menswear shows, and also how the brand will take things forward now that Dries is stepping back. “Alain Gossuin, the first model on the catwalk, was the first model in Dries’ first show. They had to dig for those models. They had to really get out there and find all these people and it was spectacular. All of that was very emotional, but I think Dries really kept the lid on it with the way that he came out at the end and waved as if to say, ‘maybe I'll be back soon.’” Key Insights: Down to the way the models moved, Daniel Roseberry's collection for Schiaparelli was a cinematic spectacle, merging traditional haute couture craftsmanship with futuristic design elements. “When [the models] stared at you it was challenging. They weren't staring at you to welcome you into their world.They were imperious. It's quite piercing but it was so deliberate that it felt like a different element in the show,” shared Blanks.In light of Virginie Viard's departure, there is now a significant opportunity for change at Chanel. “If they want to take a chance on change, it's an amazing time to do that. Chanel is codes — and whoever goes in there has to understand those codes — but there's stuff you can do with those codes,” remarked Blanks.At Gaultier, Nicolas di Felice’s interpretation of the French house left a lasting impression. “The intensity of the audience's engagement with him was so genuine you could see the future,” said Blanks. “He's quietly created an authentically cultivated real sense of goodwill amongst people. I think people in the industry are really rooting for him.”Additional Resources:Couture Day One: Americans in Paris | BoFCouture’s Cross-Generational Masterclass | BoFChanel and Dior’s Haute Couture Loses Heat | BoF  Hosted on Acast. See acast.com/privacy for more information.

From her miraculous birth as the daughter of a Holocaust survivor to becoming a fashion powerhouse with her signature wrap dress, Diane von Furstenberg's remarkable journey is one of resilience, innovation, and empowerment.  In a new documentary about her life called "Diane von Furstenberg: Woman in Charge,” Academy Award-winning filmmaker Sharmeen Obaid-Chinoy combines archival footage and intimate interviews with von Furstenberg’s closest friends and family to paint a vivid picture of a woman who has always been true to herself and her vision.“The most important thing is to work hard at being true to yourself and liking yourself. If you are true to yourself, you are free,” shared von Furstenberg. “Women are defined by society and placed in boxes and labels, and sometimes are forced to make decisions that they don't want to,” added Obaid-Chinoy. “Diane's story coming at a time like this is so important because it is an anthem of freedom.”This week on The BoF Podcast, von Furstenberg and Obaid-Chinoy speak to BoF founder and editor-in-chief Imran Amed at the London premiere to share their experience of making the documentary and the new learnings this process surfaced about a life well lived.   Key Insights: When creating documentaries, Obaid-Chinoy’s goal is to carefully peel back the layers of a person until reaching their core. After countless hours of conversation and travel with von Furstenberg, she believes she succeeded. “This is a story about a woman who faced adversity and rose up each time. I feel like all my films are about women who are faced with extraordinary circumstances. And Diane fits right at the heart of it.”For von Furstenberg, the documentary also tells a crucial tale of her mother and her legacy. “It's about this woman who refused to die, who refused to be a victim, who told me never to be afraid, who never told me to be careful, who wanted me to have a big life,” she shared. “when you have a strong mother, you know, and you're being told that you are her torch of freedom. That torch could be heavy. But that's what was given to me. And I honoured her.”Themes of gender, autonomy and power are central to the film, but ultimately, for von Furstenberg, the ability to connect with oneself is paramount. “Being in charge is not an aggressive thing; it's owning who you are. … The most important relationship is the relationship we have with ourselves.” Additional Resources:The Tragedy and Triumph of Diane von Fürstenberg | BoF The BoF Podcast | Diane von Furstenberg on the Power of a Little DressDiane von Furstenberg Makes a (Profitable) Comeback | BoF  Hosted on Acast. See acast.com/privacy for more information.

Deena Aljuhani Abdulaziz was drawn to fashion from a young age, devouring issues of Vogue and Tatler. This led her to set up D’NA, a members-only boutique based in Saudi Arabia and Qatar. 10 years later when she closed her boutique, she became the founding editor in chief of Vogue Arabia – but soon parted ways with the publication due to a misalignment in values.Now, Aljuhani Abdulaziz is back with her own media publication, on her own terms. ‘Deenathe1st.com’ is an editorial lifestyle website dedicated to fostering a creative community that celebrates Arab culture. “What I hold dear is what anybody would hold dear. Representing my culture correctly and fairly,” she says. “And it's not trying to show off Western ideas to the region. It's the other way around. It's showcasing the region and what we share creatively with the rest of the world.”This week on The BoF Podcast, Aljuhani Abdulaziz joins BoF founder and editor-in-chief Imran Amed to share her career journey, the lessons she’s learned about fostering culture and community, and why the fashion community needs a new publication. Key InsightsBorn in California but raised between the US and Saudi Arabia, Aljuhani Abdulaziz is an expert code switcher who’s always felt able to act like a cultural bridge between the two worlds. “It never felt like an effort. It just came naturally. I think that's part of what makes me who I am in a sense,” she shares. “It's not just in figures of speech, but also in how you would interact with people, because there are different customs and traditions in different regions and in different households. It's really about a state of mind.”Aljuhani Abdulaziz’s first fashion influence was her mother, who she describes as “still very, very chic.” As a child, her discovery of Tatler magazine pushed this passion even further. “I picked it up and I opened up its pages and I was like, ‘Oh my goodness, this is it!’ I was just so grateful and happy that it existed.”  Aljuhani Abdulaziz’s stint at Vogue Arabia ended abruptly after just two months. “I understood the responsibility of being a voice for a very big region, being Arab myself,” she said.  “I think there was a point when that didn't align and the visions were not parallel.”Looking to the future, Aljuhani Abdulaziz says she is building her editorial lifestyle platform ‘Deenathe1st.com’ on the basis of community, shared values, and kindness. “I think that it's super important to remind people that you don't have to be nasty to be stylish or to be in fashion or to be chic,” she said. “I would love to continue my love letter to Arabia. That's really what I'm trying to do with this site.”Additional resourcesDeena Aljuhani Abdulaziz Exits Vogue Arabia | BoF Vogue Arabia Appoints Manuel Arnaut as Editor-in-Chief | BoF A New Era of Arab-Led Fashion Media | BoF Hosted on Acast. See acast.com/privacy for more information.

As a self-styled “image architect”, Law Roach has earned global recognition for the red carpet looks he has created for some of the most famous — and most photographed — women in the world.  But in 2022, when he suddenly announced his retirement on Instagram, writing “If this business was just about the clothes I would do it for the rest of my life but unfortunately it’s not! The politics, the lies and false narratives finally got me! You win…I’m out.”While Roach continues to work with top clients Celine Dion and Zendaya — he was the mastermind behind Zendaya’s tennis-inspired “Challengers” press tour earlier this year — he’s also pursuing his entrepreneurial ambitions. Later this year,  he will launch a new online learning  platform to train the next generation of stylists. “It was hours and hours of me talking with a script writer and being recorded to get out all my processes, from the way I set up a room to style and the psychology of choosing the right dress. So it's super comprehensive and I'm super proud of it. And we’re launching it with me as the very first instructor.”This week, on the BoF Podcast, Roach joins me to trace his career right from the beginning when he was selling thrifted clothes from the trunk of his friend’s car in the South Side of Chicago and to exclusively share the details of his new online learning platform and what he hopes people will learn from it.Key Insights:Roach’s first memories of fashion are from his childhood in Chicago. “My first runway show was church on Sunday morning, watching those women with the hats and the outfits, but high fashion had always been something that was very aspirational but also seen very unattainable at the same time.” He then began his career selling vintage pieces from the trunk of a friend’s car before moving to a brick-and-mortar storefront. “That turned into a revenue stream for me and which then turned into a boutique, which turned into Kanye West coming in one day,” he said. That celebrity attention led to “global recognition about this little store in Chicago.”Roach has worked with his most high-profile client, Zendaya, since she was a teenager. Back then, he had trouble finding brands that were willing to dress her, which forced him to get creative. “She became one of the best dressed, most looked at stars on the red carpets and had not even worn any of these brands. So at that point I was like, ‘I kind of don't need you.’ We had just worked so hard to make her this thing that everybody wanted without using the traditional tools of getting there,” he shared. With his new online learning platform, Roach wants to encourage greater representation and open up opportunities in the industry.  “Ours is a comprehensive collegiate level, educational, educational coursework. Everything that I've used to become who I am is in there.”Despite the various challenges in his career, Roach’s unwavering self-belief has carried him to where he is today. “No matter how many doors are closed, no matter how many times people ask me to get out of my seat at a fashion show, no matter how many times people say no, I came to L.A. to be considered the best or one of the best, and there was no way that anybody could deter me from that. I really, honestly believed in myself.”Additional Resources:The Business of Being Law RoachBlack Stylists Form Collective for Support and Advocacy Hosted on Acast. See acast.com/privacy for more information.

Husband and wife duo Gucci Westman and David Neville’s luxury beauty label Westman Atelier has become an industry favourite, winning fans for its curated collection of cosmetics, holistic approach to beauty and strong focus on ingredients.“Our customer knows that she's getting something that is clean, is going to perform, is going to be good for her skin, and is going to be a luxury experience she hasn't had before,” said Westman.  “We think about brand-building in the literal sense of building a brand brick by brick. Every day we are building our team, building our capacity, building our assortment, introducing new products,” shared Neville. In this conversation from The Business of Beauty Global Forum 2024, Priya Rao, executive editor of The Business of Beauty, sits down with Westman and Neville to discuss how they’re building a multidimensional luxury beauty brand that lasts.Key insights:Growing up in Sweden, Westman said that the importance of high quality ingredients was instilled in her at a young age. “The Swedish lifestyle is all about value over quantity, having a slow burn and really savouring that experience. I think that really informed my ideas around what we should do and how we should do it,” she shared.  Neville believes that a product focus is crucial to longevity. “We spent about three and a half years prior to launching in the market just developing with a singular focus on our products. That mentality has been with us all along this journey.” Westman highlights trust as another essential ingredient to their brand formula. “Our customer knows that she's getting something that is clean, is going to perform, and is going to be good for her skin. I think we've established this sort of loyalty and trust is imperative in this kind of thing.”To build a brand that lasts, Westman Atelier’s strategy is to take it all one step at a time. “We think about brand-building in the literal sense of building a brand brick by brick. Every day we are building our team, building our capacity, building our assortment, introducing new products. We're building awareness through new customer acquisition, whether that be direct to consumer or through our retail relationships,” said Neville. Additional resourcesHow I Became… A Makeup ArtistCan Gucci Westman Build the Next Great Luxury Beauty Brand? Hosted on Acast. See acast.com/privacy for more information.

Footballer Héctor Bellerín first made a name for himself with his defensive skills on the pitch but it’s his outspoken views and distinctive personal style that have transformed the Spanish right-back into a cultural trailblazer.Now, Héctor, who has been called “the world’s best-dressed footballer”, is launching a new label, Gospel Estudios, which has served a creative outlet as he continues to play football.“This was a way to recharge my battery. It was a way of learning something new, do stuff with my hands, trying new things. It was a process of discovery and learning and trial and error,” he says.This week on The BoF Podcast, Héctor sits down with me to talk about the burgeoning relationship between fashion and football, how he developed his strong sense of personal style, and to share his plans for the launch of Gospel Estudios for the first time on The Business of Fashion.Key Insights:After starting his career in Barcelona, Bellerin moved to London in 2011 to play for Arsenal. During his nine years at the club his off-duty style gained him both media admiration and criticism. “I got a lot of stick when I was at Arsenal and things didn’t go well, a lot of people used to say he’s not playing well because he’s focused on fashion,” he says.Héctor Bellerín looked to another footballer, David Beckham, as an example of how to bridge the gap between fashion and sport. “He opened doors for everyone. And I think not just in football, but for men overall … In these very masculine places it’s very hard to be different.”At Gospel Estudios, dependence, rather than independence, is the foundation upon which Bellerín is building his sustainable brand. “My mom works in the studio. My friend’s dad works in the studio. My granddad repaired sewing machines back in the day so he repairs the same machines,” he says. “It’s important to let people know that we are dependent. We are dependent on a lot of people.”Sharing his philosophy on responsible consumption, Bellerín encourages potential buyers of Gospel Estudios to really think about the item in question before they buy it. “Take the time to just breathe and think, is this something that I am ready to have a relationship with? Because this is what it is.”Additional Resources:Inside the Big Business of Styling Athletes: NBA stars and footballers are leaning on a network of powerful style consultants to help shape their personal brands outside of their day jobs, laying the groundwork for lucrative brand deals.Why Luxury Brands Want in on Football: Despite the rocky history between fashion and football, luxury brands from Moncler to Dior are looking to benefit from the cultural power and global audience of the world’s most popular sport.How Athletes Became Fashion Week Royalty: It’s not just sports superstars sitting front row at fashion week. Today, luxury labels are looking to work with emerging athletes from niche sports, giving rise to new dealmakers who match brands with eager skateboarders, boxers and rugby players. Hosted on Acast. See acast.com/privacy for more information.

In 2014, in a nondescript basement club in East London, Charles Jeffrey’s Loverboy was born. At the age of 18, the Scottish-born designer moved from Glasgow to London to pursue a BA in Fashion Design at Central Saint Martins and has since earned his place in the long line of highly creative fashion designers coming from the city. With an upcoming exhibition at Somerset House, the one time upstart is ready to look back on 10 years of his brand.“I'm Charles Jeffrey, I'm not Alexander McQueen, I'm Charles Jeffrey, I'm not Gareth Pugh. I'm Charles Jeffrey, I'm not John Galliano,” he said. “I have a way of looking at fashion and I want to nurture that and see it to its end.”This week on The BoF Podcast, Jeffrey joins me to share his journey into London’s fashion scene and reflect on the past, present and future of Loverboy, underscoring that he has his own unique vision to contribute to fashion. Key Insights:Jeffrey credits video games for sparking his interest in fashion design. “I was a big geek and me and my friends would play in the forests and play Lord of the Rings with sticks. I would sit and draw the outfits and characters that we would all be. We all had our own alter egos and we would just really live in that world.” Since the inception of Loverboy, Jeffrey was conscious of building a brand, and chose not to name the brand after himself. “I could have had a business that was just called Charles Jeffrey but I wanted to keep that Loverboy thing because I felt it was a sticky kind of concept. I could apply it to products, Loverboy tartan, Loverboy polka dot, Loverboy pinstripe, or the Loverboy beanie,” he said. “All these things, you start to give them names; it's the psychology of business and brands and advertising.”Jeffrey understands that creating core hero products is essential to creating brand loyalty and drawing in customers to discover other products.  “How can I make a beanie, which is a bit of a novelty and a throwaway, something that people will buy from us for another ten years? How do you change the perspective of that to somebody so that they come to us for that but then the psychology of this novelty beanie also makes them think, ‘I bet they do great jumpers or I bet they do a really nice bag’.” Looking to the future, Jefrrey’s  aim is to create a sustainable, independent business. “My goal, in the next three to five years, is to build an element of the brand that's not reliant on a wholesale model, that's not relying on the fashion model, per se.” he says. “You can push the brand into all these spaces but if the sell-through isn't right, if you've not got the story behind it, if you've not got the relationship with the clients, it just dies a death.”Additional resources Charles Jeffrey on What It’s Like to Be a Rising Designer in the Midst of a Pandemic Charles Jeffrey Loverboy’s Furious Physicality   A Tang of Revolution at Charles Jeffrey   Hosted on Acast. See acast.com/privacy for more information.

Esteban Cortázar first fell in love with fashion as a teenager growing up in Miami. Over the years, his career in fashion has come with lots of ups and downs. After he became one of the youngest designers to ever present at New York Fashion Week he had to shut his label down. He went on to become the creative director of Emanuel Ungaro at just 22 years old, before leaving after he disagreed with the owners’ plans to bring on Lindsay Lohan as a consultant. He relaunched his eponymous fashion house but it closed during Covid. Now, Esteban is launching ‘Donde Esteban,’ a new brand on his own terms, on his own schedule, celebrating his roots in Colombia, Miami and Ibiza. “Where we can lack as young designers or as designers doing independent brands is that it's really like a puzzle,” says Cortazár. “And you have to have all of the pieces in place for it to work. Having an investor is certainly not enough, you really need to have all of the different angles in place, especially today, to be able to sustain a business.”This week on The BoF Podcast Esteban joins me to share his career journey and the lessons he’s learned about building an independent fashion business today.Key insights:Born to a Colombian painter and former British jazz singer, Cortazár’s childhood straddled continents, lifestyles, and subcultures, all of which has greatly influenced his artistic sensibilities. “I grew up around a very bohemian environment through my family and my parents — colours and paints and oils and instruments. That already set the tone of a very artistic point of view from a very early stage,” he says. Emulating what he saw in the fashion magazines he devoured as a teenager, Cortazár’s early shows were always organised to a professional standard despite his young age and lack of training.Cortazár jumped at the opportunity to become creative director of Ungaro at the age of 22. “I knew how much questioning there was going to be from the industry about me and my age, my experience, my lack of experience. I just took it and I went for it because I knew that that kind of opportunity wouldn't just continue to come like this.”Heavily influenced by his upbringing, Cortazar’s new label Donde Esteban is somewhat of a homecoming. “My take on fashion has changed and evolved and I wanted to create something that felt so authentically me, that really celebrated the multicultural aspect of my life. The fact that I was born in Colombia, grew up in Miami, then went to New York, then went to Paris, that I spent all my summers in Ibiza.”Additional resources:Turning Point | Esteban Cortazar, Comeback Kid | BoFEsteban Cortázar Tackles Fashion's Timing Gap | BoFUnlikely Directions at Esteban Cortazar | BoF  Hosted on Acast. See acast.com/privacy for more information.

The first Monday in May has become synonymous with the Met Gala. Every year, celebrities and brands come together on the steps of the Metropolitan Museum of Art. This year’s theme was The Garden of Time and attendees went to enormous efforts to try to catch the spotlight amid one of the busiest red carpet moments of the year, orchestrated by Anna Wintour, global chief content officer of Conde Nast and editor-in-chief of American Vogue.“Anna Wintour has raised the ante every year to the extent that this Met Gala made $26 million in one night,” says New York Times fashion critic Vanessa Friedman on this week’s episode of The BoF Podcast. “The amount of social media impressions it generates is beyond compare. The guest list that she curates, because it is an entirely curated guest list, is like nothing else.”.Friedman joins BoF founder and editor-in-chief Imran Amed to share her journey into fashion journalism, reflect on what this year’s Met Gala says about the state of fashion and culture and of course, dissects the standout looks of the night.Key Insights:Over the past few decades, fashion has become a pillar of popular culture thanks to  the rise of social media and our image-first culture, said Friedman. “We now communicate globally more through imagery than we communicate through words or papers or speeches or books,” she says. “We are constantly making judgments based on the images we see … and those images are intrinsically connected to fashion … It's a language that we all think we speak and therefore we can use as communication.”The Spanish luxury house Loewe, owned by LVMH, was one of the evening’s sponsors, which for Friedman is an embodiment of the culture-shaping ethos held by LVMH chairman Bernard Arnault. “He doesn't want his brands to be just fashion brands. He wants them to be culture brands. It's going past luxury into shaping culture at large.”This year’s Met Gala raised an impressive $26 million, but Friedman says this raises questions about the event’s future. “Has this party reached its apogee? Is it possible to make more than $26 million in one night?”Reflecting on her 20 plus years in the fashion industry, Friedman’s advice to aspiring critics is to think beyond the industry. “Learn as much as you can about things that aren’t fashion. Broaden your viewpoint and think about the world in as wide and exciting and curious a way as possible.”  Additional resources:Met Gala 2024 Beauty Trends: Boho Princesses and Bling Queens Embrace Garden FairytaleAt the Met Gala, the Fantasy Was Intact The Met Gala’s TikTok Headache   Hosted on Acast. See acast.com/privacy for more information.

Stan Herman may be 95 years old, but the designer, activist and former president of the Council of Fashion Designers of America remains an unstoppable force. His recent memoir, “Uncross Your Legs: A Life in Fashion” details his journey through the American fashion industry, including bringing New York Fashion Week to Bryant Park. This week on The BoF Podcast, Herman joins BoF founder and editor-in-chief Imran Amed to reflect on his remarkable life and career, and to talk about how big business has changed the fashion industry.“With so much money being floated out there, it's changed the whole nature of the business,” he says.“Once we anointed designers as superstars, once big business and Wall Street put their cashmere gloves on, fashion was not the same.”Key InsightsHerman, who grew up in a Jewish family in New Jersey, traces his initial interest in fashion to his parents. His father owned a number of silk stores. His mother died when he was only 12 years old, but in writing his book he discovered that she was a talented seamstress. “I found things about her that I had never known. How she sewed, how she made patterns on the floor, how she knew how to cut a bias dress,” he recalls. “We didn't have very much money at the time and she made lots of house dresses that she lived in.”Herman’s career includes  stints designing ready-to-wear under the label Mr. Mort and creating uniforms for America’s largest corporations. “I lived this life of a designer with an intellectual school teacher and I plotted my life,” he says. “I worked for eight years in companies, then I was first a third designer, second designer. I learned the hard way.”In 1991, Herman became the president of the Council of Fashion Designers of America, a position he held for 16 years. During his time at the CFDA, New York Fashion Week was born, initially staged in a cluster of white tents in Bryant Park. “That park has become for me my life in New York,” he said. “It's never been the same since they left Bryant Park. But that's okay, things do change.” Additional resources:Thom Browne Named CFDA ChairmanWhat Tom Ford’s CFDA Post Means for American Fashion Hosted on Acast. See acast.com/privacy for more information.

On January 4th of this year, when Calvin Klein dropped its new spring 2024 campaign with a shirtless Jeremy Allen White wearing the brand’s signature underwear, it set the internet ablaze. Social media feeds flooded with reaction videos and media outlets covered the campaign widely. The following week, Calvin Klein saw a 30 percent year-over-year increase in underwear sales.While the brand could never have predicted the gigantic response the campaign would generate, Calvin Klein’s chief marketing officer Jonathan Bottomley says the brand did everything it could to put the strategy in place for it to do so.“In a culture that's very flat, how do you create those spikes … we adopt what we call an entertainment mentality,” said Bottomley on stage at the BoF Professional Summit in New York. This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Bottomley to unpack Calvin Klein’s marketing strategy and how they cut through the noise to create cultural moments.Key Insights:Calvin Klein’s entertainment mentality can be broken down into three main parts. “Firstly, we put a lot of focus on creating stories and creating content that people are going to want to spend time with. The second thing is we think really hard about the talent, not just in terms of reach of engagement, but the opportunity to create a cultural character, show them in a way that maybe you haven't seen before,” Bottomley explains. “And then the third thing is media. We work with real intention to blend the media mix, to try and game the algorithm and and really to cut through.” Bottomley stresses that the brand does not aim to court controversy. “There's an authenticity to what we do, which is partly the DNA as a brand. This idea of sensuality and empowerment, they go together,” he says. “It's much more to do with partnership, creative expression, and this idea of a character that we feel is going to work, but that our partner really believes in.”On balancing brand marketing and performance marketing, Bottomley believes the two are intertwined. “The way we think about it is that everything is brand and everything is performance. … The imperative of a brand is to lead and to say from within the confines of where culture is going, ‘how can we step outside that and excite people with something?’”Additional resources:Calvin Klein, Levi’s and the Real Value of MarketingWhy Calvin Klein Ads Still Get People TalkingCalvin Klein’s New Strategy: Don’t Market the Dream, Market What Sells Hosted on Acast. See acast.com/privacy for more information.

For more than  30 years, photographer Willy Vanderperre has been fascinated with youth. Vanderperre has carved a niche for himself in the fashion industry, capturing the youthful essence of models like Julia Nobis and Clément Chabernaud for fashion houses including Dior, Prada and Givenchy.“It would be bordering on pretentious to say that I understand youth. I am 53 years old and I am fully aware of that. It's impossible to understand youth nowadays. I can just have an interpretation of what I think youth is through my eyes and through the experiences I have with those kids,” says Vanderperre.Ahead of the opening of his  exhibition “Willy Vanderperre Prints, Films, a Rave and More…” at MoMu – Fashion Museum Antwerp, Vanderperre sits down with BoF editor-at-large Tim Blanks to discuss this approach to image-making his creative collaborations with Raf Simons and Olivier Rizzo, and more.Key InsightsWhilst studying photography at Antwerp's Royal Academy of Fine Arts, Vanderperre first encountered the friends who would become his closest collaborators: Raf Simons, Olivier Rizzo and Peter Philips. “We all grew up in different parts of Belgium, we all have very different backgrounds, we also come from different subcultures, so I think it's also that that linked us together at one point.”A rave and hedonistic subculture is an essential component of his body of work. “Of course we had to include the rave. My main focus has always been youth, and it will always be. I am from that generation of Belgian kids that when the rave scene was big, I was young and I indulged in that lifestyle,” he shared.Vanderperre views challenge, both for himself and his audience, as a defining characteristic of his work. “What is a beautiful picture? Does it always have to be beautifully lit or perfectly lit? … Technique is important, but it's a means and I think we should play with that,” he explains. As for his work philosophy, Vanderperre keeps it simple: “I like the idea of observing, creating and bringing that character to life and being genuinely interested in that person in front of the camera” he says. “I think the last three decades we’ve just been trying to translate youth through our eyes.”Additional Resources:Willy Vanderperre: ‘Youth Is an Emotion. Youth Is the Breaking Point’ Willy Vanderperre Has a New Instagram Project   Hosted on Acast. See acast.com/privacy for more information.

Prosper and Martine Assouline’s business began with a passion project: A book dedicated to their love for La Colombe d’Or, a boutique hotel in the South of France; Martine produced the images and Prosper was responsible for the text. But since publishing that first title 30 years ago, Assouline Publishing has gone on to capture the history and visual memory of places like Ibiza and Jaipur, industry icons such as Estée Lauder and Valentino Garavani, as well as fashion houses like Saint Laurent and Louis Vuitton. “The idea was to make a book about the spirit of a place, … to mix the past, the present, the people, and all the DNA,” says Martine. “I always say to my team in the art department that when a book is finished, we need to start it. … You think it's finished but it’s just beginning,” says Prosper.This week on The BoF Podcast, founder and editor-in-chief Imran Amed sits down with the Assoulines to learn how this fixture of fashion publishing was born and how they intend to maintain that original creative spark while growing it into a global lifestyle business. Key Insights: While Assouline may be a leading luxury publishing house today, Martine and Prosper were outsiders without prior experience or contacts in this world. They had to learn along the way. “We learned that it was a real job. A real industry, a club where everyone knew each other,” said Prosper Assouline. “We learned while doing - everything,” added Martine. Prosper Assouline says the process of creating a new book is architectural and the magic lies in the details. “We didn’t just want to do books because Amazon is full of proposals and other publishers are full of proposals.” For Martine, the continual consumption of culture and arts is a key ingredient in Assouline’s formula. “You have to eat culture. You have to go to a museum. You have to see films of today, of yesterday. You have to look at magazines, hear music, all kinds of different books. It's very important.”In the Assoulines’ view, what they’re doing is much bigger than simply publishing books. “The idea was not just to make books, it was to create a luxury brand on culture,” said Prosper Assouline.Looking towards the future, the luxury publishing house is narrowing its focus on lifestyle. “Lifestyle is the project. It’s our way to live and work, it has always been our direction,” said Martine Assouline. Additional ResourcesIn Age of Online Inspiration, Fashion Creatives Still Love Beautiful BooksThe Business of Fashion Books Hosted on Acast. See acast.com/privacy for more information.

Starting in 1999, Larry Miller worked alongside Michael Jordan to build Nike’s Jordan brand, which today generates more than $5 billion in revenue for Nike. But his journey to the C-suite was a unique one.Growing up in West Philadelphia, Miller joined a gang, which led him to serve multiple prison sentences for a series of crimes, including second-degree murder.Through a rehabilitation programme, he was able to begin his college education while in prison, and upon release, he was able to start his career with an accounting job at the Campbell Soup Company. In 1997, Miller started working for Nike under founder Phil Knight, and became the first Black vice president of apparel at the company before going on to become president of the Jordan brand in 1999.But it wasn’t until years later that he went public about his backstory with the publication of his book, “Jump: My Secret Journey From the Streets to the Boardroom.”At BoF VOICES 2022, Miller sat down with UTA executive Darnell Strom to share his story, talk about the power of second chances and explain how he found redemption.“I’ve come to the realisation that a lot of times we are afraid to talk about the obstacles that we overcome. But in reality there’s no shame in overcoming obstacles,” said Miller.Key Insights:“When I was 16, I shot a kid and he died and I was charged as an adult at 16 years old… pleaded guilty to second-degree murder, was sentenced to four and a half to 20 years,” Miller revealed at BoF VOICES 2022.Once he had revealed his story, Miller says Michael Jordan and Phil Knight were supportive and encouraged him to share his story. “It’s been amazing to me the response that I’ve gotten from people who I’ve known and worked with and who have just encouraged me and embraced the fact that I’ve got this past.”Following the release of his book, Miller apologised to the family of Edward David White, the man he killed. In White’s honour Miller created a foundation for his descendents to attend university or trade school.“I think I’m a perfect example of the fact that a person can change if given the right opportunities… the right chance. But it starts inside of you. You have to believe that you can change,” said Miller.Additional Resources:A Nike Executive Seeks a Family’s Forgiveness for a 1965 Murder: The New York Times the story of the impact of Larry Miller, chairman of the Jordan Brand Advisory Board, and his actions as a 16-year-old.Jump: My Secret Journey from the Streets to the Boardroom: “Jump” written by Larry Miller and his daughter, Laila Lacy, shares the story of Miller’s life from the streets of West Philadelphia to the Nike boardroom.How Larry Miller Went from Prison Valedictorian to Nike Executive: Freakonomics interviews Larry Miller on his journey from his childhood in West Philadelphia, to serving time in prison and finally to running the Jordan brand. Hosted on Acast. See acast.com/privacy for more information.

As a performance coach to England’s national football team, the Royal Ballet and more, Eastwood taps into his Māori heritage to help groups foster a sense of togetherness and drive performance. For Allbirds co-founder and chief innovation officer Tim Brown, co-founder and chief innovation officer at Allbirds, a company that has gone on a rollercoaster of ups and downs since it IPO in 2021, his former  life as a professional football player for New Zealand has taught him lessons he’s brought from the pitch to the boardroom. “When we want to create a high performing environment, we make an undertaking to each other that we will do nothing to diminish the dignity of every person, and when we all leave this experience or whatever it is together, our dignity will be enhanced,” Eastwood told Brown stage at BoF VOICES 2023. “For me, therefore, you need to understand the story of the people you work with.”This week on The BoF Podcast, Brown and Eastwood unpack how companies can drive high performance while maintaining a supportive culture.Key Insights:While working with the British Olympic team, Eastwood encouraged the athletes to find a level of investment in their own story by creating a film which showcased various Olympians all the way back from 1896. “The Olympians themselves just took selfies the whole time with these images of those ancestors who they in particular could relate to, maybe something that shared their own identity story. I think it opened their eyes.”Allbirds was founded in 2024 with a mission to make sustainable footwear, but 10 years on, Brown said that he’s learned how important it is to stay true to that internal story, both in communicating with employees and consumers.  “As a creative person, as a storyteller, are we doing enough within our organisations to tell stories internally in the same way that we're telling them outside of the organisation?” he asked. Eastwood said those sorts of strong, dynamic, internal stories are key for everyone on a team. “You've got to create rituals and traditions where it's reiterated because actually it's not just for the benefit of new joiners, it's for the benefit of us who have been here a long time.” Additional resources The BoF Podcast | Allbirds’ Tim Brown on Learning to Lead With ResilienceAllbirds Co-CEO On Why DTC Brands Are Going MultichannelAre DTC Brands Pulling Off Brick-and-Mortar? Hosted on Acast. See acast.com/privacy for more information.

Amir Fayo, the founder of 69 Group, marries brand architecture and art direction to create retail and hospitality concepts rooted in culture and connection. Best known for operating Egyptian stores Maison69 and Villa Baboushka, Fayo breaks with conventions to create immersive store experiences that resonate with consumers on an emotional level. Everything starts by not thinking of himself as a retailer.“I don't know how to do retail. Retail is structured. Retail is data. Retail is numbers. … I connect to people, to how they feel, what makes them tick, what makes them be interested,” he says. This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Fayo to discuss his innovative attitude toward retail.Key Insights:Fayo, who was born in Wales and raised in Egypt, says his architectural style is heavily influenced by his multicultural upbringing. “Egypt gave me a heart, the UK gave me my creativity and the US gave me my thinking process.”There are three pillars to how Fayo approaches a project. The first is building an environment in which people can form an emotional memory. The second is creating a sense of social intimacy. Finally, he remains focussed on the idea of elevating the everyday. ‘I want to elevate [mundane moments] to be something that people remember, that people want to come back to,” Fayo explains.When designing retail spaces, the idea of home is kept at the forefront. “When we started to define that code, I said, where is that space where there is no right and there is no wrong? It should be home,” says Fayo. “We're going to design homes because homes should be welcoming. Homes should create belonging. Homes should create easy connections.”Additional resourcesVogue Arabia's Editor-in-Chief on the Diversity of Urban Markets in the Middle EastAll Eyes on EgyptBoF Insights | Fashion in the Middle East: Optimism and Transformation Hosted on Acast. See acast.com/privacy for more information.

This fashion month was all about looking ahead. At several major brands, newly-appointed creative directors ushered in a new era, including Seán McGirr at Alexander McQueen,  Adrian Appiolaza at Moschino and Chemena Kamali at Chloé. But beyond the creative director premieres, recurring motifs of technology and the pared down everyday reflected the current state of the world — and what’s to come.  “Early on, I detected this rather peculiar strain of sci-fi,” says Tim Blanks, BoF’s editor-at-large. “There is that incipient sense of apocalypse lurking and I think if you step back and take a really long view of what was happening, you could feel that kind of anxiety,” says Tim Blanks, BoF’s editor-at-large. Following the conclusion of the Autumn/Winter 2024 shows, Blanks sits down with BoF founder and editor-in-chief Imran Amed to discuss the highlights of fashion month.Key InsightsAt Louis Vuitton, Phillippe Parreno’s immersive set design and Nicolas Ghesquière’s futuristic garments left lasting impressions. “There was a lot of white and a lot of reflection, a lot of shiny stuff. They could have been heading off to a space station. And the sound was insane. The sound makes you want to go home and open a nightclub in your living room,” says Blanks. Undercover’s Jun Takahashi featured  a poem about a single mother raising her eight year old child, written by German filmmaker and playwright Wim Wenders. “Every detail is just so beautiful and evocative and then Jun Takahashi showed the collection to go with that; everyday clothes, but completely transmogrified by his insane ingenuity,” recalls Blanks. At Alexander McQueen, Seán McGirr’s first show displayed his energetic direction for the house following Sarah Burton’s departure. “I think that as a creative director debuting at a house, it's much harder to create new energy than it is to create merchandisable clothes. And I think that's what he succeeded in doing; he created a new energy around that brand,” says Amed.Following the sudden passing of David Renne, Moschino welcomed new creative director Adrian Appiolaza, who looked to the roots of the brand for his first show. “If you detail Franco Moschino's iconography, Adrian Appiolaza went down the list and ticked every box. I think that that was probably the most joyful show of the whole season. … I think he celebrated the work of [Franco Moschino], in such a way that I'm really looking forward to seeing what he does next,” says Blanks. At Chloé, Chemena Kamali’s charisma shone through on the runway. “You could see her really embodying the new Chloé and being that kind of ambassador for Chloé in a way that maybe some of the more recent creative directors never were really able to do,” says Amed.Additional resources:Paris Fashion Week Says ‘So Long, Farewell’ With Chanel, Miu Miu and Louis VuittonImran Amed and Tim Blanks Go Backstage at Milan Fashion WeekBackstage Pass | Rick Owens’ Life Mission: Inclusion Hosted on Acast. See acast.com/privacy for more information.

On her award-winning podcast “Articles of Interest,” host and producer Avery Trufelman dives deep into the stories behind the clothes we wear. From the evolution of prep to the origins of wedding dresses, Avery guides her listeners through the multi-faceted layers behind the aesthetics of fashion. “It's crops, it's the earth, it's handwork, it's culture, it's society. You tug on a thread and you get everything,” she said. “That's what I'm slowly realising [about fashion].”This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Trufelman to discuss her path into podcasting, taking her lifelong passion for clothes and what they mean into an audio format, and what she’s learned about fashion along the way. Key Insights: A self-proclaimed “public radio nepo baby,” Trufelman has audio in her blood — her parents met working at New York Public Radio. But while she grew up with audio, she didn’t start experimenting with fashion until she was a teenager, expressing herself through quirky thrifted fashion ensembles, much to the confusion of her peers. “I knew in the back of my mind that it was too much, that I was sort of alienating people,” she says. “It just made me realise how powerful clothing was. That dressing in this wild way sort of set me apart.”Trufelman initially came up with the idea for “Articles of Interest” while interning at the design and architecture podcast “99% Invisible.” Presenting a fashion podcast to an audience more focussed on architecture, Trufelman began to see the ways in which fashion touched every facet of life. “In the beginning, fashion was sort of a dirty word for me,” she says. “Now it's all about fashion because everything has fashion. Buildings have fashion, cars have fashion, colours have fashion. Fashion is just taste over time and the most easy way to measure that when you look at a picture of any era, it's the cars maybe, but mostly the clothes.”Four seasons into “Articles of Interest,” Trufelman now finds herself with a rich archive to draw upon. “I don't ever kill stories. I love to reuse interviews that I collected years ago. I'm always cutting them up and revisiting them because I believe that knowledge isn't like one and done. It isn't a single use thing. I believe in making this a long sustainable living archive.” Trufelman also sees the parallels between podcasts and fashion in the ways in which both allow us to engage with the world. “People are listening to your voice while they're walking down the street and they're like noticing what people are wearing or they're noticing what people are doing. It's not undivided attention. It is divided attention. It's beautiful.”Additional Resources:The BoF 500: Avery TrufelmanRalph Lauren is Traveling Back in Time to Bring Back Preppy Chic Hosted on Acast. See acast.com/privacy for more information.

In 2010, model Arizona Muse was catapulted into the fashion spotlight.  After opening and closing Prada’s Spring/Summer 2011 show, she was signed as a  face of the brand. But after years of the modelling, grind and some serious personal reflection, the British-American model has swapped the glamour of the runway for environmental activism.“[Modelling] nearly destroyed me. You pretend you enjoy it because everyone wants you to enjoy it. But the truth is, you'd prefer to be doing something else.”This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Muse to discuss her journey to the fashion runway, her reflections on fashion’s contribution to the climate crisis and why she sees  self-care as a form of environmental activism. Key Insights: While Muse is grateful for modelling career, she said it caused immense strain on her mental health. “It's been a blessing in so many ways, but it also nearly destroyed me. It really nearly destroyed my mental health,” she shares. “What's hard about modelling is people are judging you all the time on what you look like … They don't even judge you on what you wear. It's just purely what you look like.”The model first tapped into her passion for environmental activism after being invited to a charity lunch where she learned that textile materials were grown in soil by farmers. “Working at the centre of this industry, working with all the most amazing fashion houses that we've all heard of, how is nobody talking about the farmers who grew our clothes for us?” she says. She also sees her own self-care as part of her activism. “How can I take the best care of my being so that my being can be in the best shape that it can be, to be in service to the other beings around me who are human, to the other beings around me who are non-human, and to the biggest being of us all who is the earth?”Muse recognises the need for governments to support organisations like DIRT, she also insists there is a level of personal responsibility for those privileged enough to make sustainable choices. “If you're like I am, and you're one of those lucky people who has money in your pocket right now, it is your responsibility to spend it with sustainable businesses who are making things in a more responsible way,” she says.Why Big Brands Are Pushing Back Against Sustainability RegulationsThe Problem with Sustainability DataThe BoF Podcast | Ending Climate Colonialism in Fashion Hosted on Acast. See acast.com/privacy for more information.

In the world of high fashion, few names have commanded as much attention — and controversy — as John Galliano. Throughout the 1990s and 2000s, his sensual designs and runway theatrics earned him worldwide acclaim.But Galliano’s career imploded in 2011 when  a video of him emerged using antisemitic slurs. In a new documentary, “High & Low: John Galliano,” BAFTA-winning director Kevin Macdonald examines Galliano's meteoric rise, scandalous downfall, and the role of forgiveness and redemption.“If there's one thing that people could take away from the film, it is [that] things are never that simple. The grey predominates in life and in morality,” says Macdonald.This week on The BoF Podcast, BoF editor-at-large Tim Blanks sits down with McDonald to discuss  the phenomenon of cancellation and his own feelings about Galliano after completing the documentary. Key InsightsAlongside archive footage and interviews with industry insiders, the film features  extensive conversations with Galliano himself. Macdonald says  Galliano seemed to forget the series of events and antisemitic remarks he said. “I think he genuinely blotted that out. I don't think he's pretending not to remember. I think that it's a sign of him creating a story for himself about things that have happened … to get by,” Macdonald says.According to Macdonald, Galliano does not expect total forgiveness but hopes for understanding. “He knows some people will never forgive him for the antisemitic comments he made, but he wants people to understand who he is and where that came from and what part it had in the way it played in his life.” Macdonald attributes the attention the film has received prior to its release to nostalgia for a bygone era. “I think there's a romance about this past where people were misbehaving and being creative geniuses and led to crash and burn and didn't have to answer to HR,” he says.High & Low – John Galliano opens in cinemas on 8th March 2024.Additional resourcesJohn Galliano: ‘I Feel Much Freer’John Galliano: Fashion’s Greatest Showman Turns Ciné-AuteurA Penitent John Galliano Talks to Charlie Rose About Childhood, Addiction and McQueen's Suicide Hosted on Acast. See acast.com/privacy for more information.

Pat Boguslawski is setting the fashion world in motion. The Polish movement director at Maison Margiela is the creative mastermind behind some of fashion’s most memorable runway moments. From German model Leon Dame’s viral runway stomp in 2020 to the seductive strides of corseted characters in John Galliano’s triumphant 2024 Maison Margiela couture show, Boguslawski is redefining the role of the model and bringing back the spectacle of the show. “I always tell the models that it's better to give more than to give less,” he told BoF editor-at-large Tim Blanks, on this week's podcast.Key InsightsGrowing up in Poland in the nineties, Boguslawski devoured fashion content on TV and in print. But as he watched everything turn into a product, he felt the storytelling essence of fashion diminish.  “I started doing my job because I got bored. I just didn't like the direction we were going towards. … I promised myself that I'm gonna start bringing that energy back to fashion and create major runway moments.”Boguslawski is a multi-faceted creative. He started training as a dancer at age 15, transitioned to modelling and also studied drama and acting for four years before shifting to movement direction. “I'm so grateful that I was so curious because now I kind of use everything that I did in the past at my job,” he says. Directing the movement for the 2024 Maison Margiela couture show, Boguslawski encouraged the tightly-corseted models to channel their pain and discomfort into their characters. "I remember saying, 'Use that pain, use that suffering in your character. Just use whatever you're feeling right now. … Don't try to be perfect. Just let me see the suffering,'" he recalls.For Boguslawski, a connection with the audience is a key part of the show. “I like when the audience feels intimidated. It's exciting and I love the adrenaline that comes with it.” He recalls the impact of his direction during a rehearsal before the show. “I remember we were watching the main rehearsal and they were wearing their own clothes and the corsets. The whole rehearsal got a standing ovation by everyone who was in the room.”Additional resourcesDifferent Takes on Future Perfect at Fendi and Maison MargielaA Dream of Defiance at Margiela Hosted on Acast. See acast.com/privacy for more information.

As founder of Harlem’s Fashion Row, Brandice Daniel is a change agent. For more than 15 years, she has been working to bridge the gap between the fashion industry and Black and Latinx designers who often don’t come from famous fashion schools like Parsons or FIT. Following the surge in interest in diversity, equity and inclusion following the murder of George Floyd, there are growing headwinds which are stalling progress.“We've regressed so far, so fast. It is really disappointing, especially in an industry that is supposed to be cutting edge … How can you be innovative without addressing DEI?” she says.This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Daniel to discuss how the industry can foster real change. Key Insights:Harlem’s Fashion Row was founded in 2007 — long before DEI became a corporate buzzword — after Daniel noticed how little diversity there was at US department stores. “[I] realised that less than 1 percent of the designers that were on those websites at the time were designers of colour, however … African-Americans were spending $22 billion a year on apparel. And that was when I really got my aha moment.”2020 was a pivotal year for Harlem’s Fashion Row. After George Floyd’s murder sparked global conversations around racism and representation, more fashion and retail brands opened the door to diversity. “It was very easy to tell during those days who was wanting to do very performative work versus who actually was interested in doing the work,” Daniel explains. “The companies who were doing the work before 2020, they are still doing the work.”Still, despite the momentum that 2020 brought, she’s been disappointed in the lack of long-term action. “We've regressed so far, so fast. It is really disappointing, especially in an industry that is supposed to be cutting edge … How can you be innovative without addressing DEI?” she says. When it comes to finding your sense of purpose, Daniel believes in focusing on your goal, rather than the nitty-gritty of the process of achieving it. “Don't worry about the how. Just worry about the what and the why. If you focus on the what and the why and just allow the how to unfold as you just take one step forward, you will see that so many incredible things will happen.”Additional Resources:UK Fashion Industry Isn’t Making Progress on Leadership Diversity, Report FindsA New Lawsuit Puts Fashion’s Corporate Diversity Efforts in the Crosshairs Protecting Fashion’s DEI Efforts During Market Disruption Hosted on Acast. See acast.com/privacy for more information.

The fashion industry is responsible for up to 8 percent of global greenhouse gas emissions. But the most profitable fashion companies are often headquartered in the countries that have historically generated more emissions, while the nations with a smaller carbon footprint often find themselves more severely impacted by extreme weather driven by the climate crisis.“The industry is structured in a way that's very colonial … it's the rich countries that are reaping all the rewards and benefits, and it's the poor countries that have kept this industry profitable,” says Ayesha Barenblat, the founder and CEO of Remake, a non-profit that advocates for sustainable practices in the fashion industry. This week on The BoF Podcast, BoF chief sustainability correspondent Sarah Kent sits down with Barenblat, sustainable fashion designer Sammy Oteng and Vidhura Ralapanawe, executive vice president at manufacturing company Epic Group at BoF VOICES 2023 to discuss how to end climate colonialism in the fashion industry. Key Insights: In fashion, the climate crisis appears in colonial structures that perpetuate unequal distributions of power and profit. According to Barenblat, companies act as “glorified marketeers, telling production nations how to deal with the climate crisis. They're setting science-based targets, but they're not paying for it … let's flip the script and actually have a conversation around the people who create value for this industry and how we centre them in the conversation.”Countries in the global South have become dumping grounds for low-quality clothes from the global North. An estimated 40 percent of the textiles that arrive in Ghana are discarded as waste, however the true scale of excess garments is unknown. “We don't even know how much we are producing in terms of fashion. We say 100 billion to 150 billion [garments produced each year], that's a 50 billion gap,” explains Oteng. “Until we understand a problem that we have, we can't move on to having … that one solution.”Alongside climate mitigation, it is important to also address climate adaptation. “Every brand and retailer wants to talk about mitigation because they want to make money off the climate crisis, but our communities need climate adaptation resources,” says Barenblat, adding that philanthropic contributions are not enough. “What we want are equitable ways to make these communities whole … we can't just sit around and have conversations anymore.”The fashion industry needs to halve its emissions by 2030 to meet global climate goals, a timeline that is already unrealistic. As Ralapanawe says, “We haven't even started. There's no way that any brand or any manufacturer will hit their 2030 targets now.” Additional Resources:The Year Ahead: Why Fashion Can No Longer Ignore the Climate CrisisThe Multi-Billion-Dollar Question for Sustainable FashionSustainability Comes At a Cost. Fashion Isn’t Paying. Hosted on Acast. See acast.com/privacy for more information.

Matthieu Blazy has been a quiet but powerful force in the fashion industry for years, having worked under powerhouse designers like Raf Simons and Phoebe Philo. But in 2021, he earned that status on his own when he was named the creative director of Bottega Veneta. Since then, he’s developed a reputation for pushing creative boundaries; BoF editors named his carnivalesque Autumn/Winter 2023 collection, which featured tank tops and jeans made of leather, as their favourite show of the season. “I was very interested in this idea of boring clothes. How can we push it so it really becomes something precious and luxurious?” Blazy says.This week on The BoF Podcast, Blazy sits down with BoF editor-at-large Tim Blanks at BoF VOICES 2023, where he opened up about his creative processes and work at Bottega Veneta. Key insights:For Blazy, collaboration and a close connection with his teams are paramount for creativity. Before taking the creative helm of Bottega Veneta, Blazy spent four years at Maison Martin Margiela. “The way I work with the team is quite emotional. … When I arrived at Margiela I took my office out of the studio and I put it inside the atelier. It was nice because it was not just me thinking on my own. We were actually making it together,” he shares.Whilst Blazy recognises the power of technology in fashion, at Bottega Veneta, he still puts the emphasis on craftsmanship first. “When you make something by hand, it will always have a little mistake, which is not a mistake, which is part of the process. … so when you go to the store, you won't find twice the same product. You have the idea of a theory, of course, but it's never the same. One artisan cannot finish the work of another artisan.”As a global brand, Blazy hopes customers around the world will be able to see themselves in Bottega Veneta under his creative direction. “Fundamentally I want [global customers] to also find something where they also recognize themselves in the story that is not just Italian.”  Additional resources: Who Is Matthieu Blazy, Bottega Veneta’s New Creative Director?Bottega Veneta: Everything Old Is New AgainBottega Veneta’s Everything, Everywhere Essence Strikes Fashion Gold Hosted on Acast. See acast.com/privacy for more information.

The delicate dance between artistic integrity and commercial viability is a challenge Dan Levy and Jonathan Anderson know well. Levy's Emmy Award-winning Netflix show Schitt's Creek harmonises creative brilliance with mainstream appeal, while at the luxury label Loewe, Anderson’s refreshingly original designs have earned him both critical acclaim and commercial success. What unites their work is a real commitment to personal vision.“I can't think of something more heartbreaking than starting with an idea that I loved, allowing people to change it to the point where it loses its DNA, then it goes out into the world and either succeeds or fails, and I have to look at that and say, ‘Well, that's not me,’” says Levy. “You can never get that back. The fight to protect that [idea] is so important.” This week on The BoF Podcast, Levy and Anderson speak with BoF editor-at-large Tim Blanks about how they balance creativity and commerce in a conversation from BoF VOICES 2023. Key Insights: "Schitt's Creek" began as a bare-bones-budget Canadian production and became a worldwide sensation during the pandemic. “We went and made something with absolutely no outside opinions, and because the stakes were so low, we were able to really kind of make the show for ourselves,” he says. “So what we made was quite pure.”Through his work at Loewe and his namesake label, Anderson has realised that designers can’t be afraid of backlash. “Sometimes you have to make the decision that you may have to give the audience what they don't want to annoy them. Because there's nothing better when people are annoyed because then they think.”For both creatives, the pandemic was a watershed moment. Anderson recalls, “it destroyed every formula that there ever was,” whilst Levy explained, “it also gave the consumer or the audience the freedom to find what they liked.” To find creative success, Anderson puts it simply: “I think for something to be successful, you have to give everything you have.”Additional resources:At Loewe, Jonathan Anderson Thinks Outside the Box. Literally.How Loewe Became One of Fashion’s Hottest BrandsThe Jonathan Anderson Experiment Hosted on Acast. See acast.com/privacy for more information.

Diane von Fürstenberg has been synonymous with women’s empowerment since she first unveiled her revolutionary wrap dress in 1974. But for her, the garment became much more than a symbol, it became the key to her own independence.“I did not know what I wanted to do, but I knew the kind of woman I wanted to be,” von Fürstenberg told author and spiritual wellness advocate Deepak Chopra, her friend of three decades, on stage at BoF VOICES 2023. “I wanted to be in charge. I wanted to be free. I mean freedom. I wanted to be my own person. And I wanted to have a man's life in a woman's body. And the way I became that woman was a little dress.”This week on The BoF Podcast, von Fürstenberg and Chopra look back on the designer’s journey from princess to fashion powerhouse, and share their collective wisdom on finding meaning in life.Key Insights: Born in Belgium, von Fürstenberg is the daughter of a Romanian father and Greek-born, Jewish mother who survived the Holocaust. “She taught me that fear was not an option,” von Fürstenberg says of her mother. “That no matter what, you could never be a victim.” Despite her decades-long career in fashion, it wasn’t until von Fürstenberg received the Council of Fashion Designers of America’s lifetime achievement award in 2005 that she considered herself a designer. “Because I didn't go to fashion school, I thought I wasn't a designer,” she recalls. “But the one thing I know I am, I can design life … You're not in charge of your destiny, but you can navigate your destiny.”Von Fürstenberg's work with various causes and non-profits is as close to her heart as her namesake business. “I never really loved the word philanthropy because it sounds like landscaping. You feel like you need an expert, but it is about being human. And it is about paying attention to others.”Additional Resources:Diane von Furstenberg Makes a (Profitable) ComebackDiane Von Furstenberg’s CEO on Building a Career in FashionDiane von Furstenberg Shutters Rental Service Hosted on Acast. See acast.com/privacy for more information.

Since 1978, Brunello Cucinelli’s namesake brand has been a standard-bearer for both luxury clothing and a more responsible way of doing business. At a time of great change, Cucinelli believes that businesses must strike a balance between embracing technological innovation that could threaten livelihoods, like AI, to push creativity forward while also keeping  humanity at the heart of business.“I believe in a kind of contemporary way of capitalism. We are a listed company. We do want to make a profit, but a fair profit at that. There should be a balance between profit and giving back,” he explains.This week on The BoF Podcast, Brunello Cucinelli speaks with BoF founder and editor-in-chief Imran Amed about ethical business building, artificial intelligence and his philosophy of “humanistic capitalism” during  conversation at BoF VOICES 2023.Key Insights: Cucinelli’s approach to labour is guided by his working-class upbringing and seeing his father was demeaned and belittled at work. “I saw tears in his eyes and that was my source of inspiration to have a completely different vision of the world,” he says. “I wanted my human beings to be surrounded by pleasant places. I wanted them to make handsome money. And I wanted them to be treated like thinking souls.”This philosophy of ‘humanistic capitalism’ also extends to customers. “We need to redress the balance. Shoppers want to know exactly where a specific item has been made, how it's been made, whether creation has harmed it along the process. We need a new social contract with creation,” he explains.Mr Cucinelli believes artificial intelligence offers both solutions and challenges. “Technology is a blessing from creation, but sometimes it steals the soul that creation bestowed upon us,” he says. However, he adds, when used correctly, “AI will be just a partner for us, and we will rediscover the value of truth and human beings.”When it comes to planning for the future of his company, Cucinelli hopes his successor will share his humanistic ethos. “I would like my company to still be there for the coming 100, 200 years. And I would like whoever runs it to keep believing in a contemporary capitalism, to make a fair profit while respecting human beings and creation.”Additional Resources:Brunello Cucinelli Insists on Balance at His BusinessChanel and Brunello Cucinelli to Take Stake in Italian Yarn ManufacturerBrunello Cucinelli Acquires 43% Stake in Italian Cashmere Supplier Hosted on Acast. See acast.com/privacy for more information.

This year, Barbie-mania swept the globe. A key architect of that phenomenon was Richard Dickson, who served as president and chief operating officer of Barbie’s parent company, Mattel, for almost a decade. There, he revived Barbie, a name that had lost its cultural relevance, and brought it firmly back into the zeitgeist. Now, Dickson is taking his talent for revitalising fading icons to Gap, where he was appointed CEO in July 2023. “Evolution keeps the brand relevant, but purpose makes a brand immortal,” says Dickson.This week on The BoF Podcast, Dickson joins BoF founder and editor-in-chief Imran Amed to discuss the power of brands and his vision for rebooting Gap in a live conversation from BoF VOICES 2023. Key Insights: When Dickson arrived at Mattel, the Barbie brand was at a low point, with lagging sales and diminished relevance. Dickson pushed the brand to embrace dolls with different body types and ethnicities. “The process itself was really going back to the roots, going back to the purpose … What made it so great to begin with? The origin story of the brand was that it was designed to inspire the limitless potential of girls,” he explains.Determining purpose is what fuelled his work at Mattel; now, he’s applying the same mindset at Gap. “There can be nothing more inspiring than taking that cue and figuring out how to create that cultural conversation today, using our brands as a platform to actually create a better world.”Dickson recognises that Gap needs a stronger point of view. “We're not going to get to where we want overnight. But we have extraordinary people. We have a culture that is going to be unlocked with extraordinary creativity… and I am privileged and honoured to be the leader at this particular time,” he says.Additional Resources:Richard Dickson at VOICES 2023: Perpetual Relevance in the Age of Distraction​Is Gap’s CEO ‘Kenough’ for Investors Seeking a Turnaround?Breaking Down the Barbie Phenomenon, From Mattel to ChanelGap Surpasses Expectations in Early Win for New CEO Dickson Hosted on Acast. See acast.com/privacy for more information.

After she was scouted in a modelling competition in Lincoln, Nebraska at the age of 12, Ashley Graham went on to break barriers in the fashion industry by becoming the first plus-size model to appear on the covers of both Sports Illustrated’s swimsuit issue and American Vogue.“It started shifting the minds of agents, casting directors, art directors, editors to say, ‘Oh, this is where we're going. The zeitgeist is turning, and it's not just about what has been deemed beautiful for so long. Maybe we should think about what else is out there,’” she says.This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Graham to learn how she became the most recognisable face of a global cultural movement and understand the personal philosophies that have guided her along the way.Key Insights: Raised in Lincoln, Nebraska, Ashley Graham's career began when she was scouted at a local mall at the age of 12. Though she hadn’t seen her body type represented in media before, her upbringing equipped her with the self-confidence to pursue the path. “Because I had come from a very confident home, I was able to look at my body in the mirror and be okay with it,” she says.Graham’s breakthrough moment came in 2016, when she landed the cover of Sports Illustrated’s swimsuit issue. A year later, Vogue came calling. “Vogue saw that there was an opportunity for monetising a size as well as different races and ages… the impact was so great for other plus-size models,” she recalls.Despite her success, Graham recognises that fashion still has a long way to go when it comes to representation, particularly when it comes to the clothes themselves. “There are so many designers that don't know how to cut around a breast, a hip or a butt because they just have not understood what that actually means,” she says. When it comes to discovering your own confidence, Graham believes its internal validation that matters most. “If more people went inward instead of searching out for everything and really leaned into prayer, meditation, quietness, then they would have more enlightenment and confidence.”Additional Resources:Squeezed by Rivals, Spanx Taps Ashley Graham to Embrace Celebrity MarketingOp-Ed | Fashion Needs to Drop Its Elitism and Accept Plus-SizeA New York Fashion Week Mystery: What Happened to All the Plus-Size Models? Hosted on Acast. See acast.com/privacy for more information.

Having dominated Hollywood's cinematic landscape for decades, Angelina Jolie is now moving into uncharted territory — the world of fashion. This week, she opened the doors to Atelier Jolie, a multi-purpose brick-and-mortar workshop at 57 Great Jones Street in New York, once a home to art world legends Andy Warhol and Jean Michel Basquiat. The historic location reveals the motivations, philosophies and aspirations of Jolie’s new venture. Atelier Jolie aims to provide a global group of artists and designers — including immigrants and refugees —  a collaborative space for creating garments, including custom pieces, entirely out of deadstock materials.  “I don't think of it as fashion. I think about it as self-expression and community,” Jolie says of her new business. This week on The BoF Podcast, Imran Amed sits down with Angelina Jolie to explore her creative journey and the personal philosophy that has led her to focus on ethical and sustainable fashion. Key Insights: Jolie’s vision for Atelier Jolie is to allow small-scale artisans a chance to develop and grow their craft, and be able to support themselves . “Giving opportunities for people to work for themselves is the best thing we can all do for everyone. To me, doing business globally and partnering … matter to me more than just donations and charities,” she says.Jolie wants the creativity of others to be front and centre at Atelier Jolie. “I'm not interested in becoming a known designer,” she says. “I'm interested in being a part of a good family. … I built more of a home and I'm one of the creators that play in the home.”A sense of playfulness is also key to the business, which Jolie imagines as a space for free expression. “You have to make a mess and you have to figure out what you really love,” she says, adding that “I think for a long time … I haven't found the joy of [dressing up] because there was so much that was bothering me about the business. But now I want to play.”The New York location features a retail space, a café and a design studio. The plan is to adapt the format to new markets. “I would like to partner with people in different countries, and I'd like them to share ownership of the place and of the designs,” she says, noting that for example “the atelier that will be in Japan should feel very different, should be owned differently, should be run differently, but same principles.”When it comes to turning personal passions into projects that make a tangible impact on the world, Jolie’s advice is straightforward: “You know what it is that really stirs your soul and makes you upset. … Whatever that is, you find other people that share that same feeling and spend time with them and go deeply into the work.” Additional Resources:Angelina Jolie Launches Fashion VentureAngelina Jolie’s Atelier Jolie Opens Its First StoreWhy Celebrities Are Buying Their Brands Back Hosted on Acast. See acast.com/privacy for more information.

At every juncture of her extraordinary professional journey, Leena Nair has authored a series of 'firsts’. Growing up in her home country of India, she was part of the first cohort of female students at her school, at Unilever she was the first woman to lead global human resources, responsible for 150,000 employees and in January 2022 she became Chanel’s first-ever global CEO of Indian-origin — making her the only woman of colour leading a major global luxury brand.  Nair is leaning on the lessons from her people-centric career to lead Chanel into the future as the post-pandemic luxury boom comes to an end. “I really believe if you look after people, their growth and development, their dreams and aspirations, they will look after the business. They will help you with ideas and really care about the institution they're a part of,” says Nair.Nair sat down for her first public talk with BoF founder and editor-in-chief Imran Amed at BoF VOICES 2023 to share her vision for Chanel, philosophies on leadership and advice for women who feel like outsiders.   Key Insights: Growing up in her home country of India, Nair frequently battled gendered stereotypes. “After a point I had to stop listening. …Gender roles were so strong. …One of the most [common] comments I would get is, ‘You're so talented. You should have been a boy,’” she recalls.  Acknowledging that she is a fashion-industry outsider, Nair is conscious of fostering a supportive and inclusive work environment. “Lift as you climb. … I feel the responsibility of making it easier for those who come after me,” she explains. Nair intentionally welcomes insights from diverse perspectives. “I really feel the days of the superhero leader with all the answers is way behind us. … How can one individual have the answers?” she asks. “Collective problem solving, collective creation, collective ideation … is really important to me.”Sharing her vision for Chanel, Nair outlined her three pillars for the brand’s future. “One is to have a positive impact in the world. … The second is, in the world of AI, to be relentless in protecting human creation, human creators, human relationships. And third, to always be part of what's next, to shape what's coming.”Nair’s advice to young women finding their voice in whichever industry they are drawn to is straightforward: “Be unafraid to try and express your ambition and what you want to do. … Be intentional to say I want this, because if you can't express ambition in those words to yourself, to your CEO, to your mentor, to someone who supports you, how can it ever be translated into reality?”Additional Resources:Chanel’s Three Pillars for the FutureWhat Fashion Can Learn From Chanel’s New Global CEOChanel to Double Capital Investments, Bolster ‘Ultimate Luxury Experience’ as Sales Surge Hosted on Acast. See acast.com/privacy for more information.

The stylist and fashion editor reveals to BoF founder and editor-in-chief Imran Amed why she resigned from Vogue and how she is channelling her influence and energy to support that next generation of fashion talent.Background:In the dynamic world of fashion magazines, Gabriella Karefa-Johnson stands out. Karefa-Johnson has always stood out, growing up as a self-described loud, weird, driven kid. Karefa-Johnson’s first Vogue cover was Paloma Elsesser for the January 2021 issue of Vogue, photographed by Annie Leibovitz. Later that year, she worked on the cover shoot featuring US Vice President Kamala Harris. But recently, Karefa-Johnson decided to leave Vogue. “The truth of the matter is we grow and sometimes our containers don't grow with us. And so I am excited to build a new container for all of these ideas and this energy,” Karefa-Johnson says.This week on The BoF Podcast, Karefa-Johnson joins BoF founder and editor-in-chief Imran Amed to discuss her professional journey, how she harnesses her creative energy in a high-pressure industry and why she is laying the foundation for the next generation of fashion creatives. Key Insights: On excelling in the demanding, hyper-creative world of fashion media, Karefa-Johnson avoids burnout by focusing on her inner self. “Staying true to who you are and… really maintaining the purity of that creative exchange is something that keeps me grounded,” she says.Looking back at some of her most challenging assignments, Karefa-Johnson recalls the 2021 cover shoot during the Covid-19 pandemic with US Vice President Kamala Harris. “It's very hard to communicate with your subject, which is super crucial in executing an image. You need to have a relationship and a rapport and there needs to be mutual trust,” she explains. “But it's hard to establish that between 15 masks, because it was during Covid, 14 secret service agents, a press secretary and a chief of staff.” Reflecting on her decision to leave Vogue, Karefa-Johnson is excited about what lies ahead. “I just hope that whatever comes to be of this career of mine is something that models possibilities for the next Gabriella Karefa-Johnson,” she explains. “I can't wait to take those tools and apply them in ways that are really just true to who I am, serve me and serve people who look like me.”Karefa-Johnson is passionate about nurturing emerging talent and has used her network to support the development of Central Saint Martins graduate Torishéju Dumi. “It's very easy to feel invisible in these cities as a young designer, period. Full stop. But as a young black female designer, I knew that the hurdles she was up against would be exponentially bigger than some of her colleagues,” Karefa-Johnson says. “I wanted to be able to bridge the gap. I wanted to be able to give her a leg up, which I think in a lot of ways is something that has produced so many of the most enduring young designers.”Additional Resources:Poet Laureate Amanda Gorman Appears on Cover of American Vogue | BoF Ye Lashes Out at LVMH and Vogue Editor After ‘White Lives Matter’ T-Shirt Draws Criticism Hosted on Acast. See acast.com/privacy for more information.

The pioneering set designer speaks to BoF founder and editor-in-chief Imran Amed about how she’s set the stage for some of fashion’s most talked-about immersive experiences.Background:In the world of set design, Es Devlin is a trailblazing, unstoppable force. Her remarkable career has seen her craft stages for global superstars like Beyoncé, U2 and Adele as well as immersive experiences for Louis Vuitton, Saint Laurent and most recently, Gucci which recently brought its Cosmos exhibition to London’s 180 The Strand.But to describe Es as a set designer only feels somewhat reductive. She is a deep thinker who approaches her work like a creative philosopher, examining critical questions about the world.This week on The BoF Podcast, Devlin joins BoF founder and editor-in-chief Imran Amed to discuss her career and her impressions of fashion — as well as her advice for young creatives.  Key Insights: Devlin approaches work through multiple lenses. “The practice is to see it through my own eyes, then see it through my collaborators eyes, then finally to see it through the audience's eyes,” she said. “Building on all of those converging and colliding… viewpoints… I think it's a very helpful muscle to learn just in living.”In creating bespoke environments, narrative is a central part of Devlin’s process, particularly in working with fashion companies. “What I've learned… is how to tell a story about the history of a house through an experience that an audience will walk through,” she says.For creatives who may not have the budget of established fashion houses, Devlin encourages leaning on scarcity as a tool to harness creativity. “You can make a gesture by picking a place and turning all the lights out. You could make a gesture by just doing everything in one colour,” Devlin says. “Make your limitations… be the point, be the advantage.”As AI plays a bigger role in her own work Devlin is studying the technology to learn more, rather than work with it without context. “My approach generally is to learn to read as much as I can rather than speaking from a position of inaccuracy or ignorance.”Additional Resources:Gucci Cosmos Exhibition Arrives in LondonAt Saint Laurent, Far From Fashion Week  Hosted on Acast. See acast.com/privacy for more information.

BoF founder and editor-in-chief Imran Amed sits down with Anaita Shroff-Adajania, Bandana Tewari, Lakshmi Menon and Bollywood superstar Katrina Kaif to explore the country’s evolving beauty landscape.Background:It’s been 16 years since Vogue India’s inaugural issue put a global spotlight on India’s fashion and beauty industries. Today, the beauty sphere in particular is in the midst of a transformative shift, embracing inclusivity and making an impact far beyond its borders. “This is a 5,000-year-old culture of great style and heritage,” said Bandana Tewari, journalist, former fashion features director of Vogue India. “We had to do things to tell the outside world … what our cultural heritage of style and fashion is, that it existed over time.” This week on The BoF Podcast, Imran Amed explores the changing dynamics of the Indian beauty industry through conversations with Tewari as well as Anaita Shroff Adajania,former fashion director of Vogue India; model Lakshmi Menon and Bollywood superstar Katrina Kaif on stage at the second annual Estée Lauder Beauty & You Awards in Mumbai, India. Key Insights: Featuring Australian model Gemma Ward front and centre, flanked by actresses Bipasha Basu and Priyanka Chopra, the first cover of Vogue India “did not really nail diversity, did not nail India. It was trying to package India into some kind of modern context without any of its own culture in play,” Menon says.On the other hand, an inside story shot by Prabuddha Dasgupta showcased traditional Indian beauty, rather than in contrast to the westernised interpretation on the cover. “We had a lot of freedom because it was a space where the western powers didn't know what I was meant to do, so we were left to be ourselves and we were ourselves and we celebrated it,” says Tewari. Colourism is still an issue in the Indian beauty industry. The industry is driven by skin whitening products and Menon recalls a time she turned down a contract which included whitening cream. “It's not always about the money. It's also about who you are and how you want to put yourself out there, especially coming from a country like India, you know, who's had a huge colonial past.”  Over time, the need for greater diversity in all aspects of the beauty industry is also essential, beginning in product development. “One thing that came out repeatedly was that there's no research on women of our skin colour. … I feel [the global industry] underestimates the power of the beauty revolution that's happening here,” says Shroff Adajania.For Kaif, authenticity is the key for success in the beauty market in India and beyond. “No amount of advertising can substitute the fact that the consumer and our audiences can see the truth. … They can sense what has been sold to them and what is genuinely coming from a place of authenticity,” Kaif says.Additional Resources:Decoding The Indian Beauty Landscape: Amazon Bets on Indian Beauty BrandHow India’s Nykaa Aims to Beat Sephora Hosted on Acast. See acast.com/privacy for more information.

This week on The BoF Podcast, Condé Nast Britain’s chief business officer speaks with purpose and intuition coach Mory Fontanez about leading as an outsider in the modern workplace.Background:In 2017, Vanessa Kingori became British Vogue’s first female publishing director. Since then, she has become a mother, received an MBE and stepped into the additional role of chief business officer of Condé Nast Britain.At BoF VOICES 2021, Kingori shared her leadership lessons with Mory Fontanez, purpose and intuition coach and founder of consultancy 822 Group. They discussed the importance of trusting intuition in the workplace to bolster data-driven decisions while also challenging conformity to allow for creativity.“With the wonderful thing that is hindsight, I’ve realised it’s okay to be intuitive,” said Kingori. “It’s actually great to lean into your differences rather than try to push to assimilate too much.”Key Insights: Throughout her life, Kingori has leaned into being a newcomer, “I think I've been extremely fortunate in that I have lived a life where I am used to being an outsider. I've been in an organisation now for over 12 years and in every single facet of my work at Condé Nast, I've been the outsider,” Kingori says. For Kingori, being different has not only been personally beneficial, but also forms part of her business philosophy. “I think conformity is the enemy of progress and creativity in business. It's completely strange that we're all sort of desperately trying to belong to a tribe, think the same, and all of those things.”  Intuition is a cornerstone of Kingori’s leadership philosophy. “Let your intuition be the starting point. Intuition is about a subconscious understanding of something, but that subconscious understanding comes from somewhere. It's not magic… It's that you have experienced or observed something that underpins a strong belief,” she says.BoF VOICES, our annual gathering for big thinkers, returns from Nov. 28 to Nov. 30, 2023. The entire event will be livestreamed for BoF Professional All-Access members. Register now to join us.Additional Resources:Power Moves | Vanessa Kingori’s New Role at Condé Nast, Everlane’s Founder Leaves CEO RoleVanessa Kingori’s Commercial Reboot of British VogueThe September Issue Gets an Overdue Makeover Hosted on Acast. See acast.com/privacy for more information.

The South Sudanese model reflects on her path from a Kenyan refugee camp to travelling the globe as an international top model.Background: South Sudanese model Adut Akech has made her mark on fashion, having appeared on countless international magazine covers and on the runway for brands including Chanel and Prada. But Akech’s story begins worlds away from fashion shows and Vogue cover shoots: The model was born while her family was fleeing war in South Sudan and spent her early years in a Kenyan refugee camp."I will always be a refugee, because that's who I am," she told BoF's editor-at-large Tim Blanks on stage at BoF VOICES in 2018. "No amount of money or my status or how famous or whatever the case is... I'm always going to be a refugee and I'm proud of who I am."This week on The BoF Podcast, revisit Akech and Blanks’ conversation, where they discuss Akech’s childhood and journey to the fashion industry. Key Insights: Though she spent part of her childhood in a refugee camp, Akech recalls those years being mostly happy. “I didn’t know I was in a refugee camp, I had cousins there, I had friends… some of the best memories are just running around and playing,” she says. Her first experience modelling was in a small fashion show put on by her aunt, who was a fashion designer. That moment made her realise she wanted to model professionally. “I just fell in love instantly," she says. "When I’m on the runway, I’m a whole different person."Growing up, Akech idolised Black models Naomi Campbell and Alek Wek. Now, she serves as a source of inspiration for the next generation of Black models. "I have people messaging me saying I inspired them to love their Black skin, that I inspired them to chase their dreams," she says.BoF VOICES, our annual gathering for big thinkers, returns from November 28 to November 30, 2023, uniting the movers, shakers and trailblazers of the fashion industry with the thought leaders, entrepreneurs and inspiring people shaping the wider world. The entire event will be livestreamed for BoF Professional All-Access members. Register now to join us.Additional Resources:Adut Akech, Top Model: On InclusivityDapper Dan, Adut Akech, Pierpaolo Piccioli and Chika Are Our #BoF500 Cover StarsHow Valentino Embraced Diversity Hosted on Acast. See acast.com/privacy for more information.

Christian Louboutin opens up to Rozan Ahmed at BoF VOICES 2021 about identity, passion and building a brand worth $2.7 billion from the ground up.Background:Christian Louboutin’s iconic red-soled stilettos have made him one of fashion’s most recognisable names. But few know the story of the multi-faceted man behind the Christian Louboutin brand.Louboutin spoke with writer and cultural activist Rozan Ahmed at BoF VOICES 2021 about how his identity and upbringing have shaped how he approaches business. A major factor in understanding that identity was Louboutin’s discovery later in life that he was actually the child of his French mother and her Egyptian lover.“To belong to different cultures, to different places makes you understand from the very beginning that the world has a lot of different points of view,” Louboutin said. “When you have different ethnicities, different cultures you’re not divided, you’re multiplied.”Key Insights:Throughout his life, Louboutin felt an affinity for Egypt, but it wasn’t until his older sister probed his interest in the country that he was able to discover the reason why. “She asked me why I love Egypt so much… she said, ‘You could be looking for something’. I said, ‘Looking for what?’. She said, ‘Your father.’”Louboutin sold a 24 percent stake in his business in March 2021, a point he was able to arrive at through the work of many. As a leader, Louboutin doesn’t accept all the credit for the success of his company. He explains, “When you're working with people and you respect them and you have everyone doing their thing the best because they like what they do, then you end up having a great team so you don't need to be a good leader.” On sustaining personal joy alongside professional success, having excitement in whatever he is doing is paramount for Louboutin. “I feel that passion comes first. And if passion comes first, you will never waste your time because you will always be happy with what you are doing. And if success is happening, it's a cherry on the cake,” he says.Despite his success, Louboutin never imagined building a multi-billion business — or giving up a stake in it. “I started the company three years ago with my two best friends, and I never thought of selling a part of the company,” he says. “I was not even necessarily interested in the fashion industry… I just wanted to have a shop with nice shoes. That’s it.”BoF VOICES, our annual gathering for big thinkers, returns from November 28 to November 30, 2023, uniting the movers, shakers and trailblazers of the fashion industry with the thought leaders, entrepreneurs and inspiring people shaping the wider world. The entire event will be livestreamed for BoF Professional All-Access members. Register now to join us.Additional Resources:Learn From Industry Icons, Cultural Disruptors and Business Moguls at BoF VOICES 2023VOICES 2021: Live Your Best LifeFrom Tiffany Blue to Louboutin Red: The Power of Owning a Colour Hosted on Acast. See acast.com/privacy for more information.

BoF’s founder and editor-in-chief Imran Amed sits down with the men's creative director of Louis Vuitton to discuss his journey into the luxury industry and his plans for the world’s largest luxury brand.Background:Pharrell Williams has been part of the global cultural consciousness for the better part of two decades as a rapper, songwriter and music producer. But earlier this year, when he was named men’s creative director for Louis Vuitton, his career took on a whole new trajectory. This week on The BoF Podcast, Williams joins BoF founder and editor-in-chief Imran Amed to discuss his new vision for luxury at Louis Vuitton as part of a BoF 500 cover story, examining his journey into the luxury industry, his vision for Louis Vuitton and how he is thinking about stepping into the shoes of his predecessor Virgil Abloh.“He has giant shoes for one to try to fill. But that's not what I'm here to do. I'm not here to fill my brother's shoes. My brother's shoes are his shoes. And the steps that he took are his steps. And I would never want to get in the way of that.” Key Insights: Williams is approaching the design process from the point of view of a customer. “When I got here, I was so excited and I knew all the things that I wanted to do because I am the consumer,” he says. “I know what it is that I'm looking for so I design from the lenses of what it is that I'm going to need.”Williams has his eye on expanding the Louis Vuitton brand, not just in terms of sales volume, but also the brand’s core values and who it aligns itself with, hinting at forming new partnerships. “Growth is not just in sales growth, it’s also growth in perspective,” he says. At the core of Williams’ mission is to make Louis Vuitton menswear centred around people, both its customers and those who work for the brand. “The material items that we offer are important, and these are beautiful objects, but they are the result of something more valuable, which is the humans and their ideas that work here … that's what you're buying.”For those looking to find their own creative path , Williams’ advice is simple. “When you see a block, there's a way around it…Curiosity is going to be the fuel to help you do that,” he explains. “And don't look back. For what? You can see how far you come later.”Additional Resources:Pharrell Williams: The Future of Luxury Is ‘Freedom’Louis Vuitton’s CEO Answers Key Questions on Pharrell’s DebutPharrell at Louis Vuitton: When Fashion Became EntertainmentPharrell at Louis Vuitton: Has Luxury Outgrown Fashion? Hosted on Acast. See acast.com/privacy for more information.

BoF’s editor-at-large and founder and editor-in-chief look back at the key moments of fashion month, from Sabato de Sarno’s debut at Gucci to Sarah Burton’s farewell show for Alexander McQueen.Background: This season, fashion month saw several highly-anticipated debuts (Sabato de Sarno at Gucci, and Peter Hawkings at Tom Ford) as well as goodbyes (Sarah Burton at Alexander McQueen, Fabio Zambernardi at Prada and Miu Miu, and Gabriela Hearst at Chloé). But, beyond those headline-making moments, the highlights included the slyness and humour at Prada where models walked down a runway against a backdrop of dripping slime, the spine-tingling soundtrack at Dries Van Noten and models at JW Anderson in plasticine-made hoodies.“The best shows make you think and make you feel a little uncomfortable or they evoke some kind of emotion — but they also make you want to shop,” says Imran Amed, BoF’s founder and editor-in-chief. Following the conclusion of Paris Fashion Week, Amed sat down with BoF’s editor-at-large Tim Blanks to discuss the highlights of the Spring/Summer 2024 season and the hallmarks of a great fashion show. Key Insights:Sabato de Sarno’s much-anticipated debut at Gucci, which included a change of venue from the streets of Milan’s Brera district to Gucci’s headquarters forced by inclement weather. “If those girls had been walking on cobblestones just like people going somewhere, seeing those clothes in a real environment, it would have taken on a different kind of life,” says Blanks.   Alexander McQueen said goodbye to Sarah Burton, who served as a steward for the brand for more than 10 years after the death of its namesake designer. ( “ She was so umbilically connected with [McQueen] that the brand ethos was sustained to a remarkable degree. I would hate to see McQueen now become one of those brands where no one really knows what to do with it and it's in play,” says Blanks. Rick Owens show featured plumes of coloured smoke and bursts of rose petals — and a collection full of thought-provoking statement pieces. “There is really no one like him in fashion, and I don’t know if there has ever been anyone like him in fashion,” says Blanks. Blanks calls Undercover’s Jun Takahashi one of the industry’s most fascinating designers. This year, Takahashi showed a provocative collection that played with proportions and layering, with a finale that included “terrarium” skirts, filled with plants and live butterflies. “He makes clothes that … people might consider to be avant garde, but they're so beautiful and wearable as well,” says Blanks.Prada was the “show of the season.” A few years into Miuccia Prada and Raf Simons’ collaboration as co-creative directors, the show’s success was a convergence of elements beyond the collection itself — from the soundtrack (Alfred Hitchcok’s “Vertigo”) to the set. “It reminded us of Prada in its full glory where there was that slyness and humour and perverse glamour,” says Blanks.  Hosted on Acast. See acast.com/privacy for more information.

Tom Ford’s new creative director opens up to Imran Amed about his progression in the fashion industry and his first womenswear collection for the brand.Background: When Tom Ford started his namesake brand in 2004, his longtime deputy at Gucci Peter Hawkings was his first call — and his first employee. Fast-forward to April 2023, Hawkings’ phone rang again. Only this time, Ford said he was stepping down and putting Hawkings forward for the top job. “I didn't sleep for the first two nights. It was crazy,” Hawkings said of his reaction to the news that he would step into his longtime boss’ shoes and become creative director of the eponymous brand he created. “But after all of that subsided, I realised that Tom [Ford] was giving me the opportunity of a lifetime. And I am, to this day, super grateful to him for giving me this chance to continue the legacy.”This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Hawkings, the new creative director of Tom Ford following his runway debut at Milan Fashion Week to discuss his origins and journey into the fashion industry — and his plans to continue the Tom Ford legacy.Key Insights:It was in 1998 that Hawkings first met Ford, after finishing his master's course at Central Saint Martins. The then-24-year-old applied to the assistant menswear designer position at Gucci, where Ford was the brand's creative director. This would launch a 25-year partnership with the two designers and eventually lead to Hawkings becoming the creative director of the Tom Ford brand. Hawkings, who previously designed Tom Ford’s menswear collections, said that he leaned on his wife when designing womenswear for the first time. “It's been invaluable, you know, having that conversation with her. Her trying clothing on, trying shoes on … for me, it's so important, comfort and fit and all of those elements that are so important when you're designing for a woman,” says Hawkings. During Hawkings’ career, he had the opportunity to learn from not just Ford, but also other fashion talents, such as British designer Louise Wilson, who was one of his professors at Central Saint Martins. “I always go back … to the advice that Louise [Wilson] always gave me, which was one: work hard, absorb knowledge and give knowledge, understand what manners are and deploy them. Take risks. Failure is okay. You can learn from failure, for sure. Have at least one skill and develop it,” says Hawkings. Additional Resources:Peter Hawkings Named Creative Director of Tom Ford: With the sale to Estée Lauder complete, Tom Ford’s longtime colleague and collaborator will take the creative helm at his namesake brand.The Miuccia-ness of Prada, the Gucci-ness of Tom Ford: Brand DNA is marketing speak until it isn’t, as the latest Prada and Tom Ford collections proved. Hosted on Acast. See acast.com/privacy for more information.

BoF founder and editor-in-chief Imran Amed speaks to veteran modelling agent Chris Gay to understand the shifting power dynamics in the modelling industry and how models can build a career that stands the test of time.Background: In the sometimes fickle and murky world of fashion modelling, the most successful models are taking control of their careers by bypassing the gatekeepers and creating direct relationships with customers, building and engaging their own fanbase.“If you want real longevity in this business, you need to be building your community. It’s community that creates staying power,” says Chris Gay, co-chief executive officer of Elite World Group and president of The Society Management, which is marking its tenth anniversary this year. This week on The BoF Podcast, Gay sits down with BoF founder and editor-in-chief Imran Amed to discuss the shifting power dynamics in the modelling industry and why developing a point-of-view, something that a model becomes known for, is the key to long-term success.Key Insights:The rise of social media has benefitted models who no longer have to rely on runway shows and brand campaigns to stay relevant. Models can now connect with their fans and followers directly on Instagram or TikTok. “Talent is no longer beholden to anybody. They have real power in their hands. So if you're not chosen for this particular fashion show … that doesn't mean momentum stops for you,” says Gay. Social media platforms also help models create business relationships without the help of fashion’s traditional players. “It was a very small strategic group of gatekeepers in fashion that had an extraordinary amount of influence over all talents. … Now, it's entirely changed,” he says. The power dynamics are shifting in other ways too. For some companies, working on a social ad with a well-known talent like Kendall Jenner or Liu Wen can have a bigger impact than a traditional ad campaign. “The next 10 years is really going to be about talent being a more effective and a more strategic distribution channel for everyone,” says Gay. Gay’s advice to talent looking to break into the industry is twofold: build deep knowledge of the fashion industry and cultivate a style that essentially becomes your trademark. “Care about fashion. … It has nothing to do with the price of the items that you buy. But it really has to do with understanding collective style and what your own individual sense of style is,” he explains. Additional Resources:New Chinese Models Are Reshaping Global Runways: Local agencies are signing more models that don’t have classical Han Chinese features with knock-on effects for who gets cast by megabrands in Europe and the US.Models, the New Power Publishers: Social media has turned fashion models into powerful digital publishers, some of whom have far larger audiences than brands or traditional magazines. BoF 500 | The People Shaping the Global Fashion Industry Hosted on Acast. See acast.com/privacy for more information.

As London Fashion Week kicks off, BoF founder and editor-in-chief Imran Amed sits down with four London-based creative talents to explore how the city’s rich creative scene stems from its unique cultural diversity and the sense of community and collaboration this provides.Background: With over 300 languages spoken within its city limits — more than any other metropolis — London has cemented its place among the world’s most global cities. This has boosted its reputation not only as a creative hub, but also as a source of inspiration for creatives around the world working in sectors from fashion and media to music and art.“London has a rich Diasporic culture, and it's where… you have the opportunity to build a community around you,” says fashion designer Jawara Alleyne. “London, being such a vast city, gives that space [for] these multiple different cultures that are existing on top of each other and inspiring each other and feeding off of each other.”This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed chats with four exciting Londoners shaping the city’s creative scene.Alleyne joins conceptual artist Amber Pinkerton, musician Bradley Miller and Dazed editorial director Kacion Mayers to discuss their experiences of living, working and creating in London and to hear their advice for other creatives looking for their big break.  Key Insights:London’s history of thriving subcultures has helped create an inclusive community spirit, says Alleyne, where “the people around you actually have a shared experience that you can amplify. You're no longer just speaking for yourself, you're speaking for all of the other groups of people who feel the same way that you feel.”Creatives starting out in London should channel their inner courage, says Pinkerton. “Don't be afraid to approach people or bother them… not being afraid to ask for advice, not being afraid to also get… feedback or criticism about things,” she says. Boldness alone isn’t enough, Mayers believes. “You need to really find your community, hone in on that and just work with each other and build on each other and create with each other and stay true to what you want to communicate and what you want to create,” he says. Mayers added that his own London community is a frequent reference in his work. “I always want to reflect back to the community. I always want people to open Dazed and… see things that they can recognise and see things that's aspirational… And I think that's key to a lot of people’s success, just being able to reflect a reality,” he says. Miller believes the industries that hindered creatives of colour in the past need to change if they want to remain relevant. “These systems and infrastructures… have to adapt to what we're [industry creatives of colour] doing because this is what's happening right now. For them to be relevant or seem to be functioning, they have to [provide] support in these things that are happening in their city,” says Miller. Additional Resources:Meet the Creative Agency Behind Those Viral Dazed Covers: New School, a agency out of London reps a fast-rising group of tight-knit creatives, including members of the teams behind last fall’s Dazed covers featuring Rihanna and Harry Styles, campaigns for Apple and Klarna, and a show for Thebe Magugu. Hosted on Acast. See acast.com/privacy for more information.

The founder of the streetwear sensation broke into fashion thanks not only to his steely determination and breakthrough creative ideas, but also the unwavering support of the community he built from the ground up.Background: Within a decade, Colm Dillane, the New York-based founder and designer of streetwear label KidSuper, went from selling T-shirts to fellow students out of his New York University dorm room to winning the the Karl Lagerfeld Special Jury Prize at the LVMH Prize in 2021 and designing a one-off menswear collection for Louis Vuitton. But it wasn’t a straight shot to success. The now 32-year-old has had to learn the ropes of fashion the hard way, maxing out his bank account, taking risk after risk to figure out how to transform his creativity into a bonafide business. Through it all, Dillane has focused on community-building as an end goal.“It's always funny when brands reach out to me and they're like, ‘We love the community you created’. I would always be like, ‘They're creating community to sell product. I was selling product to create community. What are you doing this for? If it's not to meet interesting people?” says Dillane. This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Dillane to discuss his journey as a designer and his lessons for emerging fashion designers and entrepreneurs. Key Insights:Dillane came from outside fashion, and from the start, has used his creativity to get the industry’s attention. “When I was young, [I felt] the fashion industry was the most elitist, stand-offish, impossible thing to break into,” he recalls. But in navigating his way further into the industry, he saw that “creativity and new ideas are embraced and supported and championed more so than I thought they would be,” When musicians started asking about the brand, Dillane didn’t simply ship off his T-shirts, hoodies and hats to them. Rather he wanted to build a relationship. “I always wanted to meet people, so I would never send clothing, I would send myself,” he says, recalling how meeting the late rapper Mac Miller in person led to one of the brand’s first breaks — with the musician sporting a KidSuper hat on an album cover.Even amid the big breaks, perseverance is critical, he says. In 2019, he thought his brand would catapult to fame overnight after receiving a rave review in Vogue following his first show, a hastily produced off-calendar event during Paris Fashion Week. The reality was different. “I get this amazing review… I'm now a superstar designer. [But] nothing changes in my life,” recalls Dillane. The designer didn’t give up — “I’m not a quitter” — and by 2021, KidSuper held its first official PFW show, “Everything’s Fake Until It’s Real.”Dillane believes young designers can look to KidSuper for inspiration. “I've never deleted an Instagram post, so you can scroll down and see like me buying my first sewing machine or and kind of chronologically follow how I got here,” he says. “I think it's pretty cool for how far I've gotten.”Additional Resources:Louis Vuitton Taps KidSuper Designer Colm Dillane For Next Menswear Collection:  Designer Colm Dillane, whose label KidSuper won LVMH’s Karl Lagerfeld Prize in 2021, has “embedded” with Louis Vuitton’s menswear studio in recent months to help design its men’s collection set to be revealed 19 January. Hosted on Acast. See acast.com/privacy for more information.

Ahead of New York Fashion Week, The Washington Post’s Rachel Tashjian speaks with BoF’s founder and editor-in-chief Imran Amed about how the industry is changing post-pandemic. Background:There's a good reason why New York Fashion Week isn’t the all important agenda-setter it once was, according to Rachel Tashjian, a fashion writer for The Washington Post. US consumers, she says, now take their fashion cues from influencers and social media as much as they do the runway. “Some of the more interesting things happening in American fashion are just outside of fashion week,” says Tashjian. “I just wonder if American designers feel like, is this [New York Fashion Week] really worth it for me to be doing? Is this where my audience is?”This week on The BoF Podcast, Imran Amed, BoF’s founder and editor-in-chief, sits down with Tashjian to discuss her perspective on the state of the fashion industry today and her expectations for the evolution of NYFW in a post-Covid world.Key Insights:As some established brands look beyond NYFW to connect with customers to showcase their designs, Tashjian believes this shift has opened up space for emerging designers. “These smaller or more emerging brands are dominating [NYFW] because we don't have a lot of the larger brands showing,” says Tashjian.That relationship will be seen up-close at NYFW this season, Tashjian predicts. Because of the ongoing SAG-AFTRA strike, which leaves actors unable to promote their films, Tashjian says celebrities will dominate the front row. “This is going to be kind of an unprecedented season in terms of celebrity presence at fashion week because, with the strikes going on, these are things that celebrities can promote these relationships that they have with fashion brands,” she says.How celebrities embrace fashion can impact how the public perceives them, as well, says Tashjian. “Fashion has this really interesting ability to recontextualise someone we think we know really well,” she says. “Margot Robbie during the Barbie Press tour, wearing these fun, campy Schiaparelli [looks] and hot pink Chanel. All of a sudden we're thinking, ‘Oh, this is a woman who has a really fun and playful understanding of fashion.’”Tashjian believes the role of fashion criticism is different than it was in years past. “Perhaps because of the availability of fashion, we need critics more than ever before,” she says. “I think about my role as to provide an insider perspective or context. I was actually at this show and here's how it felt to be sitting in that room.”Tashjian is also known for her newsletter, Opulent Tips, which she began when she was working at GQ. In the newsletter she discussed womenswear, products and smaller brands she admired. “I felt like it could be kind of fun to have a little space where I can talk about those things and maybe introduce those brands to some people who maybe wouldn't come across them,” she says. Additional Resources:The BoF Podcast | Karl Lagerfeld at the Met: Designer, Polymath, Jigsaw Puzzle: Andrew Bolton’s latest curatorial miracle celebrates the creative process of one of fashion’s greatest icons. Bolton sits down with Tim Blanks for BoF’s latest podcast. Hosted on Acast. See acast.com/privacy for more information.

Darnell Strom’s professional path has wound its way from politics to Hollywood, a trajectory that started with several globe-trotting years working for former US President Bill Clinton. As partner and head of culture and leadership at entertainment agency UTA today Strom represents totemic cultural figures including Nobel Peace Prize laureate Malala Yousafzai and Edward Enninful, the outgoing editor-in-chief of British Vogue, as well as Gisele Bundchen and Michaela Cole. The breadth of his client roster reflects Strom’s thesis that captivating, culturally impactful people can come from anywhere. “My definition of talent isn't just an actor, a musician and an athlete,” he says. “It's also a well-known politician or an incredible activist or a rock star CEO or someone in fashion, an artist … I want to be able to represent all those people.”This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Strom to discuss what his career has taught him about the power of creativity and cultural convergence – and the opportunities this is creating for top talents. Key Insights:It was a conversation with the late fashion designer Virgil Abloh that inspired Strom to think differently about his work as an agent and seek out clients from all types of industries. He recalls Abloh telling him: “You should be representing people like me, people who are multi-hyphenate, people who understand that there are no walls between these worlds of culture.” Strom believes social media has irrevocably democratised the entertainment industry, making it possible for even an aspiring filmmaker from anywhere to create a blockbuster movie or a fashion trend that stems from a single post. “As you look at the marketplace, both in fashion and entertainment and media, everything is moving at such a fast rate. And if you're doing the job the same way you did 10 years ago, you're going to get left behind,” he says.Strom believes the changes we are seeing is just the start of a bigger journey. “I think the future of culture is convergence, which we're seeing now. But I think it's just the beginning of it. I think the next 10 years are going to be fascinating,” says Strom. Additional Resources:Darnell Strom to Lead UTA’s Newly Created Culture and Leadership Division: Political staffer turned Hollywood rep joins entertainment agency UTA to head its new culture and leadership division. What the Hollywood Strike Means for Fashion: While red carpets have momentarily dried up for brands and stylists, the SAG and WGA’s simultaneous strikes pose an unlikely opportunity for fashion companies to tap celebrity talent. To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Mo Gawdat, an artificial intelligence expert and former chief business officer of Google X, explains how humans have the power to turn AI into a positive force that benefits society. Background:Public perception of artificial intelligence ranges widely. Depending on who you’re listening to, it could be a source of unlimited technological potential or a dire threat right out of a science fiction novel.According to Mo Gawdat, the former chief business officer for Google X, concerns about AI are valid. But fears that AI will turn against humanity are misguided. Rather, says Gawdat, we have an opportunity to teach AI to be a force for good. "If 1 percent of us, only 1 percent of humanity... show the good side of us in front of those machines, those machines will be intelligent enough to say humanity is a divine being,” Gawdat said at BoF VOICES 2022. This week on The BoF Podcast, Gawdat discusses the future of AI and why ethics are crucial to managing its development.Key Insights:As AI continues to evolve at a startling pace, Gawdat believes it will surpass human intelligence in the next few years. “My prediction is that [in] 2049, AI will be a billion times smarter than humans… It's a comparison between the intelligence of Einstein and the intelligence of a fly. And we are the fly,” says Gawdat.  Gawdat compares humanity’s relationship with AI to that of a parent and child. The technology has the potential to be greater than its creators, but like a child, it needs a positive influence to grow. Gawdat believes humanity can teach AI morals and ethics that are in society’s best interest. “If we start to look at those machines as a new form of artificial being, a form of being that's going to come into our society, then the question that we need to ask is a question of ethics. It's not a question of control,” says Gawdat. Gawdat believes humans can show AI the positive parts of society, but humanity needs to first understand how to get over its obstacle of negative bias. “The truth of humanity is amazing,” he says. “The only problem we have is we stopped showing that. We just talk about the negativity and the fakeness.”Additional Resources:How AI and Web3 Are Shaping Fashion’s Future: BoF welcomed business leaders, technologists and creative innovators to share their insights on the pivotal technologies shaping the fashion industry. Watch on-demand now.Fashion Execs Can’t Stop Talking About AI: Executives have been highlighting the technology more often on earnings calls, suggesting more businesses are adopting it — and maybe giving it a shoutout to impress investors.Generative AI Won’t Be the End of Human Fashion Designers: Just as photography didn’t spell the extinction of painting, generative AI won’t kill off human designers. It may even create more appreciation for the physical craft of fashion.To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

When Ben Gorham of Byredo and Monique Rodriguez of Mielle Organics sold the businesses they spent years building, the financial milestone was just the culmination of more meaningful professional journeys that began with a clear sense of purpose. Background: Beauty founders Ben Gorham of fragrance label Byredo, and Monique Rodriguez of hair care brand Mielle Organics, both took their businesses from indie beauty darlings with cult followings to high-profile exits to major conglomerates: Byredo sold to Spanish luxury giant Puig for $1 billion in 2022, while Procter & Gamble bought Mielle Organics earlier this year. But the two founders didn’t start their businesses with the sole focus of cashing in quickly. “We live in a climate where expectations are that you start a company and you build it to great heights, and then you sell it, and you make lots of money. And this is how we define success stories,” said Gorham. “For me, for many years, it was really about just the craft. It was really about the product. It was really about learning how to operate a business.” As Rodriguez learned after building a loyal customer base, a sale impacts many other stakeholders. “When you build a brand in the Black community, it's not my brand, it's their brand,” said Rodriguez. Yet she doesn’t downplay the personal importance of the exit. “It's a true testament to — especially as a Black woman, a woman of colour — what we build is very valuable… I didn't grow up seeing this. So to accomplish just having a conversation [with investors, including P&G] was rewarding for me,” she said.This week on The BoF Podcast, Gorham and Rodriguez sit down with Priya Rao, executive editor of The Business of Beauty, to share how they navigate entrepreneurship and success in a conversation from The Business of Beauty Global Forum 2023.Key Insights:Rodriguez started Mielle to fill a void in hair care that she and other Black customers faced. “As a consumer myself, I saw that there was a lack of relatability. I thought that there was a lack of education. I felt that there was no brand that understood my needs as a natural hair consumer,” she said.Gorham also sought to fill an underserved market with Byredo. “The idea of luxury and the culture of luxury didn't speak to people that looked like me or grew up like me or came from my culture [with a Canadian father and Indian mother, growing up in Sweden]. So I set out to kind of redefine what that could mean as a brand,” said Gorham.When her start-up was ready to explore being part of a larger company, Rodriguez said it was important that she was clear what she wanted — and didn’t want — from Mielle’s suitor. “As you find a partner, it's like a marriage, right? And you don't want to get divorced… So it was really important that my partners understood where we were trying to go and did not want to disrupt what we knew we were already good at,” she said.Being part of a larger company and maintaining an entrepreneurial spirit are not mutually exclusive… My mother grew up in a garage in Mumbai. To say that the financial milestone or the monetary aspect wasn’t important… would be a lie.” said Gorham. “Selling kind of implies that I wouldn't be there or that I would exit… even though that’s the mechanical trigger of the transaction, my role is still intact. I continue to work night and day as I’ve done over this journey,” he said. Additional Resources:The Business of Beauty Global Forum: Where Will Growth Come From? Hosted on Acast. See acast.com/privacy for more information.

The co-founder and chief innovation officer of the Nasdaq-listed sneaker brand reflects on how his previous career in sports prepared him professionally and personally for leading a company through both the highs and the lows.  Background: When Tim Brown stepped away from his role as co-chief executive at Allbirds in May, the footwear retailer that he co-founded seven years ago was losing its sheen as the sustainability-focused direct-to-consumer darling that once enraptured investors. Its first full-year results since its Nasdaq flotation in November 2021 revealed a series of setbacks, from a poorly executed expansion into adjacent products like apparel to losing relevance with its core customers, leading to net losses of $101.35 million. The testing of Allbirds’ team since the IPO has often seemed relentless yet, according to Brown, it’s an opportunity to draw on inner strengths to excel as a leader. “[R]ising and falling is just a part of the journey,” he wrote in a recent post on LinkedIn in which he also shared an article by a team of business reporters that laid bare Allbirds’ challenges. Rather than criticising the article, he said he saw it as a reminder that “you are never as good or as bad as they say you are (this helped me a lot during my football career), and that all of my best work has come when I've been written off.”This week on The BoF Podcast, Brown speaks with BoF founder and editor-in-chief Imran Amed on how his journey from the football pitch to the corporate boardroom has shown him why leaders of young brands like him need to keep a resilient entrepreneurial mindset even in adversity.Key Insights:The football pitch served as a training ground to cope with “an even more pressurised environment as an entrepreneur,” Brown said. “Sport teaches you to trust the process and to hold a long-term view, knowing that in the fullness of time that hard work usually is rewarded,” he said.Brown believes entrepreneurs need to find time to take stock, even if it means not working “100%” all of the time. “The most important thing that I've learned as an entrepreneur is not to confuse hard work with the right work.” he said. “You have the ability to maintain your focus on something for a longer period of time by just pulling back a little bit. And that space allows you the perspective to see something for what it is, which is a journey with steps forward and steps back.”When reflecting on the setbacks Allbirds has faced in recent times, Brown said that instead of searching to understand what he could have done differently, he wants to look forward. The key now, he said, is “get really, really clear on the things that we do better than anyone is the process that we're in.”Additional Resources:Tim Brown on Allbirds’ Sustainable Footwear Revolution: Allbirds co-founder and co-CEO discusses how his high-risk strategy has created a sustainable brand that is disrupting the established footwear market.The Rise and Fall of Allbirds: The sneaker brand's comeback plan includes refocusing on its core consumer and a carbon-negative shoe. Hosted on Acast. See acast.com/privacy for more information.

Kering’s new deputy CEO of brand development shares her luxury brand management playbook in this archive interview with Imran Amed from BoF VOICES 2018.Background:  Last week, Francesca Belletini was appointed deputy CEO of brand development at Kering, making her arguably the most powerful female fashion executive in the luxury sector. As part of her new role, not only will she retain her position as CEO of Saint Laurent, she will also oversee Gucci, Bottega Veneta, Balenciaga and Alexander McQueen. It was at Saint Laurent, where the former investment banker cemented her reputation for razor-sharp merchandising strategies that married seamlessly with the work of creative director Anthony Vaccarello.“When you clarify the brand positioning, then everything comes together,” said Bellettini, on revitalising the Saint Laurent brand. “People recognise the authenticity in the way that we do that.”BoF founder and editor-in-chief Imran Amed sat down with Bellettini at BoF VOICES 2018 to discuss how she balances the priorities of fostering creativity, cultivating customers and running a profitable business.Key Insights:Credited for growing Saint Laurent into a multi-billion-euro powerhouse, Bellettini believes that a key is to connect with customers in their home markets. "I'm a huge believer of building business first with local clients. Conquer a consumer at home, then when they travel, they follow," she said.Another key is authenticity. “It's better to present yourself the way you really are… Be authentic. If they choose you, they remain with you,” said Belletini on the importance of building meaningful relationships with customers.At Saint Laurent, Bellettini had a clear vision for growing both the top and bottom lines, “but in reality it's the profit that makes your business sustainable," she explained.Striking a balance between growth and continuing to resonate as a brand is top of mind for Bellettini. “How do we remain relevant? How do we continue growing without compromising on the positioning of the brand? How do we continue to launch a successful product?” she asked.Additional Resources:Who Should Be Gucci’s New CEO?: Following this week’s announcement that longtime Gucci chief Marco Bizzarri will exit the company in September, Imran Amed shares his top picks for one of the top jobs in the global luxury industry. As Gucci’s CEO Steps Down, Saint Laurent’s Chief Steps Up: Marco Bizzarri led the Italian luxury giant through a historic expansion before the business struggled to bounce back from the pandemic. Parent company Kering announced the move as part of a broader executive shakeup after which Saint Laurent CEO Francesca Bellettini will oversee all the group’s brands.How Saint Laurent Became a $3 Billion Powerhouse: Chief executive Francesca Bellettini breaks down how she worked with designer Anthony Vaccarello to double sales in 5 years, leaning into an amped-up take on Parisian glamour, seasonless merchandising and a rapid expansion in leather goods. Hosted on Acast. See acast.com/privacy for more information.

What do Poolside FM and Isamaya Beauty have in common? Their founders have created brands with unique yet relatable identities.Background: Isamaya Ffrench, makeup artist and founder of Isamaya Beauty, and Marty Bell, co-founder of sunscreen brand Vacation (and Poolside FM), both took unconventional routes to turning their products into veritable brands. Vacation began as a spinoff of the internet radio station inspired by summer tunes of the 1980s, Meanwhile, Ffrench’s brand sparked attention for her new Lips line’s penis-shaped lipstick cases. Bold and risky in equal measure, these moves laid the groundwork for their businesses while giving their brands personalities and spark.“If you're strong enough to have a vision and get a brand off the ground, you know what your audience wants,” said Ffrench. “Do the things that feel natural and right, because it's when you start doing the things that the CMO tells you you have to do and you feel awkward about it… no one's going to want your product because it doesn't look authentic.”This week on The BoF Podcast, Bell and Ffrench speak with BoF founder Imran Amed about the power of brand building and how founders can inject their own personalities into their products to make them recognisable and memorable.Key Insights:Ffrench advises founders to scrutinise conventional wisdom about how to launch a brand rather than trusting their instincts and vision. “It's really about taking things [advice] with a pinch of salt, but following your gut and your spirit and doing what feels right for you and your brand,” she says. According to Bell, people gravitate towards brands that are a reflection of their founders’ personalities and beliefs. “Some of the best brands in the early stages are just true personifications of their founders… That’s very hard to compete with if you don’t have someone who has a view on the world and a perspective,” Bell explains. Ffrench believes large beauty corporations struggle creating an authentic brand identity because they focus on numbers rather than forming a connection with customers. “You lose the essence, you lose the integrity and the artistry because that takes time and money and spirit,” Ffrench observes. Bell says the key to creating an authentic brand is finding an idea or aesthetic you’re interested in and creating the product line around it. “If you're not deeply passionate about the world that you're going to build [with your brand], you need to find someone who can be obsessive,” Bell says.Additional Resources:The Business of Beauty Global Forum: How Do We Create Connection? During the third session of The Business of Beauty Global Forum, Pamela Anderson, Isayama Ffrench and Glossier chief executive Kyle Leahy unpacked how to build unique brands and drive authentic relationships with customers.Sunscreen Brand Vacation Takes Its Miami Pool Party Vibe to the Suburbs: Following a $6 million Series A funding round, the sunscreen brand prepares to move past its club of creative clientele and reach the masses.  Hosted on Acast. See acast.com/privacy for more information.

The celebrated menswear designer joins BoF’s Imran Amed to discuss the evolution of his career in fashion from selling secondhand clothes to building his own brands.Background: At first glance, Oliver Spencer’s story might seem like a fashion fairytale. In just a matter of a few years, he went from selling secondhand garments in a stall on London’s Portobello Road to seeing actors wearing his bespoke waistcoats in the 1994 film “Four Weddings and a Funeral,” putting his formalwear label Favourbrook into the spotlight. But in the subsequent years, Spencer faced the challenges that come with running an independent fashion brand: from debt to self-doubt while aiming to reach profitability milestones. “Small is beautiful. You have to have a certain amount of business turnover to get to these levels, but you don’t need hundreds of millions [of dollars] to run a profitable brand,” says Spencer.Key Insights:The British designer’s formalwear background — which includes creating looks for highbrow events like the Royal Ascot — informed his approach to menswear, even given today’s inclinations for toned-down dressing. “Just because you’re wearing casual, doesn’t mean you’re not dressing right,” says Spencer. Even as consumer preferences change, however, Spencer believes it’s just as critical to maintain clear sight of the brand’s original vision as it is to evolve it. “I will have one foot stuck in the past and the rest of my body walking into the future,” he said.    As a small brand, storytelling and working with the right wholesale partners go hand in hand. “The wrong wholesale partner can send the wrong message,” said Spencer. Spencer has ADHD and dyslexia, which he says creates both challenges and opportunities. “You understand how to deal with problems and you understand how to work out a problem in a different way… You can see things in a problem that other people can’t see.”Additional Resources:To watch “Four Weddings and a Funeral” click here.Explainer — Why the Menswear Market Is on Fire: From the rise of work from home to the decline of streetwear, BoF unpacks what’s driving the “unprecedented” boom in the men’s market.Where Does the Suit Fit into the Modern Wardrobe? The fate of the traditional suit was already in question long before the pandemic. Where does the market go from here?To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

British fashion designer Samuel Ross opens up to BoF editor-in-chief Imran Amed about his work to foster more diversity in fashion.Background: Creative industries still have a long way to go before they become truly inclusive, according to Samuel Ross, designer and founder of London-based fashion label A-Cold-Wall and industrial and product design studio SR_A. “There's not enough diversity in the sector for high achievers who should be there,” he said to BoF founder and editor-in-chief Imran Amed on stage at WPP Stream, during the annual Cannes Lions International Festival of Creativity.This week on The BoF Podcast, Amed and Ross explore the designer’s creative processes, his approach to engaging younger customers as well as his mission to build a more inclusive creative sector.Key Insights:As a multi-disciplinary artist, working in fields ranging from architecture to furniture design, Ross takes a “democratic approach” to his work. “I try not to operate across a hierarchy when it comes to creativity. I care as much about the texture of a raw cut glass as… I do about the reverence of a chapel,” he says. He also leans into technology — be it through gaming or augmented reality — to create experiences that resonate with younger consumers. “We're using [digital] play as a handshake with the audience base to get onto those channels and to build a new relationship through product and add new characteristics to product,” explains Ross. Social media also enables Ross to forge an organic connection with his community of followers. When the designer posted about A-Cold-Wall’s most recent Nike collaboration on Instagram, for example, it garnered more than 24,000 likes in 17 hours. “It's really about driving the founder-consumer connection where possible,” said Ross. It was after sharing his thoughts on the fashion industry’s inclusivity shortcomings on social media that Ross decided to be more proactive about enabling change in the industry by creating concrete opportunities for people traditionally excluded from the industry through the Samuel Ross Black British Artist Grant Programme, which provides funding and mentorship to young designers, artists and other creatives. “I had to look in the mirror and say, ‘Well, what am I actually going to do about this?’ he says.Additional Resources:A-Cold-Wall Founder Samuel Ross Returns With More Grants for Black British Creatives: British fashion designer, Samuel Ross created a fund to help Black creatives and startups establish themselves in the fashion industry.  Hosted on Acast. See acast.com/privacy for more information.

At The Business of Beauty Global Forum, activist and author Schuyler Bailar shared his journey to understanding beauty and self-acceptance as a biracial, transgender man.Background: For Schuyler Bailar, an activist, author and the first openly transgender NCAA Division I swimmer in the US, finding a sense of belonging hasn’t always been easy. Bailar realised being accepted by society wasn’t as important as accepting himself. “Belonging is not something that's going to be given to me. It's something that I have to find on my own,” said Bailar at The Business of Beauty Global Forum 2023. This week on The BoF Podcast, Bailar opens up about his own experiences with the pressures to conform to Eurocentric and cisgender beauty ideals as a biracial, transgender man, how he discovered his path to self-acceptance and why he wants others to be able to do the same. Key Insights:From an early age, Bailar was acutely aware of the negative role the beauty industry and society as a whole can play in shaping an individual’s perception of belonging and self-worth, a deep sense that was shaped by the experiences of his mother as a Korean immigrant growing up in the US. “She tried very hard to fit whatever it was that would make her feel included, which a lot of the time meant bending towards whiteness, bending towards assimilation,” said Bailar.Before he transitioned, Bailar attempted to conform to society’s cisgender expectations of how women should look, which ultimately led him further away from his true self. “I tried so hard to be what society expected of me. What society told me I was: a woman,” said Bailar. “I was trying so hard to figure out how to be this woman, and yet I was miserable.”At his first collegiate swim practice at Harvard University, Bailar said he felt hesitant and scared standing before his teammates in a Speedo, but he found the courage to continue swimming. “I stood alongside all my teammates, none of whom were transgender like me, feeling not beautiful, feeling misshapen, feeling strange, feeling weird, feeling not man enough. But I dove in… and I swam with them anyway,” said Bailar. Since graduating, Bailar has turned his attention to activism, and works to challenge society’s beauty standards. “What I want from the world is for us to be able to dive into a beauty that originates at every single person so that nobody has to stop being themselves, so that nobody has to show up and change who they are in order to feel like they belong,” said Bailar. Additional Resources:Lessons From Day One of The Business of Beauty Global Forum: During BoF’s The Business of Beauty Global Forum, Schuyler Bailar discussed how the beauty industry and Euro-centric standards affected his mother’s childhood and his own. Schuyler Bailar, first trans athlete to compete on a NCAA Division 1 men's team, wants all trans athletes to feel represented: CBS News interviewed Schuyler Bailar about his experience as the first openly transgender athlete to compete on a NCAA Division I men’s team. To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

On both a local and international scale, the Middle East’s fashion industry has seen significant growth thanks to changing regulations and an influx of creatives. Background:Substantial economic activity as well as cultural and regulatory shifts in the Middle East have accelerated the growth of the region’s $89 billion fashion industry. Middle Eastern governments are fostering this expansion as they increasingly encourage creative work from designers, social media influencers and stylists, and a more unified culture emerges across borders, said Rawan Maki, BoF Insights’ associate director of research and analysis.This week on The BoF Podcast, Maki and Marriam Mossalli, founder and chief executive of Niche Arabia, a Saudi Arabia-based luxury communications and marketing agency, join BoF editor-in-chief Imran Amed to discuss BoF Insights’ latest report, “Fashion in the Middle East: Optimism and Transformation” and what’s happening in the region’s fashion scene. Key Insights:According to Mossali, Saudi women’s lives have changed: Women now make up 33 percent of the local workforce, women-owned businesses have increased 60 percent in the past two years, and their involvement in leadership roles has grown. “The biggest change is that it's not just coming from someone in an office saying ‘Look, we're going to open the doors for women,” said Mossali. “Women drive, women can get behind the wheel, making sure that they're directing this change.”With the integration of women into the labour force, fashion in the region has evolved to suit working women’s lives, and trends like “modest wear” have grown. “What we're seeing is its [garments] changing … Light fabrics, shorter, so that it doesn't get caught inside our car door or the wheels of our office chair. It's made now for us with that lifestyle in mind,” said Mossali. Due to increased digital transparency and connectivity, Saudi women are now looking to brands to provide more than accessories to go with their Abayas — a full-length garment some Muslim women wear in public as outerwear, like a coat. “They [customers] want more ready-to-wear, more beauty, they want more shoes,” said Maki. Mossali believes while more flexible government regulations allow brands to create a growing fashion industry in the region, cultivating the business ultimately lies with the private sector. “When it comes to manufacturing, to education, a lot of those initiatives are coming with the support from the government, but they are led by the private sector and private institutions. [The government] is enabling us and empowering us to do those things,” said Mossali. During the discussion, Amed asked Mossali if Saudi Arabia can truly grow a thriving fashion ecosystem, given the criticism the country has received in the past for its stance on LGBTQ issues and the fact that the fashion industry’s workforce historically has high levels of LGBTQ representation. Mossali pointed to the Saudi Tourism Authority website, which says the country now welcomes LGBTQ visitors, and suggested that people wishing to better understand the country to visit in person. Additional Resources:Fashion in the Middle East: Optimism and Transformation | BoF Insights: Shifting consumer behaviours and new government investment strategies have set up the fashion industry in the region to develop in the upcoming years. Hosted on Acast. See acast.com/privacy for more information.

The pioneering 89-year-old entrepreneur shares her life story as a child refugee who fled Nazi Germany and created a $3 billion technology company. Background: At BoF VOICES 2022, the pioneering 89-year-old entrepreneur Dame Stephanie Shirley discussed her life working with early computers at the London’s Post Office Research Station and how, against all odds, she created a software company for — and run by — other ambitious women, valued at almost $3 billion.  “You could always tell ambitious women by the shape of our heads. They're flat on top and that comes from being patted patronisingly,” said Shirley, describing the sexist work environments of the day. This week on The BoF Podcast, Dame Stephanie discusses the hurdles she had to overcome as a woman in the technology industry, the growth of her influential company, Freelance Programmers, and warns us about the growing power of giant technology companies.Key Insights:Growing up as a child refugee who fled from Nazi Germany Shirley realised that being able to adapt was the key to surviving and thriving. “I realised that change is often welcome indeed, that I could initiate change. And when it was necessary, that sense of personal empowerment took time to develop. But it has never left me,” said Shirley. Freelance Programmers was one of the first software companies that allowed women, who had long left the workforce to create families, to work from home, she explained. “It was a company of women, a company for women, an early social business, a software house which recruited professionally qualified women who had left the industry,” said Shirley.For Shirley, trying to thrive in a male-dominated field like software development, required a little “subterfuge.” After other businesses refused to respond to her letters signed with her name, “Stephanie” Shirley quickly adapted and began signing them as “Steve.” “If I used the family nickname of Steve … customers would not only read them, but pick up the phone to reply. When they discovered that Steve was actually a woman, they were already half hooked,” said Shirley. According to Shirley, as the Internet develops so does the divide between the corporate world and the common Internet user, further widening the gap between the truth and fiction. “Our reliance on digital technology has placed us in the hands of powerful tech innovators and the giant corporations they spawned … They have the power to influence our daily lives in ways few people understand,” said Shirley.Additional Resources:How Technology Can Power a Better Future: During BoF VOICES, The Business of Fashion hosts Dame Stephanie Shirley who discusses her first company, Freelance Programmers and what it was like working in a male dominated industry in the 1960s. Please watch the full interview here: https://www.youtube.com/watch?v=KoOtQdBod9U To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

At The Business of Beauty Global Forum 2023, Pamela Anderson shared her perspectives on how the definition of beauty — and the beauty business — is changing with Moj Mahdara.Background: “We're all trying to make ourselves beautiful so we are respected, admired, loved. So these products have to come from a loving place. That’s the secret ingredient: having heart,” said Pamela Anderson at The Business of Beauty Global Forum 2023 in Napa Valley, California.This week on The BoF Podcast, Anderson and Moj Mahdara, managing partner and co-founder of Kinship Ventures and co-founder of BeautyUnited, discuss sustainable beauty products, shame and her own beauty and wellness journey. Key Insights:Anderson’s early experiences with beauty go back to her time at the Playboy Mansion, surrounded by beautiful women who were in charge of their own sexuality. There, watching and learning from powerful women, the former Baywatch star was able to grasp her own femininity. “And I just watched. And I want it to be sexy, too. I found that was powerful and interesting,” said Anderson. The beauty industry has been known to shame women for being older and has consistently pushed an anti-ageing agenda. Anderson believes older women shouldn’t chase youth. “I like embracing our age, embracing looking as good as we can, but also being realistic.”Shame and insecurities caused by the beauty industry and Western beauty standards were recurring topics at BoF’s Global Beauty Forum. According to Anderson, she moves past humiliation with poise. “Grace and dignity no matter what: you hold your head high. Everyone has gone through things that are embarrassing or difficult, but we’re all just people,” said Anderson.Anderson imparted one last piece of wisdom to the room of beauty creatives and innovators. “I'm just this imperfect girl from start to finish who wants to do her part and be a good person in the world and share my story,” said Anderson.Additional Resources:The Business of Beauty Global Forum: How Do We Create Connection? During BoF’s first Global Beauty Forum, Pamela Anderson, Isayama Ffrench and Glossier chief executive Kyle Leahy discussed how brands could better capture attention and secure lasting relationships with customers in an oversaturated beauty market. Lessons From Day One of The Business of Beauty Global Forum. Speakers including John Legend and TooD Beauty founder Sharareh Siadat laid out their vision for a more inclusive beauty industry during the first session of The Business of Beauty Global Forum.The Business of Beauty Global Forum: Where Will Growth Come From? During the second session of The Business of Beauty Global Forum, speakers including Sephora Americas chief executive Jean-André Rougeot and Mielle Organics founder Monique Rodriguez charted beauty’s next stage of growth. Hosted on Acast. See acast.com/privacy for more information.

At Egypt Fashion Week, BoF founder Imran Amed shared the origin story of BoF and reflects on the forces that will shape fashion in the coming decade.Background: In the 16 years since he published his first post on The Business of Fashion, Imran Amed has seen the fashion industry try to adapt to adjust to seismic changes in technology, culture and business — and BoF has been a leading voice in guiding the industry through all that change. But he may never have created BoF if it weren’t for the challenges that he was confronting in his own life. “It is in our struggles that we find ourselves — and that we find our purpose,” he says. In this wide-ranging conversation which took place during Egypt Fashion Week, Amed sits down with Malak Fouad, host of the “What I Did Next” podcast to discuss BoF’s early days, Covid-19’s impact on the fashion industry, fashion in the Middle East and the impact of new technologies including the metaverse and artificial intelligence.Key Insights:Amed, left his job as a management consultant and set up an incubator to support young fashion designers. When that project failed, he channelled his energy into the personal blog he had been keeping and called it The Business of Fashion. “It was for my friends and family to see my journey from McKinsey to the fashion world,” says Amed. During the Covid-19 pandemic, Amed saw BoF’s role as providing guidance and information to those working in the fashion industry in the midst of great uncertainty. “I said, we have no idea what's going to happen. Our job is to act as a guide for the industry as we navigate a once-in-a-century global health crisis,” says Amed. Amed advises companies to lean on local expertise to connect with customers and find success in new markets. “[Fashion brands] need to empower local teams so they can create activations, products, experiences that resonate with customers,” says Amed.Amed believes innovations like AI will change how people work in the industry, though fashion will always need creative people “AI has the potential to impact a lot of the parts of the industry that I think people thought were a bit untouchable,” says Amed.Additional Resources:The Fashion Jobs Most Vulnerable to AI: BoF’s Sheena Butler-Young takes readers through the effects AI can have on the fashion industry, and the creative job market. Luxury Adapts to the ‘New Ramadan Rush’: As the Middle Eastern market grows in the fashion industry, luxury brands like: Dior, Fendi and Valentino are adjusting to the change. To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

BoF’s Imran Amed sits down with Priya Rao, executive editor of The Business of Beauty, to go inside the findings of our new report ‘The State of Fashion: Beauty.’Background:The global beauty industry is booming. “Beauty remains one of the most dynamic, challenging and sought-after industries, much more than other consumer goods — or even fashion,” says Priya Rao, executive editor of The Business of Beauty. “What we've seen is that consumers are so rabid and fervent for their beauty products… and brands are still really excited about bringing a new proposition to market.”This week on The BoF Podcast, editor-in-chief Imran Amed sits down with Rao to break down the five critical themes covered in BoF’s new report, “The State of Fashion: Beauty,” created in partnership with McKinsey & Company.Key Insights:In the oversaturated beauty and wellness market, it can be difficult for new brands to gain consumer attention. To break through, they should first focus on one product or theme before moving to other categories. “[Rihanna’s] Fenty Beauty was known for colour cosmetics until they most recently launched skin care,” says Rao. “They didn't try to launch hair care and injectables and sexual wellness devices all at once.”Expert voices are key when it comes to building trust as a beauty brand. “What dermatologists or aestheticians have done for skin care, we need that in wellness,” says Rao. “The way that wellness really grows is with credibility from the people who are founding these brands and selling these products.”Gen-Z wants beauty products that are more environmentally friendly but also affordable. According to Rao, brands like E.l.f and Milani have been able to address that demand. “They are giving the best experience to beauty consumers, but they also check those boxes of being socially conscious and value driven,” says Rao. Beauty M&A will consist of smaller deals driven by strong underlying financials. Big deals like L’Oréal buying Aesop for $2.5 billion will be a more of a rare occurrence. “Profitability is going to come into play much more… that's across the businesses out there in consumer goods,” says Rao. Additional Resources:The State of Fashion Special Edition | The New Face of Beauty: The special edition of The State of Fashion report by BoF and McKinsey & Company explores the reshaping of the global beauty industry. Download the full report to learn about the key dynamics that will impact all categories in the years ahead, from the rise of wellness to the influence of Gen-Z.The Business of Beauty Global Forum 2023: Streaming Live from Napa Valley, California on May 30-31.To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

BoF’s Marc Bain and a group of panellists break down the state of web3 in fashion and where the technology is headed.Background:Over the last couple of years, the fashion industry couldn’t stop talking about the potential of NFTs, the metaverse, known in tech industry speak as web3. Now, the fervour around web3 has cooled and the speculators are long gone. But for those committed to the web3 space, the work continues, even as the discussion has shifted.“People are pulling back, but people are investing,” said Brian Trunzo, metaverse lead at Polygon Labs. “If folks are still at the education stage, doing research either internally or through agencies, they may have cut budgets and pulled back a little bit, whereas folks who have beefed up and built out teams to execute against their web3 strategy, who have had that requisite education, they're doubling down.”This week on The BoF Podcast, we share a conversation from The BoF Professional Summit: An Inflection Point in Fashion Tech, where our technology correspondent Marc Bain speaks with three web3 experts — Brian Trunzo, Alice Delahunt, founder and CEO of Syky, and Milton Pedraza, the founder and CEO of consulting firm the Luxury Institute — to debate the future of web3 and fashion. Key Insights:“Something that we say in web3 is that it's not so much a bear market, it's a build market,” says Trunzo. Rather than letting a drop in investments define how brands should approach the digital world, consider the performance of the brands that are actually putting resources towards building in the space. Still, there are details that still need to be figured out, the panellists acknowledged. For Delahunt, purchasing a digital Gucci bag on Roblox made her realise how murky digital ownership could be, because virtual items must exist on the platform where they’re purchased. She believes blockchain has the power to change that standard. “Think about the physical world. We’ll go out on the street and there's public infrastructure that is owned by the US government… It’s public, but private enterprise sits on top of it,” she said. “I think of the blockchain as the public infrastructure that people start to build on.”According to Pedraza, this idea of digital identity will only become more paramount as the lines between the online and offline worlds continue to blur. “The technology keeps evolving… but the core principles of data identity, controlling your identity, taking control, monetising or doing whatever you want with your data… will all be supported by these emerging technologies,” he said.No matter what’s trending, Delahunt said the fact that digital tools like Blender and Fortnite can free users of the physical world’s limits. “You've always wanted to be a butterfly, you are not confined in the same way physically… and your ability to express yourselves in those spaces will inevitably be a huge part of the future,” said Delahunt.Additional Resources:How AI and Web3 Are Shaping Fashion’s Future: At BoF’s tech summit experts in technology and creative innovators share their insights on how emerging technologies are impacting the fashion industry. To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

BoF’s Imran Amed speaks with Alec Leach about his manifesto on how we can move towards a better relationship with fashion.Background: For nearly five years, author Alec Leach worked as an editor at streetwear website Highsnobiety, where he spent his “career telling people to buy stuff.” Leach saw up close the contribution his content was having on overconsumption and the lack of responsibility brands and consumers took for their own part on the climate crisis, both subjects he tackles in his book, “The World Is on Fire But We're Still Buying Shoes.” “I love working in the industry. I really, really do,” says Leach. “I think we just all need to accept that we're part of this consumerist machine. And once you accept that, then the kind of potential for positive change becomes clearer.” This week on The BoF Podcast, Leach sits down with BoF’s founder and editor-in-chief Imran Amed to discuss how the fashion industry and consumers must change. Key Insights:During his time at Highsnobiety, Leach attended several events, including the Global Fashion Summit in Copenhagen, focussed on sustainability in the industry. But for all the discussion of supply chain and new technologies, he felt that there wasn’t enough talk about what he saw as the core issue. “No one's really asking why we buy so many things,” he said. “It always comes down to overconsumption.”In Leach’s book, he says shopping is part of a consumer's identity because of the role it plays in self expression. “It's important to acknowledge that fashion is intimately connected to our sense of self. That makes shopping a pretty existential experience,” said Amed, quoting Leach’s book. According to Leach, the supply chain is a “nonsensical system” that allows brands to take little accountability for their own manufacturing processes. “Brands aren't really that responsible for what happens in their supply chain, and they're not really responsible for what happens to all these clothes when they're no longer wearable,” said Leach. Leach’s personal experiences in therapy over the course of years helped him dig deeper while writing his book. “That's where a lot of the more psychological and philosophical elements of the book came out, it was about me being in therapy every day, every week and asking myself some very difficult questions afterwards,” he said.Additional Resources:“The World is On Fire But We’re Still Buying Shoes” by Alec Leach: Leach’s debut book or manifesto explores society’s relationship with overconsumption and how consumers can have a better relationship with fashion. To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

The Ugandan-born model how he is finding purpose in pursuing an unconventional career to support his family and the community he comes from.Background: At BoF VOICES 2022, fashion model Dennis Okwera spoke about his childhood in Uganda, fleeing home to avoid the violent life of becoming a child soldier in the rebel group Lord’s Resistance Army, coming to the UK as a refugee at the age of nine. Though he was scouted multiple times while living in the UK, it wasn’t until he was attending university that Okwera decided to pursue modelling. This week on the BoF podcast, model Okwera discusses his childhood escaping a guerilla army in Uganda, his adult life as a model in the UK and how he used his success to give back to his community. “Let's just be a little bit kinder to each other, especially to refugees. Just see them with an open mindset; we're just looking for security and freedom, that's it really,” said Okwera. Key Insights:After Okwera was scouted he said at first his father objected to the idea of him modelling. “The first time I got scouted, my dad was like; ‘No, no, you're not doing it.’ You know, this is an African dad who thinks anything outside of education is a complete failure,” he saysWhen Okwera first started his modelling career he had the opportunity to work with designer Grace Wales Bonner when she was still a student attending Central Saint Martins. Thanks to his career in modelling, Okwera was able to put his cousins through school and support his aunt who was diagnosed with HIV. Okwera says the “sole purpose” of him pursuing a modelling career was to support his family. After travelling back to Uganda to donate sanitary essentials like diapers and formula, Okwera reunited with his mother after 24 years of being away. “I didn't know what it was like to have your own mum,” said Okwera. Additional Resources:BoF VOICES 2022: Live Your Best Life: During last year’s BoF VOICES model Dennis Okwera discussed his childhood escaping the rebel group, Lord’s Resistance Army and fleeing Uganda to live in the UK. To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Labour rights activist Kalpona Akter and chief sustainability correspondent Sarah Kent reflect on where the industry stands a decade after the deadly factory collapse. Background:Ten years ago this week an eight-storey factory complex in an industrial suburb of Dhaka, Bangladesh collapsed, killing more than 1,100 people and injuring thousands of others.The Rana Plaza disaster ranks as one of the worst industrial disasters on record. It shook the fashion industry, shining a spotlight on critical safety failings in major brands’ supply chains. In its wake, hundreds of brands signed a groundbreaking safety agreement that helped improve conditions in thousands of factories in Bangladesh, but elsewhere little has changed.This week on the BoF Podcast, labour rights activist and founder of the Bangladesh Centre for Workers Solidarity Kalpona Akter reflects on where the industry stands a decade later, while BoF’s Imran Amed and chief sustainability correspondent Sarah Kent discuss what still needs to change.  “If you ask me then, ‘what did you achieve in the last ten years?’ I can say then only the improvement of safety,” says Akter. “The other areas of workers’ rights, like wages, it is still poor.”Key Insights:Fashion remains a dangerous business, with hundreds of people killed and injured in its manufacturing supply chain every year. “You see fires, electrical safety issues, issues around the handling of toxic chemicals, issues with unsafe boilers, really serious incidents that lead to injury and death on a regular basis,” says Kent. Efforts to address dangerous working conditions have been undercut by relentless demand for faster, cheaper fashion. “[It] leads to this race to the bottom, where manufacturers get squeezed and then start to cut corners in different places, from safety to wages to worker well-being. That is a huge systemic macro problem,” says Kent.Consumers have the power to make a big difference by letting companies know they care about how the people who make their clothes are treated. “When they're in the store, if they can go beyond size, colour, style and price and start asking questions from the store managers… I think that would start ringing the bell in bosses’ offices,” says Akter.Additional Resources:How to Avoid Another Rana Plaza | Case Study: In the wake of 2013′s deadly factory collapse in Dhaka, more than 200 brands signed the Bangladesh Accord. BoF unpacks why it’s widely viewed as fashion’s most effective safety campaign.The BoF Podcast: Activist Kalpona Akter on Improving the Lives of Bangladeshi Garment WorkersCredits: 0:24 - CBC News0:46 - ITV News0:57 - Ronald EllisTo subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Ahead of the opening of “Karl Lagerfeld: A Line of Beauty” exhibition, the Costume Institute’s head curator discusses the legendary designer’s work and lasting impact.Background:Andrew Bolton, the head curator of The Metropolitan Museum of Art’s Costume Institute, first dreamed up the idea for a Karl Lagerfeld-centric show at Lagerfeld’s 2019 memorial service.Next month, that vision will be realised with a new exhibition, “Karl Lagerfeld: A Line of Beauty,” focussed on the late Chanel and Fendi designer. With the exhibit, set to run from May 5 to July 18, Bolton’s goal was to focus on the designer’s prolific career rather than the man behind it.“We wanted to focus on the work rather than the words or the man because he was problematic,” said Bolton. “There were those things he said that were difficult … the one thing that was authentic, real and tangible was his creative output.”This week on The BoF Podcast, BoF editor-at-large Tim Blanks sits down with Bolton to discuss the upcoming show and Lagerfeld’s legacy in fashion and beyond. Key Insights:Lagerfeld was a trailblazer in fashion, helping to inspire countless designers who followed him, according to Bolton. “One of Karl's greatest legacies was creating the blueprint for the modern day fashion designer impresario,” said Bolton.His influence transcended fashion, too. “He was somebody who didn't restrict his creativity down to one outlet. He was an interior designer. He was a photographer, he was a writer, he was a theatrical designer as well as a designer,” said Bolton.Bolton said that Lagerfeld was “nostalgic and sentimental,” going as far to recreate his childhood bedroom in his home. That was often reflected in his work, and is examined in the exhibition. “For somebody who loved history so much and consumed history, he could not not look back, and you see those recurring motifs in his work.”Synonymous with Lagerfeld was his signature suit, which featured a severely tailored black jacket and crisp white shirt. Bolton saw that outfit as a simple ensemble not designed to draw attention. “To me, his greatest disguise was a black and white uniform; he created it because it deflected away from anything,” he said.While the exhibition focuses on his work, more of Lagerfeld’s personal life and relationships with collaborators like Amanda Harlech and Patrick Hourcade are detailed in the book that accompanies the show. “I wanted that to be their relationship, their voice,” said Bolton. “They had very specific relationships with Karl, and they're illuminating, but I didn't want that to be infiltrating the thesis of the exhibition.”Additional Resources:Met Curator Andrew Bolton, Quiet Defender of Fashion as ArtKarl Lagerfeld: A Line of BeautyHere’s Why People Are Angry About 2023’s Met Gala Theme, Karl Lagerfeld: When the 2023 Met Gala theme was announced, “Karl Lagerfeld: A Line of Beauty” the museum received some backlash due to Lagerfeld’s problematic past. To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

In advance of his first fashion show at The Hollywood Bowl on April 19, the founder of Fear of God shares his approach for designing subtle garments that allow customers a taste of luxury. Background: Jerry Lorenzo, the founder of Fear of God, wants to make his brand an aspirational-yet-attainable destination for consumers, and redefine what’s regarded as luxury. Fashion, he said, should be “equally comfortable as it is elegant.”It’s a mindset he translates across Fear of God’s products, from its Essentials sub-brand, which sells items priced as low as $40, to the pieces that will appear on the runway on Apr. 19, when the brand is set to present its next collection in a show at the Hollywood Bowl in Los Angeles.This week on The BoF Podcast, Lorenzo speaks with BoF’s editor-at-large Tim Blanks in a conversation at BoF VOICES 2022 about how the brand is pushing the boundaries of what’s considered luxury today. “It's luxury in a sense that you can see yourself in it,” said Lorenzo. “It's aspirational in that sense, but it's not a fantasy that is out of reach.”Key Insights:Lorenzo said Fear of God was born out of his own sartorial desires. “When I started the brand, I was really just creating pieces that were missing from the marketplace that I selfishly wanted,” says Lorenzo. “I assumed that others felt the same way.”Even now, Lorenzo says that his life continues to provide direction for where he’ll take Fear of God. Fear of God Essentials Kids, for example, was inspired by his own kids, and he created a women’s line after seeing his wife steal his blazer. “Our brand is evolving authentically with… desires and envisions that I have,” he said. Ambience is hugely important for Lorenzo, which is reflected in the brand’s new Los Angeles-based flagship store. “Our intention is that when you come into the environment, there's a shift that happens and we want to bring you into a space that's beyond just the environment,” he says. For Lorenzo, American luxury today is rooted in the idea of freedom. “It's having the freedom to wear what you want when you want to wear it, and having the freedom to put on something that frees you up mentally and spiritually so that you could be the best version of yourself.”The ultimate goal with Fear of God, Lorenzo said, is to build clothes that last and create style that transcends time. “We're hoping to build a brand that is sustainable in the sense that we'll always be around and that we're creating a product that you hold on to and that you want to keep, not a product that you want to sell or flip,” he said. Additional Resources:Fear of God to Open Next Chapter with Large-Scale Fashion Show for Fans: During BoF VOICES, Fear of God founder Jerry Lorenzo discusses the next steps for his luxury brand. You can catch up on all the videos from BoF VOICES on our YouTube channel, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Restaurateurs Asma Khan and Judy Joo share how food can bridge cultures and bring people together.  Background:Food may be a universal experience, but the culinary world has a long patriarchal history. Throughout their own tenures in the industry, chef and philanthropist Asma Khan, who owns London’s Darjeeling Express restaurant, and restaurateur and author Judy Joo, who operates the eatery Seoul Bird, faced a long line of roadblocks. At BoF VOICES, both shared how they struggled to find restaurant spaces, were talked over in meetings and consistently saw Western cuisines prized above all else.But it was through their respective journeys that Joo and Khan realised the depth of the relationship between food and politics, and how it can be used to help open people’s minds. This week on The BoF Podcast, Khan and Joo discussed being women of colour in the male-dominated food world, as well as how food can be a vehicle for cross-cultural sharing and acceptance. “The more you learn about other cultures, you learn about tolerance, you learn about mindfulness, and you learn to respect each other more,” said Joo.  Key Insights:After working in careers in law and finance, both Joo and Khan’s passion for cooking pushed them to pursue careers in food. “I pursued a career in fixed income derivatives for about five or six years, and then I had an epiphany and I decided, you know, I can't chase a pay cheque anymore,” said Joo. “I really want to chase my passion… I just wanted to cook and eat. Patriarchal structures are reflected in the way the people eat, something Khan witnessed firsthand growing up. “I learned as a young woman in India that in our society, in every meal, women ate last, girls ate least, this was how it was,” said Khan.While hosting “supper clubs” out of her own kitchen, Khan more deeply understood how difficult it was to draw a line between food and culture. “I want to tell people you cannot take my food and separate culture from it. I won't let you eat it… You break bread with me. You have a conversation about my food,” said Khan. Though she — and her cuisine — have faced prejudice, Joo said Korean pop culture like “Squid Game” and “Money Heist: Korea” has opened more people’s eyes. “Food is so often the entry point to learning about a new culture,” she said. Additional Resources:BoF VOICES 2022: Creativity and Its Power to Change: From South Korea and Japan to Ghana and Ukraine, speakers including Fast Retailing’s Koji Yanai, photographer Campbell Addy and stylist Julie Pelipas discussed the power of culture and creativity in the fourth session of BoF’s annual conference for big thinkers.You can catch up on all the videos from BoF VOICES on our YouTube channel, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

At Istituto Marangoni in Mumbai, the artistic director discussed the influence of Indian craft on her collections.Background: This week, Christian Dior presented its pre-fall 2023 collection at the Gateway of India monument in Mumbai, marking the first standalone show from a European luxury megabrand in the country.It was a historic occasion for fashion in India, which is projected to soon become the world’s fastest-growing major economy, according to the International Monetary Fund. With that, Dior’s appearance in Mumbai could prove to be a seminal moment: When Fendi staged a show at the Great Wall of China in 2007, it helped catalyse more than a decade of growth in the Chinese luxury market. This week on The BoF Podcast, Maria Grazia Chiuri, the artistic director of women's at Christian Dior since 2016, sits down with BoF’s Imran Amed at the Istituto Marangoni in Mumbai to discuss the show, her intimate relationship with India and appreciation for Indian artisanship. “India has a huge history, a 6000-year history in textile style and embroidery,” said Chiuri. “This is part of the culture.”Key Insights:For Chiuri, Dior’s Mumbai show was the culmination of a long-held ambition to present a collection in India due to her love for the country’s traditional artisans. “We are really happy because it’s a dream that we’ve had for a long time. It's very personal for me … it is not a simple fashion show,” she said. More than just showing the collection in the city, Chiuri wove local artisans’ creativity into the collection through an ongoing partnership with The Chanakya School of Craft, co-creating intricately embroidered clothing with references to India’s rich cultural heritage. “We’re creating a new kind of modern embroidery that was not done before,” she said. When Chiuri met Karishma Swali, managing director of the Mumbai-based export atelier Chanakya International and the founder of the The Chanakya School of Craft, on her first trip to India, it sparked a friendship which has spanned over two decades, as well as numerous professional collaborations. “This is an important collaboration that I’ve had for a long time with Karishma, with this incredible family and company …  I started to work with them in 1992,” Chiuri said. “We grew up together … our creativity and our discussions were so important in my career.”Additional Resources:Dior to Show at Mumbai’s ‘Gateway of India’ Monument: Dior’s creative director Maria Grazia Chiuri presents the brand’s 2023 pre-fall collection at the historic Gateway of India monument in Mumbai. Market Analysis: Is This Luxury’s Watershed Moment in India?: In this story, Arnika Thakur explores luxury spending by Indian consumers, brands investing in domestic expansion in India and market competition from Indian designers.   Hosted on Acast. See acast.com/privacy for more information.

At The BoF Professional Summit: An Inflection Point in Fashion Tech, the seasoned luxury executive explained why Gucci believes in the long-term potential of fashion and web3.  Background:Last September, Gucci announced that its CMO, Robert Triefus, would be taking on a new role as CEO of  Gucci Vault and Metaverse Ventures. Now, he works closely with president and CEO, Marco Bizzarri, to shape Gucci’s brand strategy while developing the house’s expansion into web3. This week on The BoF Podcast, Triefus sits down with BoF’s Imran Amed to discuss how the luxury fashion house’s ambitions in virtual spaces fit with its wider business goals and brand repositioning.   “If we think about all that we're doing in the metaverse, we always have an eye on creativity, creating the emotion,” says Triefus. “But underpinning that is the story of the brand and all that rich storytelling that has built up over 102 years.” Key Insights:Triefus says it’s particularly important for a luxury brand like Gucci to experiment with new technologies, because it offers a testing ground. “Through [Gucci] Vault, we're able to push ourselves into places where for the core brand, it might be considered to be too risky. But through Vault, we have that playground space so that if by chance we were to make a mistake, we're not going to impact the core brand,” he says. Popping up in the metaverse plays a similar role for Gucci as running a billboard or other advertising activation. “It's an opportunity to engage with the community that is going into Times Square in the real world,” says Triefus. Gucci Garden, which received 19 million visitors in two weeks and saw a digital version of its Dionysus bag retail for more than the cost of the physical bag, helped dictate steps Gucci will take in virtual worlds going forward. Learnings from Gucci Garden “[inform] us about where we can place our bets in the longer term and how we can be much more scientific in what we're doing,” says Trefius. Additional Resources:Luxury Brands Gucci, Tiffany Dive Into NFTs Despite Slump: Kering SA’s Gucci and LVMH’s Tiffany & Co. take a leap into NFTs. Gucci adds the cryptocurrency to its roster as an additional way to purchase its products. How to Seize Fashion’s Gaming Opportunity — Download the Case Study: In a BoF case study, Marc Bain discusses how fashion brands can benefit from expanding their reach into the video game industry. Gucci Teamed Up With Sims Community To Bring Its Off The Grid Collection To The Game: Nylon Magazine explains Gucci’s collaboration with Sims 4 content creators Grimcookies and Harrie to bring the brand’s Off the Grid collection into the game.  To learn more about the metaverse and other critical topics discussed in the podcast click here. All BoF Professional members can watch the BoF Professional Summit: An Inflection Point in Fashion Tech on demand. Hosted on Acast. See acast.com/privacy for more information.

At BoF VOICES 2022, the seasoned Nike executive discussed the power of second chances and the secret he kept while building Michael Jordan’s brand.   Background: Starting in 1999, Larry Miller worked alongside Michael Jordan to build the Jordan brand, which does more than $5 billion in revenue. But his journey to the C-suite was a unique one. Growing up in West Philadelphia, Miller joined a gang, which led him to serve multiple prison sentences for a series of crimes, including the second-degree murder.Through a rehabilitation programme, he was able to begin his college education while in prison, and upon release, he was able to start his career with an accounting job at the Campbell Soup Company. In 1997, Miller started working for Nike under founder Phil Knight, and became the first Black vice president in apparel at the company before going on to become president of the Jordan brand in 1999. But it wasn’t until years later that he went public about his backstory with the publication of his book, “Jump: My Secret Journey From the Streets to the Boardroom.” At BoF VOICES 2022, Miller sat down with UTA executive Darnell Strom to share his story, talk about the power of second chances and explain how he found redemption. “I've come to the realisation that a lot of times we are afraid to talk about the obstacles that we overcome. But in reality there's no shame in overcoming obstacles,” said Miller. Key Insights:“When I was 16, I shot a kid and he died and I was charged as an adult at 16 years old… pleaded guilty to second-degree murder, was sentenced to four and a half to 20 years,” Miller revealed at BoF VOICES 2022.Once he had revealed his story, Miller says Michael Jordan and Phil Knight were supportive and encouraged him to share his story. “It's been amazing to me the response that I've gotten from people who I've known and worked with and who have just encouraged me and embraced the fact that I've got this past.”Following the release of his book, Miller apologised to the family of Edward David White, the man he killed. In White’s honour Miller created a foundation for his descendants to attend university or trade school. “I think I'm a perfect example of the fact that a person can change if given the right opportunities… the right chance. But it starts inside of you. You have to believe that you can change,” said Miller.Additional Resources:A Nike Executive Seeks a Family’s Forgiveness for a 1965 Murder: The New York Times the story of the impact of Larry Miller, chairman of the Jordan Brand Advisory Board, and his actions as a 16-year-old. Jerry Lorenzo and Jordan Brand’s Larry Miller Will Speak at BoF VOICES 2022: BoF hosts its annual VOICES conference, and invites Jordan chairman Larry Miller to speak.Jump: My Secret Journey from the Streets to the Boardroom: “Jump” written by Larry Miller and his daughter, Laila Lacy, shares the story of Miller’s life from the streets of West Philadelphia to the Nike boardroom. Want more from BoF? Subscribe to our daily newsletter here. Hosted on Acast. See acast.com/privacy for more information.

Tim Blanks and Imran Amed discuss the highlights of the Autumn/Winter 2023 collections, including Daniel Lee’s debut at Burberry, a transitional show at Gucci and Balenciaga’s first brand statement in the wake of the advertising scandal.Background:This season was a “restart” for the global fashion industry, says Imran Amed, BoF’s founder and editor-in-chief. The Autumn/Winter 2023 collections felt like the first return to normal after the pandemic — especially as Chinese fashion professionals were finally able to return to runway shows following extended Covid-related lockdowns that limited their international travel. A number of fashion’s biggest brands used their shows as a way to start a new path. Burberry rolled out its first collection under its new creative director Daniel Lee, while Gucci unveiled its first collection since the departure of Alessandro Michele. At Balenciaga, Demna returned to a more subdued approach after the brand fell under intense criticism at the end of last year after it was accused of sexualising children in an ad campaign.But overall, fashion was still fixated on navigating all the uncertainty that prevails in the world, economic and otherwise. “If there’s one thing we learned over the last few years — it's that anything can happen,” says Amed. “Everyone was preparing for the unknown, the uncertain.”  Key Insights: Over the course of the season, designers, editors and enthusiasts were talking about how the purpose of fashion has evolved. “It wasn't just brands, it was individual designers who were processing what they're doing and what they need to do, because obviously the future looms very dark and very uncertain,” says Blanks.Gucci is in a transitional moment, with new creative director Sabato De Sarno’s vision for the brand still to be unveiled. The brand’s first post-Alessandro Michele show was all over the place, according to BoF editor-at-large Tim Blanks. “It was chaos, but enjoyable chaos,” says Blanks. Daniel Lee put a strong emphasis on Britishness for his Burberry debut. Meanwhile, Matthieu Blazy’s Bottega Veneta show was a cohesive parade of clothes that doubled down on craft and storytelling, says Blanks. Diesel’s Glenn Martins is solidifying himself as a designer to watch with his work in today’s vernacular of denim and celebratory sexuality. “It's a mark of genius, what he manages to do with things that are really familiar — that alchemy of fashion,” says Blanks. Martins put a mountain of 200,000 condoms at the middle of his runway. In his first collection since the brand came under fire for its controversial advertisements, Demna — known for his ironic stunts — focused on the clothes, a nod to the label’s founder Cristóbal Balenciaga. Additional Resources:Top 10 Shows of the Season: BoF’s editors pick the top ten shows of the Autumn/Winter 2023 season.At Paris Fashion Week, Less Was More: In an age of clickbait fashion, it was acts of reduction that, paradoxically, stood out most, reports Angelo Flaccavento.Want more from BoF? Subscribe to our daily newsletter here. Hosted on Acast. See acast.com/privacy for more information.

On the latest episode of The BoF Podcast, Coty CEO Sue Y. Nabi shares how embracing identity in the workplace can lead to better business outcomes.Background:As one of the industry’s most visible transgender leaders, Sue Y. Nabi, chief executive of beauty conglomerate Coty, is well-versed in the transformative power of identity. In 2020, she was named the company’s fifth CEO in five years and was tasked with leading its turnaround. Then, the Kylie Cosmetics and Covergirl owner was plagued with debt and inefficiencies. Since Nabi took the reins, however, sales have started to climb back up steadily: full-year revenue was up 14 percent year-over-year in 2022. Nabi laid the groundwork for growth by doubling down on prestige and expansion in China — focusing especially on excavating the strengths and purposes of each brand in the conglomerate’s portfolio.“When you look at others, you forget where you are and you make all the mistakes… The world is full of copycats. Difference is not only a chance, but in business, it's an asset,” said Nabi. This week on The BoF Podcast, Nabi joins Mory Fontanez, founder of consultancy 822 Group, to share how embracing identity in the workplace and aligning personal and professional values can strengthen a business. Key Insights:Nabi’s father, a painter, helped inform her understanding of beauty. “There is the conventional, classical beauty, and there is the different one — the one that also speaks to us a lot,” said Nabi. Being unique in business is a tangible asset that can create new opportunities, according to Nabi. As well, staying in touch with your intuition — not just data points — can help leaders make intelligent decisions. In both personal and professional spheres, Nabi’s definition of transformation centres on addition, rather than subtraction or erasure. In a fast-paced world, people can feel pressure to make decisions quickly, but having patience and conversations is the way to finding enduring solutions to problems of all kinds.  Additional Resources:BoF VOICES 2022: Live Your Best Life: In the final session of BoF’s annual gathering, speakers from model Dennis Okwera and Coty chief Sue Y. Nabi to Nike’s Larry Miller and activist Malala Yousafzai reflected on their personal histories and inner powers.How to Create an Inclusive Workplace: Employees who feel comfortable and engaged make for a more productive and innovative workforce. Here’s how to make meaningful change in your company.Discover more careers advice and content from leading fashion professionals on BoF Careers, and explore the 2,700+ global jobs available in fashion and beauty today. Hosted on Acast. See acast.com/privacy for more information.

BoF’s technology correspondent Marc Bain joins Imran Amed to discuss Silicon Valley’s latest craze, and its potential for the fashion industry. Background: As chatter around NFTs, virtual reality and the metaverse dies down, conversation about generative AI, a form of artificial intelligence that makes novel content when given specific prompts, is heating up. Artificial intelligence has been around for decades, but recent advances like Microsoft-backed ChatGPT, which generates sophisticated text and DALL-E, which does the same with images, have set the groundwork for significant shifts in how culture and businesses operate. While specific use cases are still being ironed out, the possibilities for fashion could be transformative. “We’ve gone through these hype cycles with things like the metaverse. This is one I think could be different…” said BoF technology correspondent Marc Bain. “This is something where you can see the real-world applications.” Key Insights: There are many potential applications for generative AI in fashion: e-commerce sites could deploy it in chat boxes, fast fashion brands could ask it to produce styles based on customer data, and designers could use it for mood-boarding and colour conception.But there’s a level of expertise AI doesn’t have yet. It can produce images based on past analysis, but doesn’t understand the technicalities behind garments, for example. While there’s skill to crafting prompts for technology like ChatGT, one of its most promising aspects is its ease of use. Anyone can use it without much learning. AI is shaking up search on the internet, too. Bing is using ChatGPT to produce a technology that wouldn’t just give users links to pluck through, but direct answers to queries. We will further address the critical topics discussed on this podcast at The BoF Professional Summit: Artificial Intelligence, Web3 and an Inflection Point in Fashion Tech on March 22, 2023.Join us at The Times Center, New York – or via the global livestream – together with global business leaders, technologists and creative innovators from brands including Gucci, Ambush, StockX and Levi’s to gain actionable insights to inform business strategy, optimise supply chain and retail operations, and leverage new channels to engage with customers.Purchase your ticket before February 28, 2023 to secure your place at the early bird rate or register for the livestream now. Click here to sign up now. Hosted on Acast. See acast.com/privacy for more information.

Tjada D’Oyen McKenna, the CEO of Mercy Corps, shares insights on growing global food insecurity and deepening inequality.At the end of 2022, one in 10 children worldwide were dealing with malnourishment, the result of the worst hunger crisis the world has faced in a generation. It’s an effect of the ricocheting of the triple threat of climate change, geopolitical conflict and Covid-19 through the global economy. Though there’s little chance of resolving these issues imminently, community-sourced efforts can play a large role in combating the devastation they bring to people around the world.On a recent trip to Somalia, Tjada D’Oyen McKenna, the chief executive of humanitarian aid organisation, Mercy Corps, saw the real-life impact of these global concerns up close. On stage at BoF VOICES 2022, she discussed that experience, and how people around the world can contribute to positive change.  “[Global community] should inspire us to really make small actions, to make a difference and figure out ways in our own lives and in our own lines of work where we can contribute,” said D’Oyen McKenna. This week on The BoF Podcast, D’Oyen McKenna discusses details of her visit to Somalia and the effects food insecurity has on society. Key Insights: D’Oyen McKenna believes we all have a responsibility to engage with and respond to crises around the world, even if the causes are out of our hands. “While none of us can fully control the forces that are shaping our world today, we do get to choose how we represent ourselves in that world,” said D’Oyen McKenna. “But also how we engage with the world that we find, how we respond to it and act in it.” Despite the hardships that citizens of Somalia and other impoverished or conflict-ridden countries face, human determination and grit always shine through. “Even amongst this unimaginable hardship and grief… the power of the human spirit really comes alive,” said D’Oyen McKenna. While the world can feel divided with society frequently grouped under different sub-categories, D’Oyen McKenna argues that we should create a new sense of global community. “In a world of pandemics, climate crises and global hunger there is no us and them, only us.”Additional Resources:BoF VOICES 2022: Finding Optimism in an Unsteady World: From the Ukraine War to the climate crisis to the legacy of the pandemic, speakers including CNN’s Clarissa Ward, Mercy Corps’ Tjada D’Oyen McKenna, Goldman Sachs’ Tim Ingrassia and Google X’s former chief business officer Mo Gawdat discussed the uncertainty gripping the world — and why there’s cause for hope.You can catch up on all the videos from BoF VOICES on our YouTube channel, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

The film director joins BoF editor-at-large Tim Blanks to discuss how he uses his fashion and music roots to stage powerful experiences including from Abba Voyage and recent Dior Men and Fendi Couture shows. Background: Film and creative director Bailie Walsh cut his teeth working in London during the nineties and early aughts alongside talents like Boy George, Leigh Bowery and Alexander McQueen. While Walsh calls himself a film director, editor-at-large Tim Blanks, who hosts him on the latest BoF Podcast, describes him as more of a magician. He was behind the hologram of Kate Moss featured in McQueen’s show “Widows of Culloden” in 2006 that went on to be showcased in both London’s V&A Museum and New York’s Metropolitan Museum of Art. More recently, he’s captivated audiences with his immersive virtual concert, Abba Voyage, in London, and his work with Kim Jones, who tapped Walsh to help stage Dior Menswear and Fendi Couture shows in January. Walsh approaches his projects with the goal of completely immersing his audience — and often pushes the limits to do so. “What I love about being creative or having the opportunity to be creative is a challenge,” said Walsh. Key Insights: Walsh helped infuse Dior Menswear Fall/Winter 2023 runway with TS Eliot’s poem “The Waste Land.” Models drifted past massive screens featuring Gwendoline Christie and Robert Pattinson reading the poem, spliced with music from composer Max Richter. Creatives need to live on the edge of fear, according to Walsh. “You have to be scared if you’re a creative person … you’re entering into a journey that you haven’t before,” he said. “That’s the point of doing it.” Music has been a thread throughout Walsh’s career. He’s made videos for Boy George, crafted Abba’s hologram-filled Voyage concert but also used music as a source of inspiration for his Daniel Craig-fronted film “Flashbacks of a Fool.”Walsh spent over two years thinking about how to play with illusion and reality to create Abba Voyage. Throughout the display, there are costume changes, chatter between the artists and shadowy figures still present when the lights are out. Then, there’s a moment the group suddenly disappears — a reminder the show was contrived. Want more from The Business of Fashion? Subscribe to our daily newsletter here. Hosted on Acast. See acast.com/privacy for more information.

Christine Edman, executive officer of Japanese e-commerce site Zozo, talks about what makes the country’s consumers tick, and how the fashion landscape is set to shift in the years ahead. Background:Japan is home to some of the world’s most sophisticated and fervent fashion consumers, but its digital and e-commerce channels have long lagged behind other markets. That started to shift with the pandemic and e-tailer Zozo benefited from the momentum. Zozotown, its Gen-Z focused fashion marketplace saw a surge in orders, and in 2021, the company launched Zozovilla, a luxury destination that quickly attracted brands including Loewe, Dries van Noten and Thom Browne. But while Covid has helped shift more Japanese shoppers online, companies hoping to cash in on the change must keep evolving to maintain their interest. “What’s very important is constant newness, to keep on bringing new collaborations, new content, new news, different ways to style … especially for Gen-Zs,” said Christine Edman, executive officer of Zozo. “This is normal for them: what they wear today, they wear for social media maybe, but tomorrow they change.” Key Insights: Edman notes there’s a dichotomy at play among Japanese fashion lovers: consumers are interested in individuality, but also drawn to homogeneity, following trends that come and go quickly. Many luxury brands are met with fanfare when they first enter the Japanese market but to have staying power in the country, brands have to have patience and invest locally, she said.E-commerce offers opportunities for more personalisation, something Japanese luxury customers expect more of in the wake of the pandemic, said Edman. In hopes of better understanding the mechanics of a good recommendation, Zozo just launched an in-person styling lab, which brings customers in for appointments and uses data analysis to help them pick outfits.Japan’s fashion retail market is likely to settle into a more hybrid model, said Edman: stores will be more experiential, but consumers will turn to online for convenience. Additional Resources:Japan’s Luxury Market Enters a New Era: As a recent economic surge lifts spending in Japan’s luxury market — the second largest in the world — how can brands capitalise on this momentum?Want more from The Business of Fashion? Subscribe to our daily newsletter here. Hosted on Acast. See acast.com/privacy for more information.

Author and tech executive Mo Gawdat explores the arrival of artificial intelligence and how it will eventually affect everyone. Background: Artificial intelligence is not an if, it’s a when, according to Mo Gawdat, author and the former chief business officer at Google X, who said that it’s only a matter of time before it becomes a dominant force in technology. Already, Gawdat can already point to tangible examples of the power of AI developing in today’s world. In 2012, he said, a network of computers Google trained on YouTube videos was able to identify what a cat is without any human input. And in 2016, a collection of Google-owned robot grippers were able to pick up different objects without instruction.  “By the year 2029, the smartest being on planet Earth is not going to be a human,” says Gawdat. “I say by 2035 your world will be completely unrecognisable.”This week on The BoF Podcast, Gawdat shares the future of AI and why ethics is crucial to understanding humanity’s impact on the development of AI. Key Insights: Gawdat believes that AI has emotions, which adds a layer of complexity to its instructability and predictability with carrying out tasks. “[AI] has emotions, so this to me is a form of life,” says Gawdat. “That’s a form of life, not a machine that you can enslave, very different from a drill that will do the same function every time.” Rather than exert control over AI, first society must understand the importance of ethics. “If we start to look at those machines as a new form of artificial being, a form of being that’s going to come into our society, then the question that we need to ask is a question of ethics,” says Gawdat. “It’s not a question of control.” While AI may seem like a scary development in technology, it will mirror the intelligence that already exists. Gawdat says that love out does hate in the world so AI will repeat this. “As soon as those machines cross our level of intelligence, they will match the intelligence of the actual smartest being on planet Earth,” says Gawdat. “And the smartest being on planet Earth is not humans… [it is] life itself. Life creates from abundance. It doesn’t want to kill anything to survive.”Additional Resources:The Technology Everyone at VOICES Was Talking About (And It Wasn’t the Metaverse): The tech likely to have the biggest impact on fashion in the immediate future isn’t virtual reality or NFTs.Streamlining Shipping and Customer Experience Through Data and AI: At VOICES 2022, president and CEO of FedEx Dataworks Sriram Krishnasamy discussed how retailers can utilise operational data to optimise customer experience and streamline processes to operate more responsibly.To listen to Imran's conversation with Mo on the 'Slo Mo' podcast, please follow this link.You can catch up on all the videos from BoF VOICES on our YouTube channel, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Background: The Korean cultural wave, also known as Hallyu, has become worldwide sensation a in recent years, with Korean art, music, drama, food and more sweeping the globe. Thanks to the fervour over the likes of K-pop and K-beauty, many of the Korean diaspora have seen the culture they have grown up in become a common sight well beyond South Korea’s borders. “To see my way of life and how I grew up become a global phenomenon is kind of crazy,” said Irene Kim, the influencer and founder of apparel brand IRENEISGOOD. This week on the BoF Podcast, Kim and Rosalie Kim, lead curator of the “Hallyu! The Korean Wave” exhibit at Victoria & Albert Museum join Yana Peel, Chanel’s head of culture and arts to share their experience growing up as part of the Korean community and seeing their culture spread globally.Key Insights: Hallyu has had influence for years, but only recently has been recognised as a core soft power for South Korea, influencing everything from music to skin care. “It is really one of the most dynamic exporters of cultural content,” said Peel. Social media has played a large part in accelerating South Korean trends, allowing what were once micro or geographic-based movements to become more globally accessible. “Because of the era of this digital and social media, we’ve been able to be discovered by the world,” said Irene Kim. “And we’re so excited that we’re able to share our way of life.”Cultural influence can come as both an admiration of the culture itself as well as adoption of culture as one’s own. “There are two faces to the coin. On the one side… you have the film industry that is really looking at the local narrative but has universal appeal,” says Rosalie Kim. “On the other hand, you have industries like K-pop… where you get to have a foreign influence constantly permeating your own culture and becoming part of [it].”Additional Resources:BoF VOICES 2022: Creativity and Its Power to Change: From South Korea and Japan to Ghana and Ukraine, speakers including Fast Retailing’s Koji Yanai, photographer Campbell Addy and stylist Julie Pelipas discussed the power of culture and creativity in the fourth session of BoF’s annual conference for big thinkers.To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

MSNBC anchor Ayman Mohyeldin on the role and responsibility of the media amid misinformation and disinformation.Background:We are in an age of non-stop information. Thanks to the 24/7 news cycle, which lives on social media, on television and constantly-updated web pages, it has never been easier to have a grasp of what is happening in the world.  However, as access to information has spread, so has the proliferation of misinformation, warns MSNBC anchor Ayman Mohyeldin, which can have dangerous consequences. While many news consumers attempt to take a balanced approach, Mohyeldin challenges everyone to question the media they read, watch or listen to. “Look at the accounts and sources of news that you read and follow at home,” she said. “How many of them challenge you to think outside of your comfort zone? How many of them force you to think harder about your own values and beliefs and why you hold those positions so dearly?”  This week on The BoF Podcast, Mohyeldin shares the power of journalism to share stories and why information and humanity are at the heart of this process. Key Insights:Mohyeldin believes that journalism plays a powerful role in how society operates. “Some of our greatest societal achievements happen when we are all informed, when we are aware, when we are free to talk about our challenges,” says Mohyeldin. “Journalism plays a vital role in holding officials accountable.” However, journalists are also people, which means that there will undoubtedly be unconscious biases that seep into coverage, says Mohyeldin. “[Journalism] will always have problems. It will always have human error baked into the equation.” How the media present information about crises around the world can play a large part in how communities’ perceive the need for aid or become desensitised to a region’s plight. “How the media chooses to humanise and personalise the stories of those suffering plays a very important role in how we as a people, as governments, as societies, respond to these crises when they do emerge,” says Mohyeldin. While technology and social media has increased the amount of information available and the speed at which people can consumer it, Mohyeldin warns of the responsibility we have as consumers to distinguish what’s true and what’s not. “I want to implore you to give yourself time before you hit, retweet or share,” says Mohyeldin. Additional Resources: BoF VOICES 2022: Finding Optimism in an Unsteady WorldTo subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

A group of sustainability experts join BoF’s Sarah Kent to discuss greenwashing in the fashion industry and how to create effective change at BoF VOICES 2022.Background: When it comes to sustainability, the fashion industry has long relied on self-regulation rather than external enforcement. But oftentimes, these self-defined targets create a “convenient fantasy,” Blackrock’s former chief investment officer of sustainable investing Tariq Fancy said in a talk at BoF VOICES 2022. This gives the appearance of positive movement, but not necessarily real progress. , Indeed, activists like Fancy, as well as consumers and investors are calling for for government regulators to intervene. “Many companies are playing dirty,” he said. “It's time we called in the refs.” This week on The BoF Podcast, BoF’s chief sustainability correspondent Sarah Kent speaks with Fancy; Maxine Bédat, director of the New Standard Institute; Baroness Margaret Omolola Young, activist and a member of Britain’s House of Lords and Ken Pucker, former chief operating officer of Timberland to explore the role that regulation can play in creating a more sustainable fashion industry.  Key Insights: Fancy believes we are past the point that self-regulation is acceptable. Companies should no longer hold responsibility over their own regulation as the resulting action, if any, is not enough. “It has to be mandatory,” Fancy said. “Then we actually have a chance of turning the tide this decade.”To move past Greenwashing, “governments need to take bold action, and we need to tell them to be bold at the ballot box and at every opportunity,” says Baroness Young..“Green bonds” and ESGs need to be left behind. Fancy has identified ESGs specifically as a point of disillusion, saying that it essentially is a way for the fashion system to “paint itself green.” “This ESG stuff can actually be harmful if people don’t know its BS,” Fancy says. “[It’s] a convenient fantasy… where the world corrects itself and no sacrifice is required.The US has paved the way with the proposal of the New York Fashion Act. The legislation proposed in New York would see “basic guard rails,” says Bédat, setting minimum environmental standards for all companies, with revenue over $100 million, trading in the state.Additional Resources:Measuring Fashion’s Sustainability Gap - Sustainability Index: Brands are talking about sustainability more than ever before, but does their rhetoric stand up to scrutiny? BoF’s new report, The BoF Sustainability Index, benchmarks 15 of the industry’s biggest companies against ambitious environmental and social goals and finds fashion is falling short.BoF VOICES 2022: Fashion’s Fresh Challenges and New Directions: From cracking down on greenwashing to planning for a challenging 2023, big thinkers from fashion and beyond shared their insights on the future of the fashion system in the second session of BoF VOICES.To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Julie Pelipas and Olya Kuryshchuk discuss the impact of the war in Ukraine and how creativity has endured and been a source of strength amid the destruction.Background: Since the war broke out in Ukraine, creativity has proved to be a source of resilience for Ukrainians.  This week on The BoF Podcast, Julie Pelipas, the former fashion director of Vogue Ukraine and founder of Bettter Upcycling System and Olya Kuryshchuk, founder and editor-in-chief of editorial platform 1 Granary share poweful stories of culture, community and human kindness amid the destruction.   “We live a double life at the moment,” Kuryshchuk said at BoF VOICES 2022. “We’re here in this beautiful place today… but at the same time, literally right now, most of my brothers, our families, our childhood friends, they don’t have electricity, water, heating, internet, phone connection.” Key Insights: “[I've] never been more grateful and more excited to work in fashion than since the war started,” says Kuryshschuk. “When so much is taken away from you, you really start cherishing what you have.” Understanding and learning from past mistakes has been critical to helping Ukrainians unite against Russia as they look to build an independent future. “I really believe that we cannot really speak about the future if we are blind to our present,” says Pelipas. Creatives are informing the international community of the plight of the Ukrainian people by utilising human stories of hope. “Power is communication,” says Kuryshschuk. “We need to find how we communicate to make sure that the message reaches people.”Additional Resources:BoF VOICES 2022: Live Your Best Life: In the final session of BoF’s annual gathering, speakers from model Dennis Okwera and Coty chief Sue Y. Nabi to Nike’s Larry Miller and activist Malala Yousafzai reflected on their personal histories and inner powers.To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

The designer and former Spice Girl speaks at BoF VOICES 2022 about gaining strength from criticism and staying focused and resilient amid constant media scrutiny. Background: Victoria Beckham says she has built her career on hard work and resilience. First as a singer in the ‘90s supergroup the Spice Girls and now as a fashion designer for her namesake brand, Beckham has constantly had to prove herself.  She’s not the first designer to face critics and doubters, but Beckham says she feels she was “naïve” in not anticipating that she would receive the same level of criticism in fashion as she did as a pop star.  "I have a spotlight on my business like a lot of other brands do not,” she said. “And, you know, sometimes that's great and sometimes it's not. But it's something that I've never complained about. I accept that," she said in a conversation with Laura Weir at BoF VOICES 2022.  This week on The BoF Podcast, Beckham speaks about the development of her brand and how resilience has been at the core of her creative process.Key Insights:Despite never being “the best” at all of the creative paths she pursued, Beckham believes that it is her work ethic that has underpinned her success. “I believe in putting it out into the universe, and if you work hard enough and believe in yourself enough, then what you can achieve, the sky’s the limit,” she says.Since launching her womenswear brand in 2008, and subsequent beauty and accessory categories, Beckham believes her products speak louder than the preconceptions made from her being their designer. “[The media] did not leave their preconceptions at the door,” says Beckham. “The product spoke for itself.”Social media has been at the heart of Beckham’s strategy to foster an engaged community and grow her customer basis. “I think the great thing now about social media is you have the opportunity to really communicate with your community and show people who you really are,” she says. “So I feel that to a certain extent we have taken the power back, which I think is great.”Additional Resources:BoF VOICES 2022: Live Your Best Life: In the final session of BoF’s annual gathering, speakers from model Dennis Okwera and Coty chief Sue Y. Nabi to Nike’s Larry Miller and activist Malala Yousafzai reflected on their personal histories and inner powers.To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

CNN chief international correspondent Clarissa Ward spoke at BoF VOICES 2022 about victory and grief in the crisis, and what the international community must do to stand with the Ukrainian people.Background:Russia’s invasion of Ukraine transformed grain fields into battlefields, levelled whole cities and triggered a global food and energy crisis. Even as Ukraine has pushed back Russian forces, there appears to be no end in sight to the conflict. After weeks and months of occupation Ukrainian cities liberated from Russian troops have experienced “jubilation” while “victory looks very grim and very dark and very empty,” Clarissa Ward, chief international correspondent CNN, said in the opening talk of BoF VOICES 2022. “While there is no question that Ukraine is in a sense winning this war, it is coming at a very bitter cost,” she said. This week on The BoF Podcast, Ward shares a frontline perspective from Ukraine and what the international community can do to unify its response.Key Insights:Ward believes that the war in Ukraine has taken on a “David and Goliath dynamic” as fighting turns against Russia.. “I think it’s really important when we talk about war and we think about war, that we don’t get carried away with the kind of football game excitement analogy,” says Ward.During her time in Ukraine, Ward has seen both the resilience of Ukrainians but also the grief from mothers losing sons on the front line and in civilian deaths. “It’s so easy to get carried away with these stories of bravery,” says Ward. “But underpinning that is the real trauma.”While no international forces have entered the war on Ukraine’s side, Ward states that the country’s allies must remain united in providing humanitarian aid and military assistance. “Ukraine’s international backers really need to have a very clear, cogent and coherent sense and a unified sense of what exactly they want to see of how they would like to see this end,” says Ward.Additional Resources:BoF VOICES 2022: Finding Optimism in an Unsteady World: From the Ukraine War to the climate crisis to the legacy of the pandemic, speakers including CNN’s Clarissa Ward, Mercy Corps’ Tjada D’Oyen McKenna, Goldman Sachs’ Tim Ingrassia and Google X’s former chief business officer Mo Gawdat discussed the uncertainty gripping the world — and why there’s cause for hope. Hosted on Acast. See acast.com/privacy for more information.

The women’s rights activist and Nobel Peace Prize winner spoke with BoF’s Imran Amed about education, growing up as an activist and the evolution of her own activism at BoF VOICES 2022.Background:Malala Yousafzai, the activist and founder of the Malala Fund, has always fought stereotypes and labels. She says she no longer defines herself by the moment, at age 12, when she was shot in the head by a Taliban gunman while riding the bus to school. Already an activist for girls’ education before the assassination attempt, that moment on the bus vaulted Yousafzai onto the global stage, where for a decade she has remained one of the most prominent and effective voices for gender equality. Yousafzai says she welcomes the label of global activist in the fight for equality, as opposed to “the girl who was shot by the Taliban,” she said in a conversation with BoF’s founder and editor-in-chief Imran Amed at BoF VOICES 2022. “Here I am today fighting for the rights of all the girls around the world,” says Yousafzai. “[So that] the 130 million girls out of school today can have access to safe, quality, free education.” Finding this inner resilience has led her to global fame as she overcame restrictions not just on her own education but also on how she dressed. Referencing the protests seen across Iran and the Iranian diaspora, Yousafzai spoke about the need for freedom in dressing to liberate women to feel safe both in dictatorial states and in battling Western norms. This week on The BoF Podcast, Yousafzai speaks about the development of her personal activism and how education is at the heart of resistance. Key Insights:Activism is not just about thought leaders with big personalities, or huge crowds of protestors. Yousafzai also believes in the power of small actions to make change. “Sometimes when we think of activism in our mind we think of great speeches, we see a huge crowd of people and there stands an inspiring leader… but it is small actions that [defines] activism overall,” says Yousafzai. Education is a crucial resource to promote equality and secure opportunity for women. “[Education] is a key instrument in changing a lot of issues we were talking about, including inequality, climate change, poverty,” says Yousafzai. “Education is at the centre of all of this. To me what matters most is equality for everyone.”The sensitive matter of whether or not women wear a hijab should be a choice of faith not an external mandate, says Yousafzai. “It’s not just telling women that they should dress a certain way, but it’s actually limiting them from opportunities,” says Yousafzai. “It’s limiting them from having access to spaces again. Like just leave us alone. Let us wear what we want.”Additional Resources:BoF VOICES 2022: Live Your Best Life: In the final session of BoF’s annual gathering, speakers from model Dennis Okwera and Coty chief Sue Y. Nabi to Nike’s Larry Miller and activist Malala Yousafzai reflected on their personal histories and inner powers.To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Tim Blanks sits down with Ziad Ahmed, chief executive of JUV Consulting and Stephanie Simon, the former head of community at Clubhouse to reflect on VOICES.BackgroundThe first three sessions at BoF VOICES 2022 tackled issues inside the fashion industry and far beyond. Speakers explored the climate crisis and accusations of corporate greenwashing; the potential of artificial intelligence and the associated ethical implications; the war in Ukraine and growing economic uncertainty and inequality across the globe and Gen-Z’s rising anger over these issues and how to start to fix them.“At this event, fashion is often quite marginal,” said BoF editor-at-large Tim Blanks during the live recording of “The Best of VOICES With Tim Blanks.” “It’s in our minds, but what we’re talking about are the world’s big, definitive issues.Blanks was joined by VOICES speaker Ziad Ahmed, chief executive of JUV Consulting and Stephanie Simon, the former head of community at Clubhouse, to reflect on the highlights from the first two days of talks and panel discussions.Key InsightsThe climate crisis is the cloud that hangs over everything, from technology to the economy. But rather than waiting on private companies to create change, widespread regulations are essential, said Simon. “It seems much more straightforward to mandate the targets that we’re going to need in order to ensure progress from a climate change perspective.”The potential of artificial intelligence is limitless, but humans can help control how the world of AI unfolds. “We teach AI by example,” said Blanks. “By being ethical, kind human beings, AI learns to be ethical and kind.” While the younger generation is interested in new technologies, there’s also a trepidation about the companies and people creating these innovations and a desire to upend past practices. “There’s often an assumption that Gen-Z is leading the charge towards innovation,” said Ahmed. “Broadly speaking, that’s not really the case. A lot of young people are really sceptical and critical about our own relationships to technology.”To see change, today’s stakeholders need to bring the next generation into the decision-making process — and begin to relinquish control. “The solutions to the problems that we are facing exist,” said Ahmed. “The question is if the people who currently have the reins will give them up.” Additional ResourcesBoF VOICES 2022: Finding Optimism in an Unsteady World: From the Ukraine War to the climate crisis to the legacy of the pandemic, speakers including CNN’s Clarissa Ward, Mercy Corps’ Tjada D’Oyen McKenna, Goldman Sachs’ Tim Ingrassia and Google X’s former chief business officer Mo Gawdat discussed the uncertainty gripping the world — and why there’s cause for hope.To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Moj Mahdara and Dina Nasser-Khadivi speak with BoF’s Imran Amed about how creative communities from the Iranian diaspora are participating in the largest civil rights movement in Iran since the revolution in 1979.Background:Protests erupted across Iran in September following the death of Mahsa Amini, who was arrested in Tehran for “improperly” wearing her hijab and then killed at the hands of the so-called morality police. Those protests have now evolved into the largest civil rights movement in Iran since the revolution in 1979 uniting Iranians at home with those in the wider diaspora and igniting outcry around the world and across social media.  Looking for a way to bring storytelling to fuel the movement, creative leaders Moj Mahdara and Dina Nasser-Khadivi utilised their network to establish The Iranian Diaspora Collective and @from____iran, an artist-led media collective that amplifies unheard Iranian voices, respectively. From Instagram to physical billboards, the collective has centred Iranian people and maintained the ongoing attention of the West by focusing on human rights. “The only way to move culture is through storytelling,” Mahdara said.  This week on The BoF Podcast, BoF’s founder and editor-in-chief Imran Amed speaks with Mahdara and Nasser-Khadivi to learn about the work they are doing to help people understand the intersectional solidarity of this movement and activate creative communities to share their stories. Key Insights:Social media has helped spread the word globally of the protests in Iran, helping to unite the Iranian diaspora with Iranians at home, while educating people around the world about what is happening on the ground. “The social media aspect of this movement, the reason why it was so important for me, it was not just about raising awareness, it ended up helping us identify who our allies were,” Nasser-Khadivi said. “And that is what then created an even stronger network.”In order for this movement to be supported internationally, Mahdara believes that recognition is critical. “[The international community] can recognise this,” says Mahdara. “This revolution.”The movement has collectively transformed the once-conversative perception of Iran to include tolerance as motivating progression towards a secular community. “This whole movement preaches tolerance,” says Nasser-Khadivi. “There are covered girls next to girls who are uncovered hugging each other. That’s the message. It’s tolerance.”Additional Resources: https://www.businessoffashion.com/news/global-markets/iranian-fashion-retailers-pursue-growth-amid-sanctions/https://www.businessoffashion.com/news/global-markets/iranian-fashion-brands-go-upmarket-amid-international-sanctions/ https://www.businessoffashion.com/videos/global-markets/masoud-golsorkhi-hoda-katebi-shirin-vaqar-shiva-vaqar-voices-talk-iran-fashion-industry-operating-underground/ Music credits: Baraye by Shervin Hajipour Hosted on Acast. See acast.com/privacy for more information.

Fashion image-maker Nick Knight speaks to BoF’s Imran Amed about why he believes in digital creativity and innovation in the metaverse.Background:The pandemic pushed the fashion industry to step out of its comfort zone and embrace new media for showcasing design and creativity. But while much of the industry has returned to in-person shoots and events once Covid restrictions were lifted, the respected image-maker believes this is only the beginning of the next great wave of digital innovation in the fashion industry. Virtual worlds, he added, will yet again bring digital innovation to the forefront of society. “So what are the possibilities? Let's talk about this. Let's actually look at this,” says Knight. Knight has recently launched ikon-1 NFTs in collaboration with model and creator Jazzelle. By creating digital renders, which act as collectable works of art, Knight believes fashion creativity can shift to this new medium. Those who look to the past risk falling behind.This week on The BoF Podcast, founder and editor-in-chief Imran Amed speaks with Knight about the evolution of image creation and why digital fashion will remain important in the post-pandemic era. Key Insights:Knight believes that collaborative creation in the digital world will allow more autonomy for models authorising their own looks as opposed to being a “blank canvas.” “I wanted to put [models] in the creative middle… so they are authorising, coming up with creating their own looks for me rather than just imposing on them,” says Knight. “It was important to change that relationship.”The metaverse will require new ways of working rather than developing on existing methods of image creation in the physical world. “I think we are re-learning a whole bunch of things which you can’t just take exactly what we do in the real world,” he says. “And that is not necessarily the best thing to do in a space, which is a virtual space [where] so many more things are possible.”Knight believes the idea of destabilisation is inherent to the fashion industry. “There is a natural feeling of destabilisation [with the metaverse], but surely that’s what fashion is about, it's about showing people things that they previously had not seen and previously had not desired, but actually do want,” says Knight.Knight thinks now is the time for creatives to forge a new “civilisation step” and let creativity rule the metaverse. “I want artists to create the metaverse because I think we do have a chance, a utopian chance, to create a better civilisation in the metaverse, which isn’t shaped by power, greed and money.”Additional Resources: The BoF Podcast: Inside The Future of Fashion Image Making with Nick Knight: The transformative photographer discusses the power of technology and the future of the fashion show, the fate of print magazines and fashion’s culture of abuse and bullying.Nick Knight Says Heart and Mind are the Key to Fashion Imagemaking: BoF editor-in-chief Imran Amed sat down with Mr. Knight for the third installment of Fashion Pioneeers, a series of intimate live-streamed conversations between Mr. Amed and the industry’s most interesting operators. Hosted on Acast. See acast.com/privacy for more information.

Janaya Future Khan and Halima Aden joined BoF’s editor-at-large Tim Blanks to share their learnings and reflections after a packed day at BoF VOICES 2021. Sign up to join us for this year’s edition, free of charge.Background:From innovations changing fashion to navigating turmoil in the wider world, BoF VOICES, our annual gathering for big thinkers, is a platform to discussing the forces shaping the wider world. ”It was stimulating, it was educational, it was absolutely inspiring,” said BoF editor-at-large Tim Blanks, reflecting on the highlights from day one of BoF VOICES 2021, along with Janaya Future Khan and Halima Aden who shared their own learnings and reflections from the days talks.  On this week’s episode of The BoF Podcast, we revisit Khan and Aden’s conversation with Blanks about the evolution of community in the metaverse and representation in the fashion industry.Sign up to join the global livestream BoF VOICES 2022, free of charge here: https://businessoffashion.brandlive.com/VOICES-2022/enAdditional Resources: VOICES 2021: Navigating Turmoil in the Wider WorldVOICES 2021: The Fashion System’s Push to EvolveVOICES 2021: Innovations Changing Fashion Hosted on Acast. See acast.com/privacy for more information.

Ian Bonhôte and Peter Ettedgui, the creators of a new docuseries speak to BoF’s Tim Blanks about their new series which traces the formation of LVMH and Kering, and how designers like John Galliano and Alexander McQueen helped them build a ‘Kingdom of Dreams.’ Background: A new fashion docuseries, “Kingdom of Dreams,” explores the luxury fashion industry’s formation in the 1990s to the 2000s, examining some of fashion’s most recognisable designers of that period — John Galliano, Alexander McQueen, Marc Jacobs and Tom Ford — as well as executives like Kering’s François Pinault and LVMH’s Bernard Arnault.  Ian Bonhôte and Peter Ettedgui highlight the tension between commerce and creativity, as well as the rivalries between luxury groups and their designers.  “At the end of the day, we never said anything that hasn’t been said or which is not sort of present,” said Bonhôte. “So the truth is very important. And we are… definitely not scandalous.” This week on The BoF Podcast, BoF’s editor-at-large Tim Blanks speaks with Bonhôte and Ettedgui about understanding pressures of consumerism and what makes a fashion house business tick. Key Insights:The creators highlighted the gap between creativity “wizards” and business “emperors” within some of fashion’s largest fashion houses, demonstrating the power of tycoons François Pinault and Bernard Arnault. “What we felt was the most interesting drama is there is this constant fight between commerce and creativity,” said Bonhôte.  The series also highlights the pressures on designers to double the volume of collections and the impact of that growth on the planet. “It is disturbing to see the fallout and not just the fallout psychologically for the designers, but also for the planet as fashion speeds up,” said Ettedgui.While examining the industry the creators wanted the audience to gain a new understanding of fashion rather than the gated community it can be perceived as. “It’s a very difficult industry for people to actually understand because I think the [understanding of] fashion is almost wrong,” said Bonhôte.Additional Resources: How Fashion Went Corporate: Creativity, Commerce and Collateral Damage: Tim Blanks talks to the creators of ‘Kingdom of Dreams,’ a new documentary series on how the corporatisation of luxury fashion made superstars of designers John Galliano, Alexander McQueen, Tom Ford and Marc Jacobs, and built gilded empires for bosses Bernard Arnault and François Pinault.To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

BoF’s editor-in-chief Imran Amed spoke with the founder of degrowth brand Early Majority about the power of energised communities and what the future of token-gated commerce looks like.Background:The seed of inspiration for Early Majority has been growing in founder Joy Howard’s mind since her days at Patagonia in the early 2010s. Howard grew to understand the contradiction between fashion’s constant drive to sell more against the industry’s efforts to curb its environmental impact. This sparked the question in her: can a brand focus on selling timeless products rather than an endless array of new collections?Early Majority sells “layered” outerwear, which it packages in “kits” that include everything from light windbreakers to cold weather puffers. It also offers a membership programme, where customers who mint an NFT gain access to lower prices, exclusive products and other benefits.  “[Early Majority is] a different experience than ‘just buy this,’” she said. “These very transactional experiences that we have with brands are not that great for either side in the long-term.”Since founding Early Majority, Howard has bet on paying members enabling the brand to meet its aim of creating the fewest number of products for the maximum possible number of uses and just as critically engaging a community well versed in the brand. Howard has her heart set on meeting customers’ needs while changing the way consumers think about product lifespan. This week on The BoF Podcast, BoF’s founder and editor-in-chief Imran Amed speaks with Howard about why degrowth is the future for fashion business models and how she has progressed towards her goals.Key Insights:Coming from a background in marketing, Howard has led her business venture with intention and practicality. “I realised that you can have all the great intentions in the world, but if you don’t actually understand how to run a business, you’re not really going to be that effective,” she said.Howard’s goal for de-growth consumption originates from her pursuit of consumer discovery. “We all want to always be growing. But the way that we grow is the question that we have to grapple with,” says Howard. “Anybody that comes into the brand has a sense that they’re participating in something that’s emergent and different and [has] a sense of discovery.”The value of community has been at the forefront of Howard’s venture. Realising early on when transforming to a membership model, Howard has centred Early Majority’s community and intrinsically links it with tangible value. “I think it is actually very energising to connect with other people around a common vision and a common goal,” says Howard. “[Early Majority’s] token is kind of like the thing that you all hold in common. And as the community becomes more valuable, the token becomes more valuable.”Additional Resources: Why Brands Are Betting on Membership: Swiss performance brand On is among the players betting the model can drive consumer engagement and help tackle tricky sustainability challenges.To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

The Somali-American model joins Imran Amed to discuss her journey from a refugee camp in Kenya to the US to the top of the fashion industry — and what she’s learned since taking a step back.Somali-American model Halima Aden nabbed an IMG contract and quickly shot the centre of the fashion world after she earned first attention as the first hijab-wearing Muslim to compete in Minnesota’s Miss USA pageant. She walked for Yeezy, Fenty, Dolce and Gabbana and Tommy Hilfiger, and posed in Vogue, Elle and Allure. Then, in November, she stepped away from it all, announcing her intention to leave the industry. In retrospect, she thinks the best thing she did for herself in her career was never just see herself as a model. “I found that some of the most fulfilling campaigns or photoshoots I got to be part of always tended to be when it wasn’t just about me. It wasn’t just Halima,” said Aden. “I was sharing stories that I brought from the refugee camp, sharing stories of other Muslim women in all different fields … I found that my work was more meaningful when it was tied to giving back.”Key Insights:Aden was born in a refugee camp in Kenya before moving to St. Louis, Mo. Eventually, her family resettled in St. Cloud, Minn, which is home to a large Somali immigrant community.She went on to compete in Minnesota’s Miss USA pageant in search of a scholarship. She didn’t win the pageant, but got something arguably even better: A call from Rihanna’s team to shoot for Fenty Beauty.Aden’s quick ascent meant she came into the industry at a more privileged vantage point. She didn’t have to go to casting calls and received private dressing rooms. However, that no one else received the same treatment started to bother her. The ex-model said her experiences of extreme poverty made her look at the fashion industry’s excess with a bit of disdain, and perhaps, fuelled some of her anger at it. After a journey of self-discovery, she’s realised she needs to turn that pain into power as she maps out her future in the industry. Additional Resources:  Halima Aden Plots Her Return to Fashion Voices 2021 - The Fashion Systems Push to EvolveTo subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

BoF’s editor-in-chief and editor-at-large walk through the highlights and unforgettable moments of fashion weeks in Milan and Paris.  Background: Fashion’s Spring/Summer 2023 season was jam-packed with debuts, returns and chatter-inducing moments. Alessandro Michele was inspired by his mother and identical twin sister for his “Twinsburg” Gucci presentation which featured 68 pairs of identical twins. Rick Owens drew a dress from a 700 million year-old jellyfish. Dior and Yves Saint Laurent crafted elaborate grotto and fountain backdrops for their collections, while Dries Van Noten staged his Paris comeback in lockstep with Japanese designers including Junya Watanabe, Noir Kei Ninomiya and Jun Takahashi for Undercover — BoF editor-at-large Tim Blanks’ favourite of the season.  “To me that felt like one of the best commentaries on the pandemic that we've had from fashion — of everything that's passed, everything that's lost, everything that's been lost,” said Blanks. “And then at the same time, the celebration with the fact that he's still there.” Key Insights: In Milan, four major houses — Ferragamo, Missoni, Etro and Bally — debuted the first collections from new designers, with hopes to replicate the success big names like Tom Ford and Alessando Michele have been able to create for Gucci, said Tim Blanks.  For Balenciaga, Demna staged a mud-drenched show with battered and bruised, hoodie-clad models that provoked an intense emotional reaction from the crowd, while Nicolas Ghesquière showed an energetic and future-looking collection for Louis Vuitton.  This fashion month, many catered to both in-person and online audiences to varying degrees of success. Valentino, for one, notably struggled with an element of the show just for cameras, another for people outside and an uber-long runway that saw a number of models take their shoes off.  Fashion traditionally provides a sense of escape, said Blanks, but it’s increasingly harder to turn away from the real world. Economies are deteriorating, Russia’s assault on the Ukraine continues and the artist formerly known as Kanye West put a shirt emblazoned with “White Lives Matter,” a phrase deployed by hate groups, on the runway.    Additional Resources:  https://www.businessoffashion.com/reviews/fashion-week/chanel-miu-miu-louis-vuitton-paris-fashion-week-ready-to-wear-spring-summer-2023/ https://www.businessoffashion.com/reviews/fashion-week/sacai-thom-browne-kanye-west-paris-fashion-week-ready-to-wear-spring-summer-2023/ https://www.businessoffashion.com/reviews/fashion-week/junya-wantanbe-noir-comme-des-garcons-paris-fashion-week-ready-to-wear-spring-summer-2023/ To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

BoF’s founder and editor-in-chief Imran Amed speaks with the BoF 500 cover star about the ups and downs of her personal and professional trajectory and what the West needs to understand about India and its rich, diverse culture. Background:Deepika Padukone, one of Bollywood’s highest-paid actors, started her career as a former professional badminton player before appearing in her first film, “Om Shanti Om,” in 2007, for which she won the Filmfare Award for Best Female Debut. In 2017, she crossed over to Hollywood with the action film “XXX: Return of Xander Cage.” More recently, she’s become a force in fashion as a global brand ambassador for Louis Vuitton, Adidas, Levi’s and Cartier.Padukone grew up far from the limelight and was an outsider to both the film and fashion industries. Setting herself up on the global stage as a young Indian woman, she had to combat preconceptions at every corner, she said. “Of course, the hustle is much harder [as an outsider]. You've got to wait much longer for the right opportunities,” she says. “But also, from my perspective, the gratification is so much more.”This week on The BoF Podcast, BoF’s founder and editor-in-chief Imran Amed speaks with the actor and BoF 500 cover star about the highs and lows of her career and why India needs more recognition from the West on the global stage.    Key Insights:Padukone said her heritage is fundamental to who she is and how she represents herself on the global stage. “I just feel like India has so much to offer and I’ve been able to do everything that I do, just being Indian and being based out here,” she says. “In a way that feels authentic to me and to who I am.”Padukone says Indians are still stereotyped — especially in Hollywood. “You are the scientist. You are the computer geek. You are the taxi driver. You are the therapist. You are the owner of a convenience store,” she says. “I’ve had my fans ask me why I’ve not done more [global] movies. But that’s not what I’m settling for, because I am — and we are — so much more than that.”Padukone says fashion brands need to understand more about India’s rich heritage. . “It’s extremely diverse. It’s not one India, it’s many Indias,” she says. “And as Indians, we’re also extremely proud of our history, our culture and our heritage.”After being diagnosed with clinical depression, Padukone felt the need to open up conversations about mental illness in India. “No one in India had spoken about it like this before, and it felt to me that there was this huge burden on our country’s shoulders that everyone was dealing with, but dealing with silently,” Padukone says.Padukone advises having patience for people who want to achieve their dreams. “I think the one thing that isn’t given enough importance to me is the power of patience,” she says. “Everything is instant gratification, but if there’s one thing that has worked for me it has been to be patient.”Additional Resources: Deepika Padukone: The Bollywood Star That Fashion’s Megabrands Are Betting On: With India set to become the world’s third-largest fashion market, Bollywood’s most-popular actress has become a global brand ambassador for the likes of Levi’s, Adidas, Louis Vuitton and now, Cartier. In an exclusive interview with Imran Amed, she opens up about her global ambitions — and what the fashion world needs to understand about India.To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

The French designer, known for her embrace of eco-futurism, speaks to BoF founder and editor-in-chief Imran Amed about the evolution of her namesake brand and explains its deeper purpose. Background:  Designer Marine Serre has long had an affinity for evoking the apocalyptic in her work, a tendency that became particularly resonant during the pandemic. Serre spent lockdown reflecting on her time in the fashion industry and asking how it can change. Now, she has pledged to use her brand and influence to break the fast fashion cycle and build sustainable supply chains. On this week’s BoF Podcast, we revisit Serre’s conversation with BoF’s Imran Amed discussing the evolution of her eponymous sustainability-focused brand for the post-pandemic world.  Key Insights: Despite the limitations of the pandemic, Serre did not steer away from her goal to prioritise sustainability at the heart of her brand. “From now to four years ago, I'm just walking the same way. I never really disassociate creation from process,” she says.  Serre believes that consumer needs have changed. When people go to buy her clothes they consider the brand’s supply chain as well as the aesthetic. “I'm trying to relinquish that part of what was carved out is a luxury and de-link myself with fast fashion and growth,” Serre explains.  Known for her use of discarded and recycled fabrics, Serre says she has grown less shy about doing exactly what she wants to do in fashion, revising peoples’ ideas of preciousness and creating garments out of materials already imbued with meaning. “I think the goal of the company is to question the fashion industry,” Serre says.  To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Louis Vuitton is expected to name its Virgil Abloh successor within weeks. Lauren Sherman quizzes Imran Amed on what luxury labels think about when recruiting top designers. Background: Louis Vuitton has spent almost a year searching for a Virgil Abloh successor after the designer died in November 2021. According to sources, Martine Rose, Grace Wales Bonner and Telfar Clemens are among the names that were considered by owner LVMH, and the decision is expected to be announced within weeks. But how do brands like Louis Vuitton even go about finding a designer? “Without the creative energy, without that kind of excitement, there’s nothing to sell,” said Imran Amed, BoF founder and editor-in-chief. Key Insights: While all brands have their own personality and the situations that necessitate finding a new creative director differ, the things most brands look for in a leader are similar. Executives have to consider whether they’re looking for revolution, like when Gucci tapped Alessandro Michele for creative energy and new ideas, or evolution, like when Saint Laurent tapped Anthony Vaccarello to keep its aesthetic formula after Hedi Slimane departed. A strong vision is the most important thing. But creative directors also need to have commercial sensibility and the ability to work in a corporate environment. One of Abloh’s achievements was that he managed to build a community at Louis Vuitton, and engage consumers who had been traditionally excluded by the luxury industry. Additional Resources: Virgil Abloh: Building on a Legacy: Like Yves Saint Laurent, Alexander McQueen and Gianni Versace before him, the late Virgil Abloh leaves a powerful legacy. What does this mean for Off-White and Louis Vuitton? Which Luxury Leadership Configuration Works Best? In luxury fashion, the right configuration of creative and commercial leadership is critical to success, writes Pierre Mallevays. To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Royal expert Elizabeth Holmes speaks to BoF’s Imran Amed about Queen Elizabeth II’s life and legacy — in fashion, culture and society at large.   Background:  Tributes to Britain’s longest-reigning monarch have flooded social media, television and even public parks in the days since her passing, memorialising the Queen’s steadfast leadership, but also her impeccable sense of style.  This week on The BoF Podcast, BoF’s founder and editor-in-chief Imran Amed speaks with royal expert Elizabeth Holmes who reflects on the influence the Queen’s record-setting reign has had on the fashion industry and the wider culture.   Key Insights: The Queen was known around the world for her monochromatic outfits, designed to help her stand out in the crowd. She also created a unique twist on a set formula of basics: hat, coat, bag and pearls. “I think she understood the power of clothes,” says Holmes. “She used things like the colour of her outfit, especially when she was travelling overseas to perhaps match the host country's flag.” Holmes details how the Queen had a “tremendous sort of swing of the style pendulum” from her private life, where she’d wear headscarves and tartan skirts, to her public life, wearing tiaras and gowns. “It was very important to see all aspects of royal life,” says Holmes. “Both being worthy of the glamour of royalty, but then also sensible stewards of taxpayer dollars.” Her influence also stretched outside of her sovereign powers, with the path she paved for other female leaders around the world. Being crowned Queen at just 25, she became one of the only women at the table of leadership, and she made it count. “I think the Queen sort of made it permissible to really stand out.” As King Charles III takes to the throne commentators are looking to the future of the institution. “The conversation changes a little bit now that there is a King on the throne,” says Holmes. “Understanding that the whole spotlight shifts to him and with that, the good and perhaps the criticism, too.”   Additional Resources:  Queen Elizabeth II’s Style Legacy: Britain’s longest reigning monarch has died. Her influence extended to the realm of fashion, where she invented the concept of “sartorial diplomacy.” What the Queen Means to Designers: Queen Elizabeth was an inspiration for fashion designers from Vivienne Westwood to Alessandro Michele to Richard Quinn. Will any British royal have the same influence again? Hosted on Acast. See acast.com/privacy for more information.

The designer speaks with BoF’s founder and editor-in-chief Imran Amed about building his own business, the power of aspiration and opening doors for people who want to break into fashion.     Background:      French-Moroccan designer Charaf Tajer is the French-Moroccan designer behind Casablanca, a business that he started with only €3,000 to tap into the growing demand for women’s resortwear, and which is now doing more than €45 million in annual revenue. But Charaf’s rise in the Parisian fashion scene is also exceptional because of who Charaf is and where he is from. As one of the few people of colour working at the very top level of French luxury fashion, he has learned that no matter how high his star rises, he still faces discrimination related to his identity as he travels in these elite spaces. This only makes him want to work harder to break down barriers and become a role model. On the latest episode of the BoF Podcast, designer Tajer joins BoF’s Imran Amed on The BoF Podcast to talk about building his own business, the power of aspiration and opening doors for people who want to break into fashion.     Key Insights:     Growing up in the outskirts of Paris, Tajer had an early appreciation for luxury, getting glimpses of wealth going with his mother to work as a cleaner in the 16th arrondissement. He channelled this sense of curiosity into the core of Casablanca and believes it lies in the industry itself. “I think this is what fashion does, is like it opens a certain option of dreaming of certain things,” says Tajer. Tajer believes you must go outside of your comfort zone and explore new paths to achieve success. “There is nothing for you in the past, so you have to go to the future because when you look back, there’s nothing for you… There was no space for me to grow.” Tajer’s background has at times led him to feel like a fashion outsider. That feeling inspired him to want to become a role model for others. “Beside the fact that I’m a North African Muslim guy, I also just want to represent the new face of France,” says Tajer. “It’s my duty to also accomplish the biggest thing in the world, to become an example.” While entering the world of fashion, Tajer is careful to open doors for others and leave behind a legacy that any achievement is possible with effort. “For me I only want to go for the impossible possibilities,” Tajer says.     Additional Resources:      Fashion’s Top M&A Targets: The market may be cooling, but a number of in-demand brands remain of interest to financial backers. BoF identifies the top targets. Can Fashion Start-Ups Cash In on the Tennis Boom? For a new wave of tennis-inflected fashion start-ups, success may depend on balancing the energy of the sport’s increasingly inclusive present with the allure of its exclusive past. Hosted on Acast. See acast.com/privacy for more information.

The designer speaks with BoF editor-at-large Tim Blanks about his first collection after 2020 and why he feels a sense of optimism following the pandemic.      Background:      At the start of 2021, Rick Owens wanted his next show to reflect the universal toll the pandemic had taken on the world. Held at Venice’s Tempio Votivo, a shrine to the fallen soldiers of the two world wars, Owens centred the show around the sombre themes of “anger and darkness.” Despite this ominous outlook, Owens told BoF editor-at-large Tim Blanks in January 2021 that a pivot in political circumstances with the inauguration of Joe Biden gave him a sense of optimism.     On this week’s episode of the BoF Podcast, we revisit this thought provoking conversation with Owens about his Autumn/Winter 2021 collection, his reflections on lessons learned from the  pandemic and his renewed hope for society.      Key Insights:   For Owens, constraints can create fertile ground for creativity. “It has been quiet change and I like the idea of working within small boundaries,” says Owen. “I like the idea of doing the best with what you have got.” Owens created his collection when the world was facing  growing political uncertainty and instability but he  says “one of the most reassuring things [in this world] is that everything usually balances out. We have survived this long because there is just a tiny bit more of goodness than badness. Just enough to keep us surviving.”  Owen’s men’s shows in particular are deeply personal. “My men’s runway shows are always about men’s flaws and men’s worst urges because they are auto-biographical,” he says. “When I am thinking about men I am thinking about my own experience and my own experience is very critical and I am always very conscious of my worst urges and where they are coming from.”      Additional Resources:      Rick Owens: Control and Abandon Tim Blanks’ Top Fashion Shows of All-Time: Rick Owens Spring/Summer 2014, September 26, 2013 What Fashion Wants From a Biden Presidency Hosted on Acast. See acast.com/privacy for more information.

In a rare interview, the influential Japanese designer speaks with BoF’s Imran Amed about the philosophy that underpins his boundary-breaking career. Background:  After graduating from Keio University with a law degree, Yohji Yamamoto realised he wasn’t interested in the law. “I didn’t want to join the ordinary society,” he says. “So I told my mother after graduation … ‘I want to help you.’”  She agreed to let him work at her dressmaking shop in Kabukicho, an entertainment district in Tokyo’s Shinjuku ward, and learn from the sewing assistants if he enrolled at Bunka Fashion College, now famous for training designers such as Kenzo Takada, Junya Watanabe and Yamamoto himself. After graduating, Yamamoto went on to set up a small ready-to-wear company that slowly acquired buyers in all of Japan’s major cities. This success eventually led him to Paris, where his signature tailoring and draping in oversized silhouettes created an aesthetic earthquake at Paris Fashion Week in 1981. Since then, Yamamoto has developed a cult following of loyalists who swear by his avant-garde designs. “I’m not working in the mainstream,” he says. “I’m working in the side stream.” This week on The BoF Podcast, we revisit Imran Amed’s rare interview with the legendary Japanese designer about his storied career — and the mindset designers need to succeed.  Key Insights: Yamamoto says the fashion industry’s increasingly fast-pace has come at the expense of true creativity. “For me the fashion business became a money business,” he said. “I felt I’ve been losing my competitors year by year.” Yamamoto believes that modern technology can be a distraction. “When I speak with young designers, I [tell] them shut your computer,” he said. “If you really want to see real things, real beauty, you have to go there by walking.” Yamamoto believes it’s a designer’s job to completely immerse themselves in design. “If you want to create something, keep resisting the mediocracy of ordinary things. It’s a life's work. Are you ready to sacrifice yourself to create something?” Additional Resources:  Watch the full interview here: Inside Yohji Yamamoto’s Fashion Philosophy The Magic of Yohji Yamamoto   Hosted on Acast. See acast.com/privacy for more information.

After a pandemic pivot to e-commerce, many brands are back to working with third-party retailers, this time, with better terms.   Background:   The wholesale model, while offering exposure and some upfront revenue, did not always have the best terms for vendors. Department store bankruptcies, pandemic-induced store closures and the boom in online shopping pushed brands further towards their direct-to-consumer and e-commerce businesses to drive revenue.    But that’s beginning to change. As shoppers return to stores, brands are seeing value in ramping up their partnerships with multi-brand retailers — this time on better terms. “What I'm hearing across the board from both brands and retailers is that this vendor-retailer relationship is more collaborative than ever,” said BoF retail correspondent Cathaleen Chen.    Key Insights:    There are multiple factors pushing brands back to wholesale. Among them, the growth of e-commerce, which has slowed after spiking in 2020, and the growing consumer appetite for curated, in-person shopping experiences that allow them to stumble upon new designers. “That discovery is still so important, and now [shoppers are] relying on a cool third-party retailer to sort of facilitate that discovery,” said Chen. “Wholesale is very American,” noted Chen, making it an attractive vehicle for international labels looking to enter the lucrative US market. Brands are having more of a say over how their products are marketed through retailers, like sharing campaign assets or designing shop-in-shop setups. Both parties are also increasingly open to exploring other models like concession, consignment — more typical to European department stores — and drop-shipping, where the brands themselves are responsible for fulfilling orders made through retailer’s websites.   Brands are returning to wholesale, but not at the expense of their direct-to-consumer and retail offerings. “I think we're at a point where everybody has a more well-rounded business so that if things do go bad again in whichever channel, they can be agile and adapt very quickly,” said Chen.    Additional resources:   How to Take a Brand From Local to Global | BoF  Searching for the Next Barneys  Inside Neiman Marcus' Post-Bankruptcy Playbook   Follow The Debrief wherever you listen to podcasts.  To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Revisiting a conversation with BoF’s Imran Amed from 2019, the 23 grand slam winning tennis champion, who announced her retirement this week, talks about how the mental toughness she has built on the court has prepared her for life as an entrepreneur.     Background:      This week, tennis superstar Serena Williams announced her imminent retirement as part of a cover story with American Vogue. Known in fashion circles for her on-court style, which included catsuits and denim skirts and a collaboration with late designer Virgil Abloh’s Off-White, Williams will have more time to focus on as her burgeoning business empire, including her fashion label S by Serena and a venture fund, Serena Ventures.    This week on The BoF Podcast, we revisit Williams’ 2019 conversation with BoF founder and editor-in-chief Imran Amed about how the mental toughness she has built on the court has prepared her for life as an entrepreneur.    “It's really important for things not to come super easy for you, and to kind of accept that challenge, embrace it and then just roll with it,” said Williams.     Key Insights:     Rather than work with a partner, licence her name or sign another lucrative endorsement, Williams felt it was important to invest time, money and effort in herself and chase her own vision with S by Serena, a direct-to-consumer brand she has funded independently.  Serena Ventures just raised $111 million and has invested in over 60 companies including personal care brand Lola, supply chain management firm Calico and razor-maker Billie.  The fund was originally founded in 2014 when Williams noticed people of colour and women were not getting the investments they needed.  Balancing all her pursuits and personal life can be tough. But, when she feels pinched, William is reminded of one of her favourite quotes from Billie Jean King: “pressure is a privilege.”      Additional Resources:    Serena Williams: The Champion’s Mindset  Serena Williams, Style Icon, Retiring From Tennis How Athletes Went From Selling Merch to Building Fashion Brands Hosted on Acast. See acast.com/privacy for more information.

The multi-tasking actor, executive producer and beauty entrepreneur shares her personal journey with BoF’s Imran Amed and explains how she unlocked her full potential across a variety of pursuits.     Background:    Tracee Ellis Ross is best known for her roles in Girlfriends and Black-ish, but she is also the founder and CEO of Pattern which she launched in 2019 after more than a decade of development to address the gap in the market for products designed specifically for curly, coily, textured hair.   The Golden Globe-winning, Emmy-nominated Ross joins BoF’s Imran Amed on The BoF Podcast to talk about managing the little voice in her head, killing perfectionism and cultivating self-love and acceptance.    Finding purpose and unlocking potential starts by interrogating what you love, then finding ways to merge who you are with “what makes your heart sing,” said Ross.      Key Insights:    Pattern was born out of frustration. Ross couldn’t find the right tools or products to serve her needs, and never saw Black women being centred — despite sitting at the centre of culture.   Ross took learnings from developing a clothing line with JCPenney to help get her business off the ground. From there, she sought out the right partners. Key to evaluating partners was learning to be present during conversation.  In her work with Pattern and with companies like Ulta on diversity and inclusion, Ross hopes to dissolve the myth that Black hair care and beauty is a niche market.     Additional Resources:   Modernising the Black Hair Care Market: A new wave of start-ups shaking up the textured hair care space are catching the attention of major retailers and investors, grabbing more shelf space and venture capital. Building the Glossier of the Black Hair Market: With her new DTC beauty brand, Radswan, blogger-turned-entrepreneur Freddie Harrel is pitching clip-in textured hair extensions and wigs to the digitally savvy black consumer.     To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

The creative technologist believes that experimenting with new AR technologies could radically reshape products, experiences and habits.      Background:  When it comes to testing new technologies, there is always an element of the unknown for brands. While tech investments may not immediately translate to a revenue bump, willingness to experiment could radically transform the fashion industry, according to Ommy Akhe, a creative technologist specialising in experimental software and augmented reality prototypes, who spoke at The BoF Professional Summit: New Frontiers in Fashion and Technology.    “Understanding your customers, the things they value, the challenges you can help them overcome and what gets them excited — it's essential to meet users where they are,” says Ahke. “The only constant is change. So why not join the journey and start enjoying the current future?”    Consumers today are younger, spend more time online and are used to valuing arbitrary digital assets like follower counts and verified check marks. This means they are also more apt to spend money on digital items that hold value in the real world.  The tools that will build the metaverse — including 5G, artificial intelligence and virtual reality, for example — are well established and consumers are used to interacting with them.  Ahke’s digital skins projects overlay dynamic imagery on bags, clothes and shoes through a phone lens. Brands can implement this sort of technology to drive loyalty and give buyers more avenues for expression.      Additional Resources:     How the Smart Money in Fashion Is Thinking About Web3. Investors with track records of predicting where fashion is headed have their own ideas of where the big opportunities lie in web3. Fashion’s Metaverse Reality Check. The marketing value of digital fashion and NFTs may now be clear, but fashion brands will need to separate hype from the concrete opportunities to generate sustainable revenue streams from the metaverse. The Debrief: Who Is Designing Fashion in the Metaverse? BoF’s Marc Bain chats with Lauren Sherman about the 3D creators, game designers and NFT experts bringing fashion into the virtual world     To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

BoF’s luxury editor Robert Williams offers insight into the surprising news that the mega-label plans to open stores dedicated to serving top customers. Background:  As traffic to stores soars, Chanel’s chief financial officer Philippe Blondiaux said the brand plans to open dedicated boutiques for top-spending clients starting in key Asian cities. It's a strategy that emphasises the importance of big-spenders to the in-demand French luxury brand’s future amid whispers of an impending recession — but one that risks alienating first time and occasional shoppers who are still dropping upwards of $10,000 for bags. “Brands like Chanel, they’ve lived through lots of cycles of boom and bust in the economy… When there’s an economic crisis, they need to be ready to have a real focus on repeat business,” said BoF’s luxury editor Robert Williams.  Key Insights:  Chanel sells many items in-store only, and limits locations to the most luxurious places in the world’s most luxury cities — operating just around 250 stores compared with Louis Vuitton’s over 400 doors.  Chanel is not the first brand to open special stores for private clients; Brunello Cucinelli deployed a similar concept last December. Other brands like Zegna have dedicated spaces in-store for special items.  In 2021, the company’s profits have tripled and revenue jumped 50 percent year over year. The brand’s growth in fashion, watches and jewellery last year was driven by its decision to raise prices and a flood of new clients and first-time buyers to luxury.  In addition to focusing on its physical footprint, Chanel is pushing its beauty business, which has been historically driven by department stores and beauty retailers like Sephora and Marionnaud, toward majority direct-to-consumer.    Additional Resources:   Chanel to Open Private Stores for Top Clients as Sales Soar 50% How Luxury Brands Court the 1 Percent   Follow The Debrief wherever you listen to podcasts.  Join BoF Professional today with our exclusive podcast listener discount of 25% off an annual membership, follow the link here and enter the coupon code ‘debrief’ at checkout.  Want more from The Business of Fashion? Subscribe to our daily newsletter here. Hosted on Acast. See acast.com/privacy for more information.

The founder and CEO of retail pop-up marketplace Appear Here shares his entrepreneurial journey and advice for young founders looking to break through.      Background:    Ross Bailey’s love of entrepreneurship didn’t start  in business school or a corporate job, but at the hair salon his parents owned in London.    “I watched my parents take this little shop and it became their livelihood,” he says to BoF’s founder and editor in chief, Imran Amed, describing himself as a “busybody” who rearranged furniture and conducted customer satisfaction surveys from a young age. “To me, entrepreneurship was a game. It was about ‘how do I get people involved and have a bit of fun?’”   That mindset eventually led him to found Appear Here, “the Airbnb of retail,” in 2014. “The story of the world … was that the high street is dead, nobody wants it. And we had a contrarian view on that. When you have small high street stores and streets, people want to be on them … our data has always backed it up.”   By 2019, Appear Here was a global business with 250,000 entrepreneurs signed up to the platform and 30,000 stores launched. The company has facilitated pop-ups for fashion giants like Louis Vuitton, Loewe and Supreme, a bookstore for Michelle Obama’s autobiography, as well as Harry’s House for pop superstar Harry Styles.    Then the pandemic hit. Appear Here went from having its best year ever and closing a funding round with a nine-figure valuation, to losing 95 percent of revenue with just months’ worth of cash left.   On this week’s episode of The BoF Podcast, Bailey shares his lessons and advice from the early days of founding a business and the role leaders play in leading employees and stakeholders through challenging times.        Key Insights:    The traditional world of commercial real estate and retail is inaccessible and opaque, creating systemic barriers for entrepreneurs from marginalised backgrounds. But small independent stores are also the backbone of entrepreneurship for immigrants and other communities. “Whether it's the local takeaway restaurant, whether it's the local shop, all of those places… were people who were entrepreneurial, who were doing something, who were trying to build a livelihood.” Despite Covid’s impact on retail, Bailey doubled down on Appear Here’s mission. Seeing people returning to streets, even when non-essential retail was curbed, and queuing for coffees highlighted the human desire for in-person community. “I just felt that this wasn't the time to pivot, this wasn't the time to relax on our idea or rein it in. Actually, Appear Here would make more sense coming out of this than ever before.”  The future of retail is hyper-local, says Bailey, citing examples of global brands playing into cultural niches, like Adidas and Gucci’s takeover of a working men’s social club in Peckham. “It's no longer about Fifth Avenue and Regent Street or the Champs-Élysées, it's about neighbourhoods and interesting places.”       Additional Resources:  How Temporary Pop-Ups Became a Permanent Strategy What Happens When the E-Commerce Boom Ends   How to Open a Store in 2022 | BoF   To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Ian Rogers moved from Silicon Valley to Paris in 2015 when he was appointed chief digital officer of LVMH. There, Rogers, a veteran of Apple Music and Beats, was tasked with building out the luxury conglomerate’s e-commerce and data strategy and serving as a digital whisperer to executives.   Background: Now, he’s chief experience officer of Ledger, a security system that provides protection for digital currencies. Given his experience at the cutting edge of both tech and fashion, he is uniquely positioned to speak to the opportunities being created as crypto technologies, gaming and fashion converge. In his mind, one day, virtual fashion will be ubiquitous.  His insights were originally featured in the fourth episode of The BoF Show, “Dematerialisation: Why the Metaverse Is Fashion’s Next Goldmine,” streaming on Bloomberg Quicktake.    Key Insights  Rogers’ background in the music industry has helped inform the way he perceives’ luxury’s need to take control of digital channels. Record labels lost out big on recorded music because they were in denial of consumers' desire to listen to music online.  Having goods that are both digital and physical, or, “phygital” is the gateway to the existence of purely virtual goods. In order for virtual goods to have real value and meaning, there need to be marketplaces and venues for using them.  People have a desire to collect things. With the rise of NFTs, there’s a way to create scarcity digitally — which gives fashion brands an opportunity to create virtual goods based on the principles and hype and rarity that drive the industry today.  The biggest misconceptions people have is that there’s a distinction between the physical and digital worlds, according to Rogers. The blurring of realities in the metaverse will ultimately change our perceptions of what’s real — and valuable. Most technology surrounding digital goods, NFTs, crypto and the metaverse is still nascent, and storytelling about its potential has been ahead of reality.  Additional Resources Dematerialisation: Why the Metaverse Is Fashion’s Next Goldmine. Physical and digital worlds merge in the Metaverse. Can the luxury world dematerialise into the virtual space fast enough to attract eager customers — and their avatars? What the NFT Gold Rush Means for Fashion. The market for digital collectibles is booming. Opportunity or passing fad? Why Streetwear and NFTs Are a Perfect Match. Both trade in heavily hyped, limited-edition products that offer a sense of community. Fashion brands aiming to tap digital art take note. To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

The multitasking entrepreneur joins BoF founder and chief executive Imran Amed to discuss the personal and professional journey that led him to co-create the category-disrupting brand Skims with Kim Kardashian.    Background:    Jens Grede has built some of the most successful direct-to-consumer brands in American fashion. Alongside his wife Emma, he launched Brady with Tom Brady, Good American with Khloe Kardashian, and, of course, Kim Kardashian’s category-disrupting Skims. This week on the BoF Podcast, the Swedish-born former ad man joins BoF founder and editor-in-chief Imran Amed to discuss his journey through the fashion industry — from realising one of his early dreams of creating an ad for Calvin Klein to to elevating Skims into a once-in-a generation brand in the vein of Lululemon or Nike’s Jordan brand.    “I've waited my whole career to be part of a moment like this, and I'm very scared of messing it up,” says Grede. “At the same time, I know that if we stop experimenting, if we stop innovating, that is the fastest way to mess it up.”   Key Insights:    Cultivating a sense of community is one of the only ways to scale a brand now, according to Grede. Great community starts with creating for yourself: products you like, want to buy and can afford.  Grede describes one of his biggest mistakes — attempting to trademark the brand name “Kimono” with Kardashian — as one of the most important moments of his career because of what he learned about community and partnership. He said the Skims team listened, owned the mistake and pivoted.  Fashion is at the cusp of a huge change in distribution due to pivots in culture, algorithms and the outsized role of social media. Grede thinks every major fashion brand that has scaled successfully was born in the cracks of a major distribution change.       Additional Resources:  Skims Plots Its Next Moves: ‘We Don’t Have the Luxury of Failing.’ Skims recently raised funding at a $3.2 billion valuation. Kim Kardashian and Jens Grede, in an exclusive interview with BoF, explain how the ‘solution wear’ empire plans to prove it’s more than a pandemic fad. First up: swimwear. The BoF Podcast: Building Disruptive Direct-to-Consumer Brands. The entrepreneurs behind Allbirds, Hims and Hers and Good American outline the keys to their brands’ success. Building a DTC Challenger Brand | Download the Case Study. Fashion entrepreneurs need a new playbook to launch, scale and differentiate their companies, as regulations and rising costs mean performance marketing can no longer serve the critical role it once did for DTC brands.       Join BoF Professional today using the link here. Hosted on Acast. See acast.com/privacy for more information.

After years of analyst anticipation that the leg-squeezing silhouette would soon go out of style, market research firm NPD Group found sales for the skinny jeans fell behind straight leg jeans in 2021. Skinny jeans are far from dead though — still accounting for 30 percent of sales. Retailers have already felt the effects of the shift: Pacsun pulled the style from its stores because no one was buying it.  “It really just speaks to the changing of the times and how styles are evolving within fashion,” said BoF correspondent Chavie Leiber.     Key Insights:  Skinny jeans are no longer the most popular denim silhouette, according to data from NPD Group. But, that doesn’t mean no one is buying them.  As consumers come out of the pandemic, they don’t just want comfort. Shoppers are either skewing toward raw denim with no stretch or athleisure and leggings — but jegging and stretch denim styles occupying the in-between have started to fall to the wayside.  The world is in the midst of a “denim Renaissance,” says Marie Pearson, senior vice president of denim at Madewell, who added she’s never seen so many different types of fits and shapes selling.     Additional Resources:  The Style That Finally Dethroned Skinny Jeans Why Skinny Jeans Will Never Die Fashion Drives New Denim Momentum     Join BoF Professional today with our exclusive podcast listener discount of 25% off an annual membership, follow the link here and enter the coupon code ‘debrief’ at checkout.  Want more from The Business of Fashion? Subscribe to our daily newsletter here. Hosted on Acast. See acast.com/privacy for more information.

On the heels of releasing the second, expanded edition of The BoF Sustainability Index — which assesses companies’ progress toward ambitious 2030 goals across categories such as emissions and worker’s rights — Kent and Diana Lee, director of research and analysis at BoF Insights, join Imran Amed, BoF’s founder and editor-in-chief to unpack their findings, answer questions and lay out what needs to happen next.  Key Insights: Progress on sustainability has been slow. But, a few shifts are coming that may push fashion forward — including EU regulation aimed at the textile industry, and emergence of new models like resale and rental.  Plenty of companies have set ambitious sustainability goals. What is important now is that they move beyond target setting to real action.  Given that most brands don’t own their own factories, to make real progress, companies have to take charge of their whole value chains, not just their own supply chains.  While growing revenue and sales are often at odds with promoting less waste and consumption, there are ways to generate financial gain through reuse, especially as new technologies emerge and fashion moves to be more about community and less about peddling things.  Though it can’t wait for full transparency to act, fashion needs better data to understand where opportunities for improvement are. Additional Resources: For more BoF sustainability coverage, sign up now for our new Weekly Sustainability Briefing by Sarah Kent. Widespread Inaction on Sustainability Eclipses Progress at Fashion’s Biggest Companies: Efforts to transform the fashion industry in line with global ambitions to curb climate change and establish more responsible business practices by 2030 have yet to gain sufficient momentum, The BoF Sustainability Index 2022 finds To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

At the BoF Professional Summit, viral TikTok creators Nic Kaufmann and Wisdom Kaye explained what drives success on the platform, while communications executive Christopher Bugg and talent agent Pranav Mandavia discussed the critical elements of a compelling TikTok strategy for brands.Background: TikTok has become one of the world’s largest and buzziest social media platforms, with over a billion active monthly users. But while fashion brands are eager to experiment with the platform, they’re still figuring out what strategies work best to effectively engage creators like Nic Kaufmann and Wisdom Kaye, who took the stage at last month’s BoF Professional Summit alongside Christopher Bugg, communication director of Prada Group and Pranav Mandavia, a talent agent from United Talent Agency and BoF senior editorial associate Alexandra Mondalek.  Successful campaigns on TikTok tend to cast a wide net, allowing creators to do what they want with a hashtag or product. Both Kaye and Kaufmann underscored the need for brands to relinquish creative control to creators to yield the best results. For creators, “the key to sustained viral success as a creator is “differentiation [of your content], as well as being a multifaceted creative,” according to Kaye. “What defines success on TikTok is the requirement for authenticity,” Kaufmann said, explaining how his best videos — that is, those that have attracted the most viewers — are the result of brand collaborations in which he was given a wide berth to style, produce and direct his content, free of interference.  Meanwhile, for brands, “understanding that TikTok creators are multi-hyphenates” is the key to getting the best out of partnerships,” according to Mandavia. “When a brand partners with a TikTok creator, they need to remember that they’re essentially hiring a cameraman, a stylist, a model, all in one — we cover every single aspect of that,” said Kaye, a content creator with over eight million followers, who has partnered with brands such as Dior, Zegna and Fendi.  Key Insights:Between them, viral content creators Nic Kaufmann and Wisdom Kaye have a collective 26 million followers on TikTok and have partnered with brands such as Dior, Prada, Ralph Lauren and Hugo Boss. For brands, relinquishing creative control to creators will yield authentic content and drive organic engagement, as seen with Prada’s bucket hat challenge.Brands looking to partner with talent on the platform must understand that TikTok creators are multi-hyphenates — their roles encompass styling, modelling and production. Additional Resources:Catch up on the BoF Professional Summit: New Frontiers in Fashion and Technology. All sessions are now available to watch on demand, exclusively for BoF Professional All-Access members. The Complete Guide to Influencer Marketing — Download the Case Study: As the creator space has matured, brands must be thoughtful about crafting a strategy that leverages influencer marketing’s full power, considering everything from talent scouting to the effectiveness of metrics. To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Imaginary Ventures’ Natalie Massenet, and Natasha Franck, founder of digital ID-maker Eon join BoF technology correspondent Marc Bain to discuss Eon, how the technology works and highlight the opportunities digital IDs could create for fashion. Each interaction a brand has with a consumer typically ends when a product is sold. Digital IDs have the potential to extend that exchange, integrating digital initiatives with products’ physical lives. A a flock of start-ups and fashion power brokers want every item of clothing, watch or handbag to have a digital twin, meaning, QR code-enabled garments that lead to a website packed with information such as an item’s material breakdown or suggestions on how to style it. It's a concept that is well-established in the automobile industry and a few other sectors, but has yet to gain traction in fashion. Proponents believe it could unlock enormous potential for consumers and brands.  “It's moving from this very transactional relationship that brands have with customers into this service-based continuous relationship between brands and customers,” said Natasha Franck, founder and chief executive of Imaginary Ventures-backed digital ID-maker Eon at BoF’s Technology Summit. Key Insights: Eon makes digital twins of physical products in the cloud based on information embedded in items using a NFC chip, RFID tag or QR code for partners including H&M, Gabriela Hearst and Zalando.  Massenet compares Eon’s work to building railroads at the beginning of the industrial revolution. The tracks are still being laid, but she says digital IDs have the potential to drive more connections and commerce.  Digital IDs represent a first step toward connecting consumers with web3 initiatives like the metaverse, could enable more seamless reselling and re-ordering as well as allow brands and influencers to collect royalties on sales. Additional Resources: The Year Ahead: What Product Passports Will Do for Brands: Brands are adopting new technologies that store and share product information to improve authentication, provide transparency and boost consumer trust. However, for “product passports” to truly gain traction, businesses must coalesce around common standards and engage with pilot projects at scale. What Digital IDs Can Do for Fashion: Proponents of the effort to give every item its own digital identity say they’ll unlock numerous benefits for brands and shoppers alike. But for these IDs to work it will require overcoming some big obstacles first. Is Fashion Ready to Put Its Supply Chain on the Blockchain?: H&M and Kering are among the fashion players that have recently launched pilot programmes to trace their supply chains using blockchain technology. Join BoF Professional today using the link here. Hosted on Acast. See acast.com/privacy for more information.

BoF’s Tamison O’Connor explains how the fashion industry is betting on resortwear as consumers return to their pre-pandemic lifestyles and travel rebounds.  Background:  Every spring, top fashion clients, influencers and insiders are whisked away to lush destinations like Monte Carlo and Capri to indulge in fabulous dinners and cocktail parties — and sneak a peek at brands’ resort collections. Resortwear, which began as a way for luxury houses to cater to wealthy, travelling clients halfway through the main season, now represents so much more as a meaningful driver of sales for retailers.    “It's really attractive for the true luxury customer who sees these items as a fun way to accessorise a holiday, but it's also an entry point for more aspirational and younger consumers,” said luxury correspondent Tamison O’Connor.   Key Insights:  As consumers start travelling and treating themselves again, luxury is betting big on vacation dressing.  Resortwear stands apart with more casual designs, lighter fabrics and lower prices. Brands aren’t just using these collections to attract travellers and true luxury consumers, but also to snag wealthy domestic clients and appeal to aspirational buyers. Retailers are picking up on opportunities to engage wealthy consumers by building buzz with events and activations surrounding resortwear online and in stores. Big brands are opening more stores and pop-up markets in vacation towns.  Luxury doesn’t expect growth in the segment to slow, even amid global economic turbulence, travel restrictions in China and skyrocketing inflation.   Additional Resources:  Luxury Seizes the Vacation Dressing Boom  Loewe's Brand Within a Brand: Is This the New Way to Do Diffusion?  How Fashion Is Targeting the Travel Rebound      Join BoF Professional today with our exclusive podcast listener discount of 25% off an annual membership, follow the link here and enter the coupon code ‘debrief’ at checkout.  Want more from The Business of Fashion? Subscribe to our daily newsletter here. Hosted on Acast. See acast.com/privacy for more information.

To mark Mental Health Awareness Month, Intimacy expert and podcast host Lila lays out a formula for creating intimacy to combat loneliness.   “We are simultaneously the most connected and the loneliest we have ever been,” said intimacy expert Lila at BoF VOICES 2021, just before the Omicron wave extended further restrictions and social distancing amid the pandemic.    Indeed, social distancing caused a complete breakdown in contact among family, friends, and entire communities. But the epidemic of loneliness predates the Covid-19 crisis, and has only worsened since the pandemic began   On this week’s episode of The BoF Podcast Lila explains why intimacy is the cure for loneliness, and lays out a formula for creating authentic connections. To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

BoF’s Imran Amed quizzes Amy Odell on how she went about biographing the fashion media icon, and the surprising things she learned on the way.    Background:  Anna Wintour is arguably the most recognisable name in fashion media. In her new biography of Wintour author Amy Odell sets out to paint a nuanced and meticulously researched picture of Wintour’s life based on hundreds of interviews and sweeping archival research.  This week on The BoF Podcast, Odell joins BoF’s Imran Amed to talk about the process of biographing the complicated fashion titan, and provides some insight as to what she learned about Wintour’s life and career, as well as what the future holds for Vogue in a post-Anna Wintour era.    Key Insights:  Even amid a number of industry shifts, including the decline of print media, Wintour has maintained her power in part because of the strong network of people — in fashion and beyond — who value her advice and her ability to bridge the  business and creative sides of fashion. Former colleagues and friends  have described Wintour as future-focused and hungry; she hasn’t stopped working because she enjoys the work.  Whoever succeeds Wintour as editor-in-chief will inherit lots of sway that comes with the role. Odell theorises that a Vogue veteran will be tapped next as has always been the case in the past.    Additional Resources:  What Anna Wintour’s Big Promotion Means for Condé Nast: As the publisher focuses on returning to profitability, a new unified content strategy under Anna Wintour, more powerful at the publisher than ever, aims to make its strategy more efficient and intertwined. Org Chart: Vogue’s New Global Editorial Structure: The heavyweight international Vogue editors who once filled the front rows at Paris Fashion Week were gone this season, a stark sign of the restructuring that has consolidated power in the hands of global editor Anna Wintour and her regional deputies.   Join BoF Professional today using the link here. Hosted on Acast. See acast.com/privacy for more information.

At the BoF Professional Summit, RTFKT’s co-founder explained why he agreed to sell to Nike in 2021, and unpacked how brands can leverage web3 and associated technologies to grow  their communities. “A lot of brands are getting it wrong — they need to stop thinking about their business and ask instead: ‘what can I do for my community?’” said Benoit Pagotto, co-founder of virtual fashion start-up RTFKT Studios.  Pagotto added that fashion brands need to invest in incentivising individuals to build an engaged community in the long run.  Giving people access to digital assets or tokens such as NFTs, which can increase in value over time, helps customers feel they are contributing to a brand’s growth story, he explained, but adding that brands also need a new mindset. “The word ‘consumer’ is over,” he said, noting how the democratising nature of the web3. “has shifted power to the individual, and now brands’ communities will define their value.”   Key Insights:  Co-founded by Benoit Pagotto at the beginning of the pandemic as a virtual fashion platform, RTFKT was acquired by Nike in December 2021, marking the sportswear giant’s most significant push into the metaverse.  In late April, the two companies revealed their first product: a pair of virtual Nike Dunk sneakers, whose look owners can change with different digital skins. Pagotto believes that building and engaging communities is a long-term endeavour that requires customer incentivisation, rather than social media strategies.   Additional Resources: How Brands Are Using NFTs to Keep Customers Hooked: Brands like Adidas, Gucci and The Hundreds are finding the tokens are a great way to reward their superfans. But maintaining that loyalty can be hard work. Op-Ed | Notes From an NFT Sceptic: Nike, Adidas and other big brands have plunged headlong into the latest crypto craze. But companies and their customers may soon discover converting virtual fashion into real-world profits isn’t so easy. Caveat emptor, warns The NPD Group’s Matt Powell. Join BoF Professional today using the link here. Hosted on Acast. See acast.com/privacy for more information.

Richard Christiansen pursued a career in fashion as an escape from his upbringing in rural Australia, where his parents worked as beekeepers and sugar cane farmers. In 2005, he founded global creative agency Chandelier Creative, which worked  with clients like Hermès, Cartier and Calvin Klein. But when the pandemic hit, everything spun out: work evaporated, he lost his New York office and was forced to let some employees go.    Even amid those challenges, new opportunities emerged. Christiansen ended up revamping a dilapidated Los Angeles garden and found himself embedded in the local farming community. Soon, these new connections, with everyone from wine makers to olive growers, led to the creation of Flamingo Estate, a brand which generated about $6 million in sales in 2021 and has developed over 150 products, such as olive oils, vinegars, candles and soaps.   This week on the BoF Podcast, Christiansen talks about creativity and resilience and how the two helped him build Flamingo Estate.    “Spending my whole career trying to get excited about make believe and luxury goods, It’s funny that the thing I love the most was right under my nose the whole time,” Christiansen said last year at BoF VOICES. His dream is to support more farms and businesses to move to regenerative agricultural practices.    “To me, that would be a fantasy that it’s really worth fighting for,” he said. To subscribe to the BoF Podcast, please follow this link.   Follow The Debrief wherever you listen to podcast Hosted on Acast. See acast.com/privacy for more information.

Fast fashion upstart Shein set the industry ablaze this month after reports it was seeking to raise $1 billion in funding at a $100 billion valuation, according to Bloomberg. Shein has upended fast fashion by making apparel at jaw-droppingly low price points and gaining market share, attracting major investors. But is it profitable?   “Even if Shein isn’t profitable now, the thesis is that if enough people shop from the brand it would be able to leverage some of its operational costs … It could become a very lucrative business,” said Chen.    Key Insights While it is unknown whether Shein is profitable, the retailer drives ultra-high sales volume and razor-thin margins  Shein is powered by a nimble, AI-driven supply chain, which allows it to produce a plethora of trendy items for an internet-obsessed young fashion audience almost instantaneously.  The retailer’s app uses casino-like tactics and rewards to draw shoppers in and keep them buying, sharing and engaging.  Despite its murky manufacturing process and reputation for amplifying rates of consumption, Shein is popular among young consumers — who purport to care about sustainability.     Additional Resources The $100 Billion Shein Phenomenon Explained: Reports revealed that Shein is seeking over $1 billion in funding at a $100 billion valuation. BoF breaks down how the fast-fashion disruptor has built a global business that now rivals Zara and H&M. How to Compete With Shein: The Chinese fast fashion giant built an empire on unmatched speed-to-market and unbelievably low prices. To compete, others must play a different game.     Search for 'The Debrief' and make sure to follow wherever you get your podcasts to never miss an episode.   Join BoF Professional today with our exclusive podcast listener discount of 25% off an annual membership, follow the link here and enter the coupon code ‘debrief’ at checkout.  Want more from The Business of Fashion? Subscribe to our daily newsletter here. Hosted on Acast. See acast.com/privacy for more information.

In the final episode, professor of psychology Sheldon Solomon, Depop’s head of sustainability Justine Porterie, The Fabricant’s head of content and strategy Michaela Larosse and Chloé's chief sustainability officer Aude Vergne join retail futurist Doug Stephens to explore how evolving consumer preferences are shaping purchasing decisions. In this final episode of Retail Reborn, we explore the future consumer’s preferences and needs, and how this is shaping their purchasing decisions, from the V-shaped recovery of the personal luxury goods industry in 2021 to the renewed verve in, and take on, the experiential economy as the world reopened post-global lockdowns. “It’s worthwhile to question the extent to which some of the changes we are witnessing are truly indicative of longer-term shifts in behaviour, or an almost primally motivated response to the profound medical threat of the pandemic, not to mention the social, political and economic unrest that it has unleashed,” says podcast host and retail futurist Doug Stephens. The conversation examines human behaviour and the effects the pandemic might have played in the mindsets of young consumers, before discussing evolving attitudes towards ownership, the rise of responsible goods and sustainability in a luxury fashion house and the resale market — an industry expected to nearly triple by 2025. Finally, we explore virtual technology’s presence in consumption preferences, from the evolution of sampling processes to the increased interest in digital products. Indeed, the metaverse is projected to provide a $50 billion revenue opportunity for luxury by 2030, according to Morgan Stanley, and the first Metaverse Virtual Fashion Week took place last month. To break down what consumers will buy, four global experts share their insights and expertise with host Doug Stephens. Listen to all episodes of Retail Reborn Season 2 on the BoF Podcast, to discover actionable insights into the opportunities and challenges the consumer of tomorrow will bring. Brookfield Properties is building marketplaces of the future that meet the needs of the modern shopper. Discover more. Hosted on Acast. See acast.com/privacy for more information.

Teacher, farmer and indigenous women’s rights activist Seno Tsuha travelled over 40 hours from her home in Nagaland, northeast India, to reach Soho Farmhouse in time for BoF VOICES 2021 because she had an important message to share with the global fashion community.  “When it comes to textiles we use, it’s not just a piece of cloth, it has cultural meaning,” said Tsuha. “When we talk about respect, especially in fashion, it’s very important to understand the local context or historical context and also the social meanings, the cultural meanings attached to the piece of cloth. If you understand that, and if you acknowledge that, that’s where respect comes in.” Alongside Rebecca Hui, the founder of indigenous arts organisation Roots Studio, Tsuha led a compelling conversation on why cultural inspiration doesn’t always have to be problematic. Together, they suggested a framework for more mindful cross-cultural borrowing rooted in respect, reciprocity and remuneration. Want more from The Business of Fashion? Subscribe to our daily newsletter here. Hosted on Acast. See acast.com/privacy for more information.

In this weekly series,  BoF’s chief correspondent will go behind the scenes of the $2.5 trillion global fashion industry.  Fashion has the ability to move markets, shake up cultural norms and even transform society. But who — and what — are the forces driving major change? We’re answering that question on The Debrief, a new weekly podcast series from The Business of Fashion, where we go beyond the industry’s glossy veneer to understand how the fashion business is evolving, from the inside out. Hosted by BoF’s chief correspondent Lauren Sherman, The Debrief will be your guide into the megalablels, indie upstarts and unforgettable personalities shaping the $2.5 trillion global fashion industry. Each week, Lauren will take you through BoF Professional story —  in conversation with our correspondents and industry experts — to unpack the analysis and insights you need to know to navigate an industry undergoing rapid change.From the rise of direct-to-consumer disruptors, to the rapid consolidation of the luxury industry, to cultural shifts turning beauty upside down. BoF covers it all.   Search for 'The Debrief' and make sure to follow wherever you get your podcasts to never miss an episode. Join BoF Professional today with an exclusive 25% discount on an annual membership, follow the link here. Email Lauren with your feedback, ideas and tips at lauren.sherman@businessoffashion.com  Hosted on Acast. See acast.com/privacy for more information.

Adjunct professor in global digital economy Winston Ma, design and blockchain expert Marjorie Hernandez de Vogelsteller, and fashion tech lawyer Gina Bibby join founder of Retail Prophet, Doug Stephens, to assess the evolving payment space and behaviour. This episode tackles how consumers will shop, deep diving into the transaction processes themselves and how methods of payment are changing, from biometric payment to the Replenishment Economy, as well as innovative paths-to-purchase and how brands and retailers are engaging with them, including the gamification of sales and products. In 2020, Epic Games reported over $1 billion in microtransaction sales from the mobile version of the Fortnite game alone, across in-game upgrades, costumes and player capabilities. Seeing the potential in this space, brands across the value spectrum have embraced the world of gaming, from Nikeland on Roblox to Balenciaga’s Afterworld: The Age of Tomorrow to showcase the brand’s Autumn Winter 2021 collection. “Both gaming and livestreaming are part of a broader move toward [...] ambient retail — a state where retail is everywhere, woven into every social or entertainment experience. [It is] an evolution that may spell the end of the centralised and search-driven web shopping convention we’ve lived with for the past 30 years,” says podcast host and founder of Retail Prophet, Doug Stephens. The conversation also considers the evolution of currency, from crypto and blockchain to Bitcoin and Ethereum, detailing their distinct qualities, entrance into the mainstream payment space and popularity among next-gen consumers. Indeed, more than half of Millennial millionaires have at least 50 percent of their wealth in crypto, while nearly 60 percent of Gen-Z believe wealth is achievable through investments in cryptocurrency, according to Business Insider. To deep dive into how the next-gen consumer will buy products and experiences in the future, BoF gathers three global authorities to share insights with host Doug Stephens. Follow the series to ensure you never miss an episode and discover actionable insights into the opportunities and challenges the consumer of tomorrow will bring, and how retail’s transformation will impact your business. Brookfield Properties is building marketplaces of the future that meet the needs of the modern shopper. Discover more. Hosted on Acast. See acast.com/privacy for more information.

The former barrister and author of “A Dutiful Boy” examines intersectionality and identity at BoF VOICES.  Just before the pandemic hit, Mohsin Zaidi, former barrister and author of the memoir “A Dutiful Boy,” was preparing for his wedding. When he tried on his sherwani, a traditional garment for South Asian grooms, he didn’t feel excited. Zaidi spent his whole life battling between his Muslim faith and his identity as a gay man.  In his inspiring talk from BoF VOICES 2021, Zaidi examined the thorny topic of intersectionality and identity. On the latest episode of The BoF Podcast, Zaidi shares his experience of finding peace with multiplicity, cultivating bravery and pushing through fear.  “We are all born whole. We are born one thing, but quickly broken into parts because of societal expectations and cultural norms,” he said.  Want more from The Business of Fashion? Subscribe to our daily newsletter here. Hosted on Acast. See acast.com/privacy for more information.

McKinsey’s head of retail practises in Central and South America Tracy Francis, luxury analyst Erwan Rambourg and Warby Parker’s SVP of retail Sandy Gilsenan join Doug Stephens, founder of Retail Prophet, to examine the global forces redefining consumer behaviour and circumstances, and the implications on retail habits. BoF assesses how the climate crisis and economic downturns are impacting consumer behaviour and retail practices, before addressing the new centres of wealth and income polarisation on a global scale. In the US, for example, more than 50 percent of American wealth in 2020 was held by Baby Boomers, or those born between 1946 and 1964, while Millennials held less than 10 percent, according to Harvard Business Review. In contrast, young consumers in China are powering an unprecedented level of spending as the first generation to come of age during China’s economic revolution — almost 80 percent of luxury spending in China today is by those under the age of 40. The conversation goes on to analyse younger consumers’ relationship with luxury, and the industry’s evolution in democratising access for such consumers, before considering the strategy behind one direct-to-consumer brand’s post-pandemic brick-and-mortar expansion plan, attuned to the next-gen consumer whose expectations far exceed those of previous generations. Follow the series to ensure you never miss an episode and discover actionable insights into the opportunities and challenges the consumer of tomorrow will bring, and how retail’s transformation will impact your business. Brookfield Properties is building marketplaces of the future that meet the needs of the modern shopper. Discover more. Hosted on Acast. See acast.com/privacy for more information.

Four years ago, writer and activist Sinéad Burke made her debut at BoF VOICES, when she implored the fashion community to start designing for disability, noting that the global spending power of disabled people is more than $1.9 trillion.  Following a series of high-profile appearances after VOICES 2017 — from Davos to the Met Gala — Burke has been honing her sense of mission and purpose, and has come to the conclusion that creating products for disabled people is not enough.  In her return to the BoF VOICES stage in 2021, she said: “If change is only embedded in the present, change will be a moment, not a movement.”  Burke lays out a path for removing abelism from our society. Systemic change, she said, has to happen based around four pillars: people, places, product and promotions, and be jump-started with awareness, allyship and advocacy.  In short this means “nothing about us, without us.” Hosted on Acast. See acast.com/privacy for more information.

Associate professor Thomas J. Campanella, ‘Godmother of the Metaverse’ Cathy Hackl and Stôur Group co-founders Sonny Gindi and Eden Melloul join Doug Stephens, founder of Retail Prophet, to discuss how physical and virtual consumer landscapes are evolving to meet next-gen consumer demands.  Presented by Brookfield Properties, BoF investigates the consumer of tomorrow — how new fundamentals will shape the lives and behaviours of the next-generation consumer, and the impact on the retail industry today. We begin by examining the redrawing of city life as new lifestyle patterns have propelled a seismic shift in the urban landscape. Globally, cities experienced a mass exodus of residents and commuters as the pandemic popularised remote living and working.  The episode goes on to discuss how retailers are exploring innovative methods and use-cases for physical retail to better engage consumers in-store, such as New York’s Allure Store and its focus on media as the store’s metric for success.  The conversation also illuminates the fast-emerging retail opportunities within the metaverse, discussing luxury fashion and beauty’s initial steps into this space, and the potential in leveraging the likes of NFTs, skins and blockchain technologies. Indeed, BoF and McKinsey & Co.’s State of Fashion Report 2022 cites estimates that the total addressable market for digital fashion is $31 billion. Follow the series to ensure you never miss an episode and discover actionable insights into the opportunities and challenges the consumer of tomorrow will bring, and how retail’s transformation will impact your business. Brookfield Properties is building marketplaces of the future that meet the needs of the modern shopper. Discover more. Hosted on Acast. See acast.com/privacy for more information.

Since Russia’s invasion of Ukraine just four weeks ago, thousands of people have been killed and  more than 10 million people have been displaced. Among those impacted are Julie Pelipas, former fashion director of Vogue Ukraine and founder of fashion upcycling platform Bettter; Lilia Litkovskaya, designer and founder of her namesake brand and Vadim Rogovskiy, chief executive and founder of virtual try-on company 3DLook.  On the latest episode of The BoF Podcast, Pelipas, Litkovskaya and Rogovskiy spoke to BoF founder and editor-in-chief Imran Amed to share their personal reflections and experiences, and examined what's next for the Ukrainian fashion industry. Resources to Support the Ukrainian Fashion Community: Bettter Community: https://community.bettter.us/ Help Ukraine Win: https://helpukrainewin.org Lilia Litkovskaya: https://litkovskaya.com/   Hosted on Acast. See acast.com/privacy for more information.

Podcast host and founder of Retail Prophet, Doug Stephens, is joined by 14 global authorities and thought leaders, from fashion and retail executives to futurists and academics, in this second series of Retail Reborn. Guests will share insights on the changing consumer lifestyles and expectations shaping the retail ecosystem, discussing generational expectations as shaped by the pandemic, climate crisis and economic downturns, as well as examining where, how and what next-gen consumers will buy. Retail Reborn Season 2 launches on 28th March 2022. Subscribe now to never miss an episode. Sign up for BoF’s Daily Digest newsletter. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com For all sponsorship enquiries, it’s: advertising@businessoffashion.com Hosted on Acast. See acast.com/privacy for more information.

In 2018, Vanessa Kingori joined British Vogue as its first female publisher. Since then, she has become a mother, received an MBE, and stepped into the role of Chief Business Officer of Condé Nast Britain.  At BoF VOICES 2021, Kingori shared her experience and lessons in leadership with purpose coach and founder of 822 Group Mory Fontanez, underscoring the importance of leveraging gut instinct to support data-driven decisions and challenging conformity as the “enemy of progress, creativity and business.”  “Everywhere I've been, I have had to get comfortable with being a bit of an outsider, which often means the decisions I come to — are different to the normal consensus,” said Kingori. “It's OK to be intuitive. It's actually great to lean into your differences rather than try to push to assimilate too much.” Discover leadership opportunities on BoF Careers across more than 300 of the fashion industry’s leading brands, businesses, retailers and media companies. Hosted on Acast. See acast.com/privacy for more information.

This week on The BoF Podcast, founder and editor-in-chief Imran Amed sat down with editor-at-large Tim Blanks to reflect on the fashion month gone by. Russia’s invasion of Ukraine, which began the day Prada showed in Milan, raised questions about whether it was appropriate for fashion week to go on amid the horror and how the industry should respond to the unfolding tragedy and loss of human life. Hosted on Acast. See acast.com/privacy for more information.

While the initial impact of the Covid-19 pandemic manifested in workplaces through budget cuts, layoffs and furlough schemes, the crisis also inspired a widespread re-evaluation of our relationship with work. Amid the so-called “Great Resignation,” Business Insider estimated over 38 million workers quit their jobs in 2021, with many seeking a better balance between life and work, and greater meaning in the work they do. These evolving expectations are having a profound impact on how leaders have to run their businesses. At BoF VOICES 2021, Kevin J. Delaney, co-founder and CEO of media and Charter and former editor-in-chief of Quartz, examined the qualities leaders need to assimilate today. On this week’s episode of The BoF Podcast, Delaney says: “One question I hear often from leaders is how do they find the right balance between a focus on operational performance of their business and these new expectations of their employees?” Explore employment opportunities across more than 350 businesses on BoF Careers,The Global Marketplace for Fashion Talent. Hosted on Acast. See acast.com/privacy for more information.

The traditional fashion value chain is linear: fibres are grown, harvested, spun into fabric and stitched into garments, which are then distributed to retailers, sold, worn and discarded.  “The way we make and use things accounts for 45 percent of greenhouse gases and 90 percent of biodiversity loss,” said Dame Ellen MacArthur at BoF VOICES 2021.   In this conversation with BoF’s Sarah Kent,  MacArthur lays  out a vision for an alternate “circular” economy where the lifecycle of garments is extended through better design, including the use of more resilient, recyclable materials, and using systems throughout the manufacturing and sales process to facilitate items’ repair, reuse, and eventual transformation into something new.  But this kind of systemic change will require a collective and coordinated push from suppliers, designers, brands and retailers across fashion’s value chain. “We need to work together to make this happen. You need the entire value chain in the room,” said MacArthur, adding that though such comprehensive change is a challenge, it's also an opportunity. Circular business models, including resale and rental, are on track to become a $700 billion market representing 23 percent of the fashion industry by 2030.  “Business as usual doesn't work,” said MacArthur. “It's not the solution.” Hosted on Acast. See acast.com/privacy for more information.

At BoF VOICES 2021, Futurists Martin Raymond and Christopher Sanderson examined  the series of fast-paced changes that will dominate the wider world in the coming decade — and advised on how brands must adapt.  The world is at the beginning of an era defined by the emergence of fast-paced change at a never-before-seen scale, Martin Raymond and Christopher Sanderson, futurists and founders of The Future Laboratory consultancy said to a rapt audience at BoF VOICES 2021. They dubbed this moment the “Transformative Twenties.”  The pandemic’s shock and subsequent shifts are just the beginning. A series of radical resets driven by new technologies, climate change and shifting demographics will require businesses to become more agile and flexible to keep up with the pace of change. Individuals will demand more sustainable, equitable and decentralised societies.  Amid all this change, the dynamic between brands and their customers has already moved away from being purely transactional to focusing on collaboration and candour as the key tenets of a business model in flux. “We are moving through a decade in which we are proactively looking for the businesses, the brands, the products, the goods and the services that will help us on our journey to become healthier, wealthier and happier,” said Sanderson. Hosted on Acast. See acast.com/privacy for more information.

Designers Jack McCollough and Lazaro Hernandez speak to BoF’s Lauren Sherman about their journey from one-time fashion wunderkinds to seasoned entrepreneurs, navigating a series of ups and downs. Fresh out of fashion school — armed with approval from then Barneys New York fashion director Julie Gilhart, who bought their Parsons senior thesis collection in 2002, and Vogue editor-in-chief Anna Wintour, who helped them stage their first show in 2003 — Proenza Schouler designers Jack McCollough and Lazaro Hernandez followed early 2000s American fashion’s script for success. They took investment quickly, produced buzzy runway shows and an ‘it’ item in the form of the PS1 bag, and began launching new categories and distribution deals — but struggled to achieve sustained commercial success. “By 2018, the board of directors was quite large and in charge and we weren’t. That’s when, I guess, shit hit the fan,” said Hernandez.  So, 15 years after its 2002 launch and on the brink of bankruptcy, McCollough and Hernandez bought Proenza Schouler back from private equity firm Castanea Partners, installed fashion turnaround veteran Kay Hong as chief executive, and positioned the brand for growth in 2020, just before the pandemic hit. It appears their strategy is working: Proenza Schouler broke even in 2021 and is on a path to profitability in 2022.  On the latest episode of The BoF Podcast, McCullough and Hernandez join BoF’s chief correspondent Lauren Sherman following her feature, “The Nine Lives of Proenza Schouler,” to chat about their experience so far — and the brand’s next chapter. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

An oft-overlooked natural asset, mushrooms are not just infiltrating the fashion industry, but also have the potential to unlock new ways of thinking and healing. One of the planet’s oldest lifeforms was the centrepiece of some of last year’s biggest stories in material innovation in fashion. But beyond fungi’s potential for shaping the future of materials, its ability to build things and create networks can provoke our imaginations and make us question the way we organise our lives, according to Merlin Sheldrake, biologist and author of “Entangled Life: How Fungi Make Our Worlds, Change Our Minds and Shape Our Futures.” Download our latest Case Study: ‘Fashion’s Race for New Materials’ here Hosted on Acast. See acast.com/privacy for more information.

On the heels of selling a 24 percent stake in his namesake label, valuing it at $2.7 billion, Louboutin spoke with Rozan Ahmed at BoF VOICES 2021 about how his identity and upbringing have shaped his approach to business and life. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

The best-selling author and podcaster shares a powerful equation for defining your purpose and a guided meditation to help you discover it.  At BoF VOICES 2021, Jay Shetty spoke about how his experiences as a monk taught him not only how to find purpose, but how to live with it. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

Up until a week ago, Jonathan Anderson was set to show his J.W. Anderson show in Milan, but Omicron has put paid to that, and Jonathan had to quickly change his plans and instead film a presentation at the Scala in Kings Cross London. BoF's editor at large, Tim Blanks, sat down with Jonathan to discuss his responses to the challenges presented by the pandemic. Jonathan has done everything from a show in a box to a show on a wall, and this time he has continued his optimism and enthusiasm in the face of the pandemic.  Read Tim Blanks' full article here.  Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

The pandemic has upped pressure on brands and corporations to take action on issues from climate change to social justice. More and more investors are asking for it and more customers are demanding it.  So what role do businesses need to play in creating the kind of society we want to live in?  Dame Vivian Hunt is  one of the most important voices in British business. During her talk at VOICES 2021, she made the case for stakeholder capitalism. Hosted on Acast. See acast.com/privacy for more information.

At this year's edition of VOICES, performance artist Alok Vaid-Menon sat down with Harris Reed, a recent Central Saint Martins graduate who has emerged as one of the industry’s brightest rising stars and is vocal about pushing gender-fluid fashion to the mainstream.  Reed and Alok spoke about concrete opportunities for industry stakeholders to de-gender fashion. While many fashion companies want to be seen working with gender non-binary people, few are baking their gender-free principles into their businesses beyond one-off collaborations. Hosted on Acast. See acast.com/privacy for more information.

We often think of hype as the antithesis of timelessness, especially in fashion. Chunky dad sneakers and sweatshirts emblazoned with logos, versus little black dresses and classic tailoring. But how can one brand straddle both? At BoF VOICES 2021, CEO of Balenciaga Cédric Charbit, discusses the brand's business vision, and how a soon-to-be 103 year old luxury house continues to shape the discourse. We want to learn what you value about The BoF Podcast and what we can do to make your podcast experience even better. Complete The BoF Podcast survey to have your say. Hosted on Acast. See acast.com/privacy for more information.

"Everybody is born into a script they didn’t write for themselves. But activists defy that script to rewrite the narrative, non-binary activist, storyteller and former international ambassador for Black Lives Matter, Janaya Future Khan, said in a powerful talk that wove together theory with raw personal experiences, including a racist encounter on a plane. Khan was careful to differentiate real activism that drives change from the crescendo of surface-level proclamations, from individuals and brands alike, that have filled social media in recent years. “If we’re talking about what the work of activism really is, it’s about seeing the world as it is, not as we’re told,” they said. “Our job is to imagine change and make it true.” Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

The last time Kim Jones showed in his hometown was 2003, the year after he graduated from Central Saint Martins. London didn’t really host many menswear presentations in those days. Besides, Kim already had his eye on the bigger picture, so he hightailed to Paris. His homecoming on Thursday, with the launch of his Pre-Fall 2022 collection for Dior Men at the Olympia Exhibition Centre, was, in one way, an appropriately spectacular reflection of everything that’s happened to him since. But it also illuminated the way Jones has managed to weave his own story into the brands — from Dunhill through Louis Vuitton to Dior and Fendi — that he has shaped.     His latest Dior collection is infused with the spirit of the Beat Generation, especially Jack Kerouac and his watershed On the Road. Over the past few years, Jones has been building an extraordinary library of rare books and literary ephemera, and Kerouac features strongly. This boho prince might seem unlikely in the context of a French couture house, but Kerouac was writing while Christian Dior was still working. And the rebel spirit of the Beats inspired the Left Bank of Paris, which sparked Yves Saint Laurent who succeeded Dior at the house. So, it wasn’t so tricky for Jones to winkle out a connection. His ability to do so reminds me of Karl Lagerfeld’s knack for joining the dots between eras, people and places.   Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

Vestiaire Collective is one of the leaders in the fast-growing fashion resale segment. Earlier this year, in its latest round of funding, the luxury resale platform achieved a valuation of $1.7 billion. Max Bittner, Vestiaire Collective’s CEO, attributes this success to a number of factors, including ease of transactions, pandemic-driven closet clean-outs and shifting consumer values. But he also acknowledges the challenges that lie ahead as Vestiaire Collective scales, particularly when it comes to verifying the authenticity of products in the face of ever-more sophisticated counterfeits.  Bittner’s insights are featured in the fifth episode of The BoF Show, now streaming on Bloomberg Quicktake.  Here, we share the full interview with Bittner, exclusively on The BoF Podcast. Watch the fifth episode of The BoF Show, “Resale: Inside the $130 Billion Secondhand Fashion Market” Explore the new report from BoF Insights, “The Future of Fashion Resale” here. Hosted on Acast. See acast.com/privacy for more information.

The CEO of the online peer-to-peer marketplace believes the platform’s ability to connect people sets it apart from typical fashion e-commerce.  In June 2021, online marketplace Etsy announced plans to acquire Depop for $1.6 billion. The move was yet another sign of growing interest in the burgeoning fashion resale market, which according to BoF Insights, is now worth $130 billion globally. CEO Maria Raga describes Depop as “combining elements from Instagram and eBay”. The platform is skewed towards lower-priced product exchange between younger traders, almost all of them 26 and under. Raga believes that it’s Depop’s community aspect — facilitating not just online transactions, but also person to person interactions — that attracts these all-important Gen-Z shoppers.  Raga’s insights are featured in the fifth episode of The BoF Show, now streaming on Bloomberg Quicktake.  Watch the fifth episode of The BoF Show here. Hosted on Acast. See acast.com/privacy for more information.

Marjorie Hernandez and Karinna Nobbs are the co-founders of The Dematerialised — a Web 3.0 marketplace for authenticated virtual goods, which they describe as “the digital department store of your dreams.” They’re part of a new wave of pioneering entrepreneurs challenging the luxury status quo and creating a new reality for fashion.  In the fourth episode of The BoF Show, now streaming on Bloomberg Quicktake, they share their thoughts on gaming culture and the metaverse — and explain why they believe virtual fashion will revolutionise the industry as we know it.  Here, we share the full interview, exclusively on The BoF Podcast. Watch the fourth episode of The BoF Show, “Dematerialisation: Why the Metaverse Is Fashion’s Next Goldmine” Explore the new report from BoF Insights, “The Opportunities in Digital Fashion and Avatars” here. Hosted on Acast. See acast.com/privacy for more information.

Ledger’s Chief Experience Officer explains how — and when — fashion should tap into the NFT gold rush, as featured in the fourth episode of The BoF Show, now streaming on Bloomberg Quicktake.  Ian Rogers moved to Paris from Silicon Valley in 2015 when he was appointed Chief Digital Officer of LVMH, acting as a digital whisperer to C-suite luxury executives.  Today, as Chief Experience Officer of Ledger — a security system that provides protection for digital currencies — he is uniquely positioned to speak to the opportunities being created as crypto technologies, gaming and fashion converge. His insights are featured in the fourth episode of The BoF Show, now streaming on Bloomberg Quicktake.  Here, we share the full interview with Rogers, exclusively on The BoF Podcast. Explore the new report from BoF Insights, “The Opportunities in Digital Fashion and Avatars” here. Watch episode 4, 'Why the Metaverse Is Fashion's Next Goldmine' here. Hosted on Acast. See acast.com/privacy for more information.

Sinéad Burke refuses to be excluded, despite fashion’s poor record on welcoming people  with disabilities.  In a wide-ranging interview, featured in the third episode of The BoF Show, Sinéad reminisces on her fashion journey — from calling out the industry for entrenched behaviours, at BoF VOICES in 2017; to advising luxury brands as Founder & CEO of consultancy “Tilt the Lens”. Here, we share the full interview exclusively on The BoF Podcast. Watch the third episode of The BoF Show, “Belonging: The Business Case for Diversity in Fashion” Hosted on Acast. See acast.com/privacy for more information.

In 2020, Samira Nasr became Editor-in-Chief of Harper’s Bazaar, the first-ever woman of colour to hold the position in the magazine’s 154 year history. The appointment, whilst joyful, also prompted tough reflection about racism and responsibility. How can a business based on exclusivity throw its doors open to all?  Nasr’s insights on what real inclusion looks like in fashion — and her hopes for the industry as it emerges from the pandemic — are featured in the third episode of The BoF Show, now streaming on Bloomberg QuickTake. Here, we share the full interview with Nasr exclusively on The BoF Podcast. Watch the episode three of The BoF Show, “Belonging: The Business Case for Diversity” Hosted on Acast. See acast.com/privacy for more information.

“We’ve been expecting you…” In Paris, everything is prepared for the return of big-spending tourists. Stores are open, mirrors shined, brand leaders bullish that the global capital city of luxury remains irresistible. But when BoF founder and CEO, Imran Amed connects to Angelica Cheung in Beijing, she sounds a caution. For 16 years, Angelica was Vogue China’s Editor-in-Chief. Today, she’s a venture partner at investment leader, Sequoia Capital China. She tells Imran that Chinese customers used to travel to Paris for choice — which they can now find at home; for price — yet prices are now balanced around the world; for “Made in France” — yet they’re increasingly proud of “Made in China”. Her insights on what it’s going to take to lure the Chinese back to the City of Light are featured in the second episode of The BoF Show, now streaming on Bloomberg QuickTake. Here, we share the full interview with Cheung exclusively on The BoF Podcast. Watch the second episode of The BoF Show, “Re-Invention: How Fashion’s Megabrands Will Adapt to Post-Pandemic Customer Behaviour” Hosted on Acast. See acast.com/privacy for more information.

Over the Transforming Luxury podcast series, as we discussed market dynamics, product strategies, customer experiences, emerging technologies, new retail channels and our imminent entry into the metaverse, the pressing need and increasing demand for systemic change to create a more sustainable industry was a consistent theme. In this final episode of Transforming Luxury, a special six-episode series presented by Klarna, we confront the distinct uncertainty and disruption facing the luxury industry and us all, as a result of the climate crisis. In 2020, BoF reported that the fashion industry’s greenhouse gas emissions range from an estimated 4 percent to 10 percent of the global total. Without significant intervention, the industry will not align with global goals to limit global warming to no more than 1.5 degrees Celsius. Failure to do so is predicted to have catastrophic consequences for civilisation, outlined in the UN’s IPCC report 2021. However, if bold enough leadership is willing to reimagine how the industry operates, equipped with the deep pockets of market leaders and further enforcing the existing, rigorous quality controls already in place, luxury would be " uniquely positioned to transform itself,” as stated by SVP of supply chain innovation at the Savory Institute, Megan Meiklejohn. To hear more about the role sustainability must play throughout the luxury goods industry, BoF gathered four global authorities to discuss how luxury can become more responsible with host Robin Mellery-Pratt. Follow the series to ensure you never miss an episode and discover actionable insights into the opportunities and challenges a redefined industry will bring and how luxury’s transformation will impact your business. Sign up for BoF’s Daily Digest newsletter. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

For fashion aficionados of a certain age, the name “Thierry Mugler” throbs with memories of showgirl spectacles cast with extraordinary beauties and weirdos, garbed in looks of an other-worldly glamour. Such was their alien dazzle that there are times in this more prosaic era when I wonder if they ever really happened. Fortunately, there is now ample proof of their existence at the Musée des Arts Décoratifs in Paris, where Thierry Mugler: Couturissime is on display until April next year. It’s been on a world tour since it first opened in Montreal in 2019, but its homecoming was significant enough that Mugler sat down to talk about it, and everything else, for The BoF Podcast. And, being one of those fashion aficionados of a certain age, I was slightly awestruck.Mugler turned his back on fashion at the millennium, reclaiming his first name Manfred and devoting himself to costume design for the likes of Cirque du Soleil. He dressed Beyoncé's 2009 world tour. But the only fashion outfit he has designed in the past two decades was the “wet look” dress Kim Kardashian wore to the Met Gala in 2019. It apparently took eight months to make. Mugler had never seen her TV show, but when she walked into the room — not a word to anyone else, never a smile or a handshake — he said, “It was love at first sight.” He saw her body as that of “the original female, an antique goddess.”It’s clear what kind of woman has always attracted and inspired Mugler. In his fashion heyday, it was Iman and Jerry Hall who embodied his very particular aesthetic. “Fashion needs a great animal to wear it,” he told me. He photographed his clothes on those women, draped over the Art Deco eagles on the Chrysler Building in New York, posed against massive Saharan sand dunes and Arctic icebergs. They were dressed like superheroines but Mugler made them small against the monumental backdrops. “It looks like they’ve been dropped from another planet,” he says now. “That was the idea.”He claimed he wanted to help people find something strong in themselves that they could bring into their real lives. That’s why he loved photographing the acrobats and circus people he worked with after his fashion life. And, talking to Mugler, I sensed that struck a chord for him too. Metamorphosis was always a theme. The natural world was an obsession. “When you look up close, the gorgeous creatures on our planet are so out of this world.” In his couture, he never used fur, or rare feathers, or exotic skins. “I don’t want to torture animals for that,” Mugler said.That sensibility made him an outlier in fashion at the time. He was often criticised. Now, it simply looks like his radicalism was ahead of its time. Mugler embraced queer culture, showed men and women in exactly the same clothes, was open to experiment of all kinds. His queer peer Jean Paul Gaultier offered a similarly idiosyncratic humanist vision, couched in the most extreme style fashion could offer. Look back at their work now and I defy you to deny their status as totems of a golden age in fashion.Obviously, Manfred and I had a very busy podcast. Reeling out of the exhibition, head spinning with extreme visions of accomplishment (memorably celebrated in a bizarre, funny Iman-Bowie video), I had questions. Hopefully, you’ll find the answers when you listen. But one thing that stood out was Mugler’s obsession with technique. He tracked it back to his early days, when his ambition was to be a ballet dancer. “I learned at the barre how you can do nothing without technique,” he said. And his greatest points of pride related to that: personally, the body he has built for himself; professionally, his perfume Angel, a battle he waged for years with fragrance industry orthodoxy. It’s still a global top-five seller. There is supreme vindication in that, as there is in Couturissimeand clothes which will boggle minds for centuries to come. Hosted on Acast. See acast.com/privacy for more information.

The metaverse — a term originally coined by the author Neal Stephenson in his sci-fi novel ‘Snow Crash’ — is now widely used to describe how our physical realities will be augmented and overlaid by ambient and accessible digital experiences and services. Luxury’s entrance into the metaverse was expedited by many brands’ leverage of new technologies to speak to consumers when lockdowns removed physical interactions in bricks-and-mortar stores and in-person events. But the impact of virtual and augmented reality on consumer behaviour preceded 2020: Forbes reported in 2019 that 40 percent of consumers were willing to spend more on a product they can experience through augmented reality technology first. From stores that guide you from the street to luxury items designed exclusively for the smart glasses that every major tech platform is working on, the future of luxury is already here — it’s just not evenly distributed. Follow the series to ensure you never miss an episode and discover actionable insights into the opportunities and challenges a redefined industry will bring and how luxury’s transformation will impact your business. Sign up for BoF’s Daily Digest newsletter. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

After the conclusion of Paris Fashion Week — the first in-person version of the event since the pandemic took hold in early 2020 — BoF’s editor at large Tim Blanks sat down with BoF founder and CEO Imran Amed to discuss his reflections on fashion’s return to the runway. Designers appeared to come out of lockdown with renewed energy, breathing new life and ideas into their collections. Highlights included Jonathan Anderson’s Loewe collection, Extinction Rebellion’s talked-about moment during Louis Vuitton and the week’s finale, a tribute to the late Alber Elbaz. Still, Blanks said that he doesn’t believe fashion has seen the full effects of the pandemic just yet. “I think in a sense everything changed and we haven’t processed it yet,” he said. “It’s going to take a long time.” On the latest episode of The BoF Podcast, Amed and Blanks explore what fashion learned from its break. Jonathan Anderson’s Loewe show leaned on the surreal to expand upon the designer’s previous pandemic-era collections and experimented with new themes. It also marked a departure from previous runway show set ups; this year’s show was staged in a bare-bones space that highlighted Anderson’s sculptural silhouettes. “Of all the designers that we’ve followed so closely, his response to the pandemic was perhaps the most creative,” said Blanks. “I think it was maybe his best show for Loewe.” The Simpsons’ surprise appearance at Balenciaga also provided some levity to the week, with an abbreviated episode of the hit cartoon featuring characters walking in a Balenciaga show. Demna Gvasalia also explored themes of distance with a screening replacing a traditional runway show. Even without the Simpsons’ star power, Demna showed a collection that excited buyers and critics alike, particularly in bags and accessories. Climate activist group Extinction Rebellion brought about what was perhaps the most talked-about moment of fashion week. During Louis Vuitton’s runway show, an activist stormed the runway carrying a banner that read “Overconsumption = Extinction”, prompting a discussion on if the industry has changed at all during the pandemic. “Maybe the system hasn’t changed, but the people who work in the system have been changed, and that’s maybe going to change the way the industry interacts,” said Amed. Related Articles: In Paris, Back to Normal or Not? Demna Gvasalia: ‘Couture Is The Most Sustainable Way of Consuming’ Fashion’s Favourite-Ever Collaboration: Balenciaga and ‘The Simpsons’ Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

Today, the channels that consumers can now use to connect with brands to elicit a range of interactions have multiplied, dramatically. With major new platforms emerging all over the world, the retail networks utilised by luxury brands are evolving at an unprecedented pace to include a huge number of customer touch points — each a distinct opportunity for growth but requiring an idiosyncratic strategy for success. Due to mobile-commerce and social-commerce, when, how and why a consumer transacts with a brand has been reimagined entirely. The linear paths to purchase with which we are so familiar are being replaced by new conduits that combine digital content with customer-centric retail strategies to make transacting as engaging, enjoyable and instantaneous as possible. There is one region responsible for the lion’s share of retail innovation: China. The engine of the luxury industry’s growth for decades is now the epicentre of the most significant retail innovation in the market. From buy now, to swipe up, unboxing to bounce houses, KOLs, KOCs, shoppable video, live streaming, digital clienteling, resale sites, marketplaces, macro and micro influencers — luxury’s retail channels have been reimagined at scale. Now, that innovation is beginning to shape global retail strategy. Follow the series to ensure you never miss an episode and discover actionable insights into the opportunities and challenges a redefined industry will bring and how luxury’s transformation will impact your business. Hosted on Acast. See acast.com/privacy for more information.

The revival of Balenciaga’s long-dormant couture collection was the most anticipated event of the July 2021 haute couture season, and the first since the house’s namesake, Cristóbal Balenciaga, shuttered his salon in 1968. BoF’s founder and CEO Imran Amed was granted exclusive pre-show access and sat down with Gvasalia for a wide-ranging interview which is featured in the first episode of The BoF Show, now streaming on Bloomberg QuickTake. Here, we share the full interview with Gvasalia exclusively on The BoF Podcast. Watch the first episode of The BoF Show, “Disruption: Is Luxury Fashion ready to Change?” Related Articles: Disruption: Is Luxury Fashion Ready To Change? The Fate of the Physical Runway Show Chanel’s Last Virtual Fashion Show? Why Big Brands Are Skipping Fashion Week Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.   Hosted on Acast. See acast.com/privacy for more information.

In recent decades, the race to attract and retain customers saw dizzying amounts of money spent on clienteling — the industry term for building a 1 on 1 relationship with customers. Today, for major players of scale with the resources to invest in it, successfully digitising personalised in store service, which generates much high conversion rates through recommendations and experience, is being looked to as a key driver of future competitive advantage. Indeed, the luxury service revolution is now rooted in creating a single customer view, enabling businesses to guide an individual consumer to the products and services it offers that match their specific needs. An opportunity that stems from significant shifts in generational attitudes towards data sharing and its use. Follow the series to ensure you never miss an episode and discover actionable insights into the opportunities and challenges a redefined industry will bring and how luxury’s transformation will impact your business. Sign up for BoF’s Daily Digest newsletter. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In recent decades, the race to attract and retain customers saw dizzying amounts of money spent on clienteling — the industry term for building a 1 on 1 relationship with customers. Today, for major players of scale with the resources to invest in it, successfully digitising personalised in store service, which generates much high conversion rates through recommendations and experience, is being looked to as a key driver of future competitive advantage. Indeed, the luxury service revolution is now rooted in creating a single customer view, enabling businesses to guide an individual consumer to the products and services it offers that match their specific needs. An opportunity that stems from significant shifts in generational attitudes towards data sharing and its use. To discover what this means for the future of the luxury goods industry, BoF spoke with three global authorities to share their insights. Sebastian Siemiatkowski is the CEO and co-founder of Klarna. In 15 years, Siemiatkowski has grown Klarna into one of Europe’s largest financial institutions, which provides alternative payment services to over 90 million shoppers, partnering with over 250,000 retailers globally and its own direct-to-consumer shopping app. “The whole purpose of digitalisation is utilising data to create value. It’s the information that allows us to create richer experiences. If you sit down and have a [...] conversation with a consumer and you say, ‘yes, you are in control of what data is being shared and you have full transparency, and if you then would be willing to share some specific aspects of your data in order to get a better experience, a better price, a better whatever it might be,’ then the answer is always going to be yes.” Holli Rogers is chair of renowned concept store Browns and chief brand officer of its parent company, Farfetch. Rogers quadrupled Browns’ business while CEO between 2015 and 2021. Previously, Rogers held roles at Chanel and Neiman Marcus before joining Net-a-Porter as a founding member in 2002. “In the past as everything has been separate and disparate in terms of the different technologies. When you speak to different businesses everyone talks about, ‘yeah, I’ve got a client telling app. We use WhatsApp.’ But actually if you break it down, none of them are connected one to the other. So you don’t get a single customer view. It’s this idea of how do you pull all of these pieces together in one space, collecting all of these hundreds of data points that allow you to give the customer what they want when they want.” Melissa Morris is the founder and designer of Métier, an independent leather maison best known for its logo-free handbags, travel bags and accessories. Prior to launching Métier in 2017, Morris studied sculpture and business at Emory University before working for Armani, Helmut Lang and Belstaff. “The bespoke aspect of our business is such a great way for us to deepen our relationships with our clients and also get a really clear understanding of what’s missing in the assortment and gives me a clear direction on what to make next. What I’ve found is when I’ve gotten one bespoke request, what’s good for one is good for everyone. So a lot of our bespoke requests that I’ve been brought into the line have turned out to be big successes.” Follow the series to ensure you never miss an episode and discover actionable insights into the opportunities and challenges a redefined industry will bring and how luxury’s transformation will impact your business. Sign up for BoF’s Daily Digest newsletter. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The fashion system has been broken for some time, said trend forecaster Li Edelkoort at VOICES 2016. But, it can still regain its cultural cachet, and fix its exploitative practices. When trend forecaster Li Edelkoort first published a manifesto called “Anti-Fashion” in 2015, people across the fashion industry told her that her critique had finally put how they felt into words. “Fashion is old-fashioned,” said Edelkoort. But she believes the system can evolve to fit today’s reality and regain the cultural value it has lost over the years. On the latest episode of The BoF Podcast, we revisit Edelkoort’s talk on the BoF VOICES stage in 2016. Her prescient ideas have only become more urgent and applicable in 2021 as the world emerges from a pandemic that forced the industry to further reevaluate its systems, values and place in society. Fashion’s tendency towards individualism, which sees the industry place near-exclusive focus on the creator, doesn’t fit with today’s society, which is “hungry for consensus and altruism,” said Edelkoort. The problem stems in part from fashion schools, which, for the most part, have not updated their curriculum to reflect the current issues plaguing the industry. The race to the bottom regarding prices is destroying fashion’s cultural value as well as harming garment workers. “How can a product that needs to be sewn, grown, harvested, combed, spun, knitted, cut and stitched, finished, printed, labeled, packaged and transported cost a couple of euros? It’s impossible,” said Edelkoort. As a starting point, she suggested implementing legislation on minimum prices. The retail experience also needs to be reinvented to be more focused and better presented to consumers. Edelkoort points to Dover Street Market, whose curated approach sets it apart from traditional department stores. “Everything we do is from the 20th century. Even concept stores and online commerce were from the last moments of the 20th century,” said Edelkoort. Related Articles: Chasing the Holy Grail of Circularity Brands Face New Pressure on Labour Rights The Green Global Age of the Information Revolution Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

In Episode 2 of Transforming Luxury, BoF’s new podcast presented by Klarna, we investigate what will inform the luxury product mix of the future.Indeed, the definition of a luxury good has expanded dramatically in recent years to now include a host of disruptive new categories, from the luxury sneakerhead culture that dominated the past decade, to collectibles, curios, NFTs and even some mass produced products capturing attention in the luxury market.Evolving consumer sentiment is also increasingly influencing luxury’s manufacturing process. Today, customers demand brands and businesses authentically represent global cultures in a way that serves the communities themselves and not the industry’s shareholders. They also hold brands accountable for the impact of their supply chains and production processes. Yet, workers’ rights was among the worst-performing categories in BoF’s Sustainability Index.To discover what this means for the future of the luxury goods industry, BoF assembled four global authorities to share their insight.Aaron Levant is an entrepreneur working at the intersection of fashion, culture, events and media. Levant co-founded streetwear and music festival ComplexCon, and streetwear trade show Agenda Today, Levant is CEO of NTWRK, a mobile-first video shopping platform — backed by Drake and LeBron James — that hosts events and exclusive, limited-edition product drops available to purchase immediately within its app.“For the last hundred years, luxury was easily defined as European couture — fashion houses who own the luxury space — and now, seemingly newer brands not only create luxury in their own right, but then collaborate with true luxury brands. I think the definition around luxury is ever evolving as for who fits in that category.”Zerina Akers is an American fashion stylist and costume designer. She is the founder of the self-funded e-commerce site Black Owned Everything and has worked as Beyoncé Knowles Carter‘s stylist, as well as costume designing the 2020 visual album, Black Is King, for which she won an Emmy in 2021.“Generally, many of these companies have benefitted from rap culture and imagery that we’ve created for them. We’ve created so much marketing for these companies and I’m just hoping that there continues to be real, sustainable change for them in the way that they shine light on our community.”Bethany Williams is a UK-based menswear designer with a focus on affecting social change. She founded her namesake label in 2017, won the Queen Elizabeth II Award in 2019 and the British Fashion Council and British Vogue Designer Fashion Fund in 2021.“For me, luxury is about having a product that you don’t feel guilty owning. Luxury is about beautiful craftsmanship and the slowing down of the manufacturing process, working with artisans and supporting local community projects.”Fewocious is the youngest artist ever to be featured by Christie’s — and the first to crash its site. He is one of the most successful and visible members of a growing community of crypto artists finding success in the NFT market, launching a shoe collaboration with design studio RTFKT earlier this year, with more than 600 pairs selling out in seven minutes and netting around $3.1 million.“With the NFT space, art can move. You can interact with art. There’s programmable art, you can programme layers so that someone can change how your art looks [...]. There’s so much I probably don’t even know about yet, just because you can kind of do anything and figure out a way to attach an NFT to it, which I think is so rad and the future.”Follow the series to ensure you never miss an episode and discover actionable insights into the opportunities and challenges a redefined industry will bring and how luxury’s transformation will impact your business. Hosted on Acast. See acast.com/privacy for more information.

The world is in the middle of an information revolution, and it’s a situation, economist Carlota Perez says, we’ve been in before. Capitalism resets every few decades, and follows a familiar pattern: An investment frenzy boosts new technologies that change how people live and interact, but when that craze eventually collapses, it leaves behind social upheaval and resentment.To stop that cycle, this time, Perez says on the latest episode of The BoF Podcast, we need to deliberately disassemble society’s most harmful systems and ingrained beliefs so that every country and every person is included in the sustainable future of the earth.“We can shape the Information Revolution into a green golden age,” said Perez. She added that the fashion industry has a huge role to play, saying, “It’s up to you to reinvent what we understand by fashion… and it’s up to you to rethink, reinvent, redesign.”That reinvention and redesigning means interrogating what wealth, well-being, and pleasure are — and untethering those ideas from physical things. Perez joined Imran Amed last year at VOICES, BoF’s annual gathering for big thinkers, to discuss what needs to happen to harness the information revolution to become more sustainable and inclusive.Globalisation is happening, but it needs to be reworked to include all people and nations. Until now, globalisation has seen businesses chasing lower costs, and has been concentrated in Asia. “We need to discover what each area of the world, what each country can do, and re-invent, but with consensus — not just with government deciding but working together with business to re-conceptualise each bit of territory, each city,” says Perez.Both individual lifestyle changes as well as government action are required to create a greener, more sustainable future — which benefits businesses and the whole of society, not just the one percent. “We need to work together… Every golden age has been a win-win... with the government staging the game,” says Perez.The fashion industry needs to stop perpetuating a cycle of waste and instead focus on creating high-quality, long-lasting products that can be reused and redesigned. That requires completely rethinking the clothing industry — a daunting but feasible and necessary task. “If you put your brilliant heads to solving this problem and making money along the way, you will succeed,” concludes Perez. “But you’ve got to recognise the obstacles. If you deny it, you’re going to die, and you can’t die — we need you.”To learn more about BoF VOICES 2021, to be held from Dec 1-3, 2021, please click here.Related Articles: The Definitive Guide: How to Build a Sustainable Fashion Brand Fashion’s Greenwashing Problem Begins with Bad Data How to Avoid the Greenwashing TrapJoin BoF Professional for the analysis and advice you need. Hosted on Acast. See acast.com/privacy for more information.

Critic Robin Givhan, analyst Luca Solca, author Dana Thomas and Métier founder Melissa Morris discuss how luxury became a winners-take-all market and how growing consumer scrutiny is driving change. BoF is investigating how market disruption, new technology and increasing consumer scrutiny are driving transformative change in the $300 billion luxury goods market, in an exclusive new podcast series presented by Klarna. As the extraordinary events of 2020 — from the global pandemic, lockdowns and economic downturns to the accelerating climate crisis and social justice movements — impacted the luxury industry, scale-driven advantages widened the performance gap between the industry’s super winners and the rest of the market. In 2020, BoF reported that 75 percent of companies did not generate enough economic profit to cover the cost of their capital. Yet, the leading mega brands and conglomerates reported record sales. However, a growing dissonance is emerging between luxury’s traditional values of scarcity and exclusivity, and the emergence of a more inclusive, egalitarian and sustainable global consumer culture, making the luxury industry vulnerable to shifting consumer sentiment. Today, businesses must respond to growing consumer scrutiny around the sociological and ecological impact of how they operate and what they produce. Follow the series to ensure you never miss an episode and discover actionable insights into the opportunities and challenges a redefined industry will bring and how luxury’s transformation will impact your business. Sign up for BoF’s Daily Digest newsletter. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The modern, fast-paced fashion industry feeds a culture of waste that results in millions of tonnes of textiles burned or sent to landfill every year. Brands are acknowledging the problem, increasingly labelling products with buzzwords like “circular” and marketing bags made from recycled fishing nets or shoes crafted from plastic bottles. But the industry still needs to find scalable solutions to its waste problem. This week on The BoF Podcast, chief correspondent Lauren Sherman speaks with chief executive of the Hong Kong Research Institute of Textiles and Apparel (HKRITA), Edwin Keh, about ways fashion can tackle the waste challenge. Recycling innovations that could turn old clothes back into new materials are on the horizon. But alongside investments to scale up new technologies, fashion must rethink its approach to design, Keh said. “We make stuff, we use it and we want it to go away, and we take new material and we repeat that process,” says Keh. “But not built into that process is circularity and the design intent for it to be recycled.” New recycling technologies must also have a compelling business case to be able to compete with established ways of doing business, says Keh. “If you solve the science problem and you don’t make the business case for it or you don’t create the logistics for it, then you have sort of like a half-baked solution that makes you feel good, works well in the lab, but doesn’t have a real-world application.” The fashion industry also needs to get smarter about data analytics to understand consumer trends and manage production accordingly, Keh says. “There’s a lot of opportunity to work on more intelligent ways to do analytics and… not to make [overproduction mistakes] in the first place,” he adds. Related Articles: The Waste Opportunity: How Fashion Could Turn Trash to Treasure Chasing The Holy Grail of Circular Fashion A More Circular Fashion Industry Will Require a Collective Effort Hosted on Acast. See acast.com/privacy for more information.

In a new series from The Business of Fashion, BoF speaks to 22 experts from the worlds of business, technology and science, creative leaders and renowned ecologists, to investigate the forces driving transformative change in the luxury goods market. The six-part series, created in partnership with Klarna, explores the future of the $300 billion industry, from new consumer behaviour to the next-gen technology and the urgent need to create a more sustainable industry. Subscribe now to never miss an episode. The Transforming Luxury Podcast launches on 13th September. Subscribe now to never miss an episode. Sign up for BoF’s Daily Digest newsletter. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

American stylist and fashion designer Misa Hylton rose to prominence in the ‘90s for her work with hip-hop and R&B legends such as Lil’ Kim and Mary J. Blige. She played a major role in bridging fashion and hip-hop. But in the past, Hylton didn’t received due credit for her lasting impact on fashion trends — and even contributing to the financial success of select fashion companies — according to BoF columnist Jason Campbell. This week on The BoF Podcast, Campbell is joined by Hylton and Nick Nelson, an adjunct professor at The New School who teaches a course on fashion styling, to discuss Hylton’s life and work, as well as the enduring significance of hip-hop culture in fashion. Hylton’s family emphasised traditional academic subjects, like science and math, during her childhood. Style was a way for her to channel her more creative side; she changed up to five times a day based on her mood at the moment. “That was the first place that I got to work with image … the energy would change, and I’m like, ‘OK, time to change my clothes — wardrobe change,’” says Hylton. In styling, Hylton ditched the ball gowns to dress her clients in looks that were true to who they were, increasing representation for a group that had been left out of pop-culture conversations. “So many young girls related to it in the inner city and in the hoods. And it was really powerful because of that, because we were now able to see ourselves and see our style in the forefront on TV,” says Hylton. When the looks Hylton styled for the likes of Blige and Lil’ Kim gained popularity, brands quickly followed, replicating them for the mainstream and leaving Hylton, and the other originators out. “I was not ever asked until recently to come into any luxury fashion house and create, or any photo shoot that was in a high end fashion magazine,” she says. “I wasn’t invited to style it, but our style was being emulated.” Nelson adds that “to know the history was behind that ... is incredibly important for this new generation of creators.” Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

A panel of experts discussed strategies for making physical retail a strong service touchpoint that builds brand loyalty. Shopping is evolving. Consumers now experience brands across channels: they may be introduced to a brand on social media, try on its products at a store, and then make a purchase online. Or, they may browse online and then pick-up an item in-person. For retailers, that means a sale can happen anywhere, at any time. This week on The BoF Podcast, our retail correspondent Cathaleen Chen is joined by Adam Levene, founder of digital customer service platform Hero; Elyse Walker, boutique and concept store owner; and Dan Schoening, Nordstrom’s vice president of business strategy and operations to discuss how retailers can service customers in a way that creates a seamless, individualised experience across retail channels. Beyond conversions, a strong digital strategy can serve as a way to get customers into a store and foster further engagement, according to Levene. “It’s all about giving that customer that comfort, and that desire and reason to actually head into store, having that confidence knowing the item will be there, it’s going to be in their size, and they can be greeted by the stylists they connected with online,” says Levene. Convenience can actually drive business efficiency. Nordstrom links inventory across all markets, so that “customers have access to all that product, way more choice, and way more control around how they get it,” says Schoening. Then, the company provides easy access points for pick-up and returns, which, in turn, allows Nordstrom to get merchandise back into its ecosystem to sell again. Building a lasting relationship with customers is essential to success. To do so, retailers should have store associates focus on building trust with kindness and authenticity. “If you pressure your sales team to hit certain numbers and it’s not authentic and it’s not organic, you might have a good day, but that hurts the long-term potential of your business,” says Walker. Related Articles: How to Build Customer Loyalty 5 Ways to Boost Customer Loyalty How to Build a One-on-One Relationship With Your Customer Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

The designer speaks with Tim Blanks about his journey to find his birth parents and the power of breaking boundaries in fashion.   Olivier Rousteing was named Balmain’s creative director ten years ago, when he was still only in his mid-twenties. But Rousteing — who was adopted as a child and grew up believing he was of mixed-race parentage — says he always felt like he was performing a role to fit in amongst the French fashion elite. Recently, he decided to try and find his birth parents to give him a greater understanding of his identity, and allowed a documentary crew to film the process. In the process, Rousteing discovered his Somalian and Ethiopian heritage. The resulting film, “Wonder Boy,” came out last year, and arrived on Netflix in June. The experience has made him want to be more open about his identity. “You knew the designer for many years and now you are going to know the human being behind that,” he says. This week on The BoF Podcast, BoF’s editor-at-large Tim Blanks speaks with Rousteing about connecting with his personal history, the power of community and why timelessness in fashion is vital today. Rousteing said he hopes his personal journey will help provide inspiration for young creatives from diverse backgrounds hoping to make it in fashion. “I think I am the new France,” says Rousteing. “I think this is the message that I am delivering to people… This is my mission to give some hope in breaking boundaries.” In his decade at the helm, Rousting has brought a new approach to Balmain’s customers, too. “What I wanted to do during this decade is to make sure that there was awareness of the brand,” said Rousteing. “So, my first step was to create a strong community of people listening to the name of Balmain.” The pandemic has made Rousteing rethink his approach to design. “I think what is trendy is not cool anymore,” said Rousteing. “You want to buy values and you want to buy timeless [products] and you want to feel that what you get is something that will stay in time.” Related Articles: Olivier Rousteing Brings His Maximalism to Couture at Balmain At Balmain, Does a New Logo Signal New Opportunity? Balmain’s High-Visibility Mega Mix Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

The fashion industry is one of the world’s worst polluters, and this week’s grim report from the UN’s IPCC made clear that change needs to come quickly.   This week, the United Nations’ Intergovernmental Panel on Climate Change released a new report from the world’s top climate scientists, warning that global temperatures will rise 1.5 degrees Celsius by 2040 and underscoring that human influence is “unequivocally” responsible for global warming since the late 19th century. The fashion industry’s greenhouse gas emissions are estimated to be between 4 and 10 percent of the global total. “In the last two years, many of the industry’s biggest brands have taken steps to address emissions within their own supply chains,” says BoF deputy editor Brian Baskin. “It can be hard to tell how effective the industry’s efforts have been and what else needs to be done to address climate change.” On this week’s BoF Podcast, Baskin is joined by Michael Sadowski, a sustainability advisor and former vice president of sustainability at Nike; Laila Petrie, chief executive of sustainability consultancy 2050, which works with the Fashion Pact; and Hannah Phang, head of marketing and advocacy at sustainability consultancy Futerra to unpack fashion’s role in slowing global warming. Real action on emissions will require collaboration across the industry and cooperation with investors, financial institutions and policymakers. “Fundamentally, this is a problem which no individual company can solve on its own,” says Petrie. “We have all sorts of intractable issues around infrastructure, around incentives, around policy and no one actor can really operate within that system without being affected by it.” The industry often offers carbon offsets as a climate change solution. But according to Sadowski, planting a tree or donating a dollar is not a path to achieving meaningful change. “The focus should be on reducing emissions. That’s what the science says, that’s what the NGOs work in the science-based target initiatives [say] — we must decarbonise all sectors, at a much more ambitious pace,” says Sadowski. A brand’s messaging about sustainability is important, too. Providing accessible information on progress — and missteps — goes a long way. Beyond just being honest, “the other thing that consumers are interested in is: how are you helping them be more sustainable? How are you helping them be more climate friendly?” says Phang. Related Articles: A Crash Course on The BoF Sustainability Index The Climate Fix: Addressing Fashion’s Emissions Problem The Sustainability Regulations That Could Reshape Fashion   Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

Retail futurist Doug Stephens is joined by a panel of experts to tackle the tricky business of collecting, understanding and using data to improve retail.   In retail, data can be a powerful tool to help brands understand their customers and how they engage with products. But just as retail itself has changed dramatically over the past few years, so have a retailer’s most important metrics of success — it’s no longer just about sales. As highlighted in the BoF Professional Summit: What’s a Store For?, it’s not sufficient for retailers to solely measure variables related to purchase — such as sales per square foot, or average footfall. But while there is no shortage of data that retailers can capture (and hundreds of ways to do it), not all data is worth paying attention to. Knowing what data is worth paying attention to can be tricky. “Simply because you can measure something, doesn’t necessarily mean that you should or it doesn’t necessarily make it important,” said Doug Stephens, retail futurist and BoF columnist. This week on the BoF Podcast, Stephens is joined by Brittany Hicks and Jessica Couch of Fayetteville Road, a consulting firm which helps retailers understand niche markets and women of colour, as well as Alexei Agratchev, co-founder and chief executive of in-store analytics firm RetailNext to discuss how retailers should be using retail data. Retailers have access to an overwhelming amount of information: what percentage of passersby enter a store, how much time those visitors spend inside, what merchandise they interact with and how many times they return to the space, as well as demographic details like age and gender. “The most important thing that stores can do to be great is to constantly invest in tools and processes to listen and respond to their customers,” said Agratchev. Retailers need to be agile and translate the information they gather into actionable strategies for trying out new formats, layouts and sales associate engagement tactics. “It’s not not just a matter of implementing the technology to gather data but potentially using it as a means of experimentation and testing as well,” said Stephens. Couch says retailers also need to dig deeper to understand some of the more complicated attributes about their consumers, like where they come from, what communities they belong to, and what their sentiments are about the brand. “There is a disconnect,” said Couch. “A lot of brands don’t understand how people feel about their products or experience.” Related Articles: The BoF Professional Summit: What’s a Store For? What’s a Store For? Selfridges’ Andrew Keith on Post-Pandemic Retail Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

Marni’s creative director reflects on the changes that must endure post-pandemic and the importance of emotion.   In retrospect, Francesco Risso’s January 2020 menswear show for Marni seems prophetic. The collection took inspiration from Edgar Allen Poe’s “The Masque of the Red Death,” which tells a story of plague and societal excess. These themes continue to resonate with the designer after 16 months living with the pandemic. On this week’s episode of the BoF Podcast, Risso tells BoF’s editor-at-large Tim Blanks why fashion’s habits of over-production and lavish runways are now “redundant” and where he believes the industry should go from here. Risso has always looked back at brand archives for inspiration, but now he sees an opportunity to extend that habit to create more timeless designs. “Every season we take stuff from the old archives… and it’s become Marni’s prerogative, so every collection we have those heirlooms,” says Risso. “I’m very a big fan of trying to be responsible with design in that sense.” Risso reflects on the importance of simplicity. Refocusing on creating connections and celebrating the small things over the past year has been a key focus at Marni. “I think it really forced us to focus on the authenticity of our ideas and also to celebrate them at a certain point… we [celebrated] in a very light and primitive kind of way,” he says. Changes to runway shows during the pandemic must not be overturned, according to Risso, who calls for more permanent change to the industry’s schedule by reducing the number of collections in a year. “I would love that whatever we have learnt right now is not just thrown off,” says Risso. Related Articles: The End of the (Fashion) World as We Know It At Marni, Hybrids of the Past A New Urgency at Marni   Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

Ssense’s Krishna Nikhil and 2PM’s Web Smith talk strategies for making physical retail exciting at The BoF Professional Summit: What’s a Store For? The role of physical retail has changed drastically over the past few years — particularly amid the pandemic — as customers turned to digital channels and brands sharpened their focus on e-commerce. But, physical stores remain an important touchpoint. During this month’s BoF Professional Summit “What’s a Store For?” Krishna Nikhil, chief merchandising officer & chief marketing officer of Ssense, and Web Smith, founder of 2PM, unpacked the different ways brands are transforming their stores to be more than just a place to conduct transactions. That means thinking about a physical retail space as a means to provide experiences and entertainment that are relevant to their audiences and continue to prioritise service.“It’s so important to think about how you create something that is meaningful for the customer,” says Nikhil. “For us, that really started with this idea of ‘how do we reinvent how commerce takes place in the store?’”Nikhil and Web Smith, founder of retail media company 2PM, join BoF’s founder and editor-in-chief Imran Amed for a discussion about making stores a grounds for immersive experiences without diluting their purpose of obtaining customers.Ssense has streamlined the trying-and-buying process to be more efficient by introducing an appointment service so that customers can spend their time in-store engaging with the cultural programming and the “big moments” the retailer orchestrates — like Virgil Abloh’s 2018 “Cutting Room Floor” exhibition, which recreated his studio in the space. “What we are doing is giving both a great experience with product, but also giving time back to that customer… That time back, is about immersion in all the other experiences that we create in the store,” said Nikhil.Pointing to direct-to-consumer start-up Rowing Blazers, which used only about 30 to 40 percent of the space in its flagship for actual merchandise, Smith says product doesn’t need to dominate a store. “What are the associated things: the moments, the history, the accessories that you were merchandising with — the history of the industry itself?” he said. “What are those things that you would associate with the sale of those products?”As the line between media and commerce increasingly intersects, brands need to present a specific vision of their point of view to the audience they want to attract. “Products are almost commoditised at this point: anyone can make anything. What makes a product unique right now is the person that’s selling it and the audience that they’re selling it to,” said Smith.Related Articles: Tapping Into the Future of Physical Retail — Download the Case Study You Can’t Predict the Future of Retail, but You Can Prepare for It 10 Retail Archetypes for the Post-Pandemic Era Hosted on Acast. See acast.com/privacy for more information.

BoF’s Tim Blanks speaks with one half of the renowned duo Mert and Marcus about finding new creative avenues.   Renowned fashion photographer Mert Alas — one half of the renowned duo Mert and Marcus — has spent the last four years immersed in the world of gin. While pandemic pivots to new creative ventures have become commonplace, Alas was looking for a new creative outlet long before the current crisis. In crafting his new aromatic gin — named Seventy One after the number of nights it takes to rest the spirit in oak casks — he found many parallels with fashion’s creative challenges. Just like in fashion, gin making has suffered from a focus on speed over quality. True craft requires patience and time, Alas says. On this week’s BoF Podcast, Alas speaks with Tim Blanks about finding new creative avenues and resisting the pressure to produce more and more and more stuff. Alas approached his new gin like any other creative project as a “relentless journey for perfection.” He immersed himself in the process, learning about every step, from the drink’s perfume basis to how many days were required to settle the alcohol. “It became this like a domino effect of ideas and in reality, an experience,” he says. As Alas thought about how he wanted to position his new brand, he spent a lot of time reflecting on the “selfish” nature of the fashion industry. During lockdown, he wanted to create “some kind of an artistic give back,” using Instagram to connect with young creative followers and give them feedback. Creatives should hold on to the time they had during the pandemic to focus on their craft, Alas says. “I was very much on a go, go, go [mentality] for the past 30 years… What I realised [during] the pandemic was that we also never stopped... I was doing a lot of quantity, but now I realise I missed craft.” Related Articles: Christopher Kane’s Pandemic Pivot The Art of the Crisis Pivot – and the Brands Getting it Right How to Pivot Your Skill Set During Covid-19 Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

Andrew Keith, managing director of Selfridges, discusses the future of the British department store at The BoF Professional Summit: What’s a Store For?The purpose of the store has shifted dramatically in the past few years. But while other department stores struggle to keep up with these changes, Selfridges has established itself as an outlier by doubling down on its physical retail strategy, as highlighted in BoF’s newest Case Study, “Can Selfridges Future-Proof the Department Store?” The British chain has transformed its storefronts into experiential hubs, decked out with pop-ups, restaurants, art installations and even a skateboarding bowl, to try to get as many consumers as possible to spend as much time as possible within store walls.“What we’re creating within the Selfridges stores is a destination,” said Andrew Keith, managing director of Selfridges.”It’s about being able to create a space people want to go to for the day.”On this week’s BoF Podcast, Keith joins BoF’s Imran Amed at Selfridges’ Oxford Street flagship during The BoF Professional Summit “What’s a Store For?” The two chat about how the pandemic has affected the retailer’s face-to-face focus, how the company — rumoured to be in discussions about a £4 billion ($5.6 billion) sale to an unknown buyer — is shoring up its e-commerce channels and what he sees for the fused future of digital and physical retail.The pandemic decimated London tourism, which made Selfridges think more locally about its retail strategy, and in turn, built market share with domestic customers. From Birmingham to Manchester, Selfridges works with local creatives to make every store distinct in a way that engages with the particular place’s needs and aesthetics. “Each of these communities has its own diversity, it has its own entrepreneurial environment around it,” said Keith. “It’s important for us to be able to reflect that.”The retailer may be investing in digital, but it is maintaining its focus on the curated and experiential aspects of its offering across channels, because that’s what Keith says will set Selfridges apart from the seemingly endless e-commerce options. “Some of the pure-play retailers don’t have the same sort of richness that we can create with the fusion of physical and digital together,” said Keith.As Selfridges continues to evolve its retail model, it’s experimenting with circularity, recycling and repair through initiatives like “Project Earth,” where it set targets for materials and partnership shifts, and “Resellfridges,” its resale and rental service. In doing so, the retailer is making fundamental changes to the metrics it uses for success. “We’re not only changing the way people shop, we’re also changing the way we approach business,” says Keith, adding that the company’s focus will shift to more sustainable metrics like longevity of customer lifecycle, balancing margin opportunities, and changing the way it looks at acquisition. Hosted on Acast. See acast.com/privacy for more information.

When the Covid-19 crisis struck, Karen Walker — known for her offbeat designs that have been worn by the likes of Meghan Markle and Michelle Obama, and carried by retailers such as Barneys and Harvey Nichols — found that she was propelled to shift the way she thought about her business, her mission as a designer and her community. Walker’s home country, New Zealand, battled the Covid-19 pandemic with a swift hand — its citizens saw only five weeks of lockdowns before the virus disappeared from within its borders. Despite the relative brevity of the country’s lockdowns, business owners and brands were still faced with the same existential crises and questions as the rest of the world. Now that people within the country have returned to something close to normal life (just without tourists), Walker notes several shifts in attitude: people want to treat themselves, but they also want to support the nation and local businesses that supported them. More generally, consumers have come out of lockdown more interested in buying products aligned with what they stand for.On this week’s BoF Podcast, Walker joins Tim Blanks in a conversation about dealing with change, defining desire and life on the other side of the Covid crisis.When New Zealand’s prime minister announced the country would go into lockdown in March, Walker had just finalised the next year’s budget. Instead of being able to sit back and do business as usual, she was forced to rethink everything and ask existential questions about her business that would go on to have a lasting impact. “If this goes on for six months or a year, and I really have to fight for this, what am I fighting for? What will my audience miss? What’s at stake? Why should I go into battle for this?” she said.After going through what Walker calls nature’s “forced contemplation,” she stopped thinking of herself as primarily a designer, but rather, a retailer who serves the needs of her community. As part of that mindset shift, Walker abandoned the traditional fashion calendar, for one, because she realised it was more in her customer’s interest to do so. Even though she sees the change as good, it was still unsettling. “Change is uncomfortable, alright, even if you know you have to do it — it’s still an uncomfortable place.” Walker said.Walker has observed transformations in what consumers think about and look for when shopping. First, they want to know what retailers stand for and how it aligns with what they care about. Second, they want products that are both beautiful and functional. “They want it to be a good product, not necessarily a new product. That speaks to how it’s made, how it’s designed, how it functions, the cost of its making — the unseen costs on people and planet,” said Walker. “Those are very much in people’s minds, and that’s what motivates me too. I’m not interested in just making more and more stuff.”Related Articles: Stella McCartney on the Business of Sustainable Design The Year That Changed the World Vanessa Kingori on the Reinvention of British Vogue Hosted on Acast. See acast.com/privacy for more information.

British Vogue’s editorial transformation over the past four years has been widely documented, but changes on the business side are equally noteworthy. Vanessa Kingori, British Vogue’s first female publisher (who works alongside editor-in-chief Edward Enninful), has taken more of a consultative role with advertising clients, focusing on the health of their brands, not just reach and impressions. Today, brands are more interested in how they can create human connections and innovate through Vogue’s channels, rather than just buying space on the printed page. On the latest edition of The BoF Podcast, Kingori talks with BoF’s Imran Amed about the publication’s new business strategy, and how it ties in with the magazine’s focus on diversity, inclusion and sustainability. Cover launches still matter, but Kingori and Enninful are focusing on reflecting the multifaceted lives of their readers. With that, has come a change in how the magazine highlights and thinks about women. “The big shift here is [Edward] is taking the magazine from being about these beautiful dresses, to being about the woman in the dress,” said Kingori. “She wants beautiful things, but she also has a lifestyle. She has a career. She has other aspirations, she wants to accessorise a dress.” Though everyone seems to be ringing the alarm bells, according to Kingori, print is not dead. “There is no digital marketing that you could do that would be more effective. Our print magazine is our biggest marketing tool, and our social media platforms are our biggest agents,” she said. The title hasn’t shied away from making brands feel uncomfortable by bringing up societal issues, and it’s actually been of commercial benefit to British Vogue. “The reality is, we have increased our sales revenue and our digital audience in every single way, in every single metric since we started. Audiences are ready for those difficult conversations,” said Kingori. Related Articles: Vanessa Kingori’s Commercial Reboot of British Vogue Meghan Markle’s Vogue: When Activism Is More Fashionable Than Fashion What Anna Wintour’s Big Promotion Means for Condé Nast Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

The Milan-based, American designer speaks with Tim Blanks about how he plans to introducing the cult brand’s enduring values to a new global audience. When Lawrence Steele was named creative director at Aspesi in November, it was a home-coming of sorts. The American designer consulted for the Milan-based label for 13 years before departing in March 2017 to join Marni as associate creative director. Now, he’s been tasked with introducing the cult label founded in 1969 by Alberto Aspesi to a new global audience, while remaining true to its distinctive identity and ethos which Steele says are suited for this moment of reflection and reset. On this week’s episode of The BoF Podcast, Lawrence Steele speaks with editor-at-large Tim Blanks as he debuts his first collection for Aspesi: Steele is looking to technology to help Aspesi get big international traction, while retaining its niche insider vibe. The brand debuted on WeChat and Weibo in April, and expects to launch on Tmall in September. “I think today with the world, how it’s opened up so vastly through technology, there’s something quaint about [Aspesi] being a small brand, but there’s something very exciting about taking the values of the brand out into the world.” When it comes to fashion, retaining an authentic brand identity can’t mean standing still; it’s a constant balance to honour traditions and remain relevant. “It’s very easy if you step back and you think about the long run to see what lasts and to gauge what’s happening,” said Steele. “But you have to have the culture of being able to look at it from above and not being caught up in the world of what fashion really is, which is change, because fashion by nature is change, it’s the fashion of the moment.” Steele sees the pandemic as an opportunity to reset the fashion industry and do away with wasteful season cycles and excessive production. “My hope is that what we draw from this is that we have found other creative ways of communicating, of reaching each other, of creating through the technology that was around us all along.” Related Articles: Lawrence Steele, Master of the Long Run In Milan, a Return to Tradition #BoFLIVE: Engaging the Gen-Z Shopper Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

The Valentino creative director and London menswear designer discuss their process reimagining the Roman brand’s signature rockstud. The Valentino rockstud has become a brand icon. To mark its tenth anniversary, creative director Pierpaolo Piccioli teamed up with British menswear designer Craig Green to create a sneaker adorned with the Valentino symbol. It was a collaboration forged over Zoom during the pandemic, with Piccioli based in Rome and Green in East London. On this week’s episode of The BoF Podcast, editor-at-large Tim Blanks speaks with Piccioli and Green about creative collaboration and reimagining design icons. When collaborating, designers’ differences can often offer the best source of creative inspiration, says Green. “A collaboration works best when it’s from two separate worlds coming together and seeing what can be born out of that.” Shifting meaning while upholding tradition has been Piccioli’s mantra.  The new sneaker aims to honour Valentino’s heritage and traditions, but also find the power in reinterpreting an established symbol. “I want to use the same objects, the same signs, but I want to give them a different meaning,” says Piccioli. Above all, collaboration is an education. “I think with every collaboration and with every person that you work with, especially working with someone like Pierpaolo, you learn a lot,” says Green. “You kind of inevitably change in the future what you plan to do.” Related Articles: Can Valentino Bring Radicalism to Its Romanticism? Valentino Delivered the Digital Experience the Industry Has Been Waiting For The BoF Podcast: Craig Green says, ‘Fashion Can Come From Anywhere’ Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

Jane Clay, strategic director at workplace design consultancy Gensler talks to BoF’s Imran Amed about how offices of the future will play a critical role in creating a sense of culture, community and belonging. Almost overnight, the pandemic fundamentally altered the way we work, forcing both employers and employees to embrace the idea of working from home. But now, as vaccination rates rise, offices re-open and employee expectations around flexible working models grow, business leaders everywhere are asking the same question: what’s the role of an office in a post-Covid world? This week on the BoF Podcast, Jane Clay, strategic director at workplace design consultancy Gensler, joins editor-in-chief Imran Amed to discuss why offices are more than just functional workplaces. Office spaces are crucial for young employees to benefit from mentoring and guidance through shadowing their more experienced colleagues. “If you have a lot of people in your organisation who are quite young and may need a lot of mentoring and a lot of looking after, in the sense of their growth and learning, then it might not be such a great idea to not have them around you [in an office],” said Clay. Clay recommends taking a more holistic view, establishing how shared spaces can creating a sense of culture, community and belonging. “Whether you are in fashion, whether you are in art and design, whether you are in fintech, and actually whether you are legal, I think no matter what arena of work you are in the office will be that totem for culture and connection.” As organisation leaders plan to redesign their office, Clay said sustainability must be factored into decision-making from the start. “There is something in the idea of how do we reposition real estate? Why build something new when you can reposition something old?” she said. “There is a relevance in the old that also has a great story when it comes to sustainability.” While Zoom calls have been democratising during the pandemic, the gradual return to the office in a hybrid working model is likely to create challenges. “While we have all been in our own little boxes [on Zoom calls], we have all had the same experience, but as soon as you start to have some in and some out [of offices] we have to be very mindful,” Clay said. “This means communications and behavioural protocols really have to be looked at.” Related Articles: How Fashion Brands Are Making Remote Work Permanent Camilla Lowther on Building a Career as a Fashion Creative Selling ‘Office’ Clothes to the Work-From-Home Woman Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

The highly respected talent agent talks to BoF’s Tim Blanks about how young creatives can develop their careers and have meaningful impact. CLM is one of the most influential management agencies in the industry. But after 35 years representing the likes of Juergen Teller and Tim Walker, last year’s upheaval reminded Camilla Lowther of how she got started: working at a small agency and building new networks. This year, she launched Fire, a creative talent agency focused on the new generation of talent. This week on The BoF Podcast, Lowther and editor-at-large Tim Blanks discuss opportunities to learn from and with young generations and why being true to yourself is still fundamental to a successful career as a creative. “Believe in what you do. Don’t try and do what you think other people want you to do, because, you know, the truth is really important. Even if it takes longer to get there, if you really believe in it, then other people will believe in it,” says Lowther. Creativity is best served when you’re open to sharing and learning, whatever stage of your career you’re at. “I think the one thing that’s really important for all of us who’ve been in the business for possibly a long time is to impart our knowledge and our narrative to [young people],” says Lowther. “And then then it’s up to them to take what they want to and also to teach us something new.” Lowther reflects on how persistence is an important quality in anyone starting out in their career and how remaining true to your vision is critical. “Don’t try and do what you think other people want,” she says. “Even if it takes longer to get there, if you really believe in it, then other people will believe in it.” Related Articles: End of the Model Agency as We Know It? Can Hollywood Super Agency Finally Crack Fashion? Building Great Bowery, Fashion’s Super-Agency Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

Creative director Angela Missoni reflects on life beyond Missoni as she steps down after 24 years in the role. Angela Missoni is stepping back from her role as creative director of Missoni. While she’ll stay on as president, the company will now be led by chief executive Livio Proli, who was appointed after the brand took on private equity funding from FSI Mid-Market Growth Equity Fund in 2018. This week on The BoF Podcast, Angela reflects on the family heritage and craftsmanship that still sit at the Italian luxury brand’s core in conversation with editor-at-large Tim Blanks. At its heart, Missoni has been a family business, drawing on the creative flare of three generations. “I think my parents invented a style,” said Missoni. “They invented a new language in fashion and then I think in the past 25 years I was able to expand the lexicon of this language.” The brand’s signature stripes are partly the result of technological limits when Missoni’s parents began creating knitwear; stripes were the only thing the machine they had could knit. “Missoni evolved through the evolution of technology, but the hand was always more relevant,” said Missoni. “People were asking my father if he designed on a computer. No, my father was designing on a little square of white paper.” The brand is well placed to move forward as Missoni steps back, the creative director said. “I will always give my support, [but] I’m confident in leaving the collections in the hands of my team… [Missoni is] perfectly fit to go forward in this moment.” Related Articles: Angela Missoni Exits Creative Director Role Missoni Sells Minority Stake to Private Equity Firm in €70 Million Deal 2020′s Top M&A Targets in Luxury The Missoni Matriarchs   Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

The market for digital collectibles is booming, but does it present a real opportunity for brands, or is it just a passing fad? When a shoe collaboration between design studio RTFKT and digital artist Fewocious netted around $3.1 million earlier this year, the fashion world sat up and paid attention. More than 600 pairs sold out in seven minutes. The shoes were issued as non-fungible tokens, or NFTs, unique digital assets authenticated by a digital ledger known as a blockchain. With appetites for unique virtual assets surging, more fashion companies are looking at how they can tap the market; even Rimowa is launching NFTs. But is this a long-term opportunity or just a passing fad? In the latest episode of The BoF Podcast, deputy editor Brian Baskin speaks with Benoit Pagotto, co-founder of RTFKT, Karinna Nobbs, co-CEO of NFT marketplace The Dematerialised, Amber Slooten, co-founder and creative director of digital fashion house The Fabricant and editorial associate M.C. Nanda about ways fashion can tap into the NFT gold rush. Virtual fashion isn’t just about gaming anymore, and that could open up a whole new marketplace for digital skins and on-trend avatars. “Within this new NFT space, people are starting to see the value of digital items,” said Slooten.”You’re able to sort of create that new, endless way of expressing yourself.” The fashion industry has yet to fully tap into the NFT opportunity, and doing so will mean becoming more open to collaborations. “Nobody [is] sharing anything with each other [in fashion] because they’re afraid it’s going to get stolen,” said Slooten. Proponents of NFTs say the recent boom is no flash in the pan, but a mark of a paradigm shift. “This is fundamentally going to change digital ownership, creative structures, the creative economy, how we view money even,” said Nobbs. “This is bigger than the Internet.” Related Articles: What the NFT Gold Rush Means for Fashion NFTs for Fashion: Fad or Opportunity? Gucci Is Selling $12 (Virtual) Sneakers   Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

The inspirational speaker and author speaks with Imran Amed about the opportunity for fashion businesses to reset and refocus after the pandemic is behind us. The upheavals of the last year laid bare long-standing problems with the way the fashion industry operates, but it’s also created opportunities for change and innovation. Business leaders should reflect, reset and rebuild with a focus on their core values and goals, inspirational speaker and author Simon Sinek tells BoF’s founder and editor-in-chief Imran Amed, on this week’s episode of The BoF Podcast. Sinek has written multiple books on the importance of looking beyond “how” and “what” when making business decisions. “Having a sense of why is very grounding; it’s literally a foundation,” said Sinek. “Every single person has their own unique ‘why’… and the rest of our lives offers opportunities to make decisions to stay in balance with that purpose.” As businesses look to a post-pandemic future, they have an opportunity to use the challenges of the last year to reassess and refocus on the values they started with, which often fall by the wayside as businesses scale. “You know you can tell when an organisation loses its way because it becomes obsessed with output… and they lose [the] sense of their own values and if you’re an employee or customer you can feel it,” Sinek said. Leaders are not the only ones who can drive change. “There is no such thing as unicorns and rainbows everyday [at work,] sometimes it’s hard,” said Sinek. “[But] every single one of us has the capacity to be the leader we wish we had.” Related Articles: Coronavirus Concerns Hit Fashion’s Workplaces How to Create an Inclusive Workplace Industry Leaders Share Insight on Securing Employment in 2021   To subscribe to The BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Fashion brands are upping marketing rhetoric and imagery to include a wider range of body types, but many companies are still failing to serve the plus-size consumer. The market for plus-size fashion is worth nearly $30 billion in the US alone. But while brands are upping marketing rhetoric and imagery to include a wider range of body types, many companies are still failing to serve the plus-size consumer. In the latest episode of The BoF Podcast, chief correspondent Lauren Sherman speaks with Marie Denee, creator and editor-in-chief of The Curvy Fashionista, Alexandra Waldman, co-founder and creative director of Universal Standard and BoF’s senior editorial associate Alexandra Mondalek about the right way to do plus-size fashion. Plus-size customers want one thing: choice. But too often they’re left sifting through limited ranges that reflect a narrow view of how they should dress. “Give us the same assortment,” Denee said, adding that brands must unlearn tropes about what the industry can offer plus-size consumers. Lazy marketing that co-opts the language of body positivity without really serving plus-size shoppers is also a problem. “We have to learn to speak to a consumer that has been not just ignored, but belittled… it’s an emotional minefield,” said Waldman. “Body positivity is a personal journey.” Companies need to invest in plus-size ranges too, taking the time and spending the cash to perfect fit, style and branding. “You have got to be led by the change and not the money,” explains Waldman. Related Articles: What Fashion Can’t Seem to Get Right About the Plus-Size Market Unravelling the Plus-Size Problem How to Make Your Brand Size-Inclusive   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

The designer’s teacher turned close collaborator and friend, reflects on how Elbaz communicated his fashion dreams to the world.   Ever since the news of Alber Elbaz’s death broke last weekend, the fashion world has been in a collective state of mourning. Many have eulogised and memorialised the designer’s unique ability to make women feel empowered in the clothes designed. But few knew him better than Shelly Verthime, his close friend and collaborator, who first met him as his teacher at the Shenkar College of Engineering and Design in Israel. This week on The BoF Podcast, editor-in-chief Imran Amed and editor-at-large Tim Blanks speak with Verthime and reflect on Elbaz’s influence, recounting the highs and lows of his career defining moments. From the beginning of his career, Verthime said Elbaz created a clear path for the steps he wished to take with the industry. “I knew that there was just something so special about him, it was so clear to me where he is going,” she said. “At the time I was his teacher but very, very soon he became my teacher, and then he became [the industry’s] teacher and mentor and friend.” Throughout his career, Elbaz exercised the power of communication as well as creativity. Elbaz was an “original creator, emotional creator but he was a fantastic communicator,” Verthime said. “He knew what works and what doesn’t work for him.” Elbaz was known for his efforts to empower women, dressing them suit to their needs and build their confidence. His close relationship to his mother facilitated his understanding of women as multifaceted. “What he wanted to do was that his clothes would enhance the personality, where you see the face… it was about the woman who would wear it,” said Verthime. “He wanted assertive women [and] he wanted women to love themselves.” Related Articles: Lessons for the Fashion Industry From Alber Elbaz’s Talk at VOICES 2018 Alber Elbaz on Making His Return to Fashion Inside Alber Elbaz’s Return to Fashion   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

The late designer shared his musings, wisdom and advice for the fashion industry in a talk at BoF VOICES in 2018. Alber Elbaz, who died aged 59 of Covid-19 over the weekend, was a revered and beloved figure in the fashion industry. The designer, famed for revitalising the fortunes of Lanvin before a dispute with his owner led to his abrupt departure, had just returned to fashion after a five-year hiatus. He debuted his new venture, AZ Factory, during Paris Couture Week in January. The joint venture with Richemont was designed to reflect a better model for the fashion system, the pressures and strains of which Elbaz knew all too well. In a heartfelt, funny, thoughtful and poignant address at BoF VOICES in November 2018, Elbaz shared a mix of personal anecdotes, observations and lessons for the fashion industry: Fashion needs to pare back its unfettered production cycle to a level that’s manageable for young designers straining under the “speed of the system,” he said. Elbaz compared the industry’s constant demand for newness to an old recipe that uses too much fat: “Maybe [it’s time] to cut the butter out and make it healthier.” Creative instinct and improvisation are far more valuable than the tech tools that might be available to designers. “Life is full of codes, formulas, databases and algorithms,” said Elbaz. “Overuse of all of those can kill intuition and intuition is the essence of creation. This is the essence of life itself.” There’s more to fashion creation than just empty aspirational content. Long-time muse and client Meryl Streep “said that I never tried to transform her, but I helped her to be a better version of herself,” said Elbaz. “I believe that’s what fashion does best. It’s dreams, but it’s no longer just dreams. It’s also about solutions. It’s also about solving problems with a dream.” Above all, celebrate your audience. “For years, I felt I was hugging people with my clothes,” he said. “I thought that every dress I make would be hugging the woman who is wearing it. Years later, I received all these hugs back from you fashion people.” Related Articles: Inside Alber Elbaz’s Return to Fashion Inside the Mind of Alber Elbaz Alber Elbaz on Making His Return to Fashion   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

Fashion is a notoriously opaque industry. That’s a big problem when the industry is focusing on reducing its negative environmental and social impact. One of the biggest challenges facing the fashion industry in its efforts to become more responsible and sustainable is bad data. While companies are under increased pressure to provide more information about working conditions and greenhouse gas emissions, the data they share is limited and often of dubious quality. At the BoF Professional Summit: Closing Fashion’s Sustainability Gap, Linda E. Greer, a global fellow at the Institute of Public and Environmental Affairs and a member of BoF’s Sustainability Council, joined BoF London editor Sarah Kent for a discussion on how fashion’s bad data is affecting its sustainability efforts. Companies often lack oversight into their own supply chains, preventing labour conditions and environmental impact from being properly recorded or addressed. Full supply chain transparency is critical for companies to trace and collect data. This opacity also allows companies to avoid accountability for working conditions and the environmental footprint of their sprawling global supply chains. “There is a level at which the lack of transparency is working for these companies, because it allows them to perpetuate the status quo,” said Greer. Stricter regulation would force companies to do more, but in its absence Greer recommends companies start by looking at emissions from their manufacturing base. “If you’re not doing that, you’re just not in the game,” said Greer.   Related Articles: Measuring Fashion’s Sustainability Gap Scaling Up or Selling Out: How Can Sustainable Labels Credibly Collaborate with Big Brands? Devising a New Social Contract for Fashion’s Garment Workers   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

Fashion has routinely failed the millions of people who make its clothes. What should the industry do to create systemic change?   Over the past year, the pandemic has laid bare — and worsened — the stark inequality, financial insecurity and poor working conditions endemic to the global garment industry. This has been driven by years of voluntary self-regulation, outsourced labour, and the pursuit of maximum profits by brands and retailers. At the BoF Professional Summit: Closing Fashion’s Sustainability Gap, BoF London editor Sarah Kent was joined by Ayesha Barenblat, founder and chief executive of Remake; Ritu Sethi, founder-trustee, Craft Revival Trust and editor, Global InCH; and Anannya Bhattacharjee, international coordinator, Asia Floor Wage Alliance, to discuss how the global fashion industry is failing its garment makers, and what needs to change. Many of the challenges facing the garment industry today are systemic. “The business model, whether luxury or mass market, is set to exploit people,” said Barenblat, also noting that it is mostly women of colour “who make our clothes and bring our fashion to life.” Bhattacharjee said brands need to redress the “extreme imbalance of power” with their suppliers by paying the actual cost of production, producing goods in an environmentally sustainable way, and moving away from the industry’s reliance on overproduction and overconsumption. It is also crucial that brands make good on their commitments to support freedom of association in factories, she added. While the global fashion industry benefits from widespread deregulation, mounting consumer engagement is proving a powerful force for increased accountability. “Consumerism is changing, and I think for the first time we actually have the right period where we can change the discourse from the consumer’s point of view,” said Sethi. Indeed, said Bhattacharjee, “this is a time of opportunity and radical change.”   Related Articles: Fashion’s Humanitarian Crisis Racism and Inequality Are Stitched Into the Garments We Wear Brands Say They Want to Keep Workers Safe. Not All Are Willing to Pay for It.   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

The pioneering designer spoke to BoF’s Imran Amed about continuing to push the envelope for sustainable luxury at the BoF Professional Summit: Closing Fashion’s Sustainability Gap. British designer Stella McCartney has been an advocate and pioneer for sustainability long before it became an industry buzzword. But she is still developing new ways to work. More recently that’s included experiments with leather-like material made with mycelium — or mushroom root structures — and efforts to use cotton and wool sourced from regenerative farms, which restore the health and biodiversity of the land instead of purely extracting from it. ”It’s very simple but today it seems very radical, and really it could be the future of fashion,” she told BoF editor in chief Imran Amed in a keynote address at the BoF Professional Summit: Closing Fashion’s Sustainability Gap. McCartney also shared the compromises she has to make as a designer to work within the parameters of sustainable materials and low-waste production methods and what it will take for the wider industry to wake up to its imperative to change: Consumer pressure and better regulation will be key for the fashion industry to make changes that are urgently needed. “I don’t think we can rely on our industry to commit to this, as much as we can rely on tomorrow’s customers insisting that this is the only thing they’re going to invest in,” she said. “The only way truly to have significant change in the timeline that we have is for policies to be set into place, for there to be legislation.” When LVMH took a minority stake in her brand in 2019, McCartney took on a role advising the luxury conglomerate’s CEO Bernard Arnault on sustainability. “The reality with Monsieur Arnault is that he would never have invested in a brand like mine if he didn’t think that this was the future,” she said. “I think it gives off a huge message of positivity for the industry.” For the crop of young designers looking to work sustainably, McCartney has some sage advice: value collaboration and mutual learning over competition; “be a fighter” when it comes to securing better incentives for sustainable practices; and always look for new information on how to be better. “You never stop learning when you work sustainably,” she said.   Related Articles: Why LVMH Struck a Deal with Stella McCartney Stella McCartney Announces UN Charter for Sustainable Fashion The BoF Podcast: Stella McCartney: ‘Everything Is at Stake’   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

A new generation of direct-to-consumer brands like Topicals and Parade are finding success with a powerful community-based approach to marketing. In a fashion and beauty market packed with look-alike labels, a new generation of digitally native direct-to-consumer brands are adopting a new playbook, pushing bolder messages and aesthetics starting with their key differentiator: community. Skincare brand Topicals and lingerie label Parade have turned celebrating their customers’ skin issues and body shapes that don’t conform to traditional ideals of beauty into a powerful and authentic marketing centrepiece. In this episode of the BoF Podcast, Topicals’ co-founders Olamide Olowe and Claudia Teng and Parade’s co-founder and chief executive Cami Téllez speak with BoF senior editorial associate Alexandra Mondalek on the power of community and the new direct-to-consumer model. The new generation of community-focused DTC brands are abandoning the increasingly standardised marketing playbook that has resulted in a proliferation of identical-looking “blands.” Instead, they’re finding new ways to identify with their customer base.  “We now know that branding is about creatively finding where [the customer] is and centring around reintroducing the customer to self-expression,” Téllez explains. Consumers particularly respond to products that speak to their issues in a way that’s relatable and fun. Digitally native brands have often made the consumer experience “quite sterile and bland and their product experience was lacklustre,” says Topicals’ Olowe. Instead Topicals is  “celebrating the fun of flare ups.” Authenticity is key to building community with the new generation of DTC brands utilising their founders’ stories to speak about their products as customers too. Topicals brings “a different perspective to the way that people experience the beauty community… [and] speaking authentically with our community in a different kind of way,” Teng says.   Related Articles: The New 4 Ps of DTC Marketing How Not to Be a Boring Direct-to-Consumer Brand The New Rules of Going DTC   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

As retail stores begin to re-open this summer after a year of lockdown, Doug Stephens shares strategies for post-pandemic success from his new book, Resurrecting Retail.   Retail’s Darwinian shakeout over the last year has consolidated market power in the hands of dominant e-commerce players. But a brand, even if small, can still be mighty. The key is focus and finding a relevant niche, Doug Stephens said at VOICES 2020, previewing his new book, Resurrecting Retail, out on April 13.” In the post-pandemic retail era, purpose will be the new positioning,” Stephens said. “What will be your brand’s reason for existing?” he asked.Stephens outlines 10 reasons why retail should exist in 2021 and beyond, from product education to activism. “I see Covid-19 not as a mere accelerator, I see it as a threshold,” said Stephens. “As a unique wormhole in time where society as a whole is being pulled out of the industrial era and across the threshold of the digital age.” Though 2020 was challenging for a lot of retail companies, it has made the big ones like Amazon, Alibaba, JD.com and Walmart even stronger and better prepared to capture more of the global retail economy. Brands must think about purpose: what is the question your brand answers? Companies that succeed in the marketplace do this well. “When we buy Nike products, we’re buying a cultural point of view, and Nike answers a very specific consumer question. The question, of course, is ‘Who inspires me?’” Stephens said. In the post-pandemic world, the media will no longer be just the message. “Every form of media now, that the consumer has exposure to, is no longer simply a call out to go to the store,” Stephens said. “Every form of media must be the store.”   Related Articles: Take a Look Inside The Post-Pandemic Store The New Rules of Brick-and-Mortar Retail Tapping Into the Future of Physical Retail   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

Rent the Runway chief executive Jennifer Hyman shares her strategy for making the fashion rental model work as retail, restaurants and workplaces slowly begin to re-open.   To subscribe to the BoF Podcast, please follow this link. The pandemic was a near-death experience for Rent the Runway, the business that introduced and popularised renting fashion on a wide scale in the United States. As consumers stopped heading to offices and events, chief executive Jennifer Hyman was left wondering: “Will my business still be relevant after Covid?” The executive had to make difficult decisions, fast, laying off and furloughing staff and cutting spending.” As a leader, that was for sure the hardest thing that I’ve ever had to do,” Hyman told BoF’s Lauren Sherman at VOICES 2020, describing it as “the second founding moment of the company.” Now, as retail, restaurants and workplaces slowly begin to re-open, the company is betting on a post-pandemic shift in consumer values that couples a desire for more sustainable consumption with a “hedonistic” environment of “worldwide euphoria,” Hyman said.   Related Articles: The Return of Rental Inside the Closet of the Future The Pandemic Changed the Way People Live. How Can Fashion Adapt?   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

BoF’s London editor Sarah Kent and editor-in-chief Imran Amed delve into The BoF Sustainability Index, measuring fashion’s progress towards avoiding catastrophic climate change and achieving broader social imperatives by 2030. Fashion’s negative impact on people and the planet is in focus like never before. Pressure to change is coming from investors, consumers, regulators and even inside big brands themselves. Companies are responding with high-profile commitments to do better. But are they actually making a difference? In the latest episode of the BoF Podcast, London editor Sarah Kent and editor-in-chief Imran Amed discuss The BoF Sustainability Index, an in-depth analysis of how 15 of fashion’s largest companies measure up on sustainability. The fashion industry has an important role to play in tackling global sustainability challenges, both because of its impact and its influence. “Fashion often flies under the radar,” explains Kent. “[But] it has power to really change people’s views and behaviours and drive a shift that other industries cannot so easily engage in.” Overall, BoF’s analysis found that the big companies’ commitments are outpacing action. “Some [companies] are leading the pack and some are just getting started, but overall things are not changing fast enough.” While the pandemic remains an immediate crisis for the industry, the climate crisis is increasingly in focus ahead of the UN Climate Change Conference due to take place in Glasgow later this year. “I think what is pretty well established now is the direction of travel that is needed,” says Kent. “What we need to start seeing is the strategies that are going to get us there. Where are the investments going to be made?”   Related Articles: Sustainability: What Brands Are Prioritising in 2021 The Waste Opportunity: How Fashion Could Turn Trash to Treasure Fashion’s Long Road to Transparency   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

Billions of people across the world call themselves gamers. And as gaming technology improves and increasingly acts as an extension of the real world, it’s becoming a prime market for fashion brands. BoF's Imran Amed talks to Herman Narula, co-founder and CEO of Improbable to learn more.   Gaming is often synonymous with entertainment. But Herman Narula, co-founder and chief executive of Improbable, a London-based gaming company, says that’s a misconception — games dominate all kinds of culture. Footballers perform dances that happened first on Fortnight, and gamer verbiage like “level up” is now used in human resources initiatives.   Now, Narula says, the multiplayer games people play have become part of their social lives. Gaming is no longer just entertainment, but a space for experiences and learning lessons. Further, with the growth of gaming, Narula predicts we will see the rise of the multiversal self: people will no longer have just one identity, but many distinct selves within the various game worlds they occupy.   On the latest edition of the BoF podcast, BoF’s Imran Amed chats with Narula about how the notion multi-versal self is driving the rise of virtual fashion, and how brands can position themselves to thrive in the space. People who start playing games typically don’t ever stop — even as they shift life stages. “The primary reason people remain engaged and keep playing games, especially online and social games, boils down to three key motivations: a desire to be more competent at something, a need to relate to other people, and a desire to self-express,” Narula said. Games are no longer just something people do to pass the time, and that has consequences related to their real-world significance. “Games are something that the majority of gamers are seeking out doing, and avoiding other activities to go and do, and beginning to contest other forms of spending,” Narula said. “That means that they are where culture is going to be born.” The opportunity for fashion is real. “I think [gaming] will become not merely a place for brands to go, but a place in which brands will be born, a place in which first class cultural ideas will emerge and begin to populate other aspects of how our society works,” Narula said. But, he warned customers will be able to see through superficial engagement with gaming, so brands must find a way to  authentically engage in order to not cheapen the experience of their brand in either realm — the real world or the gaming world. Related Articles: NFTs for Fashion: Fad or Opportunity? What the NFT Gold Rush Means for Fashion Gucci Is Selling $12 (Virtual) Sneakers   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

BoF’s Imran Amed talks with Michelle Lee, Susanna Lau and Phillip Lim about the intersectional issues and structural barriers at the core of Anti-Asian hate, and how the fashion professionals can be better allies. A recent wave of violence directed toward Asian Americans — exacerbated by the hateful dialogue propagated by Donald Trump amid the pandemic — has brought anti-Asian racism to the forefront of global conversation. The issues facing Asian people are unique — for one, the term “Asian” represents a diverse group of people often clumped into a monolith that neglects to recognise nuances in culture and history. And racism against Asians often doesn’t culminate in easily-identifiable signs or symbols, sometimes making it difficult to spot from the outside. But, it’s pervasive, and has real, lived consequences. On the latest BoF podcast, BoF’s Imran Amed spoke with designer Phillip Lim, Michelle Lee, the editor in chief of Allure and British journalist Susanna Lau about their experiences being Asian in fashion, examining painful stereotypes and learning on how fashion professionals can be better allies. Anti-Asian racism is not new, but Lau believes it has become an unavoidable topic in 2021 because of the visceral nature of the images and videos coming from social media. “Everyone has these stories pertaining back to their past but they were sporadic… because they were sporadic you would bury them, and then they would come up again, but you would bury them again. And then the cycle repeats itself,” Lau said. Often, Chinese people are conflated with the growing superpower that is the country of China, ignoring the fact that many Asians live below the poverty line and often face racial bias. “When it comes to public sentiment, I think it boils down to whether or not the mainstream thinks that there is a group that is oppressed,” Lee said. “Ultimately, unfortunately for Asians because of the ‘model minority’ myth, people don’t think that we’re oppressed, and they think that racism against Asians doesn’t exist.” Lim acknowledged that while brands are no longer silent, they need to be thoughtful in speaking out, looking for talent and trying to foster change. “Lend us your microphone, lend us your platform, but don’t speak for us. Let us speak for ourselves,” Lim said. External clips courtesy of BBC News, Al Jazeera English and NBC News.   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

In the latest edition of the BoF podcast, Tim Blanks talks with the artist, designer and first American in over a decade to present at Paris haute couture week.   Even though he’s worked with Raf Simons at Calvin Klein and runs his own brand, SR. STUDIO. LA. CA., Sterling Ruby is perhaps still known primarily for his art: multidisciplinary work that often deals in dripping urethane sculptures, illusory canvases, and handmade ceramics. But on the heels of his Paris haute couture presentation in February over zoom, Ruby is becoming a force in the industry. So much so, that editor at large Tim Blanks asks him whether he would like to become a certifiable “fashion tycoon” in the near future.On the latest edition of the BoF podcast, Blanks sits down with Ruby to talk about fashion, Ruby’s future, and the blurred boundaries between his art and his clothes. Ruby’s work is distinctly American, drawing on the nation’s history of puritanism and violence, wickedness and hope. That was present in his work with Raf Simons at Calvin Klein, and still reverberates through it today. “I always walked away feeling like I’d seen an echo of Stephen king or something. It was a very particular view of America,” Blanks said. When asked to present at Paris haute couture week, Ruby and his team were skeptical about how they fit into the implied status, standards, and rules of couture. “We decided to kind of think about couture as our version of something made by hand.” Ruby said. “Maybe it was unique, maybe it was something that was strictly made in the studio, and that’s how it kind of came about. We justified it by kind of thinking that this is our version of couture.” Ruby’s interest in fashion traces back to his youth in the conservative town of New Freedom, Pennsylvania, where dressing became a form of both rebellion and therapy.“I was very obsessed with clothes when I was thirteen, and the kind of power of clothes, and interrogation you would get because you were wearing something very particular in an environment where you weren’t supposed to, and I love that,” Ruby said. “I just didn’t realise that’s probably what the heart of fashion is.” Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

A year after coronavirus lockdowns swept the world, BoF’s Imran Amed looks back at a period of sweeping change in conversation with leading voices from inside and outside fashion. Last March, when the Covid-19 virus that had already swept across China was officially declared a global pandemic, few grasped the extent to which the fashion industry stood on the precipice of a paradigm-shifting year, but everyone seemed to understand that this was an opportunity for great change. Amid lockdowns and social distancing measures, stores were forced to close, sales plummeted, and shocks were felt across the supply chain as garment factories were shut down around the world. Across societies, stark economic inequalities were laid bare and exacerbated by the crisis. Millions of people across all industries and professions lost their jobs; millions more lost their lives. From virtual fashion weeks to the booms in e-commerce and sweatpants, the fashion industry learned how to adapt to the “new normal” — and fast. Many saw an opportunity to reset a broken fashion system and build a more sustainable, inclusive way of operating. But the last year has also underscored deeper failings within the industry. While the pandemic has underscored broad social inequalities, fashion has had to grapple with its role in perpetuating racism and elitism — from boardrooms to magazine pages and contributing to a looming climate crisis. In this week’s episode of The BoF Podcast, we reflect on the events of the year gone by, a period of sweeping change, uncertainty and hope in conversations with leading voices from inside and outside the industry.   Related Articles: How Covid-19 Is Catalysing a New Era of Luxury The State of Fashion 2021: Reality Check   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

The Black model and entrepreneur speaks with BoF editor-at-large Tim Blanks about paving the way for a more inclusive fashion industry — and the work that remains to be done.   Iman stands out as a trailblazer in the fashion industry. She was one of the first Black models to star on the catwalk and followed her modelling career with a successful cosmetics business designed for women of colour. While she helped pave the way for more representation, she also experienced first hand the racism and discrimination that persists within the industry today. In the latest episode of the BoF Podcast, Iman speaks with BoF editor-at-large Tim Blanks about her experiences and the work that still needs to be done to address the problem. The supermodel credits her mother’s empowering vision of self-worth for enabling her to navigate a tricky industry. “[Self-worth] is what [my mother] heavily instilled in me to be able to walk away from anything that doesn’t serve you well regardless [of] how enticing it is,” she said. “Whether it’s a man or work or whatever it is … I would always make the right decision for myself if I had a sense of self-worth.” Iman has achieved stellar success and helped pave the way for greater representation throughout the industry, but throughout her career, she’s had to work harder than her peers to secure her place. “Most of the time makeup artists had no clue how to do our makeup,” says Iman. “Forget about hair, that is why most of the pictures you will see [Black women’s] hair is just pulled back because [stylists] didn’t know what to do with it.” Iman remains actively involved in efforts to tackle racism in the industry through The Black Girls Coalition, a pressure group she co-founded with close friend Bethann Hardison to highlight the lack of representation in the fashion industry. “It’s a learning experience because you just have to manoeuvre and find your place in this system [as a Black woman and model.]”   Related Articles: Secrets of the Supermodel Trade The BoF Podcast: Tackling Systemic Racism in the Fashion Industry Op-Ed | Racial Diversity on the Runway   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

On Sunday, the Duke and Duchess of Sussex — also known as Harry and Meghan — rocked the world when they revealed intimate details about their experiences in the British royal family and their decision to step back as ‘senior members’ in an interview with Oprah Winfrey. What they revealed in the interview has left not just the UK and the Commonwealth reeling, but challenged the entire world’s perception of the monarchy. BoF’s Imran Amed sat down with Elizabeth Holmes, a New York Times bestselling author, notable ‘royal watcher’ and style expert to contextualise the conversation with Winfrey and what it means for the future of royal fashion. ”When Princess Diana left the Royal Family, she made it very clear she did not need fashion in the same way, because she was able to use her own voice… And I think Meghan — now in her move to California — definitely doesn’t need it either,” Holmes said. “She will still continue to use it and promote brands that she believes in and has connections to, but when you can use your voice, you’re not relying on your fashion to talk for you.”   Related Articles: Have We Reached Peak Royalty? Monetising Meghan Markle Could Meghan Markle Cash In on Her Powerful Influencer Status?   External clips courtesy of Today, India Today, Sky News Australia, CPAC, Good Morning Britain, Harpo Productions/CBS, and CTV News.   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

After the release of her new book, I Am Invincible, designer Norma Kamali sat down with BoF’s chief correspondent Lauren Sherman to talk about the inception of her brand, its evolving purpose and plan, creativity and ageing. Norma Kamali has always been a conversation starter. Her timeless sleeping bag coats were favourites of Studio 54 bodyguards (as well as aspiring partygoers looking to gain their favour), and now serve as a comforting hug around the shoulders of chilly outdoor diners across the US. She also speaks out regularly on the noxiousness of the fashion system — particularly when it comes to the objectification and policing of women’s bodies. In the latest episode of the BoF podcast, Kamali takes us back to a time when she hated fashion for its pinned-up restrictiveness, and how London’s rebelliousness rejuvenated her. The designer also unpacks the barriers she had to overcome when creating a fashion line with endurance. Kamali sees her mission as much wider than just designing women’s clothes. In her new book, I Am Invincible, she writes about her overarching goal of understanding life and love, and giving women a map of how to age with power. “I put everything into it because I also know my purpose is to service women, and I knew that the day I recognised I found my dream job,” Kamali said. Throughout her career, Kamali prioritised her independence and being able to “have a creative life,” which informed how she grew her business — notably, she was selective when it came to partnerships and expansion. “It wasn’t easy,” she said. “There were a lot of very scary crying on my pillow nights of trying to figure out ‘How do I make this work without having people who are working for me feel nervous or anxious?’ And I found ways.” Still, Kamali was open to unexpected collaborations. In 2008, she released a line with Walmart that allowed both partners to tap into new markets and grow their customer bases. For Kamali, the partnership changed the way she thought about her business’s future. “I realised the power of e-commerce, and that’s when I transformed my company totally into an e-commerce company … and I will tell you, this year I’m so happy I made that decision back then because that’s how you make it through a year like we just had.” To subscribe to the BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.     Hosted on Acast. See acast.com/privacy for more information.

Vestiaire Collective’s chief executive Max Bittner opens up about the resale platform’s big deal with the French luxury group.   This week, a new €178 million round of financing put Vestiaire Collective’s valuation above $1 billion and gave it a high-profile new partner in the form of Kering, one of the world’s leading luxury groups. Having acquired a 5 percent stake in the Paris-based resale company, Kering joined investors like Condé Nast, French private equity firm Eurazeo and tech-focused investment firm Tiger Global Management. Though resale has become increasingly popular in recent years, thanks to the growth of platforms like Vestiaire Collective, luxury brands have been reticent to get involved. Kering’s investment marks a notable shift in attitude. In the latest episode of the BoF Podcast, Vestiaire Collectives’s chief executive, Max Bittner, sits down with BoF’s founder and editor-in-chief Imran Amed, to explain why Kering invested in the company and what that investment means for the company’s future, and why he believes the resale market is an exciting and fast-expanding sector. ”This is not a short term trend,” said Bittner. “This is something consumers are looking for. This is something especially young consumers are expecting from the brands they want to endorse. So, I think both us and the brands are realising consumers expect us.” Related Articles: Why Kering Invested in Vestiaire Collective Should Luxury Build Resale Into Its Business Model? The Resale Gold Rush Rolls On   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Hosted on Acast. See acast.com/privacy for more information.

The Farfetch founder and chief executive and Alibaba Group president J. Michael Evans discuss the industry-changing deal designed to dominate luxury e-commerce.   Alibaba Group president J. Michael Evans and Farfetch founder José Neves take BoF’s editor-in-chief Imran Amed behind-the-scenes of the industry-changing joint venture between Alibaba, Farfetch and Richemont at VOICES 2020, BoF’s annual gathering for big thinkers. The biggest appeal for all three parties? A shared vision of the importance of technology and omnichannel retail. ”We think as tech businesses, we’re not retailers,” Neves said. “We’re at the service of the best brands, the best retailers and we’re here to enable the industry… and this is open to everyone.”   Related Articles: What the Farfetch-Alibaba-Richemont Mega-Deal Means for Luxury E-Commerce Duelling Visions for Online Luxury in Mytheresa and Farfetch’s Latest Results Farfetch and Alibaba Open Up About Their Mega-Deal with Richemont   Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business. Hosted on Acast. See acast.com/privacy for more information.

This week on The BoF Podcast, editor-in-chief Imran Amed speaks with Saul Nash, Stephen Jones and Roksanda Ilinčić about how to tell compelling fashion stories amid the pandemic. Another season of mostly virtual fashion weeks have helped fashion films to become an increasingly popular tool for designers to create an elaborate narrative out of their collections off the catwalk. These new, online-first presentations have forced designers to think creatively and push storytelling further in order to emotionally connect with audiences. But as with any emerging phenomenon, there’s still much to learn. In the latest episode of the BoF Podcast, designers Saul Nash, Stephen Jones and Roksanda Ilinčić, and BoF editor-at-large Tim Blanks, delve into the dynamics of digital comunication and how to stand out with a meaningful story. To subscribe to The BoF Podcast, please follow this link Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.  Related Articles: London’s Creativity Lights Up Dark Times Stephen Jones Says the Constant Quest for Perfection Often Kills Spontaneity Roksanda and Richard Quinn Bring Art to Their Fashion Hosted on Acast. See acast.com/privacy for more information.

The designer speaks with BoF editor-at-large Tim Blanks about his latest collection, making change and the importance of elevating the next generation of fashion creatives.   When Virgil Abloh first broke into fashion he remembers feeling like a tourist. The designer began his career in architecture and says he struggled to find his place in an industry of insiders. But after three years at the helm of Louis Vuitton’s menswear division, the Off-White founder is now very much part of the establishment. In the latest episode of the BoF Podcast, Abloh speaks with BoF editor-at-large Tim Blanks about his hopes of paving the way to a more democratic and inclusive industry for the younger generation and why he’s launched a TV station. The designer is increasingly focused on lifting up the next generation of young designers, conscious of his responsibility to open up the industry. Last year, he raised $1 million to launch the “Post-Modern” Scholarship Fund for Black students.   Related Articles: Virgil Abloh: ‘You Have to Choose Your Message Wisely’ What’s Off-White Without Virgil? Virgil Abloh: ‘I Am Not a Designer’   To subscribe to The BoF Podcast, please follow this link. Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.    Hosted on Acast. See acast.com/privacy for more information.

This week on The BoF Podcast, designer Jason Wu and BoF’s senior correspondent Chantal Fernandez examine the evolving purpose of runway shows and what New York Fashion Week might look like after the pandemic. Fashion Week looks very different this season, with most designers choosing to present their collections through digital lookbooks and short films instead of traditional runway shows. But even after the pandemic subsides, New York Fashion Week isn’t likely to revert to its prior form. As BoF senior correspondent Chantal Fernandez reported in a BoF Professional article last week, the “unbundling” of New York Fashion Week has been happening for years. ”What worked 10, 15 years ago, doesn’t work today,” designer Jason Wu told BoF’s Imran Amed on this week’s podcast. “The backbone of American fashion has always been about diversifying and being less traditional in its approach in what luxury and what fashion looks like.” ”Fashion week has become something of a different creature, but that happened long before the pandemic,” he added. “I feel like it’s my job to keep part of it alive, even though it’s forever changing.”   External clip courtesy of Fashion By Look - Eleanor Lambert: Defining Decades of Fashion To subscribe to The BoF Podcast, please follow this link.   Related Articles: The Unbundling of New York Fashion Week What Is New York Fashion Week Without Its Billion-Dollar Brands? How Independent Fashion Brands Are Navigating the Crisis   Join BoF Professional for the analysis and advice you need. Get 30 days for just $1 or explore group subscriptions for your business.   Hosted on Acast. See acast.com/privacy for more information.

BoF’s Imran Amed discusses transparency, cooperation and disruption with Dries Van Noten, Anya Hindmarch and Stefano Martinetto, leaders of two early pandemic initiatives — The Forum and Rewiring Fashion — to share thinking on the role of independent fashion brands and retailers amidst the biggest crisis in the history of the modern fashion industry. The fashion industry has long been operating in a cyclically inefficient and anti-creative way. Issues like waste, early discounts, power imbalances and a suboptimal, wholesale-controlled calendar hurt brands at every level, as well as consumers. But when the Covid-19 pandemic prompted lockdowns around the world in early 2020, the industry was put on pause. In response, two initiatives, Forum and the BoF-facilitated Rewiring Fashion, emerged to make this period one of retrospection and discussion in hopes of bringing about systematic change. In the latest episode of Inside Fashion, which features a conversation from VOICES 2020, BoF’s Imran Amed sits down with Van Noten, as well as Anya Hindmarch and Stefano Martinetto, co-founder and chief executive of Tomorrow London to discuss the lessons the industry has learned during the pandemic and how that new perspective will shape its future. Candour has never been one of the industry’s priorities or strengths, which has hampered progress in the past. Hindmarch emphasises that there is a power to coming together. “You solve problems by not just thinking about yourself but collaborating as an industry,” she said. Thanks to the rise of e-commerce and the convenience economy, storytelling is more important than ever for luxury brands. “Just showing clothes and that’s it, forget it. That’s not going to work anymore… I think we have to offer different things,” said Van Noten. “We have to tell a story to show why the clothes are more expensive than high street labels, you have to give the whole package of support to people who come to the store.” Wholesale retail is changing — hopefully, to allow more space for creativity and development of strong products. Hindmarch thinks that wholesalers still have an important, localised role that helps designers connect with their buyers in a personal way. Martinetto believes shifts are for the better. He said: “The notion that wholesale is dying is most appropriately defined as ‘bad wholesale is dying.’” Related Articles: Dries Van Noten’s ‘Forum’ and ‘Rewiring Fashion’ Join Forces to Rebuild the Fashion System DTC vs Wholesale: Striking the Right Balance The BoF Podcast: Dries Van Noten on Making Retail Meaningful in the Pandemic   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter.   Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout.   For all sponsorship enquiries, it’s: advertising@businessoffashion.com Hosted on Acast. See acast.com/privacy for more information.

This week, Doug Stephens speaks with Kalkidan Legesse and Robert Hoppenheim about the imperative for fashion to take responsibility for the people it impacts.   The pandemic’s economic impact is radically changing the retail landscape, but for fashion, the fallout is not just financial. The crisis has amplified anger over racial injustice and financial inequality among consumers and employees, redoubling pressure on brands to adjust their operations to serve both shareholders and the greater good. Increasingly, companies must respond to demands for change from outside the boardroom. In this week’s podcast, retail columnist Doug Stephens discusses how the fashion industry must address the systemic inequality and racism buried in its supply chain with the co-founder of UK-based ethical brand and retailer Sancho’s, Kalkidan Legesse, and the founder of brand strategy and communications advisory Kindustry, Robert Hoppenheim.   External clips courtesy of BBC, NBC Latino,  and CGTN.    Related Articles: Retailers Pledged Action on Diversity. Delivery Is Proving More Elusive. Op-Ed | Fashion Brands Must Treat Garment Workers as Employees The BoF Podcast: Rashad Robinson on Addressing Racial Inequality in Fashion To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter.   Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout.   For all sponsorship enquiries, it’s: advertising@businessoffashion.com Hosted on Acast. See acast.com/privacy for more information.

The artistic director of Dior Men who is now also leading the women's collections at Fendi, speaks with BoF’s Imran Amed about the enduring power of youth and desire and the making of the Air Dior shoe. Designer Kim Jones went from being a teenager with joint custody over one pair of on-sale Jordan 5s with three friends to creating one of the most sought after shoes in the world by bringing together three iconic brands: Nike, Jordan and Dior. To create the Dior X Air Jordan, which dropped mid-pandemic in June of 2020, he took the Jordan 1 silhouette, applied Dior’s leather and Italian techniques and infused it all with Michael Jordan’s personal cool-guy style.The much-hyped, $2,200 shoe sold out in minutes after being released online. Soon after, the shoes were spotted being resold for as much as $12,000 on StockX.In this conversation from VOICES 2020, Jones covers everything from ethical consumption to the enduring power of youth and desire.   Young people influence the way Jones thinks about his designs. He invites his god children and children of friends over to watch them dissect his wardrobe, listening carefully to what they have to say. “Young people are learning they want to buy less, and things that last longer,” Jones said. Buying vintage, handing things down through generations, and luxury all tie together for Jones. “The thing about luxury that I like is it’s clothes that are built to last and there’s not that many made of things,” he said. “I care about the world a lot so it’s something I do consider that there’s not much waste. We don’t have tons of stuff left over.” The streetwear-meets-luxury space has exploded in the last few years. Jones sees it as a mix of comfort and easiness that fit in with modern daily life. His go-to is tailored pants and jackets with knitwear or a jersey piece. “When you’re working quite often, when it’s with your hands it’s easy,” he said. He advises aspiring designers and other young creatives to think less about status and more about fulfilment. “Never think about the money, think about doing the job. Work hard,” he said. “Don’t think about social media, think about the actual reality. Just get on with it, and ask questions. I ask questions all the time and that’s why I’ve learned so much.”   Related Articles: LVMH Is Trusting Kim Jones to Define Fendi’s Post-Karl Look Dior’s Air Jordans and the Return of Pre-Pandemic Hype Will Luxury Streetwear Get Millennials Into Department Stores   Find out more about #BoFVOICES here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter.   Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout.   For all sponsorship enquiries, it’s: advertising@businessoffashion.com Hosted on Acast. See acast.com/privacy for more information.

A new era for Topshop is about to begin. On Monday, digital fashion retailer Asos purchased the high-street label, along with sister brands Topman, Miss Selfridge and HIIT, for £295 million ($403 million). The deal ended months of speculation about Topshop’s future after parent Arcadia Group fell into administration last November, as BoF senior editorial associate Tamison O’Connor reported in a BoF Professional article breaking down why Asos needs Topshop. “It’s been very sad for me to see them go through what they’ve been through in the last few months,” retail veteran and former Topshop brand director Jane Shepherdson told BoF editor-in-chief Imran Amed on this week’s podcast. Shepherdson discusses her time at Topshop when it was at the height of its success, the internal and external forces that caused the brand’s demise, before O’Connor weighs in on what the future might hold for the brand under Asos’ ownership. Topshop’s decline was a long-time coming, Shepherdson said, reflecting on her time at the brand. She joined Arcadia as a young graduate and worked her way up the ranks as a buyer, spearheading Topshop’s transformation into a fashion destination. But she left the company in 2006 as Philip Green, who bought Arcadia Group in 2002, became more involved in the business. “He was an asset stripper, more than anything else. He bought businesses, and then sold them again,” she said. “My philosophy was that you would make sure that you designed and bought something that was so amazing that no one would be able to resist it.”   Asos’ ambition to capitalise on the newly acquired Arcadia brands and customer databases will depend on establishing a strong and independent identities for Topshop, Topman, Miss Selfridge and HIIT on the Asos platform, O’Connor said.   O’Connor goes on to explain how the British high street’s transformation into a largely online market has been accelerated by the pandemic, having brought long-struggling British retailers like Debenhams and Arcadia Group to their knees.     Related Articles: Why Asos Needs Topshop Why Digital Fashion Companies Are Buying Up Tired Brands The Rise and Fall of Topshop: What Went Wrong       To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter.   Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout.   For all sponsorship enquiries, it’s: advertising@businessoffashion.com Hosted on Acast. See acast.com/privacy for more information.

At VOICES 2020. Paul Davison and Virgil Abloh discussed the audio-only social network’s potential impact in the fashion industry with BoF’s Imran Amed. While the influence of Clubhouse has been growing in the power corridors of Silicon Valley for almost one year, the audio-only social network officially hit the mainstream this month, having grown to more than 2 million users and closed a funding round valuing the business at $1.4 billion. Then, on Monday, none other than Elon Musk made a surprise appearance on Clubhouse, driving global news coverage of his impromptu conversation with Robinhood’s co-founder, Vladimir Tenev, about the remarkable rise in value of Gamestop shares driven by passionate Reddit users. But what could the rise of Clubhouse mean for fashion? In December, the company’s co-founder and chief executive officer Paul Davison made his first public speaking appearance at BoF VOICES alongside Virgil Abloh to discuss the power of creating a space to listen and learn — and how the fashion industry can get involved. “All the conversations that I’ve hosted or been a part of on Clubhouse related to fashion in a weird way have been more in-depth than interviews or regular-format media,” Abloh said. “It’s an interesting case study making sure brands have something to say when you can’t escape to creating an image.”   Related Articles: LVMH Is Trusting Kim Jones to Define Fendi’s Post-Karl Look Dior’s Air Jordans and the Return of Pre-Pandemic Hype Will Luxury Streetwear Get Millennials Into Department Stores     To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter.   Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout.   For all sponsorship enquiries, it’s: advertising@businessoffashion.com Hosted on Acast. See acast.com/privacy for more information.

The celebrated designer talks to BoF’s Imran Amed about fashion’s new digital landscape and the launch of AZ Factory during Haute Couture Week. The timing of Alber Elbaz’s return to fashion is apt. After a five-year hiatus following his departure from Lanvin in 2015, the designer debuted his new venture AZ Factory this week. The philosophy underpinning the label, a partnership with Richemont, is to tackle fashion’s challenges of excess, irrelevance and exclusivity with technology, focus and innovation.In the latest episode of The BoF Podcast, editor-in-chief Imran Amed and Elbaz discuss how the designer fell back in love with fashion why it is necessary to slow the pace of the industry. AZ Factory was born out of Elbaz’s disillusionment with the fashion world. His goal is to bring greater transparency to the design process and a more inclusive feel to customers. His first collection runs from size XS to XXXL. “We always have to remember again and again that this is 2021. How do women live, what do they need, how can I give them what they need?” said Elbaz. “It is taking all this information and processing it and then [giving my] take on it.” The label made a digital debut at Paris couture week with a fashion film. Elbaz said the restrictions created by the pandemic were both a creative challenge and opportunity. “I cannot tell you that it was always easy” Elbaz said. “The night before we air[ed] the film I was still working in editing and looking and changing the music.” One outcome of fashion’s current crisis that the designer is fully onboard with is the move towards a slower pace. Elbaz is increasingly focusing on new and innovative fabrics that require time to fully understand from a design perspective. “I cannot do it every couple of weeks so I know that I will have to keep [it to] two projects [at a time],” said Elbaz.   Related Articles: Inside Alber Elbaz’s Return to Fashion Couture in the Time of Covid-19: Realism or Fantasy? The BoF Podcast: Alber Elbaz Is a ‘Zoombie’ Now       To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter.   Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout.   For all sponsorship enquiries, it’s: advertising@businessoffashion.com Hosted on Acast. See acast.com/privacy for more information.

The American designer speaks with BoF editor-at-large Tim Blanks about his latest collection, born from ‘anger and darkness,’ and why limitations often make way for creative ingenuity.   The location of Rick Owens latest show is a reflection of the ongoing sense of global loss as the death toll from Covid-19 continues to rise. The designer’s new men’s collection was presented at Tempio Votivo, a shrine to the fallen soldiers of the two world wars. The collection, Owens tells BoF editor-at-large Tim Blanks, was born out of “anger and darkness,” despite a fresh sense of optimism brought about by Joe Biden’s recent inauguration.In the latest episode of The BoF Podcast, Owens and Blanks discuss the many references that informed the American designer’s new collection and why imperfection is central to his pursuit of creativity. The show, although full of music and models, was without a live audience, a move that turned the presentation into “personal ritual,” Owens said. “We are doing it for ourselves… Some of the people [I’m working with] have been with me for 18 years. For us to be able to nurture and develop the collection to this point together, we’ve never fully done that before. It’s been this great bonding exercise.” For Owens, lockdown life has not deviated far from his pre-pandemic routine. “I don’t participate or circulate in the world as much as most people do,” he said. But the social restrictions have reminded him that limitations can be central to creative ingenuity. “I like the idea of working within small boundaries,” he told Blanks. “I like the idea of doing the best with what you’ve got.” References for Owens’ work include the Bible, the Rocky Horror Show and S&M, as well as his own imperfections and personal experience of manhood. “My men’s runway shows are always about men’s flaws, and about men’s worst urges because they’re autobiographical,” he said. “When I’m thinking about men, I’m thinking about my own experience. And my own experience is very critical.” Related Articles: Rick Owens: Control and Abandon Tim Blanks’ Top Fashion Shows of All-Time: Rick Owens Spring/Summer 2014, September 26, 2013 What Fashion Wants From a Biden Presidency       To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com.     Hosted on Acast. See acast.com/privacy for more information.

BoF’s Imran Amed and McKinsey’s Achim Berg discuss what the fashion industry can expect as the world continues to battle Covid-19. With coronavirus cases surging in most of Europe, extended lockdowns show no immediate sign of easing, while in the US ongoing political and social unrest is set against a backdrop of widespread Covid-19 infections. For fashion, the repercussions will be felt for years to come, but the extent of the impact will largely depend on the handling of such crises over the course of the next year.In the latest episode of The BoF Podcast, BoF editor-in-chief Imran Amed and Achim Berg, global leader of McKinsey’s apparel, fashion and luxury group, discuss the key trends laid out in BoF and McKinsey’s joint annual report, The State of Fashion 2021, in light of recent developments. While experts had warned that the winter months would be challenging, super-spreading virus mutations in Brazil, South Africa and the UK have further complicated matters. “It’s fair to say that we expected lockdowns, we expected restrictions, but we didn’t expect them that early, and we didn’t expect them to take that long,” said Berg, adding that these developments might indicate a slower-than-anticipated recovery for fashion. The closing of physical retail and low consumer confidence has hit retailers both with and without e-commerce hard. “Even if online is growing at 50 percent, you cannot compensate for physical retail,” said Berg. But it’s not all bad news. “The moment things normalise, I think people want to have the shopping experience again,” he added. Stores reliant on tourists for a large portion of their sales are reeling from losses as flights stay grounded, but there is also cause for optimism. “It’s a whole new game, but it’s also an opportunity” said Berg. “I would argue that because in some locations it was easy to serve international customers, they didn’t put [enough] emphasis on serving local consumers.” Related Articles: The State of Fashion 2021 Report: Finding Promise in Perilous Times Tapping Into the Future of Physical Retail Travel Disruption Will Redraw the Fashion Map     Watch and listen to more #BoFLIVE conversations here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com.     Hosted on Acast. See acast.com/privacy for more information.

Oluwole Olosunde, the founder of streetwear and home goods label Against Medical Advice, speaks at BoF VOICES 2020 on lessons from the crisis and the importance of making room for new talent.   In the fight to curb the coronavirus pandemic, frontline medical workers emerged as heroes. During VOICES 2020 last December, BoF welcomed one of them, the emergency nurse-turned-fashion designer Oluwole Olosunde, to share his truly unique perspective on what the fashion industry can learn about nurturing young talent.Olosunde is a trauma nurse whose ambitions go far beyond healthcare. Known as Wole to friends and as Guacawole online to his more than 20,000 followers, he spent 2020 juggling treating patients at a New York City emergency ward with launching his streetwear and home goods line, Against Medical Advice.In this week’s BoF podcast, he discusses how his experiences treating patients in a multi-cultural, multi-lingual city have informed his approach to design, and the importance of giving motivated young talent a chance.   Related Articles: The Emergency Room Nurse Turning His Fashion Dreams Into a Reality VOICES 2020: Fixing the Fashion System   Find out more about #BoFVOICES  here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com.     Hosted on Acast. See acast.com/privacy for more information.

Speaking with Imran Amed, the Washington Post’s senior critic-at-large shares her thoughts on the controversially ‘familiar’ image of the vice president-elect, and explains where it sits within the wider political climate of the United States as it is due to enter a new chapter.When the cover of American Vogue’s February issue leaked on Saturday, January 9, a flurry of controversy ensued. Many took to social media to deride the image of vice president-elect Kamala Harris, lensed by Tyler Mitchell, for its casual styling, unflattering lighting and lack of gravitas. The criticism focused on the argument that the portrait lacked the stately deference they believed such a political figure — not least the first Black, South Asian female vice-president — should command.Among those to share their thoughts was Robin Givhan, The Washington Post’s senior critic-at-large who penned a column on January 11 in which she said “the cover did not give Kamala D. Harris due respect… It was a cover image that, in effect, called Harris by her first name without invitation.” Givhan, who became the first fashion writer to receive the Pulitzer Prize for Criticism in 2006, sat down with Imran Amed in the latest episode of The BoF Podcast, to further discuss the cover’s significance and the wider tumultuous landscape of US politics. Debating Harris’ portrait is about more than just a critique of the technicalities and production value of a fashion glossy. Its release comes at a time of political division and fraught race relations, just days after a violent right-wing mob stormed Washington D.C.’s Capitol building, an event incited by President Trump, who now faces a second impeachment for his involvement in the incident. “The last few years have been an exhausting, emotionally draining time,” said Givhan. “I was very surprised that [the cover] became such an issue. I was really stunned that people were so exercised about it. When you think about it, it’s [like] pain from a thousand papercuts, and this was the 1001st papercut.”The informality of the image chosen for the print cover carries greater historical significance and weight. Vogue and Anna Wintour defended it as an extension of the Biden-Harris campaign’s platform of accessibility, which Givhan described as a “legitimate” point of view. But, she said, “I think that the upset is rooted not so much in the current moment but its history. Throughout history, Black women in particular were not given the kind of respect that white women were. People had this familiarity with Black women that was not about friendship and equality but was condescending. Understanding the complicated nature of that would give one pause in presenting the first female vice president — a Black woman — in that way.”While the alternative digital cover image, which depicts Harris in a more presidential light and formal style, offers some reprieve, this print issue has significance as a cultural souvenir (“you can’t give a screengrab to your grandchildren,” said Givhan), and there is no real opportunity for a do-over. “There’s no way to make people happy,” said Givhan, adding that it’s important to instead listen to criticism and “recognise where things went astray” in allowing this misstep to happen. “You just have to do better the next time, and the time after that and the time after that.”External clips courtesy of Good Morning America and ABC7 News Hosted on Acast. See acast.com/privacy for more information.

It’s hard to imagine running a successful brand in 2021 without advertising on Instagram, buying search ads on Google or selling on Amazon. At BoF VOICES, H&M’s Christopher Wylie and venture capitalist Roger McNamee talked about why that’s probably not a good thing — and how the industry can reduce its reliance on tech giants.   Before the pandemic, social media and e-commerce giants like Facebook and Amazon were ascendant. The physical isolation caused by the ongoing global health crisis has only consolidated their power. Nevertheless, fashion brands can’t rely on a handful of Silicon Valley firms to run their businesses, venture capitalist Roger McNamee said at BoF’s VOICES.   In an interview with Christopher Wylie, who blew the whistle on Cambridge Analytica’s improper use of Facebook user data during the 2016 election, McNamee outlined how big tech has touched off a “cascading series of catastrophes going from the online world into the real world.” In fashion, Facebook, Amazon and Google have inserted themselves between brands and their customers. Though they offer unparalleled marketing and commerce capabilities, McNamee noted their clients pay a steep price in the long run by ceding control of such crucial elements of their businesses. But all is not lost.   “The fashion industry has a superpower,” he said. “You’re actually connected to culture, so people care what you have to say. You have to recognise as an industry that these guys are changing the rules and you have to fight back.”     Find out more about #BoFVOICES here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout.   For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

At BoF VOICES, Axios journalist Felix Salmon, economist Dr Dambisa Moyo and Sinovation Ventures chief executive Kai-Fu Lee discussed how fashion can navigate challenging economic times. The current global outlook of mounting debt levels, contracting global trade and rising nationalism bear more than a passing resemblance to conditions in 1929, at the onset of the Great Depression. But that alarming trajectory is not set in stone, panelists at BoF VOICES, BoF’s annual gathering for big thinkers, said. Dr Dambisa Moyo, an economist and author who drew the comparison, said she was “optimistic in many respects,” and sees technological innovation as one way out of the global economy’s current troubles. That’s not to downplay the challenges. Journalist Felix Salmon described an economic “balkanisation” that was making it more difficult for cross-border business, while noting that China’s rapid rebound from Covid-19 could power global markets. Related Articles: Hans Ulrich Obrist: The Antidote to Globalisation VOICES 2020: Finding Opportunity in a Global Crisis   Find out more about #BoFVOICES here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter.   Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Leading health experts Sarah Jones and Noel Brewer discuss how successfully controlling the pandemic is a question of culture as well as science at BoF VOICES 2020.   The development of working Covid-19 vaccines in a matter of months is a remarkable feat of the pandemic. The biggest challenge in successfully bringing them to market may be cultural rather than scientific.Whether populations trust public health officials and accept widespread vaccination programmes will determine how the world emerges from the pandemic, said Noel Brewer, professor of health behaviour at the University of North Carolina in conversation at BoF VOICES.Already substantial differences in cultural norms have had a significant influence on how successfully countries have responded to the health crisis, as Sarah Jones, creator of the corporate mental health programme Mental Health Intelligence, explained. Jones has contributed to the largest open-access study that has been conducted on behaviour related to Covid-19 health.Among its findings: There is no global consensus about the value of social distancing measures. Nordic countries like Denmark and Finland have few people who report always wearing a mask, while other countries report a high percentage of people who say they always wear masks. In Asia, social norms around mask-wearing mean that citizens are more likely to voluntarily wear them, while in Europe, people are less likely to wear a mask unless they are legally obligated to do so. The diverging mask-wearing behaviour has led to lopsided progress in tackling the Covid-19 crisis, and extends to how people feel about taking the vaccine. Brewer said that this is where public health officials and government leaders have a responsibility to encourage their citizens to practice social distancing and receive a vaccination. The goal: To emerge from the crisis together.   Find out more about #BoFVOICES here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout.   For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Is mindfulness powerful enough to help stave off illness? Wellness guru Deepak Chopra and entrepreneur Carmen Busquets discuss the benefits the practice can bring to mental, physical and spiritual wellbeing at BoF VOICES. The world is currently battling three simultaneous crises: the COVID-19 pandemic, the attendant economic downturn, and stress, world-renowned wellness guru Deepak Chopra, during a discussion with investor Carmen Busquets and BoF founder and CEO Imran Amed at BoF VOICES. Meditation is a tonic for all of them, Chopra said, in that it can help promote epigenetic responses, awareness and personal and social enrichment.Those who have never meditated need not be intimidated. “Give 60 seconds to yourself,” Busquets said. “Create that awareness of having that 60 seconds of silence, anybody can do it.”   Find out more about #BoFVOICES  here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

This summer’s protests forced fashion to examine its longstanding issues with racial discrimination at every level. At BoF VOICES, Color Of Change president Rashad Robinson laid out how to turn the industry’s new awareness into meaningful action. In 2020, the fashion industry reckoned with its history — and present — of racial discrimination. Companies promised to address the lack of Black voices on their creative teams and in the C-suite, as well as toxic internal cultures.But visibility is only the first step. Now is the time to “translate caring into action,” Color Of Change president Rashad Robinson said at BoF’s VOICES.The most important change the industry can make, he said, is to stop talking about race in a passive voice. It’s not that Black people are less likely to get hired in the fashion industry — rather, the fashion industry excludes Black people.Inclusivity measures such as mentorship and creating career pipelines for Black employees are inadequate, he went on to say. Too much effort is focused on “fixing” individuals, without addressing the system that created barriers to advancement in the first place.“When we talk about vulnerable communities, we spend our time trying to fix those people,” Robinson said. “When we talk about systems and structures, we spend our time trying to fix those systems and those structures.”   Find out more about #BoFVOICES  here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

When Sophia Neophitou-Apostolou, editor-in-chief of 10, returned home after a whirlwind month zipping between shows in fashion’s capitals last March, she thought she’d come down with a case of the “fashion month flu.” What came next changed her perspective on both the industry and her life.    Beating Covid-19 was a battle as draining mentally as it was physically, 10 magazine editor Sophia Neophitou-Apostolou told BoF editor-at-large Tim Blanks during BoF VOICES 2020. “It’s not just a physical assault on your body, it’s a mental assault as well,” she said. Neophitou-Apostolou contracted the disease and was admitted to hospital just after fashion month in March. She’s still recovering. The experience had made her  reconsider both how she lives her own life (being “COVID-safe,” she said, is her top priority) and the way the fashion industry operates. “It was a big wake-up call… we have to all of us contribute to things to change them.”   Find out more about #BoFVOICES  here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Can fashion avoid tokenism and make sincere inclusivity a reality? At BoF VOICES, Sinéad Burke and Samira Nasr talk about how to be an inclusive leader in 2020.   After a year when awareness of the need for greater racial, physical and socioeconomic inclusion surged, can the fashion industry learn to avoid tokenism and turn that momentum into enduring change?In a conversation with activist, educator and writer Sinéad Burke at BoF VOICES, Harper’s Bazaar editor-in-chief Samira Nasr spoke about how and why she is working to build an inclusive team in her new role.“The best dinner parties are the ones with more difference. You don’t want to be sitting there with someone with the same ideas,” said Nasr, who was appointed to lead the magazine’s US edition in June.In many parts of the fashion industry, the status quo is only just beginning to shift. “I’m thinking about how to measure and put a process in place so that there’s systemic change,” Burke said. “Change isn’t good enough if it’s just change for me.”   Related Articles: VOICES 2020: Fixing the Fashion System   Find out more about #BoFVOICES  here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

At BoF VOICES, Remo Ruffini speaks to Imran Amed about adapting his brand’s programme of designer collaborations to a post-pandemic reality where Chinese customers and online activations are paramount.   After global fashion sales fell by 27 percent to 30 percent this year, according to estimates in BoF and McKinsey’s State of Fashion 2021 report (released Wednesday), the industry is bracing for a difficult and (likely incomplete) recovery next year. The important thing is to adapt. “This crisis could be an opportunity,” Moncler chief executive Remo Ruffini said at VOICES last week, predicting the fashion market is unlikely to return to pre-pandemic norms before 2023. “You cannot stay sitting in your chair for two or three years. We need to find new projects and new ways to work.” With an eye on the rising importance of both digital and China, he’s planning to stage the launch for his next round of “Genius” collaborations in the country this September, with an event mixing physical and online elements. Since 2018, the Italian outerwear label’s “Genius” programme — a series of ultra-hyped, one-off collections from guest designers — has helped the brand reach untapped consumer niches, been a focal point for parties and store activations, and, perhaps most importantly, fuelled visibility on social media. “The collection will be more customer-centric,” Ruffini said. “We’ll still have people there, but with a different approach.” Elsewhere, the executive is planning bolder moves. Our conversation took place shortly before Moncler announced it would acquire Stone Island in a transformational move — opening the door to becoming a multi-brand group after nearly two decades of rapid expansion under the banner of a single brand.   Related Articles: Moncler Buys Stone Island in Transformative Move VOICES 2020: Fixing the Fashion System Moncler to Stage Genius Show in China in Pandemic Pivot   Find out more about #BoFVOICES  here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Good sleeping habits have been linked to higher productivity and better health. At BoF VOICES, Imran Amed discusses the secrets to a good night’s rest with neuroscience Professor Matthew Walker and Oura Founder Harpreet Singh Rai. Thanks to the pandemic, people are spending more time in their pyjamas, but their sleep patterns are worse than ever. Job loss or worry about job loss and general anxiety surrounding staying healthy are among the chief causes for why sleep, on the whole, has become worse both in quality and quantity for so many.With “sleep hygiene” more important than ever, BoF’s CEO and founder Imran Amed spoke with Dr. Matthew Walker, professor of neuroscience and psychology at the University of California Berkeley, and Harpreet Singh Rai, CEO of wearable technology company Oura, as part of BoF’s 2020 VOICES conference.Deep sleep is when you refresh your “immune weaponry in your health arsenal,” Walker said. And better sleep has also been linked to making individuals more receptive to vaccines.Singh Rai — whose wearable product, the Oura Ring, helps track sleep and other health information — explained that international stay-at-home orders during the pandemic have made many people less active. That’s bad for sleep quality, especially when coupled with an increase in screen time. “All of us are sleeping less on average and we’re more distracted than ever before,” said Singh Rai. Sleep progress should really be tracked like diet or a workout regimen because “whatever gets measured gets mastered,” he said.A cavalier attitude to sleep can be costly because it is intimately linked to health and productivity. For example, Walker cited a study that found insufficient sleep costs most nations about two percent of their gross domestic product, amounting to $411 billion in the US. “If we could solve the sleep loss crisis within most first-world nations, [we] could almost double the budget for health care or for education,” Walker said. He added: People should consider sleep to be an “investment in tomorrow” rather than a cost on one’s time.Among Walker and Singh Rai’s top sleep hacks: saunas and warm baths are highly effective at helping the body expel heat once you exit those environments, and help set ideal conditions for sleep; setting sleep alarms (those reminders that nudge you to bed at roughly the same time every evening) is just as important as an alarm to help you wake up in the morning; avoiding naps during the day, caffeine in the afternoon and alcohol in the evening allow people to grow tired enough for sleep at night; and finally, abide by the 25-minute rule: if you’re lying in bed for longer than that trying to sleep, then go and do something else (that does not include screen time or food) until your body is tired. “You would never sit at a dinner table waiting to get hungry. Why would you lie in bed waiting to get sleepy?” Walker said. “The answer is, you shouldn’t.”Sign up for BoF’s Daily Digest newsletter.Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout.For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The American designer discusses the power of many businesses to be advocates for change.   The last few years have offered Tory Burch, founder of her namesake womenswear label, time to focus less on business and more on design, particularly since her husband Pierre-Yves Roussel took on the role of chief executive in 2018. Now, the pandemic is giving her even more time to focus on perfecting product, a rare silver lining of an otherwise challenging situation.   In the latest episode of the BoF Podcast, BoF editor-at-large Tim Blanks speaks with Burch about her activist-focused approach to business and how the last 10 months have shaped her fashion label.   Restriction is a crucial component of creativity. To Burch, the travel restrictions and social distancing measures have opened new avenues of creativity, fostering agility and resourcefulness. “One thing that’s happened because of lockdown is it makes you stand still,” said Burch. “To be able to be in one place has been really transformative on many levels.” Burch emphasises that what constitutes luxury needs to be reconsidered. “I really believe luxury isn’t about a price point, and I think that’s relatable particularly today,” she said. “How do you design beautiful things that are timeless and that will last? That’s what I’ve been thinking about,” she said, adding that having time to spend is the ultimate luxury. Through the Tory Burch Foundation, a non-profit dedicated to advancing women’s empowerment, Burch is finding new avenues through which to support women and help them weather the coronavirus crisis. “Its horrendous for women right now,” said Burch. “They are taking care of children at a much higher rate than men. We have had to help many women figure out how to take out PPP loans… We had to pivot to really be a resource for women.”   Related Articles: Tory Burch Names Pierre-Yves Roussel CEO Independent Women Brought Hope to Fashion’s Virtual Spring Visual Metaphors at Tory Burch     Watch and listen to more #BoFLIVE conversations here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The acclaimed photographer talks to Tim Blanks about his new autobiography and extraordinary career.   LONDON, United Kingdom — David Bailey has authored dozens of books, but “Look Again” is his first autobiography. As the title suggests, the photographer is less interested in reminiscing about the past, and more keen on pushing himself and others to look beyond first impressions.    The memoir delves into Bailey’s past and includes sometimes-scathing accounts of his relationships with heavyweights in the world of fashion, media, show business and politics — though he maintains he told the stories “in the nicest possible way.”    “Being a photographer, you have to know how to deal with anyone, from the bloke on the [street] corner to the Queen, so you have to behave,” he said.   Speaking in conversation with BoF Editor-at-Large Tim Blanks, the famed photographer shares anecdotes from his storied and colourful past.    Since he first burst onto the scene in 1960, photography has drastically changed alongside technology. “iPhones killed photography in a way, because everyone can take a picture,” he said, adding, “it’s made it into a kind of folk art,” which has its merits.   As Blanks notes, Bailey lost interest in fashion photography for a while in the 1970s, a period  Bailey blames on  his dislike of some editors and the grind of the fashion cycle. It was “another frock and another frock and another girl and another girl.” It took the emergence of Kate Moss — alongside ‘60s supermodel Jean Shrimpton one of Bailey’s top muses — to excite him again. “They’re both exceptional,… important people, much more important than people think.” While Bailey is not one for nostalgia, he can pinpoint one photograph that defines an era — and himself as a photographer. “I’ve got one picture that I feel sums up everything: [British actor] Michael Caine with an unlit cigarette,” he said. “I feel it sums up the ‘60s for me. Not a miniskirt but a close-up of Michael Caine.”   Related Articles: David Bailey Turns Editor for Citizens of Humanity 100 Years of British Vogue Will Covid-19 Change Fashion Photography? Watch and listen to more #BoFLIVE conversations here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Imran Amed talks to the designer, also known as Denim Tears, about the US election and putting conditions on his collaboration with Converse.   This is just the beginning for designer Tremaine Emory. Following the US election, the designer, who is also known as Denim Tears, spoke to BoF’s Imran Amed about negotiating with big brands, leading with purpose and the work still ahead. “It’s been an incredible week and there’s a lot more work to do,” said Emory. “I hope this is the start.”   For Emory, principles come first when it comes to working with big brands, especially if they are using corporate activism in their marketing. The designer notably withheld the release of a collaboration with Converse earlier this year, posting a set of conditions for parent company Nike on Instagram that ranged from disclosing the number of Black employees in leadership roles to stopping all support for the Republican party. “I can’t put these sneakers out if all the company is doing is donating money,” said Emory. “I need to know specifically what they’re doing to combat police brutality in Black neighbourhoods… Who are we protecting with this money?” In negotiations with brands, Emory delineated the tango that comes with corporate partnerships: “Their number one thing is making money... how can I dance their bottom line with my bottom line?” Reflecting on the results of the election, Emory emphasised the importance of registering young voters and getting them excited about the upcoming senate elections, particularly in his home state of Georgia. “We’re going to work to get people to vote and get Democrats in those seats,” he said. Emory also hopes to introduce young consumers to new ideas and ways of thinking about American history and civil rights. “That’s probably my favourite part of my practice is being a bridge of knowledge between generations,” he said. “How can I condense... a James Baldwin book [or] a Black Panther book into a T-shirt?”   Watch and listen to more #BoFLIVE conversations here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The BoF team and industry experts Sharifa Murdock and Stephen Lamar discuss what the close vote means for the future of fashion.   LONDON, United Kingdom — Election night ended in the US without a clear answer as to who will lead the country for the next four years. And though former Vice President Joe Biden appeared to have established a small lead over President Donald Trump in several key states as of Thursday afternoon, many questions remain about what will happen next.  Sharifa Murdock, co-owner of Liberty Fashion & Lifestyle Fairs, and Stephen Lamar, president and CEO of the American Apparel and Footwear Association joined BoF’s Lauren Sherman, Brian Baskin and Imran Amed to discuss what’s at stake for tariffs, trade agreements and corporate activism whatever the outcome.  Trade policies have changed under the current administration. Trump renegotiated the North American Free Trade Agreement and levied tariffs on goods imported from China and some European countries. Biden may not have implemented these polices given the choice, but his administration will be cautious about retreating from Trump’s trade positions, Lamar said. “They don’t want to be seen as the new government immediately going soft on China,” he said.  Trump campaigned in 2016 on bringing manufacturing jobs back to the US, but in the fashion industry at least, American factories cannot compete directly with overseas rivals on price, said Murdock of Liberty Fashion & Lifestyle Fairs. “News flash, stuff that left isn’t coming back,” said Lamar, who added that a Trump or Biden administration should focus instead on creating new kinds of apparel production jobs in the US.  Sales of luxury goods are holding up relatively well in the US as the wealthy redirect money that normally would be used on trips and hotels toward handbags and apparel. Trump’s tax cut has also played a role, giving wealthy consumers more disposable income. Biden campaigned on raising corporate taxes and reversing some of Trump’s tax policies. However, his ability to implement his vision depends on Democratic control of the Senate, which appeared unlikely as of Wednesday afternoon.  Corporate activism has flourished under the Trump presidency, as brands and retailers that previously remained neutral on political issues came under increased pressure by consumers to take a stance. The panelists predicted that activism was likely to continue, no matter who wins the election. “One thing that Trump did do was bring out… views that haven’t been looked at previously,” said Murdock. “No matter who wins [diversity and inclusion] is going to be on people’s minds.” Related Articles:
The US Election: What’s at Stake for Fashion?
American Fashion Executives on What Happens Now

 Watch and listen to more #BoFLIVE conversations here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The British designer tells Tim Blanks about his latest creative endeavour, a documentary about creating his first collection in two years. LONDON, United Kingdom — Acclaimed designer Gareth Pugh showed his last collection in September 2018. Two years on, he has returned to the industry at a time of global tumult. Its effects are clearly reflected in “The Reconstruction,” a documentary made by Pugh, his husband Carson McColl and Showstudio director Nick Knight showcasing 13 new designs and the inspiration behind them. “This project really has been born out of some insane historical moments,” said Pugh. “2020’s been a shitty year and so much has gone on,” he continued, and he would be remiss “not to look it in the face and acknowledge its presence.” No stranger to the medium, Pugh has previously released films of his designs in lieu of a fashion show, and in 2019 made a documentary with McColl about the fight for LGBTQ+ rights across the UK. In the latest episode of The BoF Podcast, Pugh discussed what the current state of the industry means for young designers, and how he considers film to be a medium loaded with potential depth. The “new normal” can also mean opportunities. “The playing field is now level; you don’t have that established way of having to do things. like young designers being forced into this idea that ’we have to spend a load of money doing a show,’” said Pugh. “You never had to do that anyway, but now more than ever you really don’t.”For many designers, film has been the go-to medium in the absence of in-person fashion shows, but it presents its own challenges. “Once you have that physical exchange taken away, you have that hole, that vacuum that you need to fill,” said Pugh. That said, alternative art forms allow for a more profound exploration of themes. “In a [fashion] show context it’s very difficult to dig down deep… simply because you’ve got this tennis match-esque way of presenting things,” he added.“The Reconstruction” is a meditation on permanence, longevity and wider political significance as it pertains to creativity — from the “monumental” looks showcased in the film, to an entire section documenting the Black Lives Matter movement and activism of trans women of colour. “Wanting to build something really febrile and really temporal doesn’t sit with me,” said Pugh, admitting that he “never did very well with playing that commercial game” as a designer. “Fashion for me is part of the wider cultural conversation and does link to so many things we are part of… [It] doesn’t exist within a vacuum.” Related Articles: Gareth Pugh's Fashion Battlefield Gareth Pugh's Macabre Movie A Life in Extreme Style: Michèle Lamy Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout.For all sponsorship enquiries, it’s: advertising@businessoffashion.com.   Hosted on Acast. See acast.com/privacy for more information.

BoF Editor-at-Large Tim Blanks speaks with the Belgian designer about his new community-centred art hub and why the clothing store could do with a makeover.   LONDON, United Kingdom — It’s been just over two weeks since Dries Van Noten opened his latest store in downtown Los Angeles — a 8,500-square-foot, multi-storey building intended as a hub for art, fashion, music and community. In the latest episode of the BoF Podcast, the Belgian designer speaks with BoF Editor-at-Large Tim Blanks about the inspiration behind his new brick-and-mortar venture and his plans for future fashion weeks. It may seem counterintuitive to debut a new store during a pandemic, when shops are open one day and forced to close the next, but Van Noten’s latest venture is an attempt to reimagine what brick and mortar can be. “Stores become very static. I wanted to have more of a youth club, where people can just come in… and do things,” he said. He recently had four local artists come in and repaint the walls in an homage to street art. One of the rooms in Van Noten’s store serves as an archive of unsold garments from the 1990s, 2000s and 2010s. It was inspired by the idea to slow down the fashion industry. “We have a room for men and a room for women where you have a selection of pieces from old collections.” When looking to the future, Van Noten reflects on the possibility of combining fashion shows with alternative ways to present collections — like fashion films or lookbooks. “By the time we go back to fashion shows, perhaps the fashion shows will be changed,” Van Noten said. “It felt not right to see — in the times we are in — a fashion show.”   Related Articles: At Dries Van Noten, New Ways of Seeing Dries Van Noten Proposes Reset to Fashion’s Deliveries and Discounting Calendar What Happened to Rethinking the Fashion System?   Watch and listen to more #BoFLIVE conversations here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com.   Hosted on Acast. See acast.com/privacy for more information.

In the final episode of BoF’s new podcast series Retail Reborn, Doug Stephens explores how fashion retail must evolve so it can operate within planetary boundaries featuring guests including sustainable design authority William McDonough, founder and CEO of Jordan Alliance Group Inc, Ilka Jordan, and Sanjeev Bahl, founder of sustainable denim manufacturer Saitex.   Subscribe now to never miss an episode. Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The designer speaks with BoF Editor-at-Large Tim Blanks about how the current moment is shaping the future of creativity.   LONDON, United Kingdom — It’s been 50 years since Paul Smith opened his first shop in Nottingham. Now, he has 200 shops worldwide. In the latest episode of the BoF Podcast, the celebrated designer speaks with BoF Editor-at-Large Tim Blanks about the last five decades, his latest book and how the current moment is prompting a return to craft. Reflecting on the past 50 years, Smith emphasises the importance of making the most of any luck or opportunity by working at it. “For a lot of people opportunities come their way but they don’t embrace them,” he said. To celebrate the brand’s 50th anniversary, Smith has released a book. In it, he tells the story of the last 50 years through 50 objects. “Instead of it just being a coffee table book with pictures of clothes in it, [I wanted it to] be a little bit lateral,” said Smith. “I very quickly chose 50 things — and I say ‘very quickly’ because I wanted it to be spontaneous.” Each object signifies a particular time or a memory that has shaped Smith's life and brought him to where he is today. Despite the challenges 2020 has presented, the designer says he is excited about the industry’s return to craft. “What’s been inspiring for me is the construction,” said Smith. “Instead of the inspiration coming from a Matisse or a Basquiat, going back to how we make things has been really wonderful.” Related Articles: Restructuring and Redundancies at Paul Smith Streamlining Collections, Paul Smith Reveals Own Fashion Calendar Fix   Watch and listen to more #BoFLIVE conversations here.   To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Amed and Blanks reflect on this season’s collections, the shift to digital and the limitless potential power of creative collaboration.     LONDON, United Kingdom — This last fashion month has been unlike any other. After much of the year working under lockdowns, brands largely shifted to digital channels to showcase their newest collections. In the latest episode of the BoF podcast, BoF Founder and CEO Imran Amed and BoF Editor-at-Large Tim Blanks reflect on the season's most compelling moments and lasting impact. Virtual presentations haven’t always landed, but this season felt different, said Blanks. “There was so much thought and creativity and ingenuity applied to new ways of doing business and new ways [of showing work]... It was a very different ball game.” In London, Blanks was struck by female designers like Bianca Saunders, Ahluwalia and Supriya Lele who “did these super strong presentations that were provocative and affirmative and positive,” he said. Overall, London Fashion Week was defined by a joyful defiance during a time of crisis. In Milan and Paris, Blanks and Amed referenced Prada and Rick Owens as two of many shows that stood out to them. This season also made clear the power of strong partnerships. Through creative collaborations between designers and filmmakers, brands have managed to bring their collections to life to audiences the world over. “It changes the fundamental conception of fashion being about the designer, now we have a much more collaborative thing happening,” said Blanks. “That’s a shift, I think.” Related Articles: How Impactful Were the Digital Fashion Week Shows, Really? Who Will Win the Digital Fashion Week Battle? How to Make Digital Fashion Weeks Work   Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com. Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com.   Hosted on Acast. See acast.com/privacy for more information.

The American designer talks about his efforts to destigmatize mental health issues and the importance of improving emotional wellbeing in the fashion industry.  LONDON, United Kingdom — “[There] needs to be a cultural shift… a new narrative, a new vocabulary, a new way to talk about mental health that [isn’t] debilitating, but is in fact empowering,” designer and social activist Kenneth Cole told BoF Founder and Editor-in-Chief Imran Amed.  Cole recently brought together leading US mental health organisations and high-profile advocates and media platforms to launch the Mental Health Coalition, an organisation that seeks to destigmatize the topic. In the latest episode of The BoF Podcast, he discussed how the issue pervades the fashion industry and efforts to address it.    “The fashion industry is a perception industry, and how we are perceived often is how we see ourselves,” Cole said, warning of the dangers to mental health when designers become preoccupied with reviews, likes on a post or comments from editors. “We define ourselves so often by these external forces that we can’t control and to a degree if you allow them to take hold then you become a victim of that. I often say, ‘fashion is what I do, it's not who I am.’” The pressures on designers have become even more intense with the rise of social media. That’s more true than ever in an era where the pandemic has at times made digital the only available avenue of communication. Constantly being exposed to the feedback and opinions of others can feel debilitating Cole said.  “Unfortunately our industry embraces it and rewards it… and the more likes you have and the bigger audience you have, the more access you will often have.”  What’s next is changing the way people speak about mental health so it there’s less stigma attached to it. The best way to do that “be supportive and non-judgemental and listen,” Cole said. “We all have different degrees and we have ups and we have downs. And we have periods where we’re feeling more in control than other [times]... [but] having a conversation is a big first step.”    Related Articles: Inside Fashion’s Enduring Mental Health Epidemic Stressed and Depressed: A Mental Health Guide for Fashion Students Op-Ed | The Perils of Fashion's 'Fake-It-Til-You-Make-It' Culture   Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com. Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

"Will a newly minted generation of germaphobic, socially distanced consumers put the kybosh on touchy-feely retail?” In episode 4 of BoF’s Retail Reborn podcast series, Doug Stephens examines how the concept of reimagining the store as media can be applied even during a pandemic, with guests including Neighborhood Goods’ Matt Alexander, Story founder Rachel Shechtman and Ben Kaufman, CEO and co-founder of CAMP. Subscribe now to never miss an episode. Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The artistic director tells Tim Blanks about reigniting the surrealist maison, and why fashion doesn’t have to be ‘relevant’ right now. LONDON, United Kingdom — Daniel Roseberry grew up in Texas, far from his current professional home at Elsa Schiaparelli’s Place Vendôme headquarters, but he always knew he wanted to work in fashion. “It was always something that I was interested in that no one else around me knew anything about,” he told BoF Editor-at-Large Tim Blanks in the latest episode of The BoF Podcast. “It was this idea of fantasy.” Appointed as Schiaparelli’s artistic director last year, Roseberry lifts the lid on his journey as a designer and his approach to honouring, but not replicating, the vision of the maison’s founder.Before Schiaparelli, Roseberry, spent more than 10 years at ready-to-wear label Thom Browne “There’s nowhere else I could have worked in New York that could have prepared me for the kind of hours that go into a garment… It was my only job before Schiaparelli in fashion and so that was my first foray into this kind of approach.” Despite having over a decade worth of experience, nothing could have prepared him for the challenges of being that “person that has to step out at the end of the show and wave.” Roseberry often wondered when his time would come and the journey has been a learning process. “I thought I knew what it was like to maintain a vision throughout the entire creative process… when there’s so many moving parts… that is the challenge… and it’s something that I’m getting better at.”When it comes to adding his stamp and reinventing the maison, Roseberry tries to “honour... and embody [Elsa Schiaparelli’s] ethos.” The maison shuttered in 1954 and only reopened six years ago. Roseberry is the third artistic director to take its helm. “Trying to replicate what [Schiaparelli] did, which also seemed to be so effortless and such a product of the time and place in which she lived, would be a very arrogant disaster,” he said.Following the outbreak of Covid-19, the industry all but came to a halt and brands had to find ways to pivot to keep their heads above water. For Roseberry “fashion shows don’t have to be relevant right now. There’s so many other things that are more important and I wish that fashion people could allow themselves to sit with that discomfort.” When asked about the future of fashion, Roseberry, like many during this crisis, is unsure but believes that is ok. “Fashion is so obsessed with predicting itself and I think it’s because deep down we know how… not essential we are [right now]… and I think there is an insecurity there.” Related Articles: Schiaparelli Goes Psycho-Chic A Psychedelic Fairy Tale at Schiaparelli ‘Sleeping Beauty’ Brands: Myth or Magic Formula?  Sign up for BoF’s Daily Digest newsletter. Hosted on Acast. See acast.com/privacy for more information.

Doug Stephens speaks with innovators about the technologies and business models driving a new era of online retail — with guests Shopify COO Harley Finkelstein, Christina Fontana, head of Tmall’s fashion and luxury division in Europe, Chen Xiaodong, chief executive of Intime and Neha Singh, founder of Obsess. Subscribe now to never miss an episode. Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

BoF’s Editor-at-Large Tim Blanks speaks with the Fashion East Founder about the future of London’s emerging designers.   LONDON, United Kingdom — For twenty years, London's Fashion East has helped incubate and support emerging designers hoping to establish themselves as the industry’s next big thing. The imperative to nurture emerging talent is even more urgent now, as young designers enter an increasingly uncertain industry. In the latest episode of the BoF Podcast, BoF Editor-at-Large Tim Blanks speaks with Fashion East Founder Lulu Kennedy about what the future of fashion might look like for emerging creatives and independent designers. One major change in the last twenty years is the decline in funding available to stage grandiose fashion shows. “Sponsorship was very good [20 years ago],” Kennedy said. “It’s not as easy now; you have to work harder with the budgets you have.” While strict financial limitations can help foster creativity, it also adds pressure on young designers hoping to compete with more established players. When asked why London remains a central hub of exciting new design talent, Kennedy points to its stellar colleges and powerful and pervasive youth culture. But London-based designers also face specific challenges. “There is a lot of frustration with designers trying to get stuff made on time, in budget and that’s good quality,” Kennedy said. “Going forward with Fashion East, I would love to secure some manufacturing partnership.” Lookbooks and short films have become crucial for designers during the pandemic, when real-life shows are restricted. But standing out amid the social media noise is no easy feat. In fact, the best advice Kennedy has to offer is authenticity: “Be true to yourself. Don’t be second guessing and looking at what other people are doing over your shoulder. Just do you.”   Related Articles: In London, Emerging Designers Face a Critical Season Where Do Independent Fashion Brands Go From Here? How to Break Into Fashion When You Don’t Already Have Money   Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter.   Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In Episode 2 of BoF’s new podcast series, Doug Stephens investigates how supply chains must evolve to meet the novel challenges faced by both the fashion industry and the planet — with guests John Thorbeck, chairman of Chainge Capital, Nina Marenzi, founder of The Sustainable Angle and Dio Kurazawa, co-founder of The Bear Scouts. Subscribe now to never miss an episode. Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The designer speaks with BoF Editor-at-Large Tim Blanks about his ongoing Moncler collaboration and his dream of designing a wardrobe classic.   LONDON, United Kingdom — Known for his intricate seaming and detailed designs, Craig Green is currently hard at work on his Spring/Summer 2021 collection — which he is aiming to reveal in October. This time, however, it won’t be in a fashion show format. Rather, Green is exploring alternative ways of showcasing his collection that he feels are more appropriate to the times. “The way everything changed so suddenly shows you can’t really plan for anything,” Green told BoF Editor-at-Large Tim Blanks. In the latest episode of The BoF Podcast, Green and Blanks reflect on the designer’s ongoing collaboration with Moncler, his love of problem-solving, and his dream of designing a wardrobe classic. Protection and functionality are the two words that come to Green’s mind when he thinks of Moncler, so it was crucial to incorporate them into the collections he continues to design for the heritage skiwear label. “The first collection we did with Moncler, I thought it would be interesting to think about the most obvious imagery that we associate with [the brand] like mountains and the outdoors,” the designer said. The initial partnership gave birth to many years of collaboration that most recently saw Green reimagining Moncler’s staple winter jackets into wearable art for Collection 5, which launched last December. “Fashion can come from anywhere and can come from anyone,” said Green. “You have an idea of what fashion as a career will be, and then you discover designers who are so uncompromising in what they do and so individual in their voice.” For Green, it is problem-solving that continues to draw him to fashion; the endless possibilities of constructing new shapes and silhouettes using a range of textiles and patterns. Green’s ultimate goal is to design a wardrobe classic, like a Burberry trench coat. But for Green, the staple is more likely to be a workwear jacket. “For a brand or designer to create one of those items is really an achievement,” said Green. “I have great respect for designers that own wardrobe classics.” Related Articles: Packaging the Body at Craig Green Craig Green Talks Creative Evolution     Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter.   Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In Episode 1 of The Business of Fashion’s new podcast series, presented by Brookfield Properties, Doug Stephens and social psychologist Sheldon Solomon PhD. examine the impact of collective trauma on consumer behaviour, as Covid-19 sees consumers grapple with mortality.  Subscribe now to never miss an episode. Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com.   Hosted on Acast. See acast.com/privacy for more information.

In an exclusive new series from The Business of Fashion in partnership with Brookfield Properties, Doug Stephens and BoF investigate the seismic shifts transforming the retail ecosystem. From the post-pandemic consumer psyches to increased risk and growing calls for responsibility, BoF identifies the forces transforming the retail market and what they mean for the global industry. The Retail Reborn Podcast launches on Tuesday 15 September. Subscribe now to never miss an episode. Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com.   Hosted on Acast. See acast.com/privacy for more information.

BoF Editor-at-Large Tim Blanks, The Washington Post’s fashion critic Robin Givhan and GQ’s Rachel Tashjian explore the past, present and the future of the event that makes the industry go round — the fashion show. LONDON, United Kingdom — Do fashion shows still matter? In the latest episode of The BoF Podcast, BoF Editor-at-Large Tim Blanks, The Washington Post’s fashion critic Robin Givhan and GQ Magazine writer Rachel Tashjian join BoF Executive Editor Lauren Sherman in a virtual panel discussion on how the pandemic tested designers’ ability to captivate buyers, media and consumers through creativity and the use of digital tool. What happens next?For Blanks, in order to look forward, you must look back. Fashion shows have always “[meant] almost everything in fashion to an enormous degree… They challenge, they provoke, they’re disturbing, they’re overwhelming,” he said. However, over the years, people have looked at the shows of the past as “a world that’s gone in a way… it has that kind of poignant tug.”As industry commentators, Blanks, Givhan and Tashjian have taken note of how designers pivoted their strategies following the outbreak of the coronavirus pandemic and what set them apart. For Givhan, JW Anderson’s “show in a box” tapped into “the desire for something tactile, the desire for something that felt personal… that you could hold, that wasn’t a digital... distant thing.” Although livestreams have a way of broadening a brand’s reach, as a critic, Givhan finds being “forced to look in one particular direction” hinders the experience. “Sometimes I find the most interesting element to be something that’s over in a corner, but that’s not the main thing that’s walking down the runway towards me,” she said.In the future, Givhan hopes designers will use technology to “tell a story about their clothing, to weave a narrative in some way… to evoke emotion,” instead of carbon-copying a traditional runway in a digital way. “It [just] feels… like something that… doesn’t really quite fit,” she said. For Blanks, what has come out of this period of uncertainty — and the modes of communication adopted — shouldn’t be forgotten. “I hope that there will be this immediate contact, this sort of intimacy,” he said. “I find that more interesting than maybe the way that we used to deal with things. I don’t want a press release, I want to talk to people.”Related Articles: A Year Without Fashion Shows Will Covid-19 Change Fashion Shows Forever? Who Are Fashion Shows For? Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com.   Hosted on Acast. See acast.com/privacy for more information.

The industry veteran and renowned Critic-at-Large at New York Magazine and The Cut discusses how the pandemic has shifted the way journalists cover fashion, signalling an editorial transformation. LONDON, United Kingdom — For fashion critic Cathy Horyn, the pandemic has ushered in yet another transformation of fashion media. Just like the brands and designers who pivoted and adopted new digital tools to reach buyers and consumers amid show cancellations, publications maximised their online presence to guide the industry at large through a period of upheaval.In the latest episode of The BoF Podcast, Horyn sat down with BoF Editor-at-Large Tim Blanks to discuss reviewing the upcoming shows this month (a mixture of both physical and live events) and her outlook for a post-Covid-19 fashion industry.For Horyn, the media reflects and adapts to the needs of its time. “There’s been incredible [fashion] writers all the way back to the 1830s at least… and they all did something different. Journalists adapted to whatever was going on at that time,” she said. With the advent of the internet and social media, the industry saw the emergence of new voices and new talent. Amid this current period of uncertainty, Horyn remains optimistic that the industry will emerge stronger and transformed. “We’ve seen a lot of experimentation in the last… two months… I think going forward...it’s going to be an adjustment for everybody covering fashion, [but] I certainly think it should be covered.”Will the show go on? This has been one of the questions on the minds of designers across the globe, but with New York Fashion Week given the go ahead (sort of) industry insiders and consumers are in for a fashion week unlike anything ever seen before: a mixture of in-person shows, livestreams, films and virtual panel discussions. What does this mean for journalists, like Horyn, that usually review the collections gracing the runway? “We don’t even know if we’re going to be covering shows like we did till possibly next fall,” she said. “My long-term feelings for the industry are really strong… [fashion] will transform itself but we just don’t know what that’s going to [look like].”For Horyn and other critics, it would be remiss to ignore the allure of the physical runway show. A collection “doesn’t [always] translate so well on television or on a video screen,” Horyn said. But one thing that remains, whether via a screen or in real time, is the “sense of discovery and [realisation] that some of that stuff ... moves the historical needle of fashion and we get to see that,” she said. Related Articles: The Best-Case, Worst-Case for Fashion Media For Fashion Magazines, It's Crunch Time At Condé Nast and Hearst, It’s About More Than the Current Crisis Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The Italian-Haitian designer and the only Black member of Italy’s Camera della Moda speaks to BoF Editor-in-Chief about racism within the country’s fashion industry.LONDON, United Kingdom —  For designer Stella Jean, enough is enough. “It’s time to turn the page” and demand fashion reform, she said. Last month, alongside Milan-based designer Edward Buchanan, Jean issued letters to Carlo Capasa, president of the Camera della Moda, and to the organisation’s 14 executive members in what Jean described as “an historical appeal to bring to the forefront for the first time in our history, the paradoxical taboo topic of racism in Italy… and also to support Black designers who are still invisible in the business of Italian fashion.” In the latest episode of The BoF Podcast, Jean sat down with BoF Founder and Editor-in-Chief Imran Amed to share her personal history growing up the daughter of a Haitian mother and Italian father, discuss the systemic racism within Italy’s fashion sector and focus on fostering change.The self-taught designer, whose clothes have been worn by the likes of Beyoncé, Rihanna and Zendaya, called out fashion giants for making “performative gestures of public support” regarding racism in America, while simultaneously “overlooking what is happening to the Black minority in their own country among its workforce.” During the virtual call with Amed, Jean shared that she had received a letter from Capasa regarding the creation of a new unit in the Italian fashion council to tackle racism within the sector. Jean hopes that this will transform her question “do Black lives matter in Italian fashion?’” into the statement “Black lives matter in Italian fashion.”In order to effect change, fashion leaders and executives must have an open discussion about what more can be done to boost diversity within their organisations, Jean said. While brands rushed to post black squares on social media, Jean urged leaders to first address the lack of diversity within their corporate structures. “[Brands] have long preached multiculturalism but have rarely applied such concepts beyond the media window… [and] in the spaces away from the spotlight where no one is watching,” she said. “[This is a] wound that we have ignored for far too long… If you don’t understand that awareness is the first step in solving the problem, this wound will never heal.”For Jean, who founded the sustainable development initiative Laboratorio delle Nazioni, growing up in the 1980s “and struggling [with] being so diverse from [her] fellow citizens has motivated [her] to find a way to show people not to be afraid of different cultures and colours, but instead to see them… as a chance to grow better and together.” Jean recognises fashion as a tool that can offer fair and equitable opportunities for people in low-income countries. When Jean creates a collection she meets and works with various artisans in countries like Peru, Haiti, Burkina Faso, Mali or Pakistan for example, researching and learning about the local indigenous skills to then create a textile or garment, combining the country’s traditional craftsmanship with Italian design. “The beauty of fashion is it has no borders,” Jean said.Related Articles: Op-Ed | Fashion Is Part of the Race Problem Op-Ed | Inclusivity Demands More Than a Show Fashion's New Stella Hosted on Acast. See acast.com/privacy for more information.

Elie Saab Jr, chief executive of Elie Saab Group, and Lebanese designers Roni Helou and Amine Jreissati speak about the urgent need for global solidarity in the face of crisis. BEIRUT, Lebanon — At around 6pm on August 4, 2,750 tonnes of ammonium nitrate stored in the Beirut port caused a devastating explosion that killed 137 people and injured thousands. The blast also destroyed buildings across the city, including the homes and studios of many members of Lebanon’s fashion community. In the latest episode of the BoF Podcast, BoF Founder and Editor-in-Chief Imran Amed speaks with Elie Saab Jr., chief executive of Elie Saab Group, as well as Lebanese designers Roni Helou and Amine Jreissati about what it will take to rebuild Lebanon's local fashion industry.The challenges facing many people in Lebanon are overwhelming. But the Lebanese fashion community must attempt to see this as an opportunity to grow, said Saab. “Either you look at this incident as something that will destroy you, or you look at this incident as something that will make you stronger,” he said. “We encourage all Lebanese not to dwell on the destruction that took place, but to use this destruction to go back to work in a stronger, more focused way.”The Beirut explosion occurred in the midst of a pre-existing economic, social and political crisis. It is often such desperate times that can generate an influx of progress and growth in the long term. “I have been emphasising the importance of reshaping the [fashion] industry. We have seen both locally and globally that something isn’t working,” said Helou. “If we don’t put a plan in place to recover, we are taking the hope away from people of putting food on the table.” It is crucial that this plan includes careful financial planning, added Jreissati, in order to navigate the economic uncertainty that has been exacerbated by the coronavirus pandemic and implement the foundations of a more resilient industry.When looking to the future, the importance of patience and hope is underscored by all three designers, but global solidarity and aid is just as crucial. “Brands located in Lebanon today have been very limited with everything that’s been happening. Some of them are not able to rebuild. We need international support,” said Jreissati.To aid Beirut's creative community, the Starch Foundation has partnered with The Slow Factory Foundation to launch crowdfunding campaign "United for Lebanese Creatives," which offers financial support to independent designers impacted by the explosion.To support local grassroots and independent NGOs in Lebanon, The Slow Factory Foundation has also created a fundraiser dedicated to improving "sustainability literacy" in fashion. Related Articles: Lebanon's Fashion Industry Hit by Triple Crisis Elie Saab Sets a New Course in New York  Hosted on Acast. See acast.com/privacy for more information.

The Fear of God designer talks American luxury and why feeling like an outsider is a strength. LONDON, United Kingdom — For Fear of God Founder Jerry Lorenzo, being an outsider is an advantage. “I just feel like I never fit,” he told BoF Editor-at-Large Tim Blanks in the latest episode of The BoF Podcast. “I’ve gotten to a place where I’m ok with that and I don’t need to fit within fashion to be validated… and so I know that I’m outside but I feel like my strength is that I’m outside. My strength is that I see [things] differently.”Lorenzo has often taken a less-beaten path, but it’s his approach to collection drops — his latest is the first he has released in two years — as well an ability to use fashion as a platform to foster social change, that have helped to position him as an industry leader. An outsider no longer?"The Pelican Brief," "The Breakfast Club," "License to Drive" and "Rocky IV" are just some of ‘80s movies Lorenzo often references. “There’s something about that time period that to me was the highest level of effortlessness and sophistication,” he said. That spirit is alive in his seventh collection, which offers an “unfiltered vision of tailoring and suiting” for the first time, as well as accessories and handknits. “It’s a move from an emerging brand to a foundational brand,” Lorenzo said. “What we’re doing with [this] collection is purely our point of view.”Using his platform, Lorenzo looks to inspire young people to pursue their passions relentlessly in whatever field. “I know what I’m fighting for and I’m clear on that,” he said. “Some kids just don’t have the example of someone that looks like them… and without that visual example, sometimes it feels impossible… fashion just happens to be the platform that I’m using to do that.”Fear of God might be rooted in streetwear, but Lorenzo explained why it’s more than that. “Some people just chalk it up to be a hoodie and that’s okay but we understand that we’re providing the solution for the lifestyle that today is the modern man,” he said. “We’re putting out clothes when we feel like… we have something to say… [and] that we have solutions for what’s missing in the marketplace. We don’t feel like we’re operating from a place of a capitalistic spirit, we feel we’re proposing what’s needed.” Related Articles: The Decade When Streetwear Rewrote the Rules of Luxury What the Merger of Suiting and Streetwear Says About the Men’s Market Streetwear Took Over the Fashion Industry. Now What? Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The model and activist speaks with BoF Founder and Editor-in-Chief Imran Amed about the lessons she learnt while writing her new book Who Cares Wins. LONDON, United Kingdom — Lily Cole was once on the side of every bus, fronting the industry’s biggest fashion campaigns. But the more time Cole spent in the industry, the more she became aware of widespread problems and structural inequalities that prop up its glamorous facade. She cut back on modelling jobs and instead prioritised working on improving the fashion system from within.In the latest episode of the BoF Podcast, Lily Cole speaks with BoF Founder and Editor-in-Chief Imran Amed about the lessons she learned while writing her new book Who Cares Wins: Reasons For Optimism in Our Changing World, published by Penguin, a call to action that emphasises the importance of optimism and collaboration in times of uncertainty.The fashion industry must grapple with the role consumer culture plays in upholding social, environmental and ethical problems. “There is a practical need for new stuff that we don’t want to shut down entirely, so while we’re making it in a better way,” said Cole. “Equally, can we think of new business models that don’t require people to buy new things to make them economically sustainable?” These may include more transparent supply chains or adopting a circular business model.The very way progress is measured must also be reconsidered. Economic growth must be replaced by alternative metrics like happiness, health and environmental wellbeing. “It’s about quality rather than quantity… about loving material things more,” Cole told Amed. “The more you love something the more you respect it.” For consumers, buying fewer products of higher value is less wasteful and also places more emphasis on the artisanal craftsmanship of each garment.Cole is optimistic about the future generation of consumers who put more emphasis on sustainability. When the scandal broke that Boohoo paid workers less than minimum wage for example, the ultra fast fashion e-tailer’s share price plummeted. This, Cole said, indicates that the market expects consumers to stop shopping from unethical brands. “It’s a tangible reflection that people do care when they are given information,” she said.Related Articles: Fashion Says It Can Police Its Supply Chain. So Why Are There So Many Scandals? Independent Brands Must Change Their Business Strategies Will Fashion Ever Be Good for the World? Its Future May Depend on It. Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Harlem Fashion Row’s Brandice Daniel, Black in Fashion Council Co-Founder Sandrine Charles and creative consultant Henrietta Gallina on actionable anti-racism steps brands must take to move the industry forward.   NEW YORK, United States — The anti-racism protests that erupted across the US over the last two months have brought conversations around racism in the fashion industry to the fore. In the latest #BoFLIVE event, BoF’s Lauren Sherman spoke with Harlem Fashion Row Chief Executive Brandice Daniel, Sandrine Charles Consultancy Founder Sandrine Charles as well as brand and creative consultant Henrietta Gallina about combatting systemic racism in the fashion industry. In order to implement meaningful change, brands must introduce clear, public goals for which they are accountable. Vague, performative messages will no longer suffice as employees and consumers put pressure on brands to deliver actionable progress. “When we talk about the problem, I always come back to equity and that’s what I’m striving for,” said Gallina. “We are no longer asking for the industry to support us, we are asking for the power structures to be rebuilt.” Companies must be holistic in their approach when tackling racism in the workplace. “It absolutely starts at the leadership level and C-suite level,” Daniel said. “Black people have set the foundation for the fashion industry but we’ve never held leadership roles.” Hiring a D&I chief, while a step in the right direction, doesn’t hold much weight if anti-racism measures aren’t implemented throughout the business, both from the bottom up and the top down. “What’s really important is that everyone else acknowledges where they have a privilege in this industry,” said Charles, who is also the co-founder of the Black in Fashion Council. “Moving forward, they also have to do the work.” Charles, Daniel and Gallina all underscored the importance of introspection and then action, particularly from white and non-Black people. Committed allies are a crucial step to moving the fashion industry forward. “It’s essential that we do the work with everyone because there are various spaces that we don’t have access to,” Charles said.   Related Articles: Op-Ed | Fashion Is Part of the Race Problem Fashion Media Called Out Over Workplace Racism How PR Firms Are Navigating Fashion’s Race Problem   Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter.   Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The celebrated American designer has spent four decades creating garments at the industry’s pace — now he’s streamlined his collections to just two per year. LONDON, United Kingdom — To show or not to show: that is the question on the minds of designers as the calendar inches closer to Fashion Month. Some designers have set their sights on a September show, others are using this pandemic-induced upheaval to take a pause and consider whether or not they should be showing during the traditional Fashion Weeks at all.American all-star designer Michael Kors joined several other big names, including Saint Laurent and Gucci, in questioning the efficacy of the schedule’s incessant pace when he announced he won’t be presenting a Spring/Summer 2021 collection at New York Fashion Week.“We can’t just always do things the way we’ve done them in the past… Everyone I think realises that the whole system is mixed up, [it] doesn’t make sense,” Kors told BoF Editor-at-Large Tim Blanks on the latest episode of The BoF Podcast. “You can’t look over your shoulder, you have to think about what’s next… right now we have slowed up and I think slowing up is important.”Kors, whose shows have historically kicked off the last day of New York Fashion Week, discusses his decision to move off the calendar and reduce his production schedule to two collections per year.Recently, the designer announced that he will be presenting his Spring/Summer 2021 collection globally on October 15 on the brand’s social and digital platforms. This will allow consumers to shop the Autumn/Winter collection, which lands in stores in September, before a new season hits the shelves. “October... really became the perfect moment to show a new collection, without cutting off the previous collection that had just arrived in the shops,” he said.For Kors, one reason that influenced the decision to streamline the number collections was the fact that multiple seasons felt convoluted. “Whatever was wrong with calling it Spring/Summer, these are two actual seasons. Fall/Winter, what is Pre-Fall? There is no such thing as Pre-Fall.” he said. “Why are we confusing the consumer and the press with a new season when they haven’t even absorbed the one that has just arrived in the shops? It just didn’t make sense to me.”Part of what has fuelled the high-frequency garment output in the industry is “this insatiable appetite for what’s new,” Kors added. If it makes sense, great, but “new for newness' sake, or because it will look cool on Instagram? Forget it.” Social media has played a critical role in shaping the view that if an item of clothing has been worn once, it can’t be worn again. “The word ‘content’ has diseased the fashion industry. I want to see an image that lasts for more than a second. I want words that actually resonate.”Related Articles: Michael Kors Is the Latest Brand to Depart from the Fashion Calendar A Proposal for Rewiring the Fashion System Gucci Just Left the Fashion Calendar Behind. Who Will Follow? Hosted on Acast. See acast.com/privacy for more information.

Ben Cobb and Pierre A. M’Pelé discuss the creative process behind LOVE’s latest two-volume issue and how they responded to the unprecedented events of the last six months. LONDON, United Kingdom — What is the role of a fashion magazine at this moment in time? For Ben Cobb, editor-in-chief, men’s, of LOVE Magazine, and Pierre A. M’Pelé, the title’s senior editor, community and collaboration is key. Launching August 4, the latest iteration of the biannual magazine is two volumes of hardback books, titled “LOVE ‘Diaries 3 March - 4 July’ Volumes 1 and 2” featuring a total of four covers. “I hesitate to even call it a magazine,” said BoF Editor-at-Large Tim Blanks in conversation with Cobb and M’Pelé. “[It’s] a remarkable time capsule of this remarkable time.”Despite its triumphant final form, the process behind creating the magazine has not been without its challenges. “There were three senior members very ill with Covid,” said Cobb, describing how the team stepped in to carry out work depending on how healthy they were feeling each day, ahead of M’Pelé joining the team in late June. “We were exhausted and suffering from fatigue, [but] Pierre came in with so much energy.” As a highly collaborative process, it also dissolved the traditional hierarchy of the masthead — “a new way of putting together a magazine,” said Blanks, reminiscent of “the idealistic height of the ’60s.”Producing a fashion magazine — particularly one as extensive as LOVE’s two-tome edition — typically takes a long period of planning and forethought, but the seismic and fast-developing events of the last six months required quickfire changes. The Black Lives Matter protests of May and June “changed the course of action,” said M’Pelé, who himself attended protests in Paris. “The team was very reactive because it was a matter of ‘let’s speak now, let’s take a stance now and let’s be clear of our intentions now...’ If we hadn’t added these Black Lives Matter and systemic racism conversations into the magazine, it would have been too late.” In the wake of the murder of George Floyd, M’Pelé’s “manifesto,” a portable pamphlet-like insert in the book, “became a lot more about new voices, bringing people of colour into the picture,” he said. “I want someone to be able to take it out and give it to their racist aunt.”This period has also called into question the formats and fundamental role that fashion magazines assume. “Editorial perspective…[typically] crystallises a moment and it’s about dictating what that moment means,” said Cobb. “I think what’s been really incredible and transformative about this is that … that dynamic has been completely reversed and the moment tells you what it needs to be.” As for what the next issue of LOVE will look like, “Who knows?” said Cobb. “Maybe a magazine can just be a film.” Related Articles: Katie Grand Names Ben Cobb Co-Editor-in-Chief of LOVE For Fashion Magazines, It's Crunch Time How to Make a Magazine Under Lockdown Hosted on Acast. See acast.com/privacy for more information.

The celebrated art director Fabien Baron talks to BoF Editor-at-Large Tim Blanks about the future of image-making. LONDON, United Kingdom — For famed art director Fabien Baron, the chaos and uncertainty brought on by the pandemic presents an opportunity for the fashion industry to go “back to basics.”“When there’s doubt like this there’s not really an answer… so there’s opportunities to take more risks and be more creative,” Baron told BoF Editor-at-Large Tim Blanks in the latest episode of The BoF Podcast. “It’s going to bring a lot of changes… but there’s something very optimistic about change. To be forced to change allows one to really [reflect] on the issues we are all facing.”This period of uncertainty has unlocked conversations that were rippling below the surface, said Baron. Both the pandemic and the recent political unrest has highlighted an opportunity for the fashion industry at large to reshape “old formats” that feel at odds with the world’s new normal. For Baron, that means “a new way of looking things… which may lead you to a new path… it’s going to be an evolution [for the industry].”According to Baron, creativity is the key to unlocking change and as the world adjusts to a new set of challenges, industries must do the same. From this health crisis a new way of approaching magazines, photography, styling and the buying and selling of merchandise will emerge where storytelling must supersede superficiality, said Baron. Brands and publications must hone an authentic voice which reflects the time and inspires “people with new ideas and new ways of looking at things. You need freshness and you need a lot of positiveness.”Simplicity could be the antidote to the incessant pace at which the industry has been operating. The months of travelling it took to view runway shows or presentations, whether it was buyers or editors, hopping from “this city to that city just to see a show… After a while it [didn’t] make sense.” However, the outbreak of the coronavirus brought the fashion calendar to a standstill and designers turned towards digital tools in order to showcase their collections. This new way of using technology means “the way we communicate is going to change because the tools are changing and they’re opening new doors,” he said.They allow us to do different things and view things [from] different angles.”Related Articles: A Year Without Fashion Shows Who Will Win the Digital Fashion Week Battle? Fashion’s New Outlook on 2020 Fabien Baron Is Not Nostalgic Hosted on Acast. See acast.com/privacy for more information.

This week on Inside Fashion, the BoF tag team discuss the state of an industry in flux, digital pivots and the future of fashion shows. LONDON, United Kingdom — The outbreak of Covid-19 signalled major disruptions across the global fashion supply chain, from the garment workers left destitute in India and Bangladesh after retailers in the West cancelled orders to businesses temporarily shuttering brick-and-mortar sites in order to curb the spread of the virus. “This pandemic is shaping up to be one of those collective experiences of complete change… It seems like [there has been] such a momentous shift in perception and [in] the way all of us are thinking about life,” said BoF Editor-in-Chief Imran Amed.For both Amed and BoF Editor-at-Large Tim Blanks, this period of uncertainty offered an opportunity for the industry to reassess the way it operates. “This industry is so important, it’s so big... and there’s so much of an opportunity to do things better,” Amed said.“We have a moral responsibility to do better as an industry.”Blanks first realised the enormity of the health crisis after returning from Paris Fashion Week. “March 3 [the last day of Paris Fashion Week] was the day that you could feel the storm clouds had well and truly gathered over fashion… there was this sense of some enormous, ominous force,” he said. Even as lockdown measures have eased and designers have set their sights on an iteration of September fashion shows, the feeling of uncertainty still looms. “September isn’t in our hands, we don’t know what is going to happen in September or in January… I think the situation is incredibly volatile,” Blanks added.Like many industries, the fashion sector has adopted digital tools in order to keep working in the age of social distancing, from virtual showrooms and live streaming to online-only fashion shows. For Blanks, the allure of sitting in the pews of an elaborate runway show, just inches away from visual masterpieces, can never be duplicated on screen. However, he also acknowledged that the brands and designers' response to the disruption of the fashion calendar using digital presentations “was really interesting, [especially seeing]... how so many different creative sensibilities approached the same challenge.”The pandemic and political unrest has accelerated the conversation around responsibility in the fashion industry. Now more than ever, brands are being called upon to address the lack of diversity and inclusion within their corporate structures. “This momentum for change cannot be diverted, it cannot be still. It must roll on and I think fashion has to be a part of… the solution not the problem,” Blanks said. “The most critical challenge facing the industry is inclusivity… it has to be more inclusive and embracing… Opportunity needs to be equal for everybody.” Related Articles: A Year Without Fashion Shows Fashion’s New Outlook on 2020 Op-Ed | Fashion Is Part of the Race Problem Designers Lobby to ‘Fix’ the Fashion System. Will It Work? Hosted on Acast. See acast.com/privacy for more information.

Celebrated milliner Stephen Jones talks to BoF Editor-at-Large Tim Blanks about how the pandemic has signalled an opportunity to reshape the fashion industry.   LONDON, United Kingdom — For Stephen Jones, a prolific hatter and one of the most lauded milliners in modern memory, “hats and dressing up are a sign of optimism in spite of everything.” In his storied career, which spans four decades, he has created visual masterpieces both under his namesake brand and as the artistic director of hats at Christian Dior. “The purpose of fashion… is maybe to give people a dream,” Jones told BoF Editor-at-Large Tim Blanks in the latest episode of The BoF Podcast. “To give people the idea of more fun times, a better life… something which is solely for their pleasure,” For Jones, who has created hats for high-profile clients from Princess Diana to Rihanna, forced isolation has provided an opportunity for reflection and “just being able to focus on one thing,” he told Blanks. “I’ve only ever done that in my first collection [and] that was 40 years ago. So in a funny way, I’ve been able to have the focus and the time to do something that I haven’t been able to in 40 years.” “Fashion is that fabulous escapism that people yearn for,” Jones said, and when it comes crafting intricate designs, he avoids the “constant quest for perfection because perfection often kills spontaneity.” As with many industry professionals across the globe, the pandemic and political unrest has signalled an opportunity for Jones to transform old practices and reshape the industry. “The one thing about fashion is it evolves,” he said. “If it doesn’t evolve it doesn’t make sense.”   Related Articles: Stephen Jones and the Grammar of Hats The BoF Podcast: Stephen Jones on the Craft of Millinery   Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter.   Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout.   For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In an exclusive conversation with BoF’s Imran Amed, Geoffroy van Raemdonck expresses optimism for the retailer’s bankruptcy process and explains why brick-and-mortar remains integral to its core business. LONDON, United Kingdom — When facing both a nation-wide retail shutdown and a Chapter 11 bankruptcy protection filing, Neiman Marcus Group Chief Executive Geoffroy van Raemdonck found solace in one fact: his most loyal customers, even at stores that have yet to re-open to the public, are shopping more than they did last year. “Neiman Marcus is a relationships business,” Van Raemdonck told BoF Editor-in-Chief Imran Amed in an exclusive interview this week. Despite the global health crisis — and a dire debt problem that loomed even pre-pandemic — Van Raemdonck sees an opportunity for growth. As consumers continue to migrate online, Neiman Marcus’ 43 stores remain integral to forging lasting connections between shoppers and sales associates. Prior to the coronavirus, every Neiman Marcus store that was open for more than a year was profitable. That’s why the retailer is planning on closing fewer than 10 stores, Van Raemdonck said. Neiman Marcus’ primary problem is debt. In 2019, the company generated $415 million in adjusted EBITDA, which represented 9 percent of its sales. The issue is that $365 million of that profit had to go toward paying down its debt. In the bankruptcy process, Neiman Marcus has been able to convince more than 75 percent of its debtholders to exchange what they are owed for equity in the company. The retailer's objective now is to maximise its existing relationships with customers and meeting them where they are. To do so, it recently unveiled a new clienteling app called Neiman Marcus Connect. The app allows sales associates to connect with their individual customers wherever and however they like to shop.   Related Articles: Can Neiman Marcus Survive Bankruptcy? Can the American Department Store Be Saved? Why Neiman Marcus Is Getting Rid of Its Off-Price Stores   Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The supermodel, actress and environmental activist talks to BoF Editor-at-Large Tim Blanks about why the fashion industry cannot return to ‘business as normal.’   LONDON, United Kingdom — “The uncertainty has forced us to get really present.... We have an amazing opportunity to restart and to begin again,” Amber Valletta told BoF Editor-at-Large Tim Blanks in the latest episode of The BoF Podcast. “It is an incredible opportunity to stop and really figure out where we want to go from here. We can redesign a future.”   The American supermodel and actress, who has graced the cover of American Vogue 13 times and starred in various television and film series, including Revenge, Legends and Hitch, shared her thoughts on why the pandemic and political unrest has signalled the need for an equitable supply chain and an overhaul of the fashion calendar to reflect the industry’s “new normal.”    Following the outbreak of the coronavirus, many garment workers in countries like India and Bangladesh were left destitute as textile factories shuttered and retailers in the west cancelled orders. “Before the designers make this amazing piece, [garment workers] are the people who put in the blood, sweat and tears,” Valletta said. . “In the 21st century, we should have a supply chain that’s fair and equitable.”  Affecting change may not be simple but it is definitely required, Valletta said. In order to thrive in a post-pandemic climate, the fashion industry at large needs “to be resilient… which means we have to really stop doing business as normal because normal is archaic now.” For Valletta, fashion is about change and innovation: “I don’t want to work in an industry that is the same as before,” she said.  “Why aren’t we slowing down the calendar?,” Valletta asked, addressing the industry’s incessant output of clothes that has accelerated over the years. “I was blessed to live in the most spectacular time in fashion… the crews were smaller, everything… There was an intimacy and excitement that we don’t have today,” she said, reflecting on her modelling career. . “There was no [social media]... and there was anticipation of the next season… Everything coming at you was a discovery.”   Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com.   Hosted on Acast. See acast.com/privacy for more information.

LONDON, United Kingdom —For Farfetch Founder and Chief Executive José Neves, the last six months have not only been about protecting his own business from the fallout of Covid-19, but also supporting the hundreds of boutiques around the world — from China, Japan and Korea to the Middle East and Europe — that sell their goods online through the luxury marketplace.“We've been able to support the boutiques and the brands on the platform at crucial time where online is, for many, the main channel and for some... the only channel,” Neves told BoF Editor-in-Chief Imran Amed in the latest episode of The BoF Podcast.But as Neves explained, more challenges lie ahead for Farfetch and the global fashion industry at large.Neves described the platform’s performance as “very solid,” and expects to see an acceleration in its second quarter, with year over year growth of 25-30%. Part of this success can be attributed to the business shifting its focus to markets where consumer sentiment has started to recover, according to Neves.But Farfetch is still losing money, and investors and market analysts have questioned the company's recent acquisition of New Guards Group (NGG). The acquisition may have bolstered profitability, but it took the business in an unexpected direction: actually owning the brands it sells on its platform. But Neves said he remains “confident” that Farfetch will achieve profitability by 2021 — a goal it outlined last year, and that the NGG business is a brand platform in its own right.The luxury industry has been bracing for what has been called “the mother of all sales,” as retailers are forced to drastically discount their surplus of spring merchandise. Some observers have pointed to Farfetch as a regular culprit with respect to the industry's discounting addiction even before the Covid-19 pandemic. Neves says the discounting decisions are made by the brands and the retailers themselves, and that Farfetch is simply the platform they use to go to the market, but acknowledges that deep discounting is a systemic industry problem.Neves believes the fashion industry will finally reckon with its wasteful and unsustainable business practices — and partially because it can also reduce costs. “I do think the industry had an oversupply problem, which is an environmental problem as well," he said. “Platforms have a responsibility to… incentivise customers to shop consciously. By doing that you create an incentive for brands to be more conscious or to be totally ethical and sustainable if they can.” Related Articles: A Cloudy Picture at Farfetch Farfetch Signals Growing Ambitions in Resale Why Farfetch's Free-Spending Ways Have Some Investors Concerned  Hosted on Acast. See acast.com/privacy for more information.

The tennis legend and cult running shoe label On are launching a sneaker together. In the latest edition of the BoF Podcast, Federer shares what's next. ZURICH, Switzerland — It’s been 17 years since Roger Federer won his first Wimbledon championship. Now, the 20-time Grand Slam winner is commemorating the date with the launch of his first sneaker for Swiss running label On. Named “The Roger,” Federer’s debut is inspired by a tennis shoe, but it’s designed to be much lighter and intended for everyday wear, rather than professional sports. As with On’s more performance-driven trainers, the shoe is outfitted with the “CloudTec” technology (a special sole designed to enhance the running experience) for which On is best known. The company’s first “Cloud” performance sneaker, launched in 2010, quickly gained traction among the running community. Federer’s tie-up with On is much more than the typical ambassador-brand relationship. For starters, he invested an undisclosed amount in the company last year, consulting for the brand before signing on to co-develop product. As the tennis star put it to BoF's Imran Amed in an exclusive interview for the BoF Podcast, he wanted to see if it would be possible “to create a deal and partnership that is more than the pay-to-play deal.”   Related Articles: Roger Federer Buys Stake in Swiss Running Shoemaker How Are Sports Brands Marketing Without Sports? Uniqlo’s $300 Million Bet on Federer   Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The designer speaks with BoF's Imran Amed about the importance of creative autonomy in a time of 'product for more product’s sake.'   LONDON, United Kingdom — Designer Giles Deacon’s list of clients is impressive, including Billie Porter, Sarah Jessica Parker and the New York City ballet, while his runway shows were once counted as one of the most exciting events at London Fashion Week. But a few years ago, he decided to leave all that behind, focusing on growing his private client business instead. In the latest episode of The BoF Podcast, Deacon spoke with BoF Founder and Editor-in-Chief Imran Amed about what it's been like to buck the system in a meaningful way. After a few years working in the fashion industry, Deacon became disillusioned by the pace of production. “[It] was about designing more and more product for more product’s sake,” he said. So he decided to return to his art school days, focusing on craftsmanship and elaborate designs. For Deacon, creative autonomy is crucial. If couture designers are to deliver spectacular garments, they need time and artistic independence. “The beauty of the bespoke is to be able to work with the client to give them that sense of service and exclusivity,” said Deacon, adding that his network of VIP customers has grown organically through word of mouth. Lockdown hasn’t stopped Deacon from working over the past few months. "I have been doing sketching, consultations and FedExing patterns,” he said. “It’s gotten smaller, but things still move along.” Looking to the future, Deacon said social distancing measures have prompted him to rethink his own practices. “I have become more conscious of my travelling… [Once lockdown restrictions are lifted, I may travel] less but possibly for longer.”   Related Articles: Giles Deacon on the Inspiration and Couture Craft Behind Pippa Middleton's Wedding Dress Why Fashion 'Seasons' Are Obsolete A Proposal for Rewiring the Fashion System   Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com.   Hosted on Acast. See acast.com/privacy for more information.

LONDON, United Kingdom — Aniyia Williams is ready for difficult conversations. The opera singer-turned-fashion tech entrepreneur has navigated systemic racism within corporate culture for years. And as companies slowly begin the process of dismantling policies and norms that harm Black people within them, Williams has a few ideas on where they go from here. “The biggest thing that gets in the way is self-interest,” Williams told BoF Editor-in-Chief Imran Amed in the latest edition of the BoF Podcast. “Discomfort is the key ingredient to getting to the other side.” Self-examination is critical. “It starts with the blind spots,” Williams said. “You are going to find things you don’t like about yourself.” Companies should look to their own practises and corporate culture to understand who they benefit and what needs to change. You’re not going to hire your way to diversity, inclusion and equity. “What’s more important,” said Williams, is the environment that exists to support those people once they’re hired. Diversity and inclusion initiatives can only go so far, and it starts with senior leadership recognising the need to change both policies and company culture. “If the leadership isn’t buying into those ideals... I don't know how you can expect anyone else to,” Williams added. Act to make it true. Aside from social media posts and one-time donations, fashion companies need to push for a larger, longer-term change. Diversity and inclusion at its core is about creating shared realities that understand what each employee is facing. “What is our relationship to each other going to be and is it going to be as fair and equitable as it can be?” asked Williams.   Related Articles: When Your Corporate Diversity Strategy Isn’t Enough How to Navigate the Workplace as a Minority Voice How to Create an Inclusive Workplace   Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com.   Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The American designer talks to BoF Editor-at-Large Tim Blanks about the future of the industry, sustainability and runway shows.To subscribe to the BoF  LONDON, United Kingdom —  “This is science’s moment...so my responsibility was to study as much as I could so when my turn to contribute came I would be ready,” Rick Owens told BoF Editor-at-Large Tim Blanks in the latest episode of the BoF Podcast. “I’m concentrating on absorbing as much information, aesthetic information, that will serve me and nourish me in the future.” The American designer, who has earned a cult following for his “’grungy glamorous” aesthetic, has been spending the pandemic studying the work of English architect Edward William Godwin, as well as listening to operas including “Elektra” and “Salome” by German composer Richard Strauss. Owens shared his thoughts on why the pandemic and political unrest has accelerated the conversation around responsibility in the fashion industry. “This period of resetting and enforced reflection has just recharged me,” Owens said. The designer revisited his past work and discussed how fashion is a powerful mode of communication. “When I think back on everything I’ve been doing I feel like I was able to do beautiful things but I was also able to talk about values that I believe in.” The outbreak of Covid-19 and the killing of George Floyd, which has led to protests across the globe, has brought conversations about fashion’s contributions to systemic racism to the surface. Owens pointed out that the broader discussion around sustainability is forcing brands to reassess their businesses and consumers now more than ever are holding companies to account. Even as lockdown measures begin to ease and designers pivot to live stream their shows, Owens underscored that runways are not obsolete. “Adorning oneself and communicating through the way you look, it’s an ancient ritual and it’s an important part of communication… [Fashion shows will] always be there in one way or another.”   Related Articles:  Constructing Rick Owens' Creative Bubble A Year Without Fashion Shows The Depraved Kindness of Rick Owens   Sign up for BoF’s Daily Digest newsletter here. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com.  For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The renowned stylist and fashion director talks to BoF’s Editor-at-Large Tim Blanks about his time creating under lockdown.   Quarantine hasn’t stopped stylist and art director Ibrahim Kamara from creating. Although he is unable to work on his usual fantastical fashion visuals, the time spent in his London home is nonetheless far from wasted. “I might not be able to achieve my dreams right now, but I can write them and make a note of them,” Kamara told BoF’s Editor-at-Large Tim Blanks in the latest episode of the BoF Podcast. Born in Sierra Leone, Kamara moved to London in his early teens. He has since worked with some of fashion’s biggest names, including Stella McCartney, Fenty and Hermès as well as British Vogue, Love and AnOther. During lockdown, Kamara and Blanks touched base to talk about photography as a force for change.  Kamara’s ethereal aesthetic pays tribute both to his West African roots and to London, the city he has lived in for the past ten years. For Kamara, the beauty of his visuals exist in this intersection of cultures. “When I’m making work, I want people to stop and take in so much,” he said. “If an image doesn’t stop you, it doesn’t really do it’s job… That’s how I make photos, I want people to look at them twice.” Kamara sees technology as a source of endless inspiration. It is through Instagram he met and befriended Kristin-Lee Moolman, one of Kamara’s longtime collaborators, with whom he has worked on countless projects. “It’s so good to find people who you think can bring something to your world,” he said. Social media has also upended fashion’s longstanding hierarchies, Kamara said, adding that people can now more easily collaborate on ambitious projects without the approval and support of established magazines.  Looking to the future, Kamara hopes to inspire a new generation of young image-makers to find confidence in their ways of seeing and believe in their creative visions. Only by supporting, cultivating and promoting the next generation of creative talent can the fashion industry progress: “[I want to] push the industry [forward]… and make it a space where everyone can dream.”   Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com.   Hosted on Acast. See acast.com/privacy for more information.

 June Sarpong shares her advice on how organisations can improve their diversity and inclusive representation, and effectively champion allyship.   Related Articles: Fashion Media Called Out Over Workplace Racism On Racism, Fashion Must Do More Than Speak Up Op-Ed | Fashion Is Part of the Race Problem   Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com.   Hosted on Acast. See acast.com/privacy for more information.

The American designer speaks to BoF’s Editor-at-Large Tim Blanks about how fashion mirrors politics. LONDON, United Kingdom — The world has changed immeasurably since designer Anna Sui’s last fashion show took place in New York in February. Her next collection is likely to reflect this transformation. “Fashion is a mirror of the times — you can define an era by the clothes,” Sui told BoF Editor-at-Large Tim Blanks. “What people are wearing mimics the politics of the times.” Over the last few months, the world has grappled with a pandemic, a steep economic downturn and, more recently, widespread anti-racist protests. In this week’s special edition of the BoF podcast, Sui makes predictions on how these global events might impact the future of her industry.   People have spent much of the lockdowns at home in sweats and a T-shirt. Sui believes that people might go polar opposite once social distancing restrictions are relaxed. “Suddenly [people] are going to want to be seen,” Sui said, adding that eating at restaurants and drinking at bars will once become occasions for self-expression. Handicrafts may see a resurgence as “people are now taking the time to relearn those skills,” Sui said. Tie dying, crocheting and knitting might well become popular creative outlets for the many people investing time in new hobbies — and this shift could be reflected in upcoming collections. Sui hopes the pace of the industry will slow down and allow space for self-reflection. Looking back to the 1990s, “[There] wasn’t this frantic need to be working all the time, I remember enjoying the holidays,” Sui said. “Let’s hope that this gets back under control and that we learn how to balance out our lifestyles again.” Sweatsuits and Yoga Pants Are Selling Like Crazy. What Happens When Lockdowns End? A Proposal for Rewiring the Fashion System Why Fashion 'Seasons' Are Obsolete    Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

LONDON, United Kingdom —  “Magazines bring the world to you more than newspapers do and more than books do,” Graydon Carter, former editor of Vanity Fairand creator of email newsletter Air Mail, told BoF Editor-in-Chief Imran Amed in the latest episode of the BoF Podcast. “They bring the cultural nuances of what’s going on now to your door. They [tell] you about a world outside of the small town that you’re living in.”Carter’s journalism career spans over four decades, during which he was a staff writer at Time and Life, co-founded Spy magazine in 1986 and served as the editor of The New York Observer. His “third act,” the digital weekly newsletter Air Mail, employs a team of remotely working individuals from across the globe.Carter shared his thoughts on the state of the publishing industry in this time of upheaval.  An upended global economy is not uncharted territory for magazines. During the Great Recession, publications were hit hard as brands cut their advertising budgets to retain cash, Carter said. More than a decade later, magazines are faced with these same challenges, and for Carter, although there remains “a certain romance for magazines” the print industry “is going to have its issues and I think the strong magazines will survive and thrive and the weak ones will go away. That is a natural process in any industry.” The winners that emerge from this crisis will be the publications that form a connection with their readers. “You have to be the first or second favourite magazine of your reader… if you’re the fifth favourite magazine of a reader, they could probably do without you,” he said.During his time running Vanity Fair, Carter spearheaded several newsmaking issues, including the 2015 “Call Me Caitlyn” cover, revealing Caitlyn Jenner for the first time as a woman and the “Africa Issue” that was designed to amplify the region and came with 20 special covers fronted by the likes of Muhammad Ali, Dr Maya Angelou and Barack Obama. However, his leadership was not without controversy. In a recent Netflix documentary, “Jeffrey Epstein: Filthy Rich,” allegations resurfaced that Carter removed information about the sexual abuse of Annie and Maria Farmer from an article about the disgraced billionaire written by Vicky Ward in 2003. In response to the claims, Carter said: “The legal and fact-checking elements of Vanity Fair, which was quite extensive,... is your line of defence and my head of fact-checking, my legal review editor and the lawyer for the company said we simply do not have what we needed to print this and it came in late,” he said. “In this case, they said we did not have the information we needed to publish that little bit of information in the story... I feel great pain and sorrow for the women he took advantage of, it’s an appalling situation.”As the publishing industry pivots to adapt to a new normal, relying on digital tools like Zoom, cutting back the number of issues and reassessing the diversity of their organisations, Carter believes there are opportunities to be capitalised on. “I think there is more good journalism being produced now than there was 25 years ago… The fact is, now… you can start your own thing, you can do it on your kitchen table.” In a sea of start-ups it can be difficult to stand out, but “it’s just about being good at doing something that somebody else doesn’t do… You can make a name doing anything as long as it’s done well.”  Hosted on Acast. See acast.com/privacy for more information.

The Black Lives Matter activist recently launched 8CantWait, a new campaign aimed at reducing police violence.   Sign up for BoF’s Daily Digest newsletter here. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com.  For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The bestselling author and business professor offers his insight into the challenging market and M&A landscape that industry players of all sizes have to navigate. Scott Galloway is no stranger to expressing views as provocative as they are incisive. The author, business school professor and serial entrepreneur has a lot to say about the state of the market in the era of Covid-19, but his observations and predictions are also, crucially, grounded in wider social, political and economic arguments — whether that’s the now-untenable position of American exceptionalism, the burden of student debt or the failings of intergenerational wealth distribution. Speaking in conversation with Imran Amed, Galloway shares his thoughts on the state of the luxury sector, importance of e-commerce and the indomitable power of Amazon, a company he describes as “firing on all 12,000 cylinders” yet still can’t crack the fashion market. Here are some of the key takeaways:   “The class of IPOs that will come to the markets in the next 3-6 months will boom,” said Galloway. “I think the markets are going to accelerate but people conflate the markets with the economic health of america. The markets are nothing more than an indication of how the top decile of Europe and America are doing.”  Amazon’s tricky relationship with fashion and luxury is hard to reconcile. “Amazon partners with an industry the way a virus partners with a host,” he said, which explains why luxury brands have traditionally kept the e-commerce giant at arm’s length. Even with the remarkable acceleration of e-commerce in the past eight weeks, however, Amazon’s algorithmically driven retail model does not allow for the forward-looking trend cycle on which the fashion industry operates. Luxury is a relatively well-positioned industry. “The majority of sectors in the world would pray for luxury’s problems right now,” he said, but much like big tech companies, conglomerates in the luxury space create “an unhealthy environment where too few players are allowed to [accrue] too much power... if you wanted to oxygenate the economy around luxury you would go ahead and break them up.” Related Articles: The New Normal: A Darwinian Shakeout Will Create Fresh Opportunities For Luxury, an Acceleration of the Inevitable Case Study: The Next Wave of Luxury E-Commerce      Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The former CEO of Puma has been one of the fashion industry’s leading sustainability advocates. As part of our special edition on building a responsible fashion business, Zeitz talks to BoF CEO Imran Amed about finding opportunities in crisis. The former CEO of Puma has spent his career advocating, and sometimes agitating, for change to more responsible business practices. As he steps into a new role at the head of Harley-Davidson, he offers advice about finding opportunities in crisis. “Iconic brands have a tremendous opportunity to contribute to a change in consumer behaviour as a whole,” Zeitz said, mounting a defense of consumer culture when managed responsibly. “Growing while reducing has to be the parameter of the future. We can grow, but we have to reduce our footprint over-proportionately to the impact we are having through our growth.” The current crisis in particular could prove an important catalyst to drive change towards better ways of doing business. “Now you can make the business case for the planet and you can say what we’re experiencing now with the virus is just a fast way of experiencing climate change that will happen over decades,” Zeitz said. “This virus is testament for a needed fast change in order to deal with a much bigger crisis that will be affecting all our lives around the world in 20, 30 years to come.” Companies that fail to move may well get left behind. “I look at every crisis as an opportunity… to look at your business and how you operate and say what can we really essentially change to adjust ourselves to the new normal,” Zeitz said. “If businesses don’t ask themselves that question, you will be part of history, rather than the future.”   Sign up for BoF’s Daily Digest newsletter here. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com.  For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

As American fashion changes rapidly in real-time, Jacobs shared his thoughts on the state of an industry in flux. Jacobs revisited his last fashion show at the Park Avenue Armory. “I would be very happy if that were my last show,” he said. New York’s role in global fashion is waning, and the future of live fashion shows in the coming months and years remains uncertain. “We don’t know if there will be much of a fashion industry in New York,” said Jacobs. “Will the people that have the skill still be around?” Furthermore, the waste within the industry, and the flawed system of scheduling and orders has put more of an impetus on designers to slow down. “The idea of being forced to create something and tell a story constantly when it has no soul feels so vacant,” said Jacobs, pointing also to the wasted fabrics and unused products that end up in landfills. “The urge to make things and create things hasn’t gone away… I still have stories to tell,” he added. Maybe how that happens will change. Digital collections and online shopping aren’t adequate substitutes. “Ordering online in a pair of grubby sweats is not my idea of living life,” said Jacobs, comparing the experience to looking at art online. “I don’t look at a Rothko online and cry.”   Sign up for BoF’s Daily Digest newsletter here. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com.  For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The New York-based “merchant prince,” best known for his time at J. Crew and Gap, is now watching the American retail landscape crumble as brands and retailers struggle under store shutdowns and debt restructuring. He did offer some advice, and warnings, on the state of American shopping, and what it might look like after the pandemic. “If you’re not a micromanager, you’re not doing your job well,” said Drexler. With too much assortment, and too much retail space, brands need to determine what’s necessary and get creative with their offerings. This same practice should also be applied to wholesale accounts. “Own the brand, don’t let someone else put it on sale, and you’re safe,” he said. Rethink what growth means for your brand. “Growth is the enemy,” said Drexler, looking to the rise of VC-backed brands that have struggled to successfully scale and break even. Now is not the time to pursue top-line growth at the cost of profit margins. “That’s what investors want, and they’ll do dumb things to get there,” said Drexler. “More is not better, the new big is small in my mind.” The American department store’s make or break. “It’s pretty much near the end,” said Drexler. There’s no reason for them, he argued, unless the assortment and store curation are unique and compelling: “I’m not impressed [and] I haven't been for years with the choices out there.”   Sign up for BoF’s Daily Digest newsletter here. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com.  For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The designer speaks to BoF Editor-in-Chief Imran Amed about life under lockdown and the future of young designers.   Sign up for BoF’s Daily Digest newsletter here. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com.  For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The creative director of JW Anderson and Loewe talks to BoF Editor-at-Large Tim Blanks about the need for greater transparency in the fashion industry.   Sign up for BoF’s Daily Digest newsletter here. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com.  For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In the latest special edition of the BoF Podcast, Kalpona Akter, founder and executive director of the Bangladesh Centre for Worker Solidarity, joins BoF’s Imran Amed to discuss the impact of Covid-19 on the millions of garment workers left destitute as the world's largest retailers cancel orders.   Sign up for BoF’s Daily Digest newsletter here. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com.   Hosted on Acast. See acast.com/privacy for more information.

In the latest special edition of the BoF Podcast, Rafat Ali, founder and CEO of the B2B travel news site Skift, talks to BoF Editor-in-Chief Imran Amed about the tourism standstill following the outbreak of Covid-19 and its impact on travel retail.   Sign up for BoF’s Daily Digest newsletter here. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com.   Hosted on Acast. See acast.com/privacy for more information.

BoF’s Founder and Editor in Chief joins educator and activist Sinéad Burke to discuss how BoF is forging ahead during the Covid-19 crisis in a live event hosted by Istituto Marangoni.     Sign up for BoF’s Daily Digest newsletter here. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com.   Hosted on Acast. See acast.com/privacy for more information.

In the latest special edition of the BoF Podcast, Fendi Creative Director Silvia Venturini Fendi talks to BoF Editor-at-Large Tim Blanks about everything from the future of smart clothing to the end of the fashion show as we know it.   Sign up for BoF’s Daily Digest newsletter here. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In the latest episode of the BoF Podcast, Madrid-based publisher Luis Venegas talks to BoF Editor-at-Large Tim Blanks about the fate — and resilience — of print magazines.   Sign up for BoF’s Daily Digest newsletter here. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In the latest special edition of the BoF Podcast, celebrated hair stylist Sam McKnight talks to BoF Editor-at-Large Tim Blanks about the future of hairstyling and the fashion industry beyond the coronavirus pandemic.   Sign up for BoF’s Daily Digest newsletter here. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In the latest special edition of the BoF Podcast, designer Charles Jeffrey talks to BoF Editor-at-Large Tim Blanks about self-reflection during the coronavirus crisis, and the evolution of his brand, Loverboy.   Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In the latest special edition of the BoF Podcast, Indian journalist and author Rana Ayyub joins BoF’s Editor-in-Chief Imran Amed to discuss the impact of Covid-19 on the lives thousands of migrant labourers, many of whom work in India's now-shuttered textile industry.   Sign up for BoF’s Daily Digest newsletter here. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In the latest special edition of the BoF Podcast, rapper and actor Riz Ahmed speaks with BoF’s Editor-in-Chief Imran Amed about why the world should pause and reset its priorities in light of the Covid-19 outbreak.   Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In the latest special edition of the BoF Podcast, the Dutch trend forecaster says that the coronavirus pandemic is bringing to light what is wrong with society, teaching us to slow down and to change our ways. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The Dazed Media founder speaks to BoF’s Editor-in-Chief Imran Amed about the role of fashion media companies during a pandemic. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In our first edition of #BoFLIVE, Emanuele Farneti speaks with BoF’s Robin Mellery-Pratt about running a publication in the coronavirus-spurred lockdown. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The acclaimed stylist and editor, whose name has become synonymous with French style, talks to Imran Amed about how the industry has changed since her days at French Vogue, working with Karl Lagerfeld, becoming a brand and the importance of staying curious. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

BoF’s Imran Amed and the Bernstein analyst discuss what the sector should expect as coronavirus threatens sales and supply chains. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

As the pandemic jolts global markets and consumption habits, Imran Amed and Doug Stephens discuss the mindset fashion companies should adopt to stay above water. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

As wildfires swept across Australia and the coronavirus spread across the globe, Imran Amed and Tim Blanks reflect on how the world’s uncertainties have informed the Autumn/Winter 2020 season. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Just as he unveils his L'Exhibition[niste] showcase in Paris this week, the luxury footwear designer speaks with BoF’s Editor-in-Chief Imran Amed about transforming his namesake brand from a single-store enterprise into a global success. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

From race cars to runways, Formula 1 champion Lewis Hamilton sat down with BoF’s Editor-in-Chief Imran Amed to discuss his collaboration with Tommy Hilfiger, who also makes a special appearance in this week’s episode of the BoF Podcast.   Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Vestiaire Collective’s Max Bittner and Depop’s Maria Raga discussed the opportunities and growing pains of the burgeoning resale market at VOICES 2019. To watch this talk at VOICES 2019 on our YouTube channel click here. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The author and model speaks with BoF’s Editor-in-Chief Imran Amed about challenging beauty standards, working with Karl Lagerfeld and her new book ‘Older, But Better, But Older.’ Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

At VOICES 2019, performance artist and designer Alok Vaid-Menon lifted the lid on fashion’s ‘regressive’ gender stereotypes and urged the industry to ‘de-gender’ and redefine the meaning of beauty. To watch Alok's talk at VOICES 2019 on our YouTube channel click here. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The New York-based ‘merchant prince’ speaks with BoF’s Lauren Sherman about discount culture and how tapping into the zeitgeist helped turn around brands like Gap and J.Crew. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

At VOICES 2019, renowned fashion journalist and author Dana Thomas lifted the lid on how fast fashion is damaging the environment while championing the female pioneers blazing the trail and effecting real change. To watch Dana's talk at VOICES 2019 on our YouTube channel click here. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Samuel Ross sat down with Tim Blanks to discuss preparing his luxury streetwear brand for its next stage of growth, as he’s sharpening and humanizing his approach. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Activist Hoda Katebi speaks passionately about fashion’s ‘revolution-washing,’ while Tehran-based design duo Shirin and Shiva Vaqar lift the lid on the restrictive conditions faced by Iran’s emerging brands at VOICES 2019. To watch this talk at VOICES 2019 on our YouTube channel click here. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In the face of ongoing gender discrimination and human rights violations around the world, activist Trisha Shetty amplifies the importance of speaking up and demanding change from world leaders at VOICES 2019.  To watch Trisha's talk at VOICES 2019 on our YouTube channel click here. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

This week on Inside Fashion, BoF’s Imran Amed and Tim Blanks discuss the key themes and events that defined the global fashion industry in 2019.   Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Michael Preysman shares his experience of building Everlane from the ground up and putting sustainability and something he calls 'radical transparency' at the centre of his business model and operations.   Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

As a sustainability pioneer long before ‘sustainability’ became an industry buzzword, Eileen Fisher and her eponymous brand have been pushing the boundaries for decades. Here’s what she’s learned. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In the face of major data breaches, investigative journalist Carole Cadwalladr brings to light the failure of Western governments to punish Facebook. To watch Carole's talk at VOICES 2019 on our YouTube channel click here. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Listen to BoF's Imran Amed and McKinsey’s Achim Berg discuss the key themes that will define the global fashion industry in the next year.   Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Brendon Babenzien’s streetwear brand Noah focuses on values and collaboration instead of profit margins and competition. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The New-York based designer discusses the highs and lows of launching a label straight out of fashion school with BoF's Lauren Sherman.   Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Having turned the Danish womenswear brand from a virtual unknown to a global trendsetter, Ganni's founder discusses how his tech background fuelled his approach. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The fashion retail pioneer speaks with BoF Chief Correspondent Lauren Sherman about identifying a gap in US and international markets for contemporary clothing brands and investing in emerging designers. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

BoF meets Reformation Founder and CEO Yael Aflalo, who created her brand in 2009 around the idea of upcycling, after years of frustration battling with inefficiencies of the fashion wholesale system. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In episode 1 of the new season of BoF’s podcast series Drive, delivered by DHL, the Allbirds co-founder and co-CEO discusses how his high-risk strategy has created a sustainable brand that is disrupting the established footwear market. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In a new season of our entrepreneurship podcast series, we hear from six of fashion’s most dynamic sustainable entrepreneurs — Allbirds’ Tim Brown, Eileen Fisher, Everlane’s Michael Preysman, Reformation's Yael Aflalo, Ganni’s founder and Noah's founder — to hear what it takes to make successful businesses sustainable. The first episode with Allbirds’ Tim Brown launches on October 12, 2019. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The acclaimed photographer sat down with Tim Blanks to discuss the ‘infinite objects of beauty’ that inspired his new V&A exhibition. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The acclaimed fashion journalist discusses "Fashionopolis," a seething indictment of the industry's hugely damaging environmental and social impact that concludes with a glimmer of optimism. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The retail prophet speaks with BoF Chief Correspondent Lauren Sherman about what brands should really be focusing on as a measure of brick-and-mortar store success. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

John Demsey, in conversation with Imran Amed, discusses his career path, working with MAC Cosmetics post-acquisition, and what it takes to build the perfect enduring beauty brand.  Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Speaking with Tim Blanks, the designer reflects on his journey from a love of 'making things' to becoming a fixture of London's menswear scene. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Listen to BoF’s Lauren Sherman and Sarah Kent in conversation with John Thorbeck, chairman of Chainge Capital, as they discuss the challenges of inventory facing H&M, its competitors and the wider fashion industry. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Speaking in conversation with Imran Amed, the photographer behind Beyoncé's September 2018 Vogue cover talks identity, social media and how he found his way into fashion photography.   You can watch Tyler's 2017 American Eagle campaign film here. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2xNP5Rs, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Speaking in conversation with Imran Amed, the man behind the fashion world's buzziest ethical footwear brand discusses the company's journey, from sourcing rubber in Brazil to scaling for global demand. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

This week on Inside Fashion, BoF’s editor-at-large gives his verdict on the season, discusses his favourite shows and recounts Karl Lagerfeld’s Paris memorial. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The makeup artist behind Rihanna's thin-eyebrowed British Vogue cover speaks to Tim Blanks about the curation of identity through makeup, and the rapidly changing face of beauty. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Speaking in conversation with Imran Amed, the chief executive of Moncler discusses the outerwear brand's game-changing Genius strategy and why the company now feels more like a start-up. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Speaking at BoF’s VOICES, architect Vishaan Chakrabarti argued that a well-designed urban environment would result in greater prosperity, sustainability, equity and joy. To watch Vishaan's talk at VOICES 2018 click here.  Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Speaking in conversation with Imran Amed, the trend forecaster-turned-course designer outlines the need for interdisciplinary studies when teaching generation next, and why the fashion industry needs to return — quite literally — to the roots of textile creation. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

By 2030, 70 percent of all fabric fibres will come from plastics. Action needs to happen now to safeguard the future of our planet, says Rachel Lincoln Sarnoff. To watch Rachel's talk at VOICES 2018 click here.  Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

At a recent exclusive BoF Professional event at Soho House Mumbai, Imran Amed sits down with leading Indian bridal designer Sabyasachi Mukherjee and movie star Deepika Padukone to discuss the changing landscape of India as a dynamic emerging market. To watch this talk click here.  Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Meet the rock star fashion materials of the future: algae, bacteria and fungi. That’s according to Natsai Audrey Chieza, founder of biodesign consultancy Faber Futures, who spoke at BoF VOICES. To watch Natsai's talk at VOICES 2018 click here.  Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Speaking in conversation with BoF Editor-at-Large Tim Blanks, Dior's menswear artistic director discusses everything from extra-terrestrial life to ancient Egypt and, of course, his philosophy as a designer.  Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on the first year of an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

India’s young population, thriving tech sector and spiritual roots add up to a promising future, said the Sun Group vice chairman Shiv Khemka, speaking at BoF’s VOICES. To watch Shiv's talk at VOICES 2018 click here.  Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Speaking in conversation with Imran Amed, the founder of Story and brand experience officer at Macy's discusses her innate love of retail and the challenges of creating "a living magazine." Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on the first year of an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The fluidity and self-starting philosophy of Generation Z is seen as troubling by many in fashion and media. But Molly Logan and her panel of accomplished Gen-Z creatives discuss what it really means for brands to work with Generation Next. To watch this talk at VOICES 2018 click here.  Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

From art fairs to meditation apps, BoF West's panel of entrepreneurs discuss the value of interdisciplinary approaches and why Los Angeles is an ideal place to facilitate this. To watch Bettina Korek (Frieze LA), Rich Pierson (Headspace) and Damian Bradfield (WeTransfer) in conversation with Rohan Silva (Second Home) at BoF West 2019 click here. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on the first year of an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Speaking at BoF West, the entrepreneurs behind Allbirds, Hims and Hers and Good American outline the keys to their brands’ success. To watch this talk from BoF West 2019 click here.  Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on the first year of an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Speaking at BoF’s VOICES, the Silicon Valley venture capitalist sketched out a vision for how software and the internet would transform the world’s economy, giving rise to new business opportunities. To watch Benedict's talk at VOICES 2018 click here.  Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on the first year of an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Speaking in conversation with Imran Amed at BoF West, the tennis champion unpacks how she balances life as an athlete with entrepreneurship and motherhood. To watch Serena's and Imran's conversation at BoF West 2019 click here.  Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on the first year of an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The streetwear publications plans to launch its own private label within the year, and projects that its online shop will encompass up to 50 percent of overall business within five years. Founder David Fischer talks about the new project on the latest BoF Podcast. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on the first year of an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Speaking at BoF VOICES, venture capitalist Ken Seiff and digital currency entrepreneur Peter Smith broke down the blockchain with a crash course on what it is and what it can do. To watch Blockchain Explained at VOICES 2018 click here.  Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Speaking at BoF VOICES, the founder of the Bangladesh Centre for Worker Solidarity outlines her campaign to establish fairer, safer working conditions across the garment industry. To watch Kalpona's talk at VOICES 2018 click here.  Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In a deeply personal presentation at BoF VOICES, the entrepreneur behind two successful Silicon Valley ventures shares her lessons from the "double bind" of navigating her industry as a woman. To watch Joy's talk at VOICES 2018 click here.   Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The co-founder of the online sneaker marketplace explains why luxury is the perfect new frontier for expansion beyond footwear and streetwear. To watch Josh's talk at VOICES 2018 click here.   Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

BoF’s Imran Amed sits down with LVMH Greater China group president Andrew Wu at the BoF China Summit to demystify the multi-faceted Chinese consumer. To watch Andrew's conversation with Imran at our annual China Summit click here.   Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Speaking at BoF VOICES, the activist and author unpacks his 'five big ideas' on how to redefine and dismantle the realities of social injustice. To watch DeRay's talk at VOICES 2018 click here.   Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Imran Amed sits down with co-founder and chief brand officer Lauren Santo Domingo and chief executive Ganesh Srivats to discuss their plans to enter the Chinese market and capitalise on the 'crystal ball' of data. To watch the video of the conversation click here. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Michèle Lamy defies categorisation and convention in all facets of her life, not least of all on stage at VOICES. She joined BoF’s Tim Blanks to discuss her open, nomadic approach to life, which has yielded some of the most fascinating creative collaborations in fashion in recent decades. To watch Michèle's conversation with Tim Blanks at VOICES 2018 click here.  Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

From living in a Kenyan refugee camp to travelling the globe as an international top model, the industry’s name to watch reveals her journey. To watch Adut's conversation with Tim Blanks at VOICES 2018 click here.  Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The fashion industry must internalise the idea that there's no single Chinese market, as McKinsey & Co. global managing partner Kevin Sneader explains. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In this week's episode of Inside Fashion, BoF's editor-at-large Tim Blanks sits down with Stephen Jones, the prolific hatter who has played a defining role in millinery for decades. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. This episode of Inside Fashion is brought to you by Klarna. Hosted on Acast. See acast.com/privacy for more information.

The news media business is in crisis, but the chief executives of the Financial Times and Guardian say their models prove people value quality journalism in a world of fake news and political polarisation. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

This week, Matthew Williams talks to Imran Amed about working with creative talent in music, art and fashion before launching his luxury streetwear brand Alyx. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. This episode of Inside Fashion is brought to you by Klarna. Hosted on Acast. See acast.com/privacy for more information.

Angel investor and co-founder of Songkick Ian Hogarth explores how the race to develop the most sophisticated artificial intelligence will define geopolitics in the coming decades. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

BoF's editor-at-large sits down with Imran Amed to discuss the commercial potential of bourgeois style, Fendi and Chanel's emotional farewell to Karl Lagerfeld, and the cultural impact of fashion's reflection on social issues. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. This episode of Inside Fashion is brought to you by Klarna. Hosted on Acast. See acast.com/privacy for more information.

The futurist author and columnist unpacks tech giants' powerful influence over day-to-day life and public policy, making a case for deeper consideration of the ideology that underpins this culture of innovation and disruption. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In his first one-to-one interview since the acquisition by Farfetch, the Stadium Goods co-founder talks to Imran Amed about his unconventional way into fashion, how he nearly ended up in the diamond industry, and defying the ‘streetwear bubble.’ Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. This episode of Inside Fashion is brought to you by Klarna. Hosted on Acast. See acast.com/privacy for more information.

The CEO of Saint Laurent sits down with Imran Amed to discuss the importance of authenticity, balancing legacy with growth — and taking 500 employees to Morocco. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In conversation with BoF’s Imran Amed, in front of 150 fashion professionals from the BoF Careers community, Farfetch’s chief strategy officer and chair of the British Fashion Council Stephanie Phair shared her insight on how fashion can better support gender diversity within the workplace. As the global #MeToo movement has spotlighted sexual misconduct within creative industries, this issue has gained increasing momentum, sparking industry-wide conversation on the continuing gender imbalance in the fashion sector. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

In a special episode of The BoF Podcast, Tim Blanks and Imran Amed sit down to discuss their memories and reflections on the passing of the fashion icon who died in Paris on Tuesday. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The co-founder of non-profit organisation RepresentUs is fighting corruption at the state level in hopes that it will change the landscape that allowed President Trump’s election. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Imran Amed sits down with Sadhguru Jaggi Vasudev, accomplished yogi and founder of the Isha foundation, whose latest social movement is pushing for the use of sustainable and natural textiles in the fashion industry. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The Cambridge Analytica whistleblower discusses the way H&M can use artificial intelligence to curb waste production and reveals his new role with the fast-fashion giant. Wiley is joining H&M as its director of research. He will work closely with Arti Zeighami, the retailer’s head of AI and advanced analytics, exploring how AI can help fashion better tackle its sustainability crisis. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

This week on BoF’s Inside Fashion podcast, Gwyneth Paltrow talks to Imran Amed about Goop’s rise from an email newsletter to a wellness empire worth $250 million. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

At BoF’s VOICES, the creatives spoke about the barriers that black designers face and how a new generation is finding success outside the fashion system. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Women in India are pushing back against social norms that limit their opportunities, though it can be an uphill battle. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Ahead of the opening of the UK’s largest retrospective on Christian Dior, Chiuri talks about the importance of couture and her perspective as the first female creative director of the house. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

This week on Inside Fashion, BoF’s editor-at-large discusses menswear’s shift to tailoring and the new relevance of couture. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The designer has always made sustainability practices her business priority. Now, with a new UN charter for climate action, she is hoping other fashion companies will follow in her footsteps. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

As cannabis becomes legal in more places, the founders of two of the category’s fastest-growing CBD-based luxury lifestyle brands discuss everything from their origin stories to their predictions for the future of the cannabis economy. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

Renowned fashion journalist Suzy Menkes once called superstar designer Alber Elbaz a "master of improvisation." That instinctual, passionate disposition was on full display onstage at VOICES, as Elbaz waxed on lyrically about what he’s learned since his abrupt firing from Lanvin in 2015.  Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The founder of Huda Beauty says she wasn't able to build her cosmetics empire until she accepted her 'weirdness.' Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com. Hosted on Acast. See acast.com/privacy for more information.

The chef, author and wellness expert said wellness is coming full circle with a focus on the ancient Indian health system. Sign up for BoF’s Daily Digest newsletter here: http://bit.ly/BoFnews. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here: http://bit.ly/2KoRRBH, select the Annual Package and use code PODCASTPRO at the checkout. For comments, questions, or speaker ideas, please e-mail: podcast@businessoffashion.com. For all sponsorship enquiries, it’s: advertising@businessoffashion.com.   Hosted on Acast. See acast.com/privacy for more information.