Saturday, June 19, 2021

Fashion after corona: colour and lifestyle trends for SS22

Antwerp - Every six months Trend watcher Hilde Francq from Trend Studio Francq Colors shares the most important upcoming colours and trends during the Colour Trend Seminar. The corona factor has certainly made it extra exciting this edition. FashionUnited was in (virtual) attendance and noted what we can expect for the summer of 2022. There’s absolutely no doubt that the pandemic will have an impact on social and lifestyle trends. Francq detects four sociological factors which drive lifestyle trends, not only in fashion, but also, for example, in design. We would like to put the spotlight on four of these: the Resident, the Essentialist, the Tinkerer and the Lunatic. She will present different colour palettes and combination options for each trend - from neutral to avant-garde. Each trend will also come with a specific preference for the materials and patterns used. The Resident The first trend builds on the rise of everything local. Designers were forced to work with materials from their own direct environment during lockdown, but consumers also started supporting the local economy more. This trend became even more important in 2020, and will definitely be mainstream by 2022. Consumers want typically local, authentic and unique products, made with local materials and processes. The combination possibilities proposed by Francq for each colour card start with a subtle, safe option and extend right through to more avant-garde applications. For example, the Resident’s sand colours can be subtly combined with brown - a permanent fixture which will look even warmer by the summer of 2022. Everything can look handmade or second-hand where the materials and production are concerned, including imperfections. Matching patterns are the country check, the wide beach chair stripe in warm shades or prints of flowers and plants. Raw materials come from nature: from paint on new materials to straw and grass. The Essentialist The nostalgia associated with the 1990’s is here to stay for a while, although it will be taking on a different form: we’ll be longing for the minimalist aspects of the nineties in the summer of ‘22. This prediction follows the conclusion that there will be a return to the core after a crisis. In all its simplicity, this is the Resident’s polar opposite. Unlike in the 1990’s, the shapes are softer, colours more subtle and sophisticated and materials more ecological. The trend shows itself in a somewhat duller palette where the colour is concerned. The Essentialist promotes comfort with the basic, oversized silhouettes we’re already familiar with from previous seasons and the use of colour blocking. Shape contrasts and semi-transparent materials are also dabbled with. The Tinkerer The most playful and colourful theme pleads for a return to childlike creativity and shows a need for less rational thinking in favour of emotion. With the actual production of the item being more important than the result: The Tinkerer isn’t trying to realise perfect objects, but is instead opting for something childlike and spontaneous, it’s allowed to be quite messy-looking. Artificial intelligence is used to bring randomness and spontaneity into the design process. There is no such thing as incorrect colour combinations within the palettes of this creative trend. Raw materials like transparent resin, clay or Jesmonite can be used for the accessories. Plus growing your own materials will definitely also become mainstream by the summer of ‘22. The Lunatic Francq sees the Lunatic as ‘someone who admires the moon’. The great return to nature allows people to rediscover how the moon influences the earth's rhythms. Biodynamic agriculture – which harvests and sows in line with the rhythm of the different moon phases - is already a hype and will certainly become a trend too. Research has shown that even the stock market - one of the most unpredictable businesses - is influenced by this: a new moon has shown to result in a great deal more speculation. Moon-inspired colour palettes are supplemented with lots of grainy, dusty textures. In addition to all kinds of treated metal, we also see many bioplastics, with a dirty transparency - as if they've been covered with a layer of moon dust. Colour evolution The trend watcher insists that a brand must always maintain the 80-20 balance when purchasing or designing. This is the ratio within a collection of 20 percent trend colours versus 80 percent commercial colours. If a brand is more avant-garde, the percentage of shades which are more difficult to sell can be reduced to 40 percent. We are actually taking many of the autumn ‘21 colours with us to spring ‘22, albeit in a slightly modified nuance. Hoofdbeeld: CKS
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Neiman Marcus appoints first fashion and lifestyle director

Neiman Marcus Group US luxury retail group Neiman Marcus has announced the appointment of Lisa Aiken in a newly created role as fashion and lifestyle director. The role is part of the merchandising and planning team transformation and will see Aiken act as a fashion-forward expert to pinpoint emerging brands, source new trends and services in the industry. She will also collaborate with brand partners to expand exclusive partnerships with Neiman Marcus. Her extensive experience in luxury fashion includes her previous role as a fashion and buying director at Moda Operandi. She has also worked for other brands including Net-a-Porter and MyTheresa. Lana Todorovich, president and chief merchandising officer of Neiman Marcus Group said in a statement: “Lisa has a keen understanding of both luxury fashion and emerging brands, coupled with her expertise as a compelling storyteller of seasonal fashion messages and skills on digital platforms. “Working alongside a group of the most talented leaders in retail, Lisa will bring a unique forward-leaning and inspirational point of view helping Neiman Marcus curate magic for our customers.” Commenting on the appointment, in a statement, Aiken said: “It is a privilege to be joining such a brand at the pinnacle of luxury with a world-renowned heritage but more importantly to be at the forefront of its continued evolution during such a pivotal time. “I look forward to partnering with the teams and all our brand partners to create a highly forward-thinking, elevated luxury brand experience for Neiman Marcus customers.” She will begin the role on August 9, 2021.
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Highlights: LFW Spring/Summer 2022

Trendstop London Fashion Week Overview London Fashion Week Spring Summer 2022 took a unisex approach, showcasing gender-neutral, men’s and womenswear collections, livestreamed via its digital platform. Among the established names presenting their works through video, lookbooks and runway events, the DiscoveryLAB also featured a host of emerging brands and designers with an immersive experience that brought the creative industries of fashion, art, photography and performance together. Ahluwalia In a joint men’s and women’s collection, Priya Ahluwalia’s ‘Parts of Me’ collection and video, explored the artisanship and symbolism of Afro-Caribbean hair. Braided seam lines, embroidered patches and braid graphic motifs adorned signature men’s tailoring, denim and sportswear pieces and women’s club culture-inspired knit dresses. Vintage 60’s and 70’s influences came through in the earthy colour palette and vintage deadstock materials. The collection was accompanied by a bag collaboration with Mulberry and customised Grenson brogues. Bethany Williams Putting community at the front and centre of her collections, Bethany Williams continued her work with London’s Magpie Project that supports families facing financial hardship. Expanding her line of blanket coats popularised last season, Williams’ supply chain incorporates social projects across the UK and Europe. Utilising waste swatches from yarn manufacturers to create her patched together knitwear, the impact of every aspect of production, from buttons to stitching, is considered in a societal context to be beneficial to all. Qasimi Qasimi’s co-ed collection drew inspiration from Islamic and Brutalist architectural lines in a palette that channelled the vibrant colours of the Indian subcontinent. Necklines and robe-like silhouettes echoed traditional Middle Eastern dress, finished with printing techniques such as ikat, multi-directional stripes and colour degredes. A blend of modern technical fabrics and traditional crafting techniques included safeefah weaves and macrame mixed with mesh, and sneakers and sandals finished with brightly coloured braided tape. Exclusive Offer: FashionUnited readers can get free access to Trendstop’s Spring Summer 2021 Couture Fashion Week Overview. Simply click the banner to receive your free report. Trendstop.com is one of the world's leading trend forecasting agencies for fashion and creative professionals, renowned for its insightful trend analysis and forecasts. Clients include H&M, Primark, Forever 21, Zalando, Geox, Evisu, Hugo Boss, L'Oreal and MTV.
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Friday, June 18, 2021

Video: Nottingham Trent University reveals exhibition at GFW

Photo credit: Graduate Fashion Week In this video, Nottingham Trent University has revealed its exhibition at Graduate Fashion Week (GFW), a showcase of work by BA fashion students with the aim of the event to highlight graduating talent. The GFW will be livestreamed until 18 June with digital content including live discussions, video premieres and runway shows. The event is presented by the Graduate Fashion Foundation. Watch the video below. Video: Nottingham Trent University via Vimeo
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Kingpins announces digital show highlighting Australian denim

Kingpins Denim trade show Kingpins has revealed the program for its two-day digital offering, with the spotlight on Australian denim. Kingpins will take place on June 23-24 offering insights on denim inspiration, digitalization, and responsible practices. Each day will consist of two hours of live-streamed stories, conversations, and seminars celebrating the Australian industry and supply chains. The segments will cover topics from farming to retail. The program includes a discussion on digitalization denim, with Jorgen Sevild from Inqova, Richard Atkins of Global Management Services, and Jeanologia’s Jordi Juani. Other highlights across the two days will be a speech from Kontoor Brands’ David Tring. There will also be an interview conducted by Vivan Wang called “Trend Talk” with Amy Leverton of Denim Dudes. Considering Australia’s position in the Asia Pacific region, the show will also touch on the important influence of Asia for Australian businesses – with insights into production opportunities through to the digital marketing frontier in the region. Registration is now open for the Kingpins show online.
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Fila announces collaboration with Y/Project

Fila Italian global sportswear brand, Fila has announced a collaboration with Y/Project, as it continues to celebrate its 110th anniversary. Amalgamating the niche style of French fashion label Y/Project, the collection has a bold streetwear feel and features a t-shirt, hoodie, polo neck dress, and windbreaker. There will also be accessories like caps, sneakers, and bags. Each piece will have certain detailing that allows the clothing to be worn in various ways, such as asymmetrical buttoning and double sweats. Glenn Martens, Y/Project’s creative director said in a release: “I see this collaboration, really, as a marriage of Y/Poject’s experimental spirit and Fila’s innovative drive grounded in sportswear. “The process was as easy as it was fun, and it allowed me to openly explore a streetwear direction that felt new. There is a fresh, happy vibe to the endeavor that I think is right for this moment”. The collaboration will be unveiled on June 27, 2021, at the next Y/Project fashion show. The pieces will be available to purchase from March 2022.
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Thursday, June 17, 2021

Westfield hires new Chief Customer Officer, Caroline Puechoultres

URW Unibail-Rodamco-Westfield has hired Caroline Puechoultres as Chief Customer Officer, effective July 15, 2021. URW, which owns the Westfield London and Westfield Stratford City shopping centres, revealed Caroline will be responsible for growing the company’s consumer offering and strengthening commercial partnerships. She will also play a key role in expanding omnichannel services such as click & collect and improving Westfield’s marketing and branding. Caroline’s previous position was the sales and strategy director for the French supermarket, Carrefour Market. Her extensive experience also includes roles at Procter & Gamble, Intermarché, Tiscali, and Club Med. Jean-Marie Tritant, chief executive officer of URW said in a release: “It is critical for URW to better understand evolving consumer preferences, digital opportunities and to leverage the audience at our assets so we can drive growth as well as capitalise on the ongoing disruption of the retail industry. “Caroline’s expertise will help us accelerate the customer-centric transformation already underway at URW, and ensure we continue to create quality experiences, meet and exceed customer expectations, and strengthen the Westfield brand.” Michel Dessolain, who served as interim CCO, will now step into a new role reporting to the CEO and continue to serve on the Management Board.
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Pantys expands into Europe with Selfridges pop-up

Image: courtesy of Pantys Pantys, the absorbent underwear brand with 100 percent carbon-neutral products, has expanded into Europe with a pop-up at Selfridges in London, the brand’s first retail partner. Founded by Emily Ewell and Maria Eduarda Camargo in Brazil in 2017, Pantys was created to improve the quality of life for women through sustainability and innovation, whilst creating a positive impact on the planet. To celebrate its expansion into Europe, Pantys has opened a pop-up in Selfridges that will run until the end of July. The space has been transformed into a stylish bathroom complete with a bathtub and sink. It stocks Pantys’ most popular underwear styles including the Bikini, Classic and Slim styles. Emily Ewell, founding partner of Pantys and chief executive, said in a statement: “Three years after we launched in Brazil, we are thrilled to expand into Europe and bring Pantys to even more people. It is our mission to improve the quality of life of those who menstruate while working to protect the planet every step of the way. “We believe everyone deserves access to menstrual hygiene and we also work with a number of NGO’s to donate products in the Amazon, Brazil and across the world. As a B Corp, social impact is 100 percent integrated into our business model so we will increase our social value as we scale Pantys business value, working to support communities and preserve nature, especially in areas like the Amazon.” Image: courtesy of Pantys Pantys opens pop-up in Selfridges, London The brand is shaking up the menstrual market with its wide range of lines from period underwear to absorbent nursing bras and claims to be the first-period underwear clinically tested. Following research conducted by Johnson and Johnson in Brazil, it found that the use of Pantys during the menstrual period is clinically safe and does not cause irritation. The research evaluated Brazilian women aged 18 to 35 years for 4 weeks and found that 64 percent of women felt freer when they were wearing Pantys. When choosing clothes to go out, 85 percent added that they felt cleaner, while 100 percent felt that wearing panties does not interfere with sleep quality and 88 percent said that they felt very comfortable. Clinical tests proved that Pantys supports the five pillars of intimate health - pH, microflora, temperature, comfort and clinical safety. Pantys launches period pants in Europe Pantys offers a wide range of lines from period pants for four different types of flow, light, medium, heavy, and overnight, to a postpartum line including the first absorbent nursing bra in the world. Each pair of Pantys is hypoallergenic and features quick-drying, leak-proof, breathable, and antibacterial fabrics. The multi-layer lining technology aims to keep wearers feeling dry and comfortable during menstruation, while the fully absorbent layer eliminates 99 percent of bacteria. Key styles include the barely-there Tanga, perfect for light flows to the brand’s most popular style the Bikini with mesh fabric at the sides to stretch and flex as your body changes throughout its cycle. There is also a post-partum collection featuring a Slim style with a wide waistband for a more supportive silhouette and a Bralette offering leak-proof comfort, lined with high-tech antibacterial technology which facilitates breastfeeding and prevents leaks throughout the day. While the Grls collection is designed for extreme comfort and a heavy flow during their first cycle. Image: courtesy of Pantys Maria Eduarda Camargo, co-founder, chief operating officer and chief financial officer of Pantys, added: “Each Pantys product replaces the use of up to 500 disposable menstrual products a year and are made with biodegradable fabrics which reduce the product’s lifecycle. “We are really proud that our carbon labels are on every product, ensuring maximum transparency to consumers and empowering them to measure a product’s environmental impact, like calories on a food label. We include innovation throughout every step of our supply chain and sourcing practices to produce the most sustainable product in the market. ” Pantys is also a B Corp brand, receiving its certification in April 2019, and states that sustainability is at the heart of the brand with a commitment to track and improve its social accountability. Each product has its own carbon label and it offsets 100 percent of its carbon emissions. Pantys are available in size XS - XXXL from Pantys.com and at Selfridges.
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Social Tourist launching second drop with TikTok fashion show

Image: courtesy of Social Tourist Social Tourist, the new brand co-created by social media personalities Charli and Dixie D’Amelio and Hollister Co., is launching its second drop with the first-ever TikTok fashion show “made by Gen Z for Gen Z”. The new “trend-forward” https://fashionunited.uk/news/fashion/hollister-co-launches-fashion-brand-with-charli-and-dixie-d-amelio/2021050655354” brand launched in May 2021 “imagined and inspired by Charli and Dixie’s experiences” as a way for Hollister to connect to its global teen customer. The second product drop will launch with a TikTok Live premiere on Charli’s TikTok channel @charlidamelio on June 16 at 9pm ET. Instead of traditional models and a catwalk, Charli and Dixie D’Amelio have enlisted the help of their TikTok family Avani Gregg, Madi Monroe, Markell Washington, Curtis Newbill, Caroline Ricke, and Phoebe Hines to debut Social Tourist’s latest collection. The livestreamed event will include exclusive commentary from the D’Amelio sisters about their inspiration for the drop and the brand. Viewers will have the opportunity to shop the looks in real-time, via a link to the Social Tourist website, and to ask the sisters questions in the comments for what the brand is calling a “truly one-of-a-kind, personalised fashion experience”. Charli D’Amelio said in a statement: “Our global brand launch last month was such an exciting moment for us and our relationship with Hollister, we’re both really passionate about the chance to create a brand together that blends both of our styles into one creative expression that we know our fans will love experimenting with.” The second Social Tourist product top is a celebration of the D’Amelio sisters’ individual personalities, explains the brand in the press release, taking inspiration from Charli’s more feminine style and Dixie’s preference for darker colours and patterns. The limit-edition collection will include a variety of tops, bottoms, and jackets, as well as premium basics with four versatile tops. Image: courtesy of Social Tourist Kristin Scott, global brand president at Abercrombie and Fitch Co., added: “We’re thrilled to be leading the charge of leaning into social and being the first brand to premiere a TikTok fashion show made by Gen Z for Gen Z – an event that is a prime example of our innovative test-and-learn culture. “Our goal is to always meet our Gen Z customers where they are, which is why we’re excited to bring Social Tourist product directly to this platform. We’re looking forward to seeing how our customers respond to the show, and offering more exciting events in the future.” The D’Amelio’s currently have a combined following of more than 250 million across their social media channels and in November 2020, Charli became the first TikTok user on the platform to surpass 100 million followers.
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Wednesday, June 16, 2021

Unilever to acquire Paula’s Choice skincare

Courtesy of Unilever Unilever, the global company responsible for brands like Dove and Sunsilk, will acquire Paula’s Choice skincare from TA Associates. Paula’s Choice skincare launched in 1995 and is known for its high-performing ingredients and cruelty-free products. The company also breaks down the science behind its skincare products and offers an extensive ingredient dictionary. Vasiliki Petrou, Unilever EVP and CEO Prestige said in a release the company is thrilled that Paula’s Choice will join the Unilever Prestige family. He added, “Paula’s Choice is a true pioneer in the digital space for beauty and has created a mission-based brand rooted in truth and transparency. We can’t wait to introduce the brand and its iconic products to an even bigger audience.” Paula Begoun, founder of Paula’s Choice skincare revealed in a statement: “I am so excited that Unilever and Paula’s Choice are joining forces, and I want to thank Vasiliki and the Unilever team for believing in us, our mission, and our values. “With Unilever, we can build on our work and vision spanning 26 years of creating brilliant products, and by giving people the self-confidence that comes from knowing they are taking the best care of their skin possible.” The transaction is set to be completed in Q3 2021.
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Joor secures 46 million US dollars investment to fuel expansion

Joor, the digital fashion wholesale platform, has raised 46 million US dollars in Series D funding led by Macquarie Capital Principal Finance. The wholesale platform has more than 12,500 brands and 325,000 curated retailers across 144 countries, covering luxury, fashion, accessories, footwear, lifestyle and home. Each month the service processes over 1.5 billion US dollars. In a statement, Joor said that the capital would help it accelerate its wholesale commerce capabilities, payments and financing, as well as fuel its continued global and vertical expansion. Earlier this month the company announced expansion in Asia with a new Shanghai, China office, representing its third office in Asia-Pacific, joining Melbourne and Tokyo. The expansion came as Joor reported that wholesale volume ordered by APAC-based retailers has increased by 139 percent year-on-year and wholesale volume for APAC-based brands grew by 419 percent year-on-year. Kristin Savilia, chief executive of Joor, said: “Joor’s singular mission is to digitally enable and transform our industry. We are pleased to have such great partners to support us in this mission as we embark on our next stage of growth. “This new capital enables us to accelerate innovation as an independent company and to continue to provide industry leading solutions in service of our broad global network of brands and retailers.” Macquarie Capital Principal Finance invests in digital fashion wholesale platform Joor Alongside Macquarie Capital Principal Finance, previous investors Itochu Corporation, Battery Ventures and Canaan Partners also participated in the Series D funding round. As part of the deal, Joor confirmed that Anand Subramanian, managing director at Macquarie Capital Principal Finance, will join its board of directors. Subramanian added: “We continue to be impressed by the capabilities of Joor’s technology platform coupled with its industry leading network of brands and retailers. This investment reflects belief in Joor’s talented team and we see significant growth for Joor as they expand their platform to offer payments and financing alternatives to their global client base. We look forward to leveraging our expertise to support the company’s long term success.” Image: courtesy of Joor Joor’s platform has evolved over the last decade into a comprehensive solution for digital retail wholesale management, with new business growing by 228 percent in the last 12 months. The platform has exclusive partnerships with established luxury fashion houses such as LVMH, Kering, Richemont and Capri, leading brands like Stella McCartney, Valentino, Kate Spade and Dr. Martens, as well as department stores including Neiman Marcus, Printemps and Harrods, alongside global digital retailers Ssense, Shopbop and Revolve who conduct their buying exclusively through Joor. Joor is headquartered in New York City and has offices in Los Angeles, Philadelphia, Paris, London, Milan, Madrid, Berlin, Melbourne, Tokyo and Shanghai.
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European consumers facing more risks than ever due to fake products sold online

Image: Scam via Pexels A new study by the European Union Intellectual Property Office (EUIPO) says consumers are facing ever more risks due to buying fake products online. A surge in e-commerce counterfeit from nearly every sector, including fashion, cosmetics and pharmaceuticals, can pose great safety and health concerns. Findings from the study European Citizens and Intellectual Property show consumers still find it hard to distinguish between genuine and fake goods. Nearly 1 in 10 Europeans (9 percent) claimed that they were misled into buying counterfeits, with significant differences among EU Member States. The countries with a higher proportion of misled consumers are Bulgaria (19 percent), Romania (16 percent) and Hungary (15 percent). In contrast, Sweden (2 percent) and Denmark (3 percent) have the lowest figures within the EU. Ireland is well above the EU average with 13 percent claiming to have been tricked into buying fake goods. In a global context where e-commerce is booming – over 70 percent of Europeans shopped online in 2020, according to Eurostat – uncertainty regarding counterfeit products remains a concern among EU citizens. According to the study, a third of Europeans (33 percent) wondered whether a product they had bought was original. Counterfeits represent 6.8 percent of EU imports worth EUR 121 billion Concern over counterfeit products has risen during the pandemic, such as personal protective equipment and face masks, highlighting infringers who prey on people’s uncertainty about emerging treatment and vaccines. The Executive Director of the EUIPO, Christian Archambeau, said in a statement: Intellectual property is one of Europe’s most valuable assets, and a key element in our social and economic recovery, especially for small businesses. The COVID-19 pandemic has put the problem of IP crime under a magnifying lens with the rise of counterfeit medicines and medical products that further threaten the health and safety of citizens. This is a long-standing issue, often interlinked with other types of illegal activities, which requires urgent robust, coordinated action and has recently been reinstated as one of the top ten EU priorities in the fight against organised crime. Today less than 9 percent of all SMEs in the EU own registered IP rights To raise awareness on the value of IP and help SMEs leverage their competitiveness in the marketplace, the EUIPO has launched the Ideas Powered for Business programme, including a EUR 20 million SME Fund, in cooperation with the European Commission and Member States’ Intellectual Property Offices. This initiative subsidises both IP assessment services and 50 percent of trade mark and design applications fees at national, regional or EU level, and it is helping thousands of SMEs develop their IP strategies in these challenging times. Article source: EUIPO study "Consumers are facing more risks than ever due to fake products"
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Tuesday, June 15, 2021

Mulberry unveils collaboration with Ahluwalia

Image: courtesy of Mulberry British heritage brand Mulberry has unveiled the first of its designer collaborations to celebrate its 50th anniversary with designer Priya Ahluwalia. London-based designer Priya Ahluwalia has reimagined Mulberry’s Portobello Tote and an assortment of scarves in her signature vibrant aesthetic. The designs are influenced by her fascination with hair as a means of identity, protest and expression, drawing on her mixed Nigerian-Indian heritage, both cultures in which hair holds such importance. The collection celebrates the “artistry, rituals and symbolism of Afro-Caribbean hair and Priya’s own personal narrative,” explains Mulberry in the press release, which is brought to life through the capsule’s unique design, bold colour and striking motifs. The bespoke ‘wave’ print created for the collection is inspired by the techniques of braided Black hair and features in braid-inspired seam lines and patchwork details. While the 60s and 70s protest symbols of pride, such as the Afro comb and braided hair silhouettes, are purposed into custom-made embroidered badges that decorate an assortment of the bag styles. Image: courtesy of Mulberry Commenting on her collaboration with Mulberry, Priya Ahluwalia, creative director at Ahluwalia, said in a statement: “Mulberry is a brand that I have memories of from childhood, ever since I used to borrow my Mum’s own Mulberry bag, so this was an opportunity to collaborate with a brand that is very meaningful to me. “I haven’t yet had a chance to make accessories and I think with Mulberry x Ahluwalia, we’ve brought together our mutual values to create beautiful pieces that people can buy and cherish forever.” Mulberry x Priya Ahluwalia launches The limited-edition capsule heroes the Portobello Tote, originally launched by Mulberry in 2019 as its first 100 percent sustainable leather bag, and features four oversized Portobello Totes, five Portobello Totes and three Mini Portobello Totes, a new size created especially for the collaboration. The Mulberry x Ahluwalia capsule is crafted in Mulberry’s carbon-neutral Somerset Factories, using only repurposed fabrics and leathers that have been reworked for the capsule, meaning the bags are created in limited quantities, added Mulberry. The bags are complemented by four 100 percent organic silk scarf designs, specially created in a 70x70 dimension designed so they can be worn as a bandana or headscarf. Image: courtesy of Mulberry Mulberry chief executive Thierry Andretta, added: “We are thrilled to have collaborated with Priya as part of Mulberry Editions during our 50th anniversary year. Ahluwalia’s bold creative voice and her innovative approach to sustainability is entirely aligned with our Made to Last values and adds an exciting new chapter to our rich history of collaborations.” The collaboration was unveiled as part of Ahluwalia’s spring/summer 2022 collection and womenswear debut during London Fashion Week, where the designer showcased a new film, ‘Parts of Me’ directed by BAFTA-nominated director Akinola Davies Jr., as a powerful ode to the art of Black hair as a potent symbol of identity, protest and self-expression. "> As an extension of the project, Ahluwalia and Mulberry have also collaborated on a second film, ‘Tools of Expression,’ continuing the storytelling around the powerful inspirations behind the collection to drive the cultural conversation around Black hair. The film spotlights three hair stories from cross-disciplinary talents in an intimate salon setting, in conversation about how their hair frames their personal identity, what their hair means to them, societal misconceptions around Black hair and how it should continue to be celebrated. As part of the collaborative message around pride and beauty in Black hair, Mulberry said that it was added to its own policy and has signed up to the Halo Code, a set of commitments focused on creating a future without race-based hair discrimination. The Mulberry Edition collaboration with Ahluwalia will be followed up with capsules designed by Richard Malone in September and Nicholas Daley in November. The Mulberry x Ahluwalia collection launches on Mulberry.com from June 14 and in stores globally on June 15. Image: courtesy of Mulberry Image: courtesy of Mulberry Image: courtesy of Mulberry Image: courtesy of Mulberry
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Saudi Arabia’s Fashion Commission to support local designers with new initiative

Saudi Arabia is looking to boost local brands in the global fashion industry with a new initiative, Saudi 100, a specifically designed programme to help designers and brands “achieve their full potential”. Unveiled by Saudi Arabia’s Fashion Commission, Saudi 100 will provide fashion brands with a one-year brand developmental programme with tailored-made training and mentorship through individual and group consultancy alongside advisory sessions and training workshops. The programme will cover a wide range of topics including branding, conceptualisation, sales performance strategy, public relations and marketing, client identification, innovation and technology, and key leadership skills, all aimed at boosting Saudi brands in the global fashion industry. Burak Cakmak, chief executive of the Fashion Commission, said in a statement: “Saudi Arabia is on a growth path across all sectors, including fashion, and there are great opportunities for local entrepreneurs to build new businesses across all parts of the fashion value chain. “A robust fashion sector benefits from local creatives, design studios, marketing and communication agencies, manufacturers and retailers. Through programmes like Saudi 100 Brands, we look forward to seeing Saudi designers take their rightful place on the global stage.” Aimed at Saudi fashion designers and brands seeking to take their businesses to the next level, participants in the programme will learn from an international team of experts with experience from leading fashion houses including LVMH, Kering, Valentino Fashion Group, Chanel, Bulgari and Swarovski, as well as educational experience from Central St Martins, Royal College of Art, Yale and Parsons. Saudi 100 will support the business development of 100 Saudi designers and luxury brands, added the Fashion Commission, as part of its plans to develop the fashion sector in the country. Saudi brands with a minimum of one year experience in womenswear or menswear with a focus on couture, demi-couture, bridal, ready-to-wear, casualwear, resortwear, jewellery, bags, leather goods, footwear and accessories, wishing to participate have until June 20 to apply via Saudi100brands.com. The initiative will also offer consumer-directed activities aimed at encouraging sales in the local market, the first of which will be held in Riyadh in December 2021, with e-sales outlets and a wholesale campaign to stimulate international sales both set to launch in early 2022. The Fashion Commission is partnering with Vogue Arabia and regional retailers for Saudi 100 Brands activations. Regional retailers will participate in virtual conferences, providing professional training and will also offer dedicated in-store space for exclusive Ramadan pop-up initiatives in March 2022 including sales operations. Saudi 100 will begin its year-long development programme on July 4, 2021.
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Iconix to go private in Lancer Capital deal

Iconix Iconix, the owner of brands including Lee Cooper and Umbro, has announced the company will soon be acquired by Iconix Acquisition Corp, an affiliate of Lancer Capital. The deal was an all-cash transaction, which valued Iconix at around 585 million dollars, including net debt. Bob Galvin, Iconix CEO said in a statement: “After a thorough and deliberative examination of all potential strategic alternatives, the board of directors determined that the transaction with Lancer provides the best value for our stockholders. “We expect that Iconix will continue developing its brands and supporting its partners as a private company.” As part of the agreement, Lancer will initiate a tender offer to acquire all outstanding shares of Iconix common stock at 3.15 dollars per share. This price reflects a 28.6 percent premium of the company’s closing share price on June 10, 2021. It also includes a 46.5 percent premium over its average volume-weighted share price for the 30-day period ended June 10, 2021. The transaction is expected to be sealed by the end of the third quarter of 2021.
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Monday, June 14, 2021

Covid-19 hits Ted Baker's full year results, loss widens

Image: Ted Baker media gallery In a preliminary results announcement for the 53 weeks ended January 30, 2021, Ted Baker plc reported group revenue down 44.2 percent or down 44.1 percent in constant currency to 352 million pounds. This decline, the company said was driven by the ongoing impact of Covid restrictions on trading globally. The company’s underlying loss before tax amounted to 59.2 million pounds. Commenting on the full year trading, Rachel Osborne, Ted Baker’s chief executive officer, said: “While the impact of Covid-19 is clear in our results and has amplified some of the legacy issues impacting the business, Ted Baker has responded proactively and is in a much stronger place than it was a year ago. During the period, we delivered robust cashflow generation, fixed our balance sheet, refreshed our senior leadership team and today we are upgrading our financial targets for the second time since outlining our new strategy last summer.” Highlights of Ted Baker’s financial results The company’s retail sales including ecommerce were down 42.2 percent or down 42.1 percent in constant currency to 254.3 million pounds, while ecommerce sales increased 22 percent or 22.1 percent in constant currency to 144.9 million pounds. The company’s directly operated ecommerce channels reported growth of 30.2 percent. Ted Baker’s wholesale sales decreased by 50.3 percent or 48.6 percent in constant currency to 85.3 million pounds and wholesale gross margin reduced to 37.6 percent compared to 39.8 percent in 2020. Licence income decreased by 34.5 percent to 12.4 million pounds. Ted Baker womenswear sales decreased by 40.7 percent to 219.7 million pounds, while menswear sales were down 50.3 percent to 119.8 million pounds. Ted Baker’s performance across core geographies The company’s retail sales in the UK and Europe decreased by 38.7 percent or 38.9 percent in constant currency to 181.9 million pounds, with ecommerce sales increasing to represent 63 percent of the total. Sales from UK wholesale business was lower by 50.9 percent or 48.4 percent in constant currency. North America retail sales declined 46.1 percent or 45.6 percent in constant currency to 69.9 million pounds, ecommerce sales increased by 37 percent to 30.3 million pounds. Ted Baker updates on Q1 trading The company added that first quarter trading has been materially impacted by ongoing Covid restrictions, with lockdowns in place in the UK, Europe and Canada for parts of this period. First quarter group revenue was down 19.9 percent or down 17.3 percent in constant currency, while ecommerce was up 4.5 percent and up 25.9 percent against Q1 FY20. Retail stores were down 40.7 percent or down 73.1 percent against Q1 FY20. Ted Baker said, wholesale and licence sales during the quarter were down 22.4 percent or down 48.3 percent reflecting cautious ordering from store-based trustees, as well as continued restrictions on store openings in Europe.
http://dlvr.it/S1h97c

What are bio-based fibers and what can they do?

INTERVIEW En route to the post-fossil age, conventional, petroleum-based synthetic fibres have long been counted out. But what alternatives are there, which innovations are actually more sustainable and how will the consumption of synthetic fibres develop in the coming years? FashionUnited asked outdoor supplier and sustainability pioneer Vaude. The current outdoor industry would be inconceivable without synthetic fibres. The vast majority of functional materials are based on synthetic man-made fibres such as polyester and polyamide. How could this change? Outdoor supplier and sustainability pioneer Vaude has just launched a pair of trekking pants made from bio-based polyamide. The yarn used consists of 62 percent castor oil and was developed together with polymer specialist Evonik. Does the future belong to bio-based plastics in the clothing industry? We talked about it with René Bethmann, innovation manager at Vaude. Mr. Bethmann, what exactly are bio-based fibres or fabrics? René Bethmann: In short, these are bioplastics or biopolymers. And as far as the current hype is concerned, I find it interesting that plastics have originally always been biobased; rubber for example. Plastics made from petroleum only came along later. There are quite different bioplastics or biobased fibres out there. How does one distinguish between them? There is a basic distinction between two approaches: The beginning-of-life, in which case the material origin is biobased, or the end-of-life, in which case the finished material is biodegradable. There are actually also bioplastics that are made from crude oil but that biodegrade quickly. Similarly, plastics made from biobased raw materials such as plants or food waste are not necessarily biodegradable. Chemically, the only way to distinguish between the two variants is to determine the age of the carbons: fossil carbons are very old, while carbons from sugar beets, for example, are much younger. If one changes the starting material, do the properties of the fibres also change? That is the exciting thing: In principle, one can develop completely new plastics or replace fossil plastics with bio-based plastics or “rebuilt” them. In the first case scenario, new properties can be achieved that may even be better than those of the original material that one was trying to replace. Which bioplastics are more suitable for the textile industry? Fossil-based and biodegradable bioplastics tend to play a minor role in the textile industry because they have a life span that is too short. In my view, rapid biodegradability is only sustainable to a limited extent anyway, because the carbon bound in the material is quickly released again. Recyclability is also only of limited use here, so the carbon is not bound for a long time either. Biodegradability only makes sense for countries that dispose of their waste exclusively in landfills, do not burn it and do not recycle it - although a recycling infrastructure should always be strived for. We are therefore focusing on bioplastics that have a bio-based material origin and are thus trying to replace fossil plastics. Our goal at Vaude is to use almost exclusively renewable or recycled raw materials from 2024 onwards. The ideal scenario would be a bio-based post-consumer recycled plastic fibre. How do you rate the new mushroom fibres and imitation leathers that are being hyped right now? Mycelium is also a biopolymer that biodegrades relatively quickly and therefore still needs many additives to make it last longer. You have to ask yourself whether it is really that sustainable. However, it is an interesting alternative for packaging materials such as Styrofoam, and is also said to be suitable as animal food. You want to replace fossil plastics with bio-based ones rather than develop new ones. Why do you think that makes more sense? In my opinion, this is the future. We just have to keep in mind that in the textile industry, we only work with a handful of different synthetic materials, so it seems feasible to find bio-based solutions for them. Completely new materials, on the other hand, need about 20 years until they can be accepted and produced in large volumes. And especially when it comes to recycling, it is an advantage to deal with only a few types of materials. We cannot build up many different recycling streams. But of course it is important that new possibilities are shown with new bio-based plastics, especially if increased functionality can be achieved through them. In this way, we can counteract the image that sustainable materials are always a compromise in terms of performance. How advanced is the chemical industry in terms of the development of bioplastics? A look at current figures is interesting here: in 2020, the chemical industry produced 360 to 380 million tonnes of fossil plastics worldwide, plus 20 to 40 million tonnes of recycled plastics and four million tonnes of bio-based plastics. According to studies, all sectors will continue to grow until 2025, with annual growth rates of three percent for fossil plastics, ten percent for recycled plastics and eight percent for bio-based plastics. This means that our demand for plastics will continue to rise, and it is absolutely clear that we cannot meet this demand from fossil raw materials alone. According to studies, we will produce about 1,200 million tonnes of plastic in 2050, and only a small part of that will be bioplastics. By far the largest share will then be recycled materials. What significance does the textile industry and its efforts to become more sustainable have for the chemical industry in general? Compared to the packaging or automotive industry, the textile industry actually plays a relatively small role for chemical companies. This also means that the chemical industry has little interest in developing or producing products solely for the textile industry, which is very price-sensitive. What has been happening increasingly in recent years, however, is the development of lighthouse projects. We are currently seeing a shortage of recycled fibres, how are demand and supply for bioplastics at the moment? Yes, it has indeed become more difficult to get recycled materials because some big beverage companies have already started to establish their own closed systems for their bottles - which means less waste is produced. At the same time, more and more large textile companies are announcing that they want to switch to recycled fibres. So the demand is higher than the supply. We have a similar situation with biopolymers. For example, Lego has switched to bioplastics for parts of its products, and of course we're talking about completely different volumes. Vaude also launches products made of bioplastics. What kind of products are these? We have developed various products from bioplastics - together with our suppliers from the preliminary stage. For example, a polyamide made from castor oil. The castor plant is an undemanding plant that even grows wild in many regions. It is cultivated in India and China, mainly by small farmers. The natural cosmetics industry uses the oil from the beans, but it can also be used to produce a bio-polyamide with a carbon footprint that is reduced by about half. From the oil we make fibres for clothing and plastic parts like zips, buckles and hooks. We have also developed a membrane that consists of 25 percent bio-based polyurethane, the starting material here being coffee grounds. For the spring/summer 2022 season, we will present a bio-based plastic in the footwear sector, which we have developed together with our partners. How time-consuming is such an in-house development? Very time-consuming. That's why there are not yet so many companies working with bio-based plastics, because it's an enormous expenditure of time and money. The challenges are really not to be underestimated because machines have to be adapted in part, the colour formulations et cetera. With Covestro, for example, we have been working for three and a half years on a new type of biobased material that is made from European corn and old cooking oil. The first products will be on the market in March 2022. This is pioneering work. It is hardly feasible for companies that actually only work with fabric manufacturers. Does it matter for textile labelling what the plastic is made of? Should we expect ever longer labels? No, it doesn't matter. For example, polyester and polyamide designate material families that classify different types of materials such as PET. For the customer, it is therefore not obvious whether it is bioplastic or not. This would have to be communicated separately. But it is important to note that if one wants to call a material biobased, it has to be more than 50 percent biobased, otherwise one could only communicate it as a biobased share. With plant-based plastics, one always hears the criticism that their cultivation would compete with the cultivation of food as the population grows. How do you see that? The problem is rather the enormous livestock farming. In Germany, for example, we used more than half of all agricultural land for animal husbandry in 2015. Food is actually grown at only 26 percent. Energy crops account for 13 percent of the rest, industrial crops for two percent and fallow land for one percent. Furthermore, if we switch to e-mobility, we will also need fewer plants for fuel and energy production. According to studies, bioplastics would require no more than five percent of global agricultural land if they replaced all fossil plastics. However, this scenario would not come to pass. Do you have a goal, what are you working on long-term? In the long run, it would be important to produce the raw materials where they are used. For example, the granulates could be produced here in Germany - even if they then have to be transported to Asia to be spun there. There are hardly any spinning mills here and in some cases the know-how is no longer available. But granules can be produced very well here, with renewable energy and clean processes. You could collect the products here at the end of life and recycle them. We have to start processing our waste here. The trekking pant is made to 62 percent of castor oil Photos: Vaude This article was originally published on FashionUnited.de. Edited and translated by Simone Preuss.
http://dlvr.it/S1ggF5

Covid-19 hits Ted Baker's full year results, loss widens

Image: Ted Baker media gallery In a preliminary results announcement for the 53 weeks ended January 30, 2021, Ted Baker plc reported group revenue down 44.2 percent or down 44.1 percent in constant currency to 352 million pounds. This decline, the company said was driven by the ongoing impact of Covid restrictions on trading globally. The company’s underlying loss before tax amounted to 59.2 million pounds. Commenting on the full year trading, Rachel Osborne, Ted Baker’s chief executive officer, said: “While the impact of Covid-19 is clear in our results and has amplified some of the legacy issues impacting the business, Ted Baker has responded proactively and is in a much stronger place than it was a year ago. During the period, we delivered robust cashflow generation, fixed our balance sheet, refreshed our senior leadership team and today we are upgrading our financial targets for the second time since outlining our new strategy last summer.” Highlights of Ted Baker’s financial results The company’s retail sales including ecommerce were down 42.2 percent or down 42.1 percent in constant currency to 254.3 million pounds, while ecommerce sales increased 22 percent or 22.1 percent in constant currency to 144.9 million pounds. The company’s directly operated ecommerce channels reported growth of 30.2 percent. Ted Baker’s wholesale sales decreased by 50.3 percent or 48.6 percent in constant currency to 85.3 million pounds and wholesale gross margin reduced to 37.6 percent compared to 39.8 percent in 2020. Licence income decreased by 34.5 percent to 12.4 million pounds. Ted Baker womenswear sales decreased by 40.7 percent to 219.7 million pounds, while menswear sales were down 50.3 percent to 119.8 million pounds. Ted Baker’s performance across core geographies The company’s retail sales in the UK and Europe decreased by 38.7 percent or 38.9 percent in constant currency to 181.9 million pounds, with ecommerce sales increasing to represent 63 percent of the total. Sales from UK wholesale business was lower by 50.9 percent or 48.4 percent in constant currency. North America retail sales declined 46.1 percent or 45.6 percent in constant currency to 69.9 million pounds, ecommerce sales increased by 37 percent to 30.3 million pounds. Ted Baker updates on Q1 trading The company added that first quarter trading has been materially impacted by ongoing Covid restrictions, with lockdowns in place in the UK, Europe and Canada for parts of this period. First quarter group revenue was down 19.9 percent or down 17.3 percent in constant currency, while ecommerce was up 4.5 percent and up 25.9 percent against Q1 FY20. Retail stores were down 40.7 percent or down 73.1 percent against Q1 FY20. Ted Baker said, wholesale and licence sales during the quarter were down 22.4 percent or down 48.3 percent reflecting cautious ordering from store-based trustees, as well as continued restrictions on store openings in Europe.
http://dlvr.it/S1gg8q

Sunday, June 13, 2021

The Children’s Place appoints John A. Frascotti to its board of directors

Image: The Children’s Place, Facebook The Children’s Place, Inc. has appointed John A. Frascotti to the company’s board of directors. The company said that Frascotti will hold office as independent director, until the annual meeting of stockholders of the company to be held in 2022. Frascotti is a special advisor to Hasbro, Inc., and served as Hasbro’s president and chief operating officer from 2018 until his retirement on March 31, 2021. “John is a proven leader with an exceptional track record as a senior executive in the consumer products and retail industries,” said Norman Matthews, chairman of the board, adding, “He brings a broad strategic and operational skillset to The Children’s Place board.” He joined Hasbro in 2008 as executive vice president and chief marketing officer, became president of Hasbro Brands in 2014, and became president of Hasbro in 2017. In 2018, he was also named chief operating officer, and became a member of Hasbro’s board of directors. Frascotti also served as chairman of Hasbro’s diversity and inclusion executive steering committee and of Hasbro’s IP security committee, and as a member of Hasbro’s global information systems steering committee. Before joining Hasbro, Frascotti served in several senior executive positions at Reebok International Ltd. and Myteam.com. He is a member of the board of directors of Party City Holdings, Inc. and was a member of the board of directors of Discovery Family Channel, Ideal Industries, Corus Entertainment, the Toy Association, and the Hasbro Children’s Fund.
http://dlvr.it/S1d0JH

Can Manhattan’s Meatpacking District return as a fashion retail hub?

Meatpacking District Photo Jackie Mallon A small huddle of cobblestoned streets on the western edge of downtown Manhattan located about halfway between the Holland and Lincoln Tunnels symbolizes the fortunes of NYC, a city in which the only constant is change. The Meatpacking District was first a native American trading post, then a military fort, before it became the center of meat purveyance in the late-1800s. Gansevoort Plaza’s confluence of four streets was home to the hustle and bustle of butchers in white coats, like immigrant Philipp Ottmann who brought his family’s meat cutting skills from Southwest Germany and set up business at 1-5 Little West 12th Street, next door to what is now the Gansevoort Hotel. French restaurant Bagatelle, which has locations in Saint-Tropez, Mykonos, London, and St Barts stands in the spot of Ottmann’s business today, and accommodates sleek, well-heeled urbanites who spill out of town cars. Back then the zone’s higgledy-piggledy streets, unusual in Manhattan’s grid layout, were filled with trucks being loaded with chops, smoked hams, loins to be delivered to the nation’s hotels, restaurants and airlines. At the turn of the century, 250 businesses made it a major meat hub, now there are less than ten. Becoming New York City’s most fashionable neighborhood As the meat industry consolidated in massive plants in the midwest and other parts of the country, this Manhattan neighborhood endured several decades of decline, becoming a gritty warehouse outpost frequented by sex workers and drug dealers. Nightclubs catering to a gay clientele sprouted up providing recreation for a community under siege by the AIDS epidemic. A period of gentrification in the 90s brought high profile glamor, casting the area as a playground for the cosmopolitan-sipping, designer-shopping foursome from the groundbreaking HBO show, Sex & the City. The district’s 14th Street corridor boasted an international roster of luxury labels to rival Paris’s rue du Faubourg Saint-Honoré, London’s Bond Street or Milan’s Via Montenapoleone: Alexander McQueen, Moschino, luxury boutique Jeffrey, and Stella McCartney who chose it as the location of her very first store. After dark a flood of nightclubs welcomed globally renowned DJs and swanky restaurants installed top chefs to feed Anna Wintour and Sarah Jessica Parker. Little Island, Manhattan's newest green space In 2004 it became a landmarked district, and New York Magazine called it “New York’s Most Fashionable Neighborhood.” Five years later its appeal was elevated, quite literally, when the Highline, a greenway erected along a disused overhead freight rail line, was opened to the public. But in the decade that followed its fashionability began to tarnish as glamorous tenants moved out. Manhattan’s shiny new Hudson Yards was getting all the attention and it lured fashion PR agency KCD from its Meatpacking home in 2018. Milk Studios which had been hosting fashion events since Calvin Klein first showed on the runway there in 1998 moved on when Google bought the building in 2019. The aforementioned designers had gone too, although Zimmerman, Hermès, Loro Piana remain. But Diane Von Furstenberg is fashion’s doyenne of the Meatpacking District. Her West 14th design headquarters are right above her flagship store and a gallery space, and her backyard is the 250 million dollar passion project she backed with her husband Barry Diller, a green space built on Pier 55 overlooking the Hudson River, named Little Island, which opened to the public last month. Empty retail space on W 14th St The 2015 opening of the Whitney Museum brought international tourists to the area seeking art over accessories, and lifestyle retailers emerged such as Restoration Hardware, Apple, Tesla. Its once-glittering 14th Street is currently occupied by more practical apparel purveyors, Patagonia, Uggs, Lululemon, but a large proportion of the spaces stand empty, To Rent posters plastering the windows. The pandemic’s effects have hit Manhattan retail harder than perhaps anywhere else in the country given the city’s astronomical rents. It remains to be seen how this chameleonic corner of it, historically associated with innovation, industry and it-purses, will emerge. Fashion editor Jackie Mallon is also an educator and author of Silk for the Feed Dogs, a novel set in the international fashion industry Photos FashionUnited
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