The Business of Fashion Podcast

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

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

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

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

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

The BoF team and industry experts Sharifa Murdock and Stephen Lamar discuss what the close vote means for the future of fashion. LONDON, United Kingdom — Election night ended in the US without a clear answer as to who will lead the country for the next four years. And though former Vice President Joe Biden appeared to have established a small lead over President Donald Trump in several key states as of Thursday afternoon, many questions remain about what will happen next. Sharifa Murdock, co-owner of Liberty Fashion & Lifestyle Fairs, and Stephen Lamar, president and CEO of the American Apparel and Footwear Association joined BoF’s Lauren Sherman, Brian Baskin and Imran Amed to discuss what’s at stake for tariffs, trade agreements and corporate activism whatever the outcome. Trade policies have changed under the current administration. Trump renegotiated the North American Free Trade Agreement and levied tariffs on goods imported from China and some European countries. Biden may not have implemented these polices given the choice, but his administration will be cautious about retreating from Trump’s trade positions, Lamar said. “They don’t want to be seen as the new government immediately going soft on China,” he said. Trump campaigned in 2016 on bringing manufacturing jobs back to the US, but in the fashion industry at least, American factories cannot compete directly with overseas rivals on price, said Murdock of Liberty Fashion & Lifestyle Fairs. “News flash, stuff that left isn’t coming back,” said Lamar, who added that a Trump or Biden administration should focus instead on creating new kinds of apparel production jobs in the US. Sales of luxury goods are holding up relatively well in the US as the wealthy redirect money that normally would be used on trips and hotels toward handbags and apparel. Trump’s tax cut has also played a role, giving wealthy consumers more disposable income. Biden campaigned on raising corporate taxes and reversing some of Trump’s tax policies. However, his ability to implement his vision depends on Democratic control of the Senate, which appeared unlikely as of Wednesday afternoon. Corporate activism has flourished under the Trump presidency, as brands and retailers that previously remained neutral on political issues came under increased pressure by consumers to take a stance. The panelists predicted that activism was likely to continue, no matter who wins the election. “One thing that Trump did do was bring out… views that haven’t been looked at previously,” said Murdock. “No matter who wins [diversity and inclusion] is going to be on people’s minds.” Related Articles: The US Election: What’s at Stake for Fashion? American Fashion Executives on What Happens Now Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions or speaker ideas please email [email protected]. Sign up for BoF’s Daily Digest newsletter. Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout. For all sponsorship enquiries, it’s: [email protected]. Hosted on Acast. See acast.com/privacy for more information.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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