The Business of Fashion Podcast

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.