The North Face launching circular re-commerce platform

courtesy of The North Face Outdoor brand The North Face is transforming into a circular business model with the launch of a new circular e-commerce platform that will re-sell, repair and recycle clothing to keep it out of landfill. The circular re-commerce platform, The North Face Renewed, will launch as a pilot scheme in Germany on May 4. The initiative will not only keep products in the value chain, but also offer a collection of refurbished products for consumers who want access to affordable gear and reduce their environmental impact. While the scheme is a pilot, The North Face hopes to eventually roll out to other markets, as it believes that the re-commerce platform will allow consumers even greater choice with their purchasing decisions. Michael Horsch, vice president of product and marketing, EMEA at The North Face, said in a statement. “We take a holistic approach to sustainability. By analysing the impact of our products over their entire lifecycle, we’ve been able to focus on key areas to make the biggest change to our environmental footprint. “The North Face Renewed and our new brand commitments are important next steps as we continually seek to minimise our impact on the planet without sacrificing durability or technical standards.” In addition, to mark Earth Day, April 22, The North Face has also committed to ensuring that 100 percent of its top materials used for its apparel are recycled, regenerative or renewable by 2025. The North Face’s top materials – polyester, nylon, cotton and leather, currently make up approximately 93 percent of its material use in weight and 97 percent of its greenhouse gas emissions. By spring 2022, 80 percent of The North Face’s synthetic apparel fabrics will be recycled, added the brand.
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Ba&sh unveils sustainability development strategy

courtesy of Ba&sh Contemporary French fashion label Ba&sh has unveiled its new development strategy for sustainability, which will see the brand targeting “eco-responsible” materials, enhanced transparency, a reduction in plastic use, and a pledge to lower greenhouse gas emissions. Dubbed the ‘Blossom Manifesto’, Ba&sh states that its sustainability strategy is an “ambitious, thorough yet discreet” transformation plan, which will allow it to play its part in making fashion more responsible. Pierre-Arnaud Grenade, chief executive of Ba&sh, said in a statement: “In our view, the deep ties that we maintain with our ecosystem can create ripple effects that have a lasting impact on society, the environment and beyond. We worked hard but stayed out of the spotlight. We’re not trying to give lessons to anyone. We truly believe in lasting change bolstered by innovation and education.” There are seven action points on Ba&sh’s sustainability strategy, focusing on materials, transparency, plastic, climate change, circular economy, women’s rights and “breaking the glass ceiling”. Ba&sh targets 95 percent eco-responsible products by 2023 The impact of textile materials is at the heart of the brand’s sustainable commitment, with textile materials representing 70-85 percent of the industry’s greenhouse gas emissions. To reduce its impact on the environment, Ba&sh is focusing on what calls “eco-responsible” materials, such as certified organic and recycled fibres. In its current spring/summer 2021 collection, 55 percent of its pieces are eco-responsible, added the brand, compared to 22 percent last year. However, the fashion brand states that this will increase for its autumn/winter 2021 collection, which will be two-thirds sustainable, with a target to increase this again to 95 percent by 2023. As well as looking to eco-responsible materials, Ba&sh is also implementing ethical practices for cruelty-free fashion by certifying that its raw materials are ethical sourcing of animal-based materials and that all brand’s suppliers comply with the animal well-being charter, which ensures the respect of the five animal freedoms as defined by the Farm Animal Welfare Council. Ba&sh to reduce the use of plastic as part of its ‘Blossom Manifesto’ As with many fashion brands, Ba&sh is looking to reduce its use of plastic and has set itself a target of banning virgin plastic by 2023 and to use 100 percent recycled plastic instead. This will be assisted by ensuring that its plastic packaging is 100 percent recycled and 100 percent recyclable from 2022. Currently, the e-commerce packaging used by the brand is comprised of cardboard that is 100 percent recycled, 100 percent recyclable and derived from sustainably managed forests (FSC). In stores, the paper bags are made of 70 percent recycled and 100 percent recyclable fibres. The brand is working on replacing the plastic elements in stores. In an approach to implement more closed-circuit solutions, from this month the brand is putting into place a circular packaging solution, backed by its partnership with the start-up Repack, which allows e-commerce orders to be resent by clients, thereby reducing greenhouse gases by 80 percent compared to conventional packaging. Sharon Krief, co-founder of Ba&sh, added: “For me, it’s unthinkable to imagine the evolution of the brand that embodies femininity without integrating a socially responsible and more environmentally friendly approach. These concepts are inseparable and must be reflected by the brand spirit. The very purpose of ba&sh is rooted in its desire to encourage society to grow, together, and overcome the challenges that it faces. This is concentrated in our Blossom manifesto.” Ba&sh places focus on circular economy with a new sustainable manifesto The concept of a circular economy is important for a more responsible fashion industry, adds Ba&sh and this starts with efficient production, with the brand looking to maintain its rate of unsold stock at around 1 percent. With this unsold stock being donated to associations such as Le Relais or fashion schools that reuse and enhance them. In parallel to more efficient production, the brand is also looking to lengthen the life span of its products, as prolonging a piece of clothing by nine months reduces its carbon footprint by 30 percent. It aims to do this by offering clothing care instruction tutorials on its site to give consumers the tools they need to extend the life of their favourite pieces. This year the brand also launched second-hand clothing resale for its consumers directly through its e-commerce in Europe, using two technological solutions, Arianee and Reflaunt, to assist with these new resales and second-hand options. This approach means customers don’t have to write a product description, look for the best prices or even prove the authenticity of a piece through Ba&sh the piece is automatically authenticated and simultaneously posted on several second-hand marketplaces with a prewritten description and a suggested resale price. Ba&sh is also promoting the sharing economy with the launch of its rental service in February with Les Cachotières to offer consumers the chance to change their consumption habits while diversifying their wardrobes. In addition, Ba&sh is teaming up with Kleiderly to launch tests to recycle clothing waste and create new sustainable material, as it looks to avoid waste incineration by embracing a circular approach. With all the pledges, Ba&sh is also looking to ensure more transparency by partnering with start-up TrustRace to add QR code’s to its clothing labels, so that customers can re­trace the life of the product and learn about its certification and manufacturing condi­tions. Ba&sh to fight for women’s rights As a company founded by two women, solidarity with women is important it adds in its strategy, and it is pledging to “break the glass ceiling” for women. Currently, women represent 75 percent of the brand’s executive committee and 80 percent of the company as a whole. The brand is also focusing on combating violence against women by supporting Women Safe and Children, Women for Women UK, and Care’s Together For Her campaign. Dan Arrouas, co-founder of Ba&sh, explained: “Women hold crucial positions in our house and at the very heart of our company. Therefore, it is our responsibility to do them justice. At Ba&sh, we have always advocated this responsibility in terms of enhancing the role of women. Every day, we do everything we can to help them advance even more.” To support its action plan, Ba&sh has set up a strategic committee set up comprising Diana Verde Nieto, co-founder of Positive Luxury, Juliette Cody, director of the Fashion and Luxury Operational Unit of PUR Project and Laure Villepelet, ESG director of Tikehau. Barbara Boccara, co-founder of Ba&sh, added: “The arrival of spring echoes our Blossom manifesto, which represents our desire to transform the brand and make it more eco-friendly. Climate change is a huge concern for us. With this in mind, we do everything we can to honour our clients’ expectations, offering them a lasting wardrobe with an emphasis on responsible materials. I want our pieces to epitomise the precious alliance between quality and sustainability in order to celebrate women today in the best way possible.”
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Secondhand Buying and Selling Expands Customer Experience

Joshua Williams of Fashion News Bytes As companies like the Real Real, 1st Dibs and DePop continue to make market share inroads when it comes to overall apparel and accessory sales, two key areas of conversation have emerged. One focuses on who has the right in a secondary market to sell certain brands. Most notably, Chanel has filed three lawsuits against The RealReal and 15 cease and desist orders. Their core contentions are that they should have complete control over who sells their product; they should always benefit from the sell of their product; and finally, that they are the only ones able to ensure authenticity. While Chanel, and other luxury brands, have long been sold at secondhand stores throughout the world, the difference here is The RealReal’s scale and control. You can also listen to this story. Click here for the full podcast. The other conversation focuses on that of fashion sustainability and the shift of consumer behavior towards buying something used, rather than something new. In fact, this has been a marketing strategy that The RealReal has been using in its television ads. And while there are clear benefits to selling and buying secondhand products, for many this claim seems to be more greenwashing than true. After all, The RealReal relies on a heavy back and forth shipping scheme to receive and sell product. What’s more, the pay out for customers is fairly low, as the company sets the sell price—and therefore potentially undermines the customer’s reason to be part of this transaction What’s largely missing in these conversations, is a discussion about the long view of brand engagement, especially post-purchase. Typically, marketing strategy is focused on getting a customer back in the door to buy new product, not sell or purchase used product. And yet, by embracing secondhand sales, there is real potential for fashion brands, luxury specifically, to rethink and reengage customers in a more lifelong experience—that recognizes the twists and turns of trends and social behaviors. For example, not more than 50 years ago, part of the Chanel experience was, in fact, going to Paris to visit the store on Rue Cambon and being fitted for a made-to-measure dress. Now that Chanel has stores worldwide, this is no longer necessary. So, imagine what a carefully curated vintage store experience might be like, owned and operated by Chanel in Paris only. And what if Chanel operated an online expansion of this experience—allowing them to meet growing customer demand for an online experience, while still maintaining exclusivity and control when it comes to their new collections? Not only does this provide another layer to the contemporary brand experience, that is largely now online, but it also provides a brand like Chanel a chance to better manage which product is on the market, which in turn allows them more control of the overall brand DNA and brand narrative. What’s more, as luxury prices continue to rise in value—especially one-of-a-kind pieces and short run collections—there is an opportunity to rethink apparel and accessories in the context of antique and art markets. In many cases, these markets excel at building value over time—while fashion has always focused on the new—with a few outliers such as Nike. For artists, makers and brands who understand this, they have been able to control and monetize their legacies closely. For those who don’t, the transfer in power has been to the auction houses and galleries that reap most of the benefits of the sale. In short, The RealReal can and will dominate the market if the brands let them—notwithstanding the lawsuits. But, if brands act now, with this long view mindset, not only can they better control the market, they can also develop a more layered and engaged consumer experience across multiple touch points, and across a lifetime.
http://dlvr.it/RyN8dy

Fashion brands can soon advertise on Instagram Reels

Facebook is to start advertising on its Instagram Reels platform. The testing phase will begin in India, Brazil, Germany and Australia, before rolling out to other markets if successful. The social media giant aims to monetise its short-form video feature, and follows rival TikTok-owner ByteDance who generated over 27 billion dollars in advertising revenue in China last year. According to Reuters Facebook Inc is seeking to capitalise on its popularity in India, a fast-growing social media market, while rival TikTok has been banned from the country since last year. Facebook has said it plans to test other features in India, such as letting content creators share Reels videos on their Facebook accounts. The introduction of ads is an “indication of how strong the momentum is for Reels,” Carolyn Everson, vice president of global business group at Facebook told Reuters. Everson did not share usage metrics for Reels. Facebook also announced Thursday it will let advertisers select categories of video content they want to place ads on, such as videos about children and parenting, animals and pets or fitness and workouts. The effort is Facebook’s biggest move yet to let brands advertise alongside content subjects. Advertisers typically use Facebook to target certain users by their interests. “This is a big deal for marketers,” Everson said. Reels can be an interesting channel for fashion companies to gain visibility, especially with a younger audience. The 3 to 30 second reels may not allow time for deep storytelling but are perfect for a straight-to-the-point marketing tactic. Louis Vuitton, for example, successfully uses Reels to introduce collections with several being viewed more than six million times.
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Zalora releases inaugural sustainability report

Image: Zalora Zalora has released its inaugural sustainability report highlighting the progress it has made on its sustainability strategy set out last year, which hinges around four key pillars: environmental footprint, sustainable consumption, ethical sourcing, and responsible workplace and community engagement. In the report, the fashion and lifestyle e-commerce platform revealed that 86 percent of its warehouse waste has now been diverted from landfills, mainly through recycling, while 68 percent of its delivery and internal packaging is made of sustainable materials. All of Zalora’s Tier 1 private label factories are also now engaged in training programmes. “In the last year, we have seen more than ever how people, communities and the planet are inextricably linked, and sustainability is becoming even more pertinent against the growing awareness of fashion’s pollutive impact on the environment,” said Zalora Group CEO Gunjan Soni in a statement. Currently, more than 90 percent of the company’s customers say they are interested in shopping for sustainable products. “As an e-commerce platform working with over 3,000 brands and serving millions of customers across the region, we recognise that we have the scale, capacity and responsibility to inspire more conscious and ethical consumerism,” Soni said. During the year, the company also launched its first sustainable capsule collection in collaboration with Tencel fiber, under its Zalora Basics Label. It also introduced Earth Edit - a curated assortment of pieces and brands that meet Zalora’s sustainability criteria. Currently, 5 percent of the company’s retail branded portfolio meets this criteria. Zalora also partnered with luxury marketplace reseller StyleTribute to provide its shoppers in Singapore and Malaysia with the option to buy second-hand luxury fashion items. Soni continued: “While we have made some strides towards our 2022 and 2025 targets, we still have a long way to go before achieving a fully sustainable fashion ecosystem in the region. However, I believe that with the continued support of our team members, brand partners and customers, our collective action can and will create incredible change.”
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Virtual sneakers for 10,000 dollars? An exhibition gathers digital fashion pioneers

Picture: Dematerialised exhibition on Cryptovexels Digital fashion to date has often been in the headlines for its futuristic aesthetics or eye-watering prices. In early March, a virtual sneaker drop fetched a whopping 3.1 million US dollars, with a pair of shoes priced at up to 10,000 dollars. An exhibition at the beginning of April displayed some groundbreaking moments of the phenomenon of digital fashion, which recently capitalized on the boom of so-called crypto art with purely virtual art works selling for millions of dollars. Those who visited the Metaverse exhibition by digital fashion startup Dematerialised headed to Cryptovoxels - a virtual world on the Ethereum blockchain. Using the arrow keys on their keyboards, visitors could navigate through streets filled with digital art, an experience somewhat reminiscent of the pixelated worlds of Minecraft or Secondlife. Purely digital fashion is gradually becoming a discipline in its own right, in a world of its own - like the exhibition on Cryptovexels, which is part of a larger online virtual art exhibition. Digital fashion, or 3D models of clothing created using digital software, is already being employed widely by fashion companies in their advertising campaigns, said Catty Taylor, the co-founder of London-based Institute of Digital Fashion, which has worked with the likes of Ellesse and Balenciaga. Worlds filled with digital fashion "Now it has morphed into this whole world where digital fashion is like a tangible 3D-object that is really useful and can be used in so many different channels," Taylor said during a talk about the Metaverse exhibition on social media app Clubhouse. Her 'Boob Jiggle T-shirt', which she created in 2017, as well as a digital crystal-studded couture dress she made in collaboration with US couturier August Getty, were featured in the exhibition. Image: Rtfkt x Fewocious Sneaker (far left) / Dematerialized exhibition on Cryptovexels Many bigger brands like Hugo Boss and Tommy Hilfiger are working to create their latest collections using 3D design software to cut down on samples and resources. But garments and shoes that are exclusively available digitally have also found a market. The Metaverse exhibition featured the fiery red ‘Pepa Trousers’ by Tribute Brands - the first label to build a business model around digital fashion and selling to end consumers, Karinna Nobbs explained by phone. She co-founded the digital fashion marketplace Dematerialised and curated the exhibition of 15 items. Also showing at the exhibition was Swedish apparel retailer Carlings which became the first online store to sell digital fashion back in 2018. The silverhood tracksuit by creative agency Virtue in the exhibition commemorated this moment. Not to be missed were a pair of sneakers from the collaboration between digital sneaker brand Rtfkt and virtual artist Fewocious. Within seven minutes, the virtual shoes raised 3.1 million dollars and became a media sensation. This collaboration is just one example of how digital fashion is benefiting from the recent trend around virtual art. During the pandemic, the market for digital collectibles such as video game items and art works has boomed. With the help of so-called non-fungible tokens (NFTs) and blockchain technology, these items are given their unique digital identity, and a correlating value. In this way, digital fashion is quickly becoming a collector's item. Its share of the NFT market, however, is difficult to quantify. Who buys virtual clothes? "It depends on how you define fashion, but the percentage of fashion is still small," Nobbs said. "Our target audience are quite diverse groups." They range from gamers and the crypto community to fashion consumers - including early adopters of technology with an interest in sustainability and creatives with high aesthetic standards. "With gamers, we don't have to explain why they should buy digital virtual goods, whereas with fashion consumers, we have to do a lot of education and storytelling, explaining the value of the tech aspect or what an NFT is," Nobbs said. The ideals behind digital fashion The exhibition also demonstrates how digital fashion can be used to share iconic masterpieces with a wider audience. The Virtual Fashion Archive by New York-based design studio Superficial has digitized apparel by designers such as Thierry Mugler and Issey Miyake and put the pieces online, so anyone worldwide can see the drape, details and patterns of these garments. A strong sense of idealism could be felt during the clubhouse conversation among the digital fashion designers gathered in the exhibition. Some see digital fashion as an opportunity to change what troubles them about the current fashion industry. Digital clothing is not exclusive, it can be worn anywhere, by anyone - regardless of gender, appearance or body shape - and it is more sustainable, said Auroboros designer Lisa Sello. The London-based label creates physical couture using natural materials, resulting in garments which grow over time and eventually disintegrate - and the designer duo debuted a digital collection this year, too. “The more digital fashion appears to these sensory human elements, the more important it will become as well,” Sello said on Clubhouse. “I think especially now, people are really looking for something to guide them almost, not a light necessary but a something that is inspiring. Digital fashion allows for that because it is so new, there are so many solutions that it brings.” Continue reading: * First crypto fashion week offers a taste of digital fashion’s wildly creative potential * Digital fashion: "The world doesn't need physical clothes anymore" * Pioneering 3D technology: digital design at Hugo Boss
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Secondhand Buying and Selling Expands Customer Experience

Joshua Williams of Fashion News Bytes As companies like the Real Real, 1st Dibs and DePop continue to make market share inroads when it comes to overall apparel and accessory sales, two key areas of conversation have emerged. One focuses on who has the right in a secondary market to sell certain brands. Most notably, Chanel has filed three lawsuits against The RealReal and 15 cease and desist orders. Their core contentions are that they should have complete control over who sells their product; they should always benefit from the sell of their product; and finally, that they are the only ones able to ensure authenticity. While Chanel, and other luxury brands, have long been sold at secondhand stores throughout the world, the difference here is The RealReal’s scale and control. You can also listen to this story. Click here for the full podcast. The other conversation focuses on that of fashion sustainability and the shift of consumer behavior towards buying something used, rather than something new. In fact, this has been a marketing strategy that The RealReal has been using in its television ads. And while there are clear benefits to selling and buying secondhand products, for many this claim seems to be more greenwashing than true. After all, The RealReal relies on a heavy back and forth shipping scheme to receive and sell product. What’s more, the pay out for customers is fairly low, as the company sets the sell price—and therefore potentially undermines the customer’s reason to be part of this transaction What’s largely missing in these conversations, is a discussion about the long view of brand engagement, especially post-purchase. Typically, marketing strategy is focused on getting a customer back in the door to buy new product, not sell or purchase used product. And yet, by embracing secondhand sales, there is real potential for fashion brands, luxury specifically, to rethink and reengage customers in a more lifelong experience—that recognizes the twists and turns of trends and social behaviors. For example, not more than 50 years ago, part of the Chanel experience was, in fact, going to Paris to visit the store on Rue Cambon and being fitted for a made-to-measure dress. Now that Chanel has stores worldwide, this is no longer necessary. So, imagine what a carefully curated vintage store experience might be like, owned and operated by Chanel in Paris only. And what if Chanel operated an online expansion of this experience—allowing them to meet growing customer demand for an online experience, while still maintaining exclusivity and control when it comes to their new collections? Not only does this provide another layer to the contemporary brand experience, that is largely now online, but it also provides a brand like Chanel a chance to better manage which product is on the market, which in turn allows them more control of the overall brand DNA and brand narrative. What’s more, as luxury prices continue to rise in value—especially one-of-a-kind pieces and short run collections—there is an opportunity to rethink apparel and accessories in the context of antique and art markets. In many cases, these markets excel at building value over time—while fashion has always focused on the new—with a few outliers such as Nike. For artists, makers and brands who understand this, they have been able to control and monetize their legacies closely. For those who don’t, the transfer in power has been to the auction houses and galleries that reap most of the benefits of the sale. In short, The RealReal can and will dominate the market if the brands let them—notwithstanding the lawsuits. But, if brands act now, with this long view mindset, not only can they better control the market, they can also develop a more layered and engaged consumer experience across multiple touch points, and across a lifetime.
http://dlvr.it/RyDwTf

When the Past May Drive the Future

Joshua Williams of Fashion News Bytes In this episode, “When the Past May Drive the Future” we explore how brands might expand lifetime customer engagement through the buying and selling of secondhand goods.
http://dlvr.it/RyDwTG

Hermès posts strong growth across geographies and businesses

Hermès website In the first quarter of 2021, Hermès group’s consolidated revenue amounted to 2,084 million euros, up 44 percent at constant exchange and up 38 percent at current exchange rates driven by strong performance in Asia and Japan, the upturn in America and a good resistance in Europe. The organic revenue growth was 33 percent compared to the first quarter of 2019. Commenting on the first quarter trading, Axel Dumas, executive chairman of Hermès, said: “In a still unstable context, our strong sales growth confirms the robustness of our sustainable artisanal model and the desirability of our collections to our customers all over the world.” Review of geographical performance of Hermès sales The company said, first quarter sales in the group’s stores rose 51 percent compared to 2020 and 41 percent compared to the first quarter of 2019. The company added that wholesale activities, down 2 percent remained penalised particularly by travel retail. Sales in Asia excluding Japan rose 94 percent, driven by highly dynamic activity in Greater China and sustained activity in Korea, Thailand, Singapore and Australia. Sakes in Japan increased 20 percent. A new store was opened in Tokyo in February on Omotesando Avenue. America reported sales growth of 23 percent. Europe excluding France declined 1 percent and France witnessed a drop in sales of 9 percent penalised by new restrictions during the first quarter and by store closures in several countries, especially in the United Kingdom, Germany and Switzerland. The company’s Lyon store reopened in February after renovation, followed early March by the store on rue de Sèvres. Hermès business lines return to growth in Q1 In the leather goods and saddlery division, sales accelerated 34 percent in the first quarter, driven by the strong deliveries made at year-end. The company said, increase in production capacities continues, with the opening of the sites in Guyenne (Gironde) and Montereau (Seine-et-Marne) this year, the Louviers site (Eure) scheduled for 2022, the new site in Ardennes for 2023 and the second production site in Auvergne for 2024. The ready-to-wear and accessories division sales increased 51 percent due to the success of the ready-to-wear and fashion accessories collections. The silk and textiles business line improved 34 percent. Perfumes and beauty posted 21 percent growth and benefited from the launch in February of the new men’s perfume H24. Watches division posted 96 percent, reflecting the house’s technical watchmaking expertise and creativity of the collections. The other Hermès business lines reported 93 percent growth driven by homeware and jewellery. In the medium-term, despite the economic, geopolitical and monetary uncertainties around the world, the Hermès group confirms an ambitious goal for revenue growth at constant exchange rates.
http://dlvr.it/RyDwQw

Walgreens Boots Alliance rebrands beauty business

courtesy of No7 Beauty Company Walgreens Boots Alliance is repositioning its beauty brands, No7, Liz Earle Beauty Co., Botanics, Soap and Glory, Sleek MakeUP and YourGoodSkin under the umbrella of No7 Beauty Company as it looks to drive digital marketing effectiveness and expansion. The new consumer-led beauty business aims to drive growth and broaden its beauty brands appeal internationally, especially in the US market. Currently, No7 Beauty Company products are sold in more than 20,000 retail outlets across 16 markets, with offices in Nottingham, London and the Isle of Wight in the UK, alongside Deerfield, New York and Chicago in the US and Hong Kong. In a statement, No7 Beauty Company said that the new business would create “beauty brands for every skin type, ethnicity, age and texture that everyone can trust,” while using insights into consumer shopping behaviours to lead its strategy in developing products through sustainable sourcing practices and “world-class innovation”. Optimising digital marketing and increasingly personalised solutions is also a priority for the new company, as it looks to develop its omnichannel offering. It will utilise Walgreens Boots Alliance retailers, “new and existing partners around the world,” as well as through a direct-to-consumer model, including a .com website and mobile apps. No7, Liz Earle Beauty Co., Botanics, Soap and Glory, Sleek MakeUP and YourGoodSkin to form new umbrella company Annie Murphy, senior vice president, global chief commercial brands officer and international retail, who will oversee the new organisation, said in a statement: “Walgreens Boots Alliance is committed to helping people to live happier, healthier lives. The launch of No7 Beauty Company, a new consumer packaged goods business within WBA, allows us to reinvent how we manage and drive further growth for our beauty portfolio. “It is all about maximising everything we are part of as WBA. No7 Beauty Company will use the combined strengths of our world-leading brands, our dynamic supply chain, and our unrivalled track record for product innovation. We listen to our consumers and use our incredible expertise in science and our beauty heritage to make affordable products that they can trust, experience and enjoy on their own terms. For us, this is all about creating the best in beauty for everyone.” Sustainability is also at the heart of the new business, adding what it calls a “bold roadmap” to focus on achieving three goals by 2030, including ensuring that 50 percent of global sales come from healthier, more sustainable products and services. It has also pledged to halve the overall impact of new products it places on the market, compared to 2019. This will be achieved by cutting emissions in line with climate science, having a net positive impact on nature, reducing single-use plastic and putting circular thinking at the core of its business model. In addition, it will double the value it creates for society, compared to 2019, to directly benefit at least 500,000 people. Mark Winter, managing director, No7 Beauty Company added: “The launch of No7 Beauty Company will enable us to make our beloved and trusted brands accessible to even more customers around the world, as a force for good, underpinned by best-in-class global sourcing and accelerated levels of innovation. “With our new identity, we are better placed than ever to create new relationships with retail partners and unite our 2,900 team members including 1,600 beauty advisors, helping us to align our strategy across all of our brand teams in every geography.”
http://dlvr.it/Ry8vKG

Kontoor Brands appoints executive vice president of global supply chain

Image: Lee Jeans, Facebook Wrangler and Lee Jeans owner Kontoor Brands has named Karen Smith as its executive vice president of supply chain, effective May 1. In her new role, Smith will be responsible for all aspects of supply chain management including global operations, global manufacturing and sourcing, product quality and stewardship, distribution and logistics and master data governance. She will also have responsibility for all components of the company’s supply chain strategy, including trade-related functions and operations. Smith currently serves as vice president of global supply chain operations, a role she assumed after Kontoor’s 2019 spinoff from VF Corporation. At VF she held a number of positions including vice president of supply chain for jeanswear, sportswear and Timberland, and vice president of global supply chain operations for Timberland. Prior to VF, she spent nine years at Jockey International, most recently as vice president of operations. Smith succeeds Randy Fortenberry, who will retire at the end of April after more than 30 years of serving VF and Kontoor’s supply chain organizations. “Karen brings extensive experience across all aspects of responsible and efficient supply chain management,” said Kontoor president and CEO Scott Baxter in a statement. “More importantly, she’s a proven leader with a talent for building and motivating teams along with a deep commitment to Kontoor’s culture. She’s a perfect fit for this critical role.”
http://dlvr.it/Ry8vF8

Cotton made in Africa cooperates with African Cotton Foundation

The Cotton made in Africa (CmiA) initiative will join forces with the African Cotton Foundation (ACF) to promote socially and ecologically sustainable cotton cultivation. This includes training and other implementation measures conducted by cotton companies in the CmiA project countries, which will be coordinated by the AFC. They can now apply to the Aid by Trade Foundation — the CmiA’s parent organisation — for co-financing for the implementation of specific activities, especially regarding innovative measures to protect the soil or to promote integrated farming. “Sharing agricultural knowledge with small-scale farmers through workshops and training is a key priority for Cotton made in Africa. In the African Cotton Foundation, we were able to win a partner who has become firmly established in the African cotton sector by uniting and pooling the forces of many actors who are especially committed to sustainability,” explains Tina Stridde, managing director of the Aid by Trade Foundation, in a press release on Tuesday. “We are happy to be able to count on this partner’s competence and support with the implementation of our goals, allowing us to continue successfully improving the living conditions of hundreds of thousands of small-scale farmers and making cotton cultivation in Africa more socially and environmentally sustainable”, adds Stridde. ## CmiA and ACF want to support cotton farmers and protect the environment “The goals of both organisations are perfectly complementary. ACF is working to develop a prosperous, modern, and sustainable cotton sector in Africa. Together, we want to ensure that cotton growing is profitable, the environment is protected, the communities grow stronger, and human rights are respected,” says Belinda Edmonds, managing director of the African Cotton Foundation. Cotton made in Africa was founded in 2005 by Dr. Michael Otto and established by the Hamburg-based Aid by Trade Foundation. As the primary standard for sustainable cotton in Africa, Cmia supports more than one million small-scale farmers in ten countries and connects them with trading companies and fashion brands throughout the global textile value chain. The objective is to employ trade rather than donations to offer help for self-help and improve the lives of farmers and protect the environment. Founded in 2018, the African Cotton Foundation is a members’ organisation that comprises representatives of cotton companies and cotton traders. Its goal is to sustainably support African farmers in improving their livelihoods. To this end, ACF employs its members’ infrastructure to implement services and development projects that significantly improve the income, food security, and resilience of small-scale farming households in a co-ordinated, sustainable, and scalable way. Also read: * Aid by Trade’s CmiA cotton and The Good Cashmere Standard director on providing sustainable solutions * Panel discussion: Can common cotton claims be debunked? Photo: Martin J. Kielmann for CmiA
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Urban Outfitters to address commercial textile waste with FabScrap

Urban Outfitters, Inc. are partnering with FabScrap to reduce the fashion industry’s impact on the planet by helping the organisation expand with a working capital grant. The retail group started working with FabScrap in 2019 as part of its efforts to reduce waste in its supply chain. The non-profit helped Urban Outfitters, Inc. to recycle fabric waste from their knitting, sample, and pattern-making rooms. More needs to be done added the retailer, as each year more than 6.3 million tons of textiles are wasted during the design and production process to make clothing, according to the ‘A New Textiles Economy: Redesigning Fashion’s Future’ report from the Ellen McArthur Foundation. This new partnership will see Urban Outfitters combating commercial textile waste by facilitating FabScrap’s expansion into the Mid-Atlantic region by providing a new physical location in Philadelphia and a working capital grant. Frank J. Conforti, co-president and chief operating officer, Urban Outfitters, Inc., said in a statement: “We are excited about the partnership with FabScrap as part of the next step in our sustainability journey. Philadelphia is a perfect location to expand due to local demand for service and many relationships with design and art universities and non-profits in the region. We believe this expansion will facilitate an infrastructure solution for FabScrap and our community.” Headquartered in New York City, FabScrap is a non-profit organisation that has pioneered a system to reuse and recycle fabric waste. It aims to counter the fashion industry’s commercial textile waste problem by diverting as much unused material as possible from being landfilled or incinerated, while simultaneously creating an accessible materials resource for creative communities. Jessica Schreiber, chief executive of FabScrap, added: “It’s fantastic that Urban Outfitters, Inc. supports the fabric recycling and reuse infrastructure FabScrap is building. This infrastructure is a key component of a more sustainable future for fashion. “We are leading the change in how the industry handles fabric waste during the design process, though our work relies on companies and individuals within the industry recognising the issue and actively seeking a solution. Urban Outfitters, Inc. is actively contributing to our growth, increasing the accessibility of our services, and accelerating our impact.”
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Burberry launches AR Pocket bag experience

Image: Burberry Burberry has launched an augmented reality (AR) experience allowing its customers to design their own 3D Pocket bag sculptures. The virtual bags are inspired by the maritime themes of the label’s SS21 campaign, called ‘In Bloom’. The collection takes inspiration from “a modern mythology, a contemporary fairy tale where a love story blooms between a mermaid and a shark, darkly romantic and unexpected”. Through Burberry’s app, users can edit AR versions of the Pocket bag from the collection in a variation of four different shapes and sizes, and capture the results in images to share on social media. Burberry shoppers can also see AR versions of the pocket bags in their surroundings and see them at scale against other real-life objects. “These experiences seek to enrich our customer journeys online and bring our digital content into the physical surroundings of customers,” Burberry said in a release. It comes as the British label continues to focus heavily on digital experiences. Last month, Burberry linked with Elle Digital Japan to create an interactive virtual replica of its flagship in Ginza, Tokyo. Last year, the brand opened the doors of what it describes as “luxury’s first social retail store” in Shenzhen, China. The 5,800 square foot store is split into 10 rooms for customers to explore and interact with both physically and digitally by using a dedicated WeChat ‘mini program’. Burberry has also released a series of digital games in recent years allowing users to win both virtual and physical rewards.
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Women in fashion leadership: Petra Scharner-Wolff, Otto Group

Petra Scharner-Wolff is Group Executive Vice President Finance, Controlling, and Human Resources at Otto GmbH & Co KG. The Hamburg-based Otto Group, which operates in more than 25 countries and boasts an annual revenue of 14.3 billion Euros in 2019/2020, is one of the world’s biggest e-tailers. FashionUnited spoke with her via email about the leadership style of women versus that of men, about showing more courage, and about the Cultural Change program within the company. Ms. Scharner-Wolff, please describe your career in your own words. I have never been one to focus on the hurdles, but on the steps that I want to take next. Before joining Otto Group, I worked as a business consultant. At Otto, I started working as an employee in Controlling and slowly took on more and more responsibility, changing departments every few years. I loved to learn about the different perspectives and focuses in combination with challenging transformations. Fortunately, I always had a husband by my side who fully supported and approved of all my professional aspirations. What qualities have particularly qualified you for your current position? I enjoy making things happen and using my creative freedom. I also love dealing with people, understanding them and I don’t mind conflict, if it helps to push the right issues forward. Because if you want to change something, you have to be able to make difficult and even unpopular decisions. Thanks to my professional expertise, I can trust myself and my decisions because I can derive and justify them objectively. Last but not least, willingness to change also plays a major role. At Otto Group, we have been living our Culture Change 4.0 for just under five years, which has changed our entire way of working, our way of thinking and acting, our attitude. This new way of working makes us fit for the future, but it has demanded a lot from all our colleagues - especially from our managers - I can tell you that from my own experience. Anyone who is not flexible or able to take criticism will have a hard time in a leadership position. What changes has the pandemic brought to your job? As for many others, work became all about remote work: From one day to the next, last March, we completely converted ongoing operations to work from home wherever possible - with great success. This has shown me that, technologically and culturally, the Otto Group was in a very good position for these extraordinary, Corona-related challenges. New ideas and formats were developed everywhere to further improve our virtual collaboration - from daily stand-ups and team workshops to virtual learning formats and bar camps to digital employee events and international management meetings, which now even take place at a much faster pace than usual, because no one has to travel. What impressed me positively was how close we have become despite the distance. We want to and must maintain this Group-wide collaborative cooperation. When I look at my own personal work context, this year was indeed very special, because my role as head of the corporate crisis team inevitably took up much more space than usual and brought with it many challenging issues. For example, protecting the health of all colleagues as best as possible while maintaining business operations as continuously as possible. As Executive Board Member you are responsible for Finance, Controlling, and Human Resources. How does that go together, numbers and people, and which is closer to your heart? I am passionate about both topics - you can't have one without the other. After all, it is primarily the people who are responsible for the economic success of the Group. From my point of view, it is even a great advantage to have a close link between these two, at first glance contradictory, departments, especially when difficult projects are on the agenda. Do you think women have different leadership styles than men? How do they differ? The role of leadership, and therefore of managers, is changing a lot. Until now, many corporate cultures have tended to favor so-called ‘masculine' traits, such as rationality and risk-taking, and have lacked female role models. But when we think of new buzzwords like agility and empowerment, leadership is no longer about command and control, but much more about creating a shared vision, trusting the team, and handing over responsibility to it. I see this as a great opportunity for women, because qualities that tend to be attributed more to women, such as empathy, social competence, and communication skills, will help a great deal. However, the female-male comparison is only one side of the coin. Experience clearly shows that mixed teams always make better decisions and develop more innovative ideas. Diversity is no longer a 'nice to have'. We need diversity in all aspects to be economically successful in the long run. Do you exchange ideas with other women in comparable positions? What topics engage you in these conversations? Absolutely. A good network is essential and above all, it helps to drive issues that are becoming more and more important. My role as Chief Human Resources Officer is very much about female empowerment, equal participation, and overcoming social conditioning. I am committed to ensuring that this discussion is conducted in an interdisciplinary manner - with representatives from business, politics, and society. Companies are often given a high level of responsibility. We are happy to accept this responsibility, but we also make it clear where the framework conditions need to change elsewhere. For example, the issue of womens’ careers cannot be discussed without asking why men, on average, still earn so much more and continue to be seen as the family providers. This is a structural problem that makes women disproportionately stay at home with the children - especially in the phase between 30 and 40 when the most important career steps are usually taken. We need a strong awareness of the different levels of female, but also male careers in order to really create new perspectives. The more women and men talk about it, the better. Do you see yourself as a mentor to other women? How do you personally encourage them? Yes, that is an important concern for me. Women still lack role models. I definitely see myself as a role model. In terms of content, I am particularly concerned with mirroring learned female behavior, which often appears defensive in a professional context, and motivating women to break with these patterns. Take career planning, for example. Men approach gaps in their knowledge with the attitude: 'Everything I can't do, I can learn.' We women, on the other hand, must learn not to focus too much on hurdles and to see possible failure as an opportunity for personal development. My appeal to women is therefore: "Have more courage to fail! Dare to learn new things and open up even unfamiliar topics." It is similar with visibility. Women don't negotiate worse than men per se, but they tend more often to think that ambitiousness could seem imposed or show-offish. So they miss out on putting their performance in the best light, receiving recognition for it, and being considered for leadership positions. In the end, good mentoring leads to better self-reflection: Those who know their own strengths and weaknesses are much better able to develop into authentic and successful leaders. Otto Group has put a Diversity Management Programme in place. What does that entail? It means anchoring the topic of diversity strategically throughout the Group. We initiate Group-wide development programs and projects, for example, to promote female junior managers. Mentoring is also an important part of this. We network and provide the impetus for the individual Group companies and, together with the contact persons, develop measures to achieve the goals set in the area of diversity - recently also within an overarching Diversity Community, which has just been established to further increase the broad impact and relevance of this topic. And there is a Culture Change 4.0 department. What's happening there? The culture change process initiated by shareholders and management at the end of 2015 ensures the future viability of our company. The central culture change team plays an important role in this process because it encourages the Group companies and the local culture change teams within the Otto Group to make fields of action visible and to implement change processes. As multipliers and enablers, they support colleagues across the Group, for example by developing collaboration tools, formats and structures and by networking local knowledge carriers. In fact, the team is working with great dedication on its vision of doing away with itself in a few years. What tips would you give your younger self in their 20s (or current graduates) regarding their careers? American psychologist Norman Vincent Peale coined a saying that I like to quote, "Shoot for the moon. Even if you miss, you'll land among the stars." I believe that we should all take this to heart. We live in a time when we are allowed to be so brave as to try things out, to listen to our own intuition, to contribute our own perspectives and ideas. It helps to allow yourself a positive restlessness, to have the desire to go forward, to show yourself and raise your hand, for example when it comes to presenting results or even to dive fearlessly into a completely new project. This confidence will be rewarded and will always be more beneficial than detrimental to one's career. Also read: * Women in Leadership: Anne-Laure Descours, Chief Sourcing Officer at Puma SE * Women in Leadership: Silvia Azzali, Chief Commercial Officer, Wolford AG * Women in Leadership: Isabel May, Chief Customer Experience Officer & Managing Director at Mytheresa This article was originally published in November 2020 on fashionunited.de. Translation and editing: Barbara Russ Images: Otto Group: Petra Scharner Wolff; Otto Group Executive Board; Otto Group Headquarters
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Sebago unveils first co-branded venture with Engineered Garments

courtesy of Sebago with Engineered Garments American heritage footwear and apparel brand, Sebago, has unveiled its first partnership with New York-based Engineered Garments, founded by Japanese designer Daiki Suzuki. The capsule collection for spring/summer 2021 features six men’s style and combines a collaboration of “contemporary and classic aesthetics,” explains Sebago in a press release. Suzuki revisited the US brand’s traditional lines while adding a “classic yet contemporary New York feel”, to create men’s footwear styles that combine both his Japanese aesthetics with the heritage of US sportswear and outdoor clothing. There are six styles, featuring a mix of full-grain leather, suede, and asymmetrically textured uppers, all with Vibram EVA soles, in a colour palette of beige, black and dark brown. Sebago with Engineered Garments footwear is available in Nepenthes stores in London, New York, and Tokyo, among other selected stores worldwide. courtesy of Sebago with Engineered Garments courtesy of Sebago with Engineered Garments courtesy of Sebago with Engineered Garments
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Facebook algorithms hurt independent brands serving disabled market

FFORA wheelchair accessories Two years ago, Facebook flagged the website of Slick Chicks, a company which sells adaptive underwear for diverse bodies, for content which Facebook said went against their community standards. The content was an image of a woman in a wheelchair wearing their patented side opening underwear. “We feature our customers and brand ambassadors on our website and social media because we believe in showing people in real life situations, embracing their individuality,” Helya Mohammadian, Founder of SlickChicks, told FashionUnited. “Our mission at Slick Chicks is to empower our customers and give them a little more independence in something we take for granted every day, like getting dressed.” Slick Chicks patented underwear, slickchicksonline.com As a small business, Slick Chicks relies on social media to reach its customer, and to advertise, but not only that. An important part of Mohammadian’s work, she believes, is to advocate for people with disabilities and for social media inclusiveness. So she decided to take Facebook on. After sending dozens of emails to them without success, she launched a petition on change.org, reaching 1000 signatures within 3 weeks. Facebook lifted the ban. But she couldn’t be expected to take this action for every product launch. Adaptive market demands Diversity, Equity and Inclusivity Maura Horton, founder of adaptive brand MagnaReady which was sold to Global Brands Group in 2019, had difficulty obtaining ads on social media platforms since her company’s 2013 inception. In her role as Chief Community Officer at JUNIPERunltd, a community and commerce hub for the disabled, she notes that, despite more adaptive brands entering the space, the issue remains. “Even more alarming,” she added, “with DEI at the forefront of conversation and companies taking a closer look at what they are saying and doing.” In Horton’s experience, an ad for a pant worn by a standing person and another for the same pant modified for the seated body and worn by a model in a wheelchair, were treated differently by Facebook. The former passed without incident, the latter was denied, repeatedly. “The exact same wording, product description and caption,” said Horton. “The only difference is a visual difference.” Horton received an email from Facebook identifying the blocked pant as “medical related in nature.” Lucy Jones, founder and CEO of FFORA, a range of purses and accessories designed to affix onto the frames of wheelchairs, received a similar email. “There is simply nothing medical about them,” Jones told FashionUnited of the FFORA assortment. “You could compare our product to a bicycle cup holder for example, and I would find it hard to believe if that was flagged as ‘medical in nature’.” Jones and her marketing team had to rethink all the terminology they used in ads, eventually pausing those efforts entirely to focus on engaging with her current community and in-person opportunities before Covid-19 scuppered those. “As you can imagine it greatly downsized our audience reach, which is not ideal for a new company trying to get the word out and share our products with the potential customers that our products would resonate with.” Facebook currently has 2.8 billion users, so the potential for building brand awareness is unparalleled. But when start-ups and small brands receive such emails from tech giants, shutting down their content, effectively silencing them, it can create paralyzing uncertainty at a time when success in the apparel sector is already far from guaranteed. “Initially I thought we were alone with this confusing situation,” said Jones. “However with all these companies sharing their stories of frustration it has created a support system and now I feel more confident and less isolated moving forward.” Billy Price of BILLY Footwear recently had an experience in which Facebook blocked a new shoe style without explanation. “The strange thing was it only applied to certain sizing variants, not the entire SKU,” he said, contemplating the prospect of doing a thorough audit to understand why some variants are getting through while others are blocked. Billy Classic Lace Highs, Billyfootwear.com It’s a David and Goliath scenario that seems oddly out of touch with our contemporary desire to amplify previously unheard voices. Independent brands have always struggled in a competitive and saturated ad market. But brands designed to serve a marginalized community of people, many of whom live with chronic pain that can be alleviated somewhat with the purchase of a shirt featuring magnets instead of buttons, or a pant that has a side instead of front opening, shouldn’t have to work so hard to get their product to that consumer. Facebook’s automated intelligence threatens success of adaptive brands “We use language such as Universal Design and Fashion Meets Function which speaks to the total market, not just adaptive,” said Price. “Unbeknownst to us, this may be the solution to the tagging problem.” Ultimately, there shouldn’t be a need for petitions, appeals or hacks. 1 in every 4 people in the US lives with a disability, according to the Centers for Disease Control and Prevention, and the adaptive clothing market is estimated to be worth close to 400 billion dollars by 2026. Yet, getting past the capricious algorithms and mistakes of AI programming is a process of trial and error for many of the brands we spoke to, as well as being time-consuming, exhausting and costly. But for Mara Horton, the algorithms are merely symptoms of larger societal attitudes of ableism, discrimination and censorship. Facebook, Instagram, TikTok, Twitter are also platforms that can also be used for education, advocacy, and to share and build awareness. “The bigger issue is the fight to be recognized and visually represented,” said Horton. “This is about self-identification.” FashionUnited reached out to Facebook for comment on how it is addressing the issues mentioned but it had not responded by publishing time. Header image LiveFFORA.com Fashion editor Jackie Mallon is also an educator and author of Silk for the Feed Dogs, a novel set in the international fashion industry
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Saadia Group launches Lord & Taylor digital

Lord & Taylor The Saadia Group has launched famed American brand and former department store Lord & Taylor as a digital Collective Store. The new partnership promises exclusive collaborations and merchandise to bring Lord & Taylor’s 195 year heritage to a new generation. As America’s first and oldest department store, Lord & Taylor has a serious history with shoppers and helped launch the careers of several American designers. Alongside classic favorites, the updated assortment will focus on up-and-coming and emerging brands.  In a statement, Jack Saadia, principal and co-founder of The Saadia Group said, “The future of retail is fast and agile, mirrored by our team — which has managed to put together a fantastic assortment of merchandise and a website — in record time of less than 120 days. We are deeply committed to continuing the rich legacy of the brand in a progressive way. Today’s unveil is just the beginning.”  Lord & Taylor was bought by Saadia Group in October 2020 for 12 million dollars, and all 38 stores and its website were liquidated. Saadia Group has brought about Lord & Taylor’s revival with a new website and a focus on women’s and men’s apparel, homewares, and beauty. Saadia Group has made no decisions on whether or not physical stores will be a part of Lord & Taylor’s retail strategy. The company has plans to sublease 41,000 square feet of office space in New York City as part of the new headquarters of Lord & Taylor and New York & Company, another brand in their portfolio acquired in October 2020.
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First look: Gucci collaborates with Balenciaga

courtesy of Gucci In Pictures The fashion rumour mill was in overdrive this week with the suggestion that Gucci was collaborating with Balenciaga, which would mark a new era in high fashion tie-ups, well the rumours are true. Balenciaga’s silhouettes have been given the Gucci treatment - think logos, crystal embellishments and branded necklaces. Gucci and Balenciaga branding has been plastered across strong-shouldered coats and a sequinned skirt suit, while Balenciaga’s hourglass tailored jackets have been dotted with Gucci’s iconic interlocking double G monogram. While it isn’t unusual for designers to launch collaborations with other brands, normally high fashion team up with streetwear labels and brands, such as Nike, Supreme and The North Face. Maybe this collaboration came about as Balenciaga is a stablemate of Gucci at Kering, and we could see more major labels coming together. courtesy of Gucci The collaboration was unveiled during Gucci’s ‘Aria’ autumn/winter 2021 show to mark the Italian fashion house’s 100th anniversary, with a film directed by Floria Sigismondi, in collaboration with Alessandro Michele in the imagined surroundings of London’s Savoy Hotel refitted as a nightclub. In the show notes, Michele, Gucci’s creative director said that the collection in part paid homage to the former Gucci lead Tom Ford, as well as Balenciaga’s Demna Gvasalia, while also highlighted the label’s equine heritage. courtesy of Gucci “I have plundered the nonconformist rigour of Demna Gvasalia and the sexual tension of Tom Ford,” said Michele in the notes sent out after the show. “I have lingered over the anthropological implications of what shines, working on the brightness of fabrics; I have celebrated the equestrian world of Gucci, transfiguring it into a fetish cosmogony; I have sublimated Marilyn Monroe’s silhouette and old Hollywood’s glamour; I sabotaged the discreet charm of the bourgeoisie and the codes of men’s tailoring.” Gucci celebrates 100th anniversary with Balenciaga collaboration courtesy of Gucci The collection has a horsey feel, from voluminous jodhpurs to harness necklaces and saddlebags worn around the waist to paddock boots, equestrian jackets with exaggerated shoulders and cropped sleeves, riding helmets, and even jockey-inspired silk blouses. The tailoring was a highlight with velvet trouser suits in teal and navy blue, suits for women featuring thigh-high side splits on the skirt, as well as suits fully covered in sequins. The brand’s Flora pattern was also seen in an all-over motif on a suit with added Balenciaga branding. There was also a lot of exaggerated features, such as a cloak coat with large pleated sleeves, a vibrant pink jacket with feathered sleeves, and slouchy oversized knitwear with sporty cut-out and zip detailing. courtesy of Gucci The Tom Ford sex appeal came across in the eveningwear with feathered maxi skirts styled with sequinned bustiers, sheer lace dresses, bejewelled tops, and a striking gold pleated maxi dress. Michele, added in the show notes: “Gucci becomes for me a hacking lab, made of incursions and metamorphoses. An alchemical factory of contaminations where everything connects to anything. A place where thefts and explosive reactions happen: a permanent generator of sparkles and unpredictable desires. “On this occasion, then, I want to honour my filial affection betraying the legacy that was handed down to me. Because the promise of a never-ending birth is only renewed through an evolving capacity.” courtesy of Gucci courtesy of Gucci courtesy of Gucci ">
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Tapestry names Todd Kahn as permanent CEO and president of Coach

Image: Todd Kahn, via Coach New-York based luxury fashion group Tapestry has named Todd Kahn as the new permanent CEO and president of Coach. Kahn joined the company as senior vice president, general counsel and secretary in January 2008 and has held a number of leadership roles within the organization since then. He has been interim CEO and brand president of Coach since July 2020. In his permanent role, Kahn will be responsible for all aspects of the brand globally and will report to Joanne Crevoiserat, who was appointed group CEO back in October. Crevoiserat described Kahn as being “instrumental” in shaping the company’s strategic agenda during his 13-year tenure at the business. She said in a statement: “Todd has done a tremendous job leading Coach over the last nine months, delivering exceptional business results, while effectively navigating the pandemic. Importantly, during this time, the brand has been building momentum through the recruitment of new, younger customers and the acceleration of digital.” Coach gets new permanenet CEO Crevoiserat continued: “I am confident that he is the right person to lead Coach, partnering closely with me and the senior management team as we continue to advance our acceleration program.” Kahn commented: “Coach is an iconic brand with a remarkable 80-year history and incredibly talented teams. I am honored to lead the brand and passionate about the opportunities ahead as we continue to implement a purpose-led, consumer-centric, and data-driven approach to fueling innovation across customer touchpoints. “We will deliver the blend of magic and logic that make our brand and business distinctive, providing customers around the world with authentic, compelling product and experiences under Stuart Vevers’s creative direction, underpinned by a focus on operational excellence to support enhanced profitability. Further, under Joanne’s leadership, I look forward to continuing to collaborate across the organization as we leverage Tapestry’s differentiated, multi-brand platform to drive long-term growth.”
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DPD teams up with Asos to collect pre-loved clothing for free

courtesy of Asos/DPD Asos is partnering with DPD on an initiative to allow customers to arrange charity donations to be collected from the doorstep with their Asos order. The circular economy initiative, DPD’s ReLove service will see the delivery company collecting pre-loved clothing and delivering to one of five leading UK charities, free of charge. The service is available through the YourDPD app and will allow Asos customers who are expecting a DPD delivery to easily donate clothing to Scope, Marie Curie, British Heart Foundation, British Red Cross or The Children’s Society. DPD will then collect the pre-loved consignment at the same time as making the Asos delivery. Customers will be encouraged to re-use DPD or Asos packaging and can either hand the package to their DPD driver or leave it for collection in their ‘safe place’. Olly Craughan, DPD’s head of CSR said in a statement: “DPD leads the way on sustainability in the delivery space and I’m incredibly proud of the team for getting behind initiatives like this. We are continuing to invest in the decarbonisation of our fleet, but the challenge is about much more than just buying electric vehicles. We want to go a lot further. It is about pushing ourselves to look at every aspect of our operation to find the green alternative and the smarter way of doing things. “ReLove is another way for us to help cut carbon emissions, reduce waste and raise money for charities at the same time. It is also great to team up with Asos on another really smart solution for their customers. We’re already delivering to these addresses, so it means one less trip and less miles travelled overall. The DPD app now has over 9 million users, and it has become a really powerful tool for us. It plays a key role in helping us deliver a fantastic service for customers and it is driving innovation like this.” courtesy of Asos/DPD Patrik Silén, chief strategy officer at Asos, added: “Our focus has always been on providing our customers with an outstanding retail experience, and a key element of that is giving them opportunities to shop with us more responsibly. “We know that our customers are very active in donating their pre-loved clothing and that they see it as a great way of keeping products in use and out of landfill, so partnering with DPD on the ReLove initiative is a natural fit for us. We’re proud to be joining forces with the team to drive sustainable solutions and look forward to seeing our customers’ response over the coming weeks.”
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