3 Insights About Fleece To Take Into 2021

Lockdown has fast-tracked this fabric into mainstream territory. Available in various options, its cozy and technical qualities give it real staying power in the market. We dissect key learnings from 2020 to help plan its move into next year. Pricing Is Now Accessible No longer just a fabric used in the outdoor market, mass retailers like boohooMAN and Zara are now investing. Even more technical fabrics like Polartec®, traditionally seen at Patagonia and The North Face, are noted at the likes of J.Crew. This has driven the average price down creating a more competitive and trend-driven market for fleece. It’s essential for retailers to refresh its assortment next year with options that appeal to its customer and their pricing expectations. The best way to control costs is with the type of fleece offered. Uniqlo chooses to stock varied qualities with pricing to match, while boohooMAN kept costs low with 100 percent polyester. Pricing can still be accessible at the higher end if it’s adequately justified and promoted. The two graphs show how this trend can work all year-round. Trends to buy into: 1. Micro fleece tops Soft and lightweight, use it to update the half-zip top and turtleneck sweatshirt for basic and lounge edits. 2. Shirt jacket A comfort-focused alternative to denim and canvas, use utility detailing like paneling and pocket details to keep it modern. 3. Fleece hoody With sports brands like adidas and Nike already updating the silhouette with fleece this year, 2021 will see the trend skyrocket. 4. Reversible jacket A great option to transition easily from indoors to outdoors, this versatility will allow for higher pricing. A Gorpcore & Loungewear Essential How to build the Gorpcore story. Stick to traditional silhouettes and add technical aspects with detailing. Double-ended zips on jackets, patch and concealed pockets, special linings and stitching methods that reduce bulk. Promote fleece’s warm, lightweight and breathable properties - perfect for outdoor adventures. Pair with utility pieces like cargo trousers and shorts to complete the look. How to build the loungewear story Fluffy fleece has already infiltrated lounge edits, especially for jackets. Utilize the fabric on hoodies and sweatshirts and even co-ords for a cozy upgrade from jersey. Lighter weight fleece options will work for a more refined at-home story - see micro fleece trend above. Highlight its ultra-soft handle and easy-care properties in customer communications. This article was written and for FashionUnited by By Tara Drury, Retail Analyst at Edited. Edited is the leader and industry-standard for real-time retail analytics, where the software leverages artificial intelligence to track and reveal insights on competitor product ranges, pricing, discounting and trends across the global retail landscape. The software is used by buyers, planners and trading teams to generate a huge competitive advantage. Images courtesy of Uniqlo.
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Independent designers blueprint for a meaningful change

The fashion industry has never been more ready for a good shake-up and a meaningful change. The pandemic exposed many flaws within the system and made it clear that fashion brands have to change the way they operate to be able to stay afloat. They should do so through sustainable innovation. Sustainable innovation is no longer a trending topic but a necessity. Emerging independent designers have always been at the forefront of change, delivering the most innovative and unconventional ideas. And now, the new generation of creative talent is leading the way into a sustainable future. They view sustainability as a starting point of design and as their core value. To them, sustainability is a mindset and a lifestyle. Not a PR strategy, not a „virtue-signaling“ product label that claims to save the Planet, while the reality is: it has been manufactured using cheap labor in China, India, or Bangladesh. And it‘s just not a set of vague environmental commitments by 2050. A sustainable mindset matters and brands should hire designers who combine traditional know-how, innovation, and sustainability. According to the research paper published by the British Fashion Council and DHL last year, the staggering 70 percent of the industry impact on global CO2 emissions happens in the design process and manufacturing (in the dyeing and finishing stages in particular), as a result of choices made in this early stage of production. Instead of spending more time forecasting the actual demand and sourcing sustainable fabrics, brands purchase non-sustainable materials and produce more than needed because it‘s cheaper and more profitable. This business model is not sustainable in the long run, and this is why brands need to rethink the way they operate and hire people in key positions who have the right skills: the ability to source sustainable materials and forecast the actual demand. Morten Lehmann, Chief Sustainability Officer at the Global Fashion Agenda, pointed out in the conversation with BOF that we are looking at the future marked by scarcity of natural resources due to climate change; therefore, these skills will be especially critical long-term. To combat climate change, countries will need to double and triple their 2030 reduction commitments to meet the Paris Agreement Climate Pledges, as reported by National Geographic a year ago. The fashion industry has tremendous influence and power over what people think and could lead the way. And here is where creative ideas of the new generation of designers can come into play: the ideas that favor sustainability, creativity, and collaboration over profit-making and growth at the expense of the environment. Traditional know-how and innovation Emma Bruschi is a young French designer based in Marseille, France. She is the winner of the 19M Métiers d’Art de Chanel prize at this year’s 35th edition of Hyères Festival. Emma’s work is inspired by nature, the art brut, and the way her grandparents live in a small village in the Haute-Savoie region of France: their domestic know-how and ability to grow what they need. Emma sees the past as a source of inspiration and knowledge that she can use today in a new innovative way. „The fashion industry is obsessed with finding new efficient materials neglecting those that proved as useful and versatile since centuries. Take the straw. There is so much you can do: you can build a house, feed animals, make objects and clothing, use it as fuel, and even make bioplastic out of it.“ In her latest collection, Emma explores creative ways of using traditional materials such as wool, linen, and straw. She made a belt from linen fabric and embroidered it with straw and raffia using an old needlework technique called Lunéville and upcycled linen bedsheets into shirts. She made earrings from straw in collaboration with Maison Lemarié and straw baskets together with a local basket maker using the wicker technique. Emma works with local artisans who are also farmers and who still use traditional techniques, and she hopes to revive the traditional crafts. Emma‘s vision of the future is a textile farm where she could grow plants and use them as both a food source and raw material for her garments and where she could employ local artisan and boost local production. The fashion and food industries should work closer together and develop techniques to use agricultural byproducts and food waste for the production of fiber and raw materials for garment production. It can be the ultimate win-win situation, says Emma. If local agriculture could supply the local fashion industry with raw materials, the fashion industry could close the gap between its supply chain, manufacturing, and distribution. Pioneering sustainable ways of working with leather Andrea Grossi comes from Tuscany, the Italian region, known for its long tradition of producing high-quality leather goods and for its know-how. True to tradition, Andrea is pioneering a sustainable way of working with leather. First things first, “we need to understand why leather production is so polluting,” says Andrea. It is not due to livestock since leather is a byproduct of the meat industry. The most polluting stage of leather production is tanning with chemicals such as chrome. Andrea works with rhubarb and olive leather. Both rhubarb and olive leather is not a plant-based product. It is animal leather tanned with rhubarb and olive leaf extracts, environmentally friendly alternatives to conventional chrome tanning. The rhubarb plants for rhubarb leather production are cultivated organically and do not compete with common food crops for cultivation area, and the olive leaves are a byproduct of existing agriculture. Andrea also works with zero-waste leather made from leather scraps assembled through coupling and coating. It has the same performance qualities yet a lower environmental impact than new leather. Unfortunately, zero waste leather is expensive, as it requires labor-intensive production and handwork. If someone would invent the machine, we could industrialize the production of zero waste leather, he muses. To Andrea, using sustainable leather alternatives— be it rhubarb, olive, or vegan leather is critical. Especially, if you are a designer and if you have the power to make the right choices in the early stages of the production process. You can create demand and signal to manufacturers what alternatives they should focus on, and thus push the market in a sustainable direction. The rising demand will curb the production of sustainable alternatives and make them more affordable. „I always think about what if one-day people will stop consuming meat, “ says Andrea. „What if one day there will be no more leather coming from the meat industry?“ The plant-based alternatives will be ever so important, and this is why we need more research in this area. Social sustainability is another important topic for Andrea. „It‘s good to create a product using sustainable materials, but it‘s not enough. You have to think about the social impact of your product. Do you create job opportunities? Do you produce responsibly? Producing responsibly means creating products that the end-consumer wants to buy. If you offer a sustainable product, yet there is no demand from the end-consumer, honestly, there is no point in producing it.“ Andrea strongly believes in ecomodernism. He believes in using traditional know-how and knowledge and adapting them to our current needs through innovation. Creating a more sustainable future is also a matter of education, of changing people‘s mindset, and creating new value systems focused on sustainability. „Ultimately, what people care about is an affordable and good quality product. The task of a designer or a brand is to take responsibility and offer a sustainable product that appeals to the consumer.“ Paradigm shift: re-defining luxury and fostering collaboration Maximilian Rittler is an Austrian fashion designer, currently based in Antwerp, Belgium. He created his recent menswear collection from deadstock and donated materials. For Maximilian working sustainably was not an option but a solution. He didn’t have the financial means to buy new fabrics and had to work with what was available. „Working within constraints and limitations of what you already have and what you can get is a strength and a skill of creative problem-solving“, he says. „It depends on how you see the world: you can see the same glass of water either half-full or half-empty. I decided to turn my situation upside down and use the limited access to fabrics as an advantage: I worked with what was there and used my creativity and imagination. The limitations helped me to acquire important qualities of making fast and effective decisions and working sustainably. As a designer, you have many options for how you chose to work. Working sustainably is a conscious decision. Taking active care of the environment is a conscious decision.“ Fashion has the power to change what people value. „You can say python‘s skin is luxury, or you can say an upcycled piece is luxury, and you can create a new narrative for what‘s considered a luxury and a whole new economy based on the new understanding of luxury. The industry needs a paradigm shift that can change the very core of how the system and the companies within this system operate. „There are so many people working in creative fields in non-creative positions, and they don‘t know anything about the creative process, which allows for mistakes and misunderstandings to slip through. If these people knew more about the creative process, mistakes could be avoided“. Maximilian laments the lack of communication, collaboration, transparency, and support within the industry. „It could be helpful to create open databases where designers and brands would share information about their suppliers and manufacturers instead of secrecy and non-sharing mindset. The industry can only change when we start to compete with and not against each other.“ Designers call for a fundamental structural and systematic change in the industry. Only if we change the system, we will be able to meet the sustainability goals. The industry should develop a framework that rewards sustainable efforts. We need to see the new generation of designers in high profile positions: those who know how to work with scarce resources, those who have a mindset rooted in sustainability and who are familiar with circular models, and those who value collaboration. We need to expand our understanding of equality and diversity within the industry. We need more opportunities for people from working-class backgrounds, including hiring them for high-profile creative positions. They can bring new unique perspectives on how to be resourceful and work efficiently. The article published at Fashionroundtable.co.uk at the beginning of November argued that unpaid internship positions widespread within the industry perpetuate the fashion industry‘s class divide and should no longer be acceptable. It took a closer look at the exploitation of creative talent through free labor and the difficulties that many people from lower economic backgrounds face. Creativity and collaboration should be pivotal One of the questions young designers often ask is: why don‘t brands that have an overstock of materials (deadstock fabrics, fabrics they no longer use, pieces they no longer sell) simply donate them? Why don‘t we have platforms where brands and designers can exchange materials on a larger scale to prevent these unused materials from ending up in landfills? By donating what they don‘t need and don’t use, the brands could support the new generation of independent designers who have brilliant ideas but lack the financial means to make these ideas a reality. Redefining luxury and the value system around second-hand and upcycled fashion, championing direct-to-consumer communication and transparency, thinking local and sustainable - these ideas are worth supporting. These ideas can change the world. Written by Veronika Dorosheva Images (From left to right on top and also top to bottom in the article) Looks from Emma Bruschi, Andrea Grossi and Maximilian Rittler collections. Images: Ètienne Tordoir / CatwalkPictures via 2e Bureau
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China begins anti-monopoly probe into tech giant Alibaba

Beijing - China has launched an anti-monopoly investigation into Alibaba, regulators said Thursday, sending the share price of the e-commerce giant tumbling and intensifying the troubles of its billionaire founder Jack Ma. Regulators will also hold “supervisory and guidance” talks with Alibaba’s gigantic financial services subsidiary Ant Group, state media reported, just weeks after its record-breaking IPO was halted at the last minute by Beijing. The continued squeeze on one of China’s most influential companies is the latest sign that the Communist leadership is ready to deflate the ambitions of big tech firms in a runaway internet sector, which has made Ma one of China’s richest people with an estimated $58 billion fortune. Investigators are probing Alibaba for “suspected monopolistic practices”, the State Administration for Market Regulation said in a statement. The probe threatens to impede the growth of Alibaba, a tech juggernaut which revolutionised the e-commerce landscape of China. Alibaba shares tumbled 8.6 percent to a five-month low in Hong Kong on the news. In a statement, the company said it “will actively cooperate with the regulators on the investigation”. Financial services subsidiary Ant Group said it too would cooperate and “diligently study and strictly comply with regulatory departments’ requests”. Ant Group made its name via its main product Alipay, the online payments platform and super-app that is now deeply embedded in China’s economy. But the company has also expanded into offering loans, credit, investments and insurance to hundreds of millions of consumers and small businesses, spurring fear and jealously in a wider banking system geared more for supporting state policy and large corporations. Its reach into the daily spend of Chinese has also caused anxiety over the potential for personal debt to turn sour and toxify the wider economy. As global demand for the dual Hong Kong-Shanghai listing pushed the IPO toward record valuations — potentially handing Ma and Ant Group even more funding, legitimacy and clout — Chinese regulators acted. The outspoken and charismatic Ma — a former teacher — had previously lashed out at China’s outdated financial system, calling state-owned banks “pawn shops” in an October speech that led to him being summoned for regulatory talks shortly before Ant’s IPO was suspended. He has edged away from the public limelight since the IPO collapsed. No one bigger than the Party Noises from the top of the Chinese Communist Party are ominous for companies perceived to have outsized ambitions. Party leaders at last week’s Central Economic Work Conference vowed to strengthen anti-trust measures and “firmly oppose monopolies” while the Party’s executive Politburo body has also vowed to crack down on “disorderly capital expansion”. “There is an underlying political message, that no company, and no individual, can grow so big in China to the point where they can potentially challenge the authority of the CCP,” Richard McGregor, senior fellow for East Asia at the Lowy Institute in Sydney, told AFP. This year, Beijing has also implemented new regulations to contain potential risks in China’s growing online lending industry, as the fintech arms of internet firms including Alibaba and Tencent have expanded and consolidated power over the market. “Undoubtedly, Ant will now become a very different company in structure and in balance sheet,” said Ryan Manuel, Chief Asia Strategist at Silverhorn Investment. “Its regulatory environment will appear more like that of a financial services provider and less of a tech company. Its growth will slow. Its market valuation will decrease.” China’s market regulator in November issued draft antitrust guidelines for internet platform economies that highlighted examples of anti-competitive behaviour. State media have repeatedly called for tighter oversight of these firms, warning of potential financial instability as a result of their unregulated rapid growth. Bad debt in China’s chaotic financial system is a perennial risk, and regulators launched a crackdown on a growing nationwide credit addiction three years ago owing to fears of a financial meltdown. (AFP)
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2020: Online fashion sales zoom while physical retailers suffer

Fashion has been the most hard hit category by Covid-19 pandemic. Compulsory store closures, work from home schedules followed by low footfall at opened stores, negatively impacted sales at almost every brick and mortar fashion retailer. According to Reuters, the Office for National Statistics report showed that clothing sales declined 19 percent in November, their biggest drop since April’s lockdown and almost a third lower than a year earlier. However, interestingly, this was not the case with online fashion retailers. In fact, they witnessed a sudden surge in demand for casual as well as fitness clothing during the pandemic, with people across the world opting for work from home routine. UK online fashion sales increased 363 percent throughout the month of November, as England was put through Lockdown 2. Orders during Black Friday week, also termed Cyber Week – from November 25 to December 2, 2020 rose 159 percent week-on-week, according to new data from True Fit, a personalisation platform for apparel and footwear. A look back at the business articles during the year 2020 shows that while physical retailers like Fast Retailing, Under Armour, Adidas, Macy’s, Skechers, Nordstrom withdrew their guidance for the year 2020, online fashion retailers like Zalando, Boohoo, Asos, among others showed upbeat outlook for the year ahead. FashionUnited takes a look at these hits and misses of 2020. Online fashion players make the most of surge in demand Showroomprivé raises Ebitda outlook for 2020 European online retailer Showroomprivé, following an excellent year-end performance in line with the trend observed over the past two quarters, has raised its 2020 Ebitda target to be over 30 million euros from close to 20 million euros as previously announced. The Hut Group ups guidance following strong autumn sales Following the strong results, the company has now doubled its Q4 guidance to an expected 40-45 percent increase year-over-year. Full-year 2020 revenue is now expected to be between 1.57 billion pounds to 1.6 billion pounds. Zalando posts strong Q3 growth, raises forecast As a result of its strong financial performance, Zalando raised its outlook for the 2020 financial year on October 8, 2020. The company now expects GMV to grow 25-27 percent, revenues to grow 20-22 percent and an adjusted EBIT of 375-425 million euros. In its outlook published on July 15, 2020, Zalando previously assumed GMV growth of 20-25 percent, revenue growth of 15-20 percent and adjusted EBIT of 250-300 million euros for the full year. Global Fashion Group raises full year outlook after strong Q3 Global Fashion Group S.A. (GFG) has updated its outlook for the current financial year as a result of strong trading in Q3. The company said in a statement that it now expects to be profitable with respect to adjusted EBITDA and achieve constant currency net merchandise value (NMV) growth of around 23 percent, delivering 1.9 billion euros NMV and 1.3 billion euros of revenue. Boohoo raises full year outlook after strong H1 revenue and profit growth The company added that group revenue growth for the year to February 28, 2021 is expected to be 28 percent to 32 percent, up from approximately 25 percent as previously guided, with adjusted EBITDA margin for the year at around 10 percent, increased from the 9.5 percent to 10 percent as previously guided. The company’s medium term guidance for 25 percent sales growth per annum and a 10 percent adjusted EBITDA margin remains unchanged. Asos raises full year revenue and profit outlook on strong demand Asos plc expects sales and profit growth for the full year to be ahead of market expectations. The company anticipates revenue rise between 17 percent and 19 percent with PBT in the region of 130 million pounds-150 million pounds. The company said in a statement that improvement in expectations is supported by stronger than anticipated underlying demand and the continuation of the beneficial returns profile. Physical retailers had to withdraw outlook after getting hit by Covid-19 Frasers Group scraps guidance following fresh UK restrictions Frasers Group has withdrawn its guidance after new Covid-19 restrictions announced for London and the South East over the weekend meant the closure of “virtually all” of its stores in those areas. The group said Monday it has withdrawn its guidance of a 20-30 percent increase in underlying EBITDA during FY21. Ross Stores remains cautious on outlook Commenting on the company’s performance, Barbara Rentler, the company’s Chief Executive Officer, said in a statement: “As we enter the fourth quarter, our month-to-date comparable store sales in November are down mid-single-digits. In addition, there remains a high level of uncertainty related to the worsening health crisis and we are concerned with how the upsurge of this pandemic might impact consumer demand during what we expect to be a highly competitive holiday shopping season.” Adidas posts fall in Q3 revenue and profit, reveals cautious outlook In Q4, the company said, uncertainties around the further development of the coronavirus pandemic as well as the global macroeconomic environment remain high. Overall, the company’s top line is predicted to develop similarly in Q4 as it did in Q3, implying a low to mid-single-digit currency-neutral revenue decline. Shoe Zone expects to report loss for FY20 In a trading update for the 52-week period, Shoe Zone Plc said trading conditions in the second half of the financial year were challenging. The company said in a statement that store trading since reopening in June has been broadly 20 percent down year on year with digital trading broadly 100 percent up year on year. Shoe Zone generated revenues for the period of approximately 122.6 million pounds compared to 161.9 million pounds in 2019. As a result of the closure of its retail estate from March 23, 2020 to June 15, 2020 owing to the Covid-19 pandemic, Shoe Zone expects to report a loss before tax in the range of 10 million pounds to 12 million pounds. Puma swings to loss as Covid-19 hits sales, scraps full-year outlook CEO Bjorn Gulden described the second quarter as “the most difficult” he has ever faced. “The quarter started with a 55 percent decline in sales in April, May improved, but was still heavily down with -38 percent. The real improvement came in June which was down ‘only’ 6 percent. Flexibility with our wholesale partners, promotional activities in our own retail stores and a larger focus on e-commerce have been the short-term strategy.” Gulden also said Puma would not be offering a full-year outlook due to the continued uncertainty surrounding Covid-19. Fast Retailing lowers full year outlook, sees around 50 percent profit decline Lowering its outlook, Fast Retailing group predicts full-year consolidated revenue for the year ending August 31, 2020 will total 1.9900 trillion yen, down 13.1 percent and operating profit will total 130 billion yen, down 49.5 percent, while operating profit attributable to owners of the parent is expected to be 85 billion yen, down 47.7 percent. Macy's suspends Q2 dividend, withdraws outlook Macy’s, Inc. is withdrawing its 2020 sales and earnings guidance issued on February 5, 2020 and has temporarily closed all stores as of March 18, 2020, through March 31, 2020. The company expected net sales for fiscal 2020 to range between 23.6 billion to 23.9 billion dollars, comparable sales on owned plus licensed basis to range between negative 2.5 percent to negative 1.5 percent and comparable sales on owned basis to be approximately 40 basis points better than owned plus licensed and adjusted diluted earnings per share in the range of 2.45 dollars to 2.65 dollars. Pictures:FashionUnited,Facebook/Boohoo,Zalando
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N Brown completes 100 million pound fundraising

British retailer N Brown has completed the 100 million pound fundraising it announced last month. The Manchester-based company has previously said the fundraising will help strengthen its balance sheet and “allow targeted investments to accelerate delivery of growth strategy to capitalise on the structural tailwinds in the group's markets”. The company, which owns brands Simply Be, Jacamo and JD Williams, has also moved its listing from the main stock market to the junior AIM exchange. It comes as the business announced a 17.6 percent drop in revenues to 356.7 million pounds for the first half of the year. Photo credit: N Brown media gallery
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Is Amazon about to disrupt the customised clothing market?

As far as global disruptors go, Amazon is at the top of the list. It has shaken up entire industries with its functional yet aesthetically bland e-commerce platform, disrupting – if not bulldozing - brick-and-mortar retail, groceries, even insurance and fashion. While the online behemoth firmly has its eyes on fashion’s luxury sector, it also hopes to disrupt customised clothing, specifically the affordable bespoke category. A newly launched custom clothing store called Made for You sees Amazon offer bespoke-sized t-shirts via an app. How it works Users enter details about their size, height, weight and body type as well as defining their preferences for collar, sleeve, length and fit. Users must upload two photographs allowing Amazon to create a virtual body double to see how the t-shirt will look. Amazon says it deletes the images after the last step. The service is currently only available in the U.S. but is likely to roll out soon to other product categories and markets. A virtual body double According to Forbes, Amazon acquired Body Labs, a machine-learning company three years ago, for a price between 50 and 70 million dollars. Body Labs specialises in body shape analyses, developing custom avatars and calculating clothing sizes from videos and images. For Amazon customers to be able to buy garments that fit their body shape is an entirely new business category, and one with enormous potential. High street brands have long been plagued with sizing issues, where a one-size-fits-all mentality has allowed mass produced clothing to be the norm in how fashion is consumed. Large factories cannot make modifications to singular items, but Amazon’s new service, however limited in product options, allows for adaptations beyond fit, including neckline preference, sleeve length, colour and choice between two fabrics. For the price of 25 dollars customers have something unique, not off the rack, that is guaranteed to fit. If they rolled the service out to include other styles we could soon have an entire wardrobe of affordable made-to-measure apparel from Amazon. Image Amazon Made for You; Article sources: Forbes, Engadget
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TFG London CEO steps down

TFG London CEO Ben Barnett is reportedly leaving the company in June 2021 after fourteen years at its helm. Justin Hampshire, the managing director of Hobbs - one of the group’s brands - has been named as Barnett’s successor, and will also take up the role of group managing director, Drapers reports. Hampshire has been at TFG London since 2016, when it acquired Hobbs. “The last 14 years have been an incredible journey, on which I have been privileged to work with an exceptionally talented team of people,” Barnett told Drapers. “Whilst it will be tough to personally step back from the brands we have built together, I am delighted to be handing over to Justin and confident that he is the right person to lead our store and head office teams in the next phase of our brands’ development.” South African retail business TFG first entered into the UK market in 2015 with the acquisition of Phase Eight, before going on to add Whistles, Hobbs, Studio 8 and Damsel in a Dress to its portfolio of British premium womenswear brands. The company opened its first TFG store in December 2019. Photo credit: Whistles, Facebook
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Spread Group names Julian de Grahl as new CEO

Spread Group, a collection of print-on-demand demands, has named Julian de Grahl as its new CEO, effective 1 April. He will be taking over from Philip Rooke, who is pursuing a new career opportunity after 10 years at the helm of the group. De Grahl has more than 18 years’ e-commerce experience and has been the managing director at CTS Eventim since 2012. Prior to that, he was managing director at Amiando (now Xing Events) and vice president vertical business at Xing AG (now New Work SE). “Spread Group’s teams have done a tremendous job building an international, sustainable, and profitable business,” de Grahl commented in a statement, adding that the company is “extremely well-positioned to further expand into social commerce and B2B”. Outgoing CEO Philip Rooke commented: “Spread Group is in a great place - we are a strong, sustainable, and profitable business. It has been an incredible honor to work with such talented people and to have achieved so much together.” Rooke continued: Julian will be a great addition to the team and his vast experience, fresh eyes, and multifaceted approach will take the group to the next level.” Photo: Julian de Grahl, courtesy of Spread Group
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Doing things differently: ethical sourcing by Carla Fernandez

Carla Fernandez is a Mexico City-based designer and brand, well known for supporting and promoting indigenous traditional craft from across Mexico and famous for saying that the haute couture of Mexico is located in the indigenous villages.” Would you rather listen to this story? Click here to find the complete podcast by Joshua Williams with Sass Brown. According to Sass, “one of the beauties of Mexico, and one of the things that Carla feels so strongly about, is the fact that there is such a diversity of material traditions across Mexico, across crafts, across communities that are all unique and special.” And she explains that Carla sees it as an honor to be able to work with, and in partnership with, those communities and those people. “She has a long history of working with indigenous communities by going and spending significant time with them, listening and learning from them about what their traditions are, what the meanings and the codes embedded in those traditions and processes are, and what their actual needs are.” As an extension to her work with indigenous craftspeople, Carla designs a fashion collection, which she sells in her stores and online. Managing the supply side as well as customer demand for fashion products can be difficult, so she has divided her business into two entities: for-profit and not-for-profit. Sass explains that this is not unusual for a socially motivated brand to do, especially when they realize the limitations of a for-profit only business. She adds, “To a degree, the for-profit arm of the business offsets the costs of the not-for-profit work which focuses on engaging with artisans to develop their traditions and crafts into marketable products.” The outcomes of the not-profit work is meant to benefit the craftspeople first and foremost, although Carla will often utilize their work in her own collection.However, determining what will appeal to a wider audience versus a more localized craft can be difficult, for many reasons, according to Sass. “That's the challenge to many brands and designers that work with artisanship, particularly from the developing world. And there's differing opinions on how much local tradition is included, or isn't included; what the rights and wrongs are of imposing Western aesthetics, et cetera.” Carla’s approach is somewhat unique to other designers. She producers her artisanal collection, which is exceptionally avant-garde, and developed in collaboration with artisans themselves. Sass describes Carla’s work as “very refined” and “very art-based. She adds, “I think just her own presence, her own guidance in that process makes her collection aesthetically pleasing to a very broad audience, including Western customers.” Additionally, Carla develops pieces directly with the indigenous communities for their own use, including products for the local tourist markets. Sass emphasizes, “she doesn't look down on one or the other as being better, because one is a route to the self sustainment of that community. And based on the knowledge that many tourists aren't willing to pay for incredibly work-intensive, artisanal pieces, they want more gift-type pieces. So, she works with both.” When asked what more mainstream brands can learn from Carla Fernandez's model, Sass points out that Carla approaches her collection in three distinct ways, as three subsets of the overall brand. First, there are full artisanal pieces, from beginning to end. Sass describes this design process as “from beginning to end--hand-grown fiber that's hand-spun, hand-dyed, hand-woven, and then embroidered and made.” Second, there are pieces that only involve some part of artisanship. “It may be from a ready-made fabric that has artisanal embroidery on it; or maybe it's handwoven, but it's in a more contemporary design,” states Sass. And finally, Carla creates more industrialized pieces that have little to no artisanal content. “They are much more commercial and sold through her standalone boutiques in Mexico,” she says. “And they are, in part, what finances the artisanship.” In summary, Sass highlights, “I think it's that balancing an understanding of what customers are willing to pay, what your audience is and looking at your finance model to see if one needs to support another. And that's what Carla Fernandez does really well.” Each month Sass Brown, an expert in ethical fashion, sustainability and craftsmanship, shares a fashion brand that approaches business differently and innovatively or operates outside of the main fashion systems and capitals. Sass is the former Dean of Art and Design at the Fashion Institute of Technology and the founding Dean at Dubai Institute of Design and Innovation.
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Ms Excel Manipulating Text String Formula Part 2

Boohoo appoints PKF Littlejohn to replace PwC as auditor

Boohoo has announced the appointment of PKF Littlejohn as its new auditor following the resignation of previous auditor PwC. Boohoo, whose brands include PrettyLittleThing, Nasty Gal and MissPap, launched a search in October for a new auditor after confirming PwC had stepped down from the role it had held since 2014. It came following an undercover investigation in July by The Sunday Times alleging poor working conditions and illegal pay at some of the Leicester factories supplying clothes to Boohoo. The retailer launched an independent review of its UK supply chain following the allegations. The review found “many failings” in the factories of some of its suppliers in Leicester. When publishing the results of the independent review, Boohoo announced its Agenda for Change programme in which it set out six steps to enhance its supplier audit and compliance procedures. Boohoo co-founder and executive chairman Mahmud Kamani this week told MPs he will “fix whatever’s gone wrong” at his fast-fashion empire. “We have made some mistakes but over the last 14 years we’ve got more right than wrong and we have a very very fast-growing business,” Kamani said while giving evidence to parliament’s Environmental Audit Committee as part of its investigation into the fashion industry. He continued: “I’m determined to fix whatever’s gone wrong and I understand things have gone wrong because of the fast-growing nature of this business.” Boohoo also told the committee it had exited arrangements with 64 Leicester suppliers and factories since late 2019 after finding violations of its code of conduct. Photo credit: Boohoo, Monomo
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Nike second quarter revenues increase 9 pecent

Second quarter revenues for Nike, Inc. increased 9 percent to 11.2 billion dollars compared to the prior year, up 7 percent on a currency-neutral basis. The company said in a statement that revenues for the Nike brand were 10.7 billion dollars, an increase of 8 percent to prior year on a currency-neutral basis driven by strong double-digit growth in Nike Direct, as well as growth in sportswear and the Jordan brand, offset by mid single-digit declines in the wholesale business. Revenues for Converse were 476 million, down 4 percent on a currency-neutral basis, as double-digit growth in digital and growth in Asia were more than offset by declines in Europe and North America primarily due to tighter supply and strategic distribution shifts. “Nike’s strong results during a dynamic environment show the power of staying on the offense,” said John Donahoe, President and CEO, Nike, adding, “Our second quarter revenue performance was impacted by strong Nike brand digital growth of 84 percent, offset by lower revenue in our wholesale business and Nike-owned stores. During the quarter, we experienced temporary door closures in geographies affected by rising Covid-19 cases. We continue to experience year-over-year declines in physical retail traffic in North America, EMEA and APLA due to Covid-19 impacts and safety-related measures, partially offset by higher conversion rates.” The company added that gross margin decreased 90 basis points to 43.1 percent, net income was 1.3 billion dollars, up 12 percent driven by strong revenue growth and lower selling and administrative expense, slightly offset by lower gross margin, while diluted earnings per share were 78 cents, increasing 11 percent as weighted average common shares outstanding increased slightly. Picture credit:Nike news
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Liberation and rebirth: 4 trends for Spring/Summer 2022

Global trend forecasting agency Fashion Snoops has held a virtual event detailing the key trends that will dominate SS22 fashion and accessories, beauty and wellness, and home decor. The talk touched on the way consumer needs have changed in the past year, particularly during the Covid-19 pandemic, and how brands can navigate and win in the “new normal”. Here is a rundown of the four key trends to keep an eye on. Rebirth The first of the trends, Rebirth, draws inspiration from people’s desire in the past year to let go of the weight holding them back and allow room to be reborn. The trend is about looking to nature, connecting to natural cycles, spirituality and indigenous wisdom as a form of escapism from life in lockdown. This appreciation for nature brings with it a new-found desire to know where our products come from and the processes used to make them. This includes regenerative design using innovative plant-based materials and raw materials such as hemp, flax and vegan leathers. Features include unfinished edges that give a rugged feel, functional attributes like big pockets for a sense of convenient practicality, intricate layered and woven details, and knits and mesh constructions mimicking the irregularities of natural growing foliage. The trend is dominated by nature-infused colours such as dark browns, refreshing greens and honey oranges. Photos: (Top left) Stella McCartney SS21 courtesy of the brand, (top right) Marques’Almeida SS21 courtesy of the brand, (middle) H&M Conscious collection courtesy of the brand, (bottom) Adidas Futurecraft Loop courtesy of the brand Essential The second trend, Essential, is inspired by consumers’ heightened appreciation this year for the things that really matter in life including community, family and friends. The pandemic has offered us a moment of pause to explore the idea of ‘less is better’ as we rediscover a love for creating our own food and other products. This is reflected in the trend through handmade and purposed garments made from deadstock or recycled materials, as crafting becomes a type of therapy as we look to reuse what we already have instead of adding to mountains of waste. Materials include linen blends, hand-woven leathers and double weaves, among others. The colour palette again features a lot of natural, raw tones including a nutrient-infused grouping of pinks as well as purples, browns and root green. Photos (from top to bottom): Dolce & Gabbana SS21 courtesy of Alessandro Lucioni / Gorunway.com, Scotch & Soda/Schueller de Waal courtesy of Scotch and Soda, Terracotta Row courtesy of the brand Nourish The third trend, Nourish, is inspired by people’s desire to heal after what has been such a traumatic year for many. To counteract the unprecedented anxiety of the unknown and fear of becoming ill, we look towards healing both physically and mentally through exercise and meditation. Wellness is now at the centre of everything to do, and that is reflected in fashion. Key features to this trend are sensual curves and rounded shapes, emphasising motion and sensuality while also instilling a sense of comfort - like a welcome hug. Uncluttered design amid a renewed appreciation for essential and regenerated minimalism is key. Materials used are clean and comfortable, including untreated leathers and organic fibres. Recycled post-consumer plastics are also important. The colour palette is soothing and effervescent, with an array of off-kilter pastels that are calming without being overly sweet and sugary, while vibrant pops balance the softness and acidity. There are also a series of warm, rich neutrals that ground the palette. Photos: (Top) Raf Simons SS21 courtesy of Catwalkpictures.com, (bottom) Stella McCartney SS21 courtesy of the brand Liberate The final trend, Liberate, is inspired by people’s desire this year to break the barriers holding them back and express themselves in new and powerful ways. It comes as many people look to art as a new way to express and share creativity during lockdown, while beyond that, polarising politics and the powerful BLM movement have pushed people to demand solidarity, equity and justice for all. This trend breaks free from constructs such as gender norms and bridges the gap between physical and digital worlds through the use of new technologies such as digital design and 3D printing. Designs prioritise punctuality with materials such as nylons, spandex and rayon. The colour palette is polarised, with energised neon brights, cool, futurist, digital neons, orange-tinted reds and pink-infused shades. Photos: (Top) Louis Vuitton SS21 courtesy of Filippo Fior / Gorunway.com, (bottom left) Chanel SS21 courtesy of Lucioni - Oberraouch, (bottom right) Burberry SS21 courtesy of the brand Main article image: H&M Conscious collection, courtesy of the brand‌ ‌
http://dlvr.it/Rp75W9

Tanya Deans to join as President Of Hanes Australasia

HanesBrands has announced that Tanya Deans is appointed as President of Hanes Australasia, effective February 8, 2021. The company said, Deans, currently group general manager, Bras N Things, succeeds David Bortolussi, who in August announced his departure for another opportunity. “I am thrilled to name Tanya as the new president of our Australasia business. Tanya brings a clear vision for the future, and I look forward to working with her as we apply her experience and learnings to drive growth across our global organization,” said Steve Bratspies, CEO of HanesBrands in a statement. Deans will lead 4,400 associates and some of Australia’s most recognized apparel and lifestyle brands, including Bonds, Champion, Bras N Things and Sheridan. She will also be responsible for a rapidly growing e-commerce business and a network of more than 450 stores. Deans, the company added, has more than 25 years of experience with Hanes Australasia in a range of brand and product leadership roles. She has extensive knowledge of brand strategy, category management, product development and multichannel execution capabilities. Prior to her current role, Deans led the Hanes Australasia Apparel Group brand and marketing efforts. She has also held leadership roles with the Bonds and Berlei brands. “I am honored to have the opportunity to lead Hanes Australasia. We have an outstanding team, iconic brands and a deep commitment to sustainability,” added Deans. Picture:HanesBrands newsroom
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Nike second quarter revenues increase 9 pecent

Second quarter revenues for Nike, Inc. increased 9 percent to 11.2 billion dollars compared to the prior year, up 7 percent on a currency-neutral basis. The company said in a statement that revenues for the Nike brand were 10.7 billion dollars, an increase of 8 percent to prior year on a currency-neutral basis driven by strong double-digit growth in Nike Direct, as well as growth in sportswear and the Jordan brand, offset by mid single-digit declines in the wholesale business. Revenues for Converse were 476 million, down 4 percent on a currency-neutral basis, as double-digit growth in digital and growth in Asia were more than offset by declines in Europe and North America primarily due to tighter supply and strategic distribution shifts. “Nike’s strong results during a dynamic environment show the power of staying on the offense,” said John Donahoe, President and CEO, Nike, adding, “Our second quarter revenue performance was impacted by strong Nike brand digital growth of 84 percent, offset by lower revenue in our wholesale business and Nike-owned stores. During the quarter, we experienced temporary door closures in geographies affected by rising Covid-19 cases. We continue to experience year-over-year declines in physical retail traffic in North America, EMEA and APLA due to Covid-19 impacts and safety-related measures, partially offset by higher conversion rates.” The company added that gross margin decreased 90 basis points to 43.1 percent, net income was 1.3 billion dollars, up 12 percent driven by strong revenue growth and lower selling and administrative expense, slightly offset by lower gross margin, while diluted earnings per share were 78 cents, increasing 11 percent as weighted average common shares outstanding increased slightly. Picture credit:Nike news
http://dlvr.it/Rp3T4s

Liberation and rebirth: 4 trends for Spring/Summer 2022

Global trend forecasting agency Fashion Snoops held a virtual event in late November detailing the key trends that will dominate SS22 fashion and accessories, beauty and wellness, and home decor. The talk touched on the way consumer needs have changed in the past year, particularly during the Covid-19 pandemic, and how brands can navigate and win in the “new normal”. Here is a rundown of the four key trends to keep an eye on. Rebirth The first of the trends, Rebirth, draws inspiration from people’s desire in the past year to let go of the weight holding them back and allow room to be reborn. The trend is about looking to nature, connecting to natural cycles, spirituality and indigenous wisdom as a form of escapism from life in lockdown. This appreciation for nature brings with it a new-found desire to know where our products come from and the processes used to make them. This includes regenerative design using innovative plant-based materials and raw materials such as hemp, flax and vegan leathers. Features include unfinished edges that give a rugged feel, functional attributes like big pockets for a sense of convenient practicality, intricate layered and woven details, and knits and mesh constructions mimicking the irregularities of natural growing foliage. The trend is dominated by nature-infused colours such as dark browns, refreshing greens and honey oranges. Photos: (Top left) Stella McCartney SS21 courtesy of the brand, (top right) Marques’Almeida SS21 courtesy of the brand, (middle) H&M Conscious collection courtesy of the brand, (bottom) Adidas Futurecraft Loop courtesy of the brand Essential The second trend, Essential, is inspired by consumers’ heightened appreciation this year for the things that really matter in life including community, family and friends. The pandemic has offered us a moment of pause to explore the idea of ‘less is better’ as we rediscover a love for creating our own food and other products. This is reflected in the trend through handmade and purposed garments made from deadstock or recycled materials, as crafting becomes a type of therapy as we look to reuse what we already have instead of adding to mountains of waste. Materials include linen blends, hand-woven leathers and double weaves, among others. The colour palette again features a lot of natural, raw tones including a nutrient-infused grouping of pinks as well as purples, browns and root green. Photos (from top to bottom): Dolce & Gabbana SS21 courtesy of Alessandro Lucioni / Gorunway.com, Scotch & Soda/Schueller de Waal courtesy of Scotch and Soda, Terracotta Row courtesy of the brand Nourish The third trend, Nourish, is inspired by people’s desire to heal after what has been such a traumatic year for many. To counteract the unprecedented anxiety of the unknown and fear of becoming ill, we look towards healing both physically and mentally through exercise and meditation. Wellness is now at the centre of everything to do, and that is reflected in fashion. Key features to this trend are sensual curves and rounded shapes, emphasising motion and sensuality while also instilling a sense of comfort - like a welcome hug. Uncluttered design amid a renewed appreciation for essential and regenerated minimalism is key. Materials used are clean and comfortable, including untreated leathers and organic fibres. Recycled post-consumer plastics are also important. The colour palette is soothing and effervescent, with an array of off-kilter pastels that are calming without being overly sweet and sugary, while vibrant pops balance the softness and acidity. There are also a series of warm, rich neutrals that ground the palette. Photos: (Top) Raf Simons SS21 courtesy of Catwalkpictures.com, (bottom) Stella McCartney SS21 courtesy of the brand Liberate The final trend, Liberate, is inspired by people’s desire this year to break the barriers holding them back and express themselves in new and powerful ways. It comes as many people look to art as a new way to express and share creativity during lockdown, while beyond that, polarising politics and the powerful BLM movement have pushed people to demand solidarity, equity and justice for all. This trend breaks free from constructs such as gender norms and bridges the gap between physical and digital worlds through the use of new technologies such as digital design and 3D printing. Designs prioritise punctuality with materials such as nylons, spandex and rayon. The colour palette is polarised, with energised neon brights, cool, futurist, digital neons, orange-tinted reds and pink-infused shades. Photos: (Top) Louis Vuitton SS21 courtesy of Filippo Fior / Gorunway.com, (bottom left) Chanel SS21 courtesy of Lucioni - Oberraouch, (bottom right) Burberry SS21 courtesy of the brand Main article image: H&M Conscious collection, courtesy of the brand‌ ‌
http://dlvr.it/Rp3T2r