Video: Oleana SS22 collection at Oslo Runway

Photo credit: Innom Agency, Facebook In this video, Norwegian fashion brand Oleana has presented its SS22 collection at the Norwegian fashion festival Oslo Runway. Watch the video below. Video: Oslo Runway via YouTube
http://dlvr.it/S6xblF

Video: Oleana SS22 collection at Oslo Runway

Photo credit: Innom Agency, Facebook In this video, Norwegian fashion brand Oleana has presented its SS22 collection at the Norwegian fashion festival Oslo Runway. Watch the video below. Video: Oslo Runway via YouTube
http://dlvr.it/S6wVpT

The six boot trends of AW21/22

Etro (left); Dior (middle); Isabel Marant (right) via Catwalk Pictures. Online fashion search platform Stylight has revealed the six boot trends of the Autumn/Winter 2021-2022 season, according to its 120 million yearly shoppers. With data analysed from January 1 to May 31 and compared to the same time last year, the platform has selected the key styles to look at - and buy into. FashionUnited deciphers the trends for the upcoming season. A return to elegant footwear Stylight has noticed a comeback to more refined, polished and elegant designs, chief among them the kitten heel boot. Whether it’s worn to the knee or as an ankle boot, the understated elegance associated with it is appealing to consumers that are looking to dress up again. The platform has seen a 280 percent increase in clicks on this particular style, with the slouchy suede one being particularly popular in searches. We’ve seen a suede and patent version at Jimmy Choo, a timeless black iteration at Isabel Marant as well as western-inspired and over-the-knee designs at Khaite. Similarly, boots infused with disco vibes seem to be a hit this autumn. They come in shiny and metallic hues such as gold and silver and infuse some much-needed fun and good feelings after repetitive lockdowns. They can be worn at night, but we love them mixed and matched with neutrals during the day for a bold statement. Prada, Dolce & Gabbana, Dior and Etro all embraced the trend this season. At Stylight, consumers’ interest in silver and gold boots has increased by 252 percent compared to last year. Playful and daring styles appear With a wish to return to more playful fashion pieces, consumers have shown a growing love for colourful boots - all styles included. We’ve seen endless bold hues and vibrant colours in the Resort and Spring/Summer 2022 collections, but the trend is starting bright and early. This autumn, footwear is the department of choice for colour with maximalist colour palettes spotted in the collections: pink at Burberry, yellow at Coach 1941 or turquoise at Ermanno Scervino. For this category of boots, Stylight has seen a 27 percent increase in clicks. Second skin boots have a daring style and bold attitude customers are becoming more fond of. These stretchy, skin tight boots take the appearance of leggings and can be paired with shorts, mini dresses and skirts, so it’s a good option to easily transition them to the chilly days. They lengthen the leg and present a comfortable option to wear daily - the 50 percent year-on-year click increase in the search for this design at Stylight is testament to it. ‘Ugly’ shoes are here to stay Finally, ‘ugly’ shoes aren’t going anywhere this season - they’re still highly successful among both collections and customers’ searches. The platform chunky boots have seen an increase in clicks by 394 percent on Stylight and knee-high lace-up boots searches went up 328 percent. The trend is closely linked to a return to the recent pop-punk fashion trends, as well as a growing Y2K inspiration. This footwear style appears to be an edgy and daring alternative to dad sneakers and combat boots are taking the lead with a modern, bold make-over. We’ve seen many platform styles at Dsquared2, a more pared-back style at Givenchy and a colourful iteration at Moschino. Finally, Balenciaga’s ‘Puddle’ rubber boots have made ankle - and knee-high - rain boots cool again. Indeed, clicks for this style have increased by 128 percent compared to last year. For Spring/Summer 2021, Celine contributed to the trend with an array of rubber rain boots, and it’s now everywhere from Moncler to Roger Vivier - and ‘ugly’ styles are discreetly surrounded by more elevated versions, too.
http://dlvr.it/S6wVnB

Brunello Cucinelli wins GQ Designer of the Year award

Image: courtesy of Getty British men’s fashion magazine GQ named Brunello Cucinelli as its ‘Designer of the Year’ last night at its GQ Men of the Year event held at the Tate Modern Art Museum in London. The Italian menswear brand was praised by the fashion magazine for its ability to boost revenues following the pandemic, up 60 percent in the first half of 2021, as well as the fact the designer didn’t make any of his 2,000 global employees redundant during the coronavirus crisis. Cucinelli was presented his award by actor Jonathan Bailey, who said that the designer’s name was “synonymous with Italian excellence”. In his acceptance speech, Brunello Cucinelli said: “I would like to dedicate my award to the minds and hearts of women and men of every epoch, and from every corner of the world, and to my teachers whose enlightened words taught me a universal vision of the world, and that humanistic capitalism which is so kindly and widely attributed to me. “Through it and our work, we have discovered and nurtured the moral and economic dignity of humans, gentle economic growth, harmony between profit and generosity, and respect for Creation, a small part of which I feel I have been called upon to be a faithful and caring guardian. Thank you all.” Image: courtesy of Getty GQ honours Brunello Cucinelli, Harris Reed and Vivienne Westwood GQ also honoured British-American fashion designer Harris Reed, best known for dressing Harry Styles and pushing menswear in a new gender-fluid direction with its Peroni Nastro Azzurro ‘Breakthrough Designer Of The Year’ accolade. While British designer Dame Vivienne Westwood won the ‘Game Changer’ award for her climate change activism. Other winners on the night included Oxford/AstraZeneca vaccine heroes Professor Dame Sarah Gilbert and Dr Catherine Green, actor Regé-Jean Page, Oscar-winning actor Anthony Hopkins, director and writer Quentin Tarantino and singer-songwriter Ed Sheeran.
http://dlvr.it/S6slTd

British Fashion Council announces partnership with 50:50 The Equality Project

The British Fashion Council (BFC) has confirmed a long-term partnership with 50:50 The Equality Project, an initiative created by the BBC for the media industry to increase representation and to create content that fairly represents the audiences it serves. Launching during London Fashion Week, the BFC and the 50:50 The Equality Project will ask designers taking part to collect diversity data from their event, ranging from design teams to hair and make-up, models, production, and communications. The collected data will then be used to benchmark and track progress in terms of reflecting the audiences, consumers and communities they serve and employ, as part of the BFC’s strategy to positively impact representation across the fashion industry. The BFC adds that it will also be collecting, benchmarking, and tracking its own progress. The designers who have signed up to take part in the first round of the project are: Anciela, Anna Mason, Carlota Barrera, Edward Crutchley, Eirinn Hayhow, Ester Kubisz, Helen Kirkum, Joao Maraschin, Jordan Luca, Kaushik Valendra, Labrum, Matty Bovan, Osman, Palmer//Harding, POA, Ray Chu, Richard Malone, Roksanda, Saul Nash and Tiger of Sweden. The BFC added that plans for the data collection to take place each season. The findings of the project will begin to be published after 18 months from the start, which will be used for continued benchmarking and monitoring purposes. June Sarpong, director of creative diversity at the BBC and board director at the BFC, said in a statement: “We look forward to seeing the success we have seen of 50:50 within the BBC, positively impact London Fashion Week. 50:50 will encourage all businesses to make more conscious choices around the teams they employ from full time employees to the freelancers employed at shows, from models, to stylists, hair and make-up artists, communications and production teams.”
http://dlvr.it/S6sFG3

Q2 sales rise 35 percent at American Eagle Outfitters

Image: American Eagle Outfitters, Facebook Total net revenue for the second quarter at American Eagle Outfitters (AEO) increased 311 million dollars or 35 percent to 1.19 billion dollars compared to the second quarter of 2020. The company said Aerie revenue of 336 million rose 34 percent from second quarter 2020 on top of 32 percent growth last year. American Eagle revenue of 846 million dollars rose 35 percent versus second quarter 2020 following a 26 percent decline last year. “It’s extremely gratifying to see significant growth across our business, as we delivered another quarter of record revenue and profitability. Despite external challenges, I believe we are on path to achieve 600 million dollars in operating income this year, well ahead of our previous target,” said Jay Schottenstein, AEO’s Executive chairman of the board and chief executive officer. The company’s consolidated store revenue increased 73 percent due to an improvement in store traffic. Total online demand this quarter was up 9 percent and digital revenue decreased 5 percent from second quarter 2020. Compared to the pre-pandemic second quarter 2019 base, store revenue increased 4 percent and digital revenue increased 66 percent. Gross profit of 502 million dollars rose 89 percent from 265 million dollars in the second quarter of 2020, while gross margin of 42.1 percent expanded 1210 basis points from 30 percent in the second quarter of 2020. EPS for the quarter was 58 cents and adjusted EPS was 60 cents.
http://dlvr.it/S6sFDN

Tory Burch opens new concept store in New York

Image: courtesy of Tory Burch In Pictures Tory Burch has returned to a downtown location in New York with a new concept store on Mercer Street. The Mercer Street boutique houses the Tory Burch collection, including ready-to-wear, handbags, footwear, accessories, jewellery, home and beauty. Tory Burch, executive chairman and chief creative officer at Tory Burch, said in a statement: “I could not be more excited about our Mercer Street store. It is an evolution of our retail aesthetic, and I have loved the creative process, combining a modern space with signature decorative elements and details that are personal to me. “The downtown location feels like a homecoming, just a five-minute walk from where we opened our first boutique on Elizabeth Street.” Image: courtesy of Tory Burch The store design has been created in partnership with Curiosity architect Gwenaël Nicolas and gives a modern aesthetic to the Tory Burch brand, “by having a conversation between old and new, minimal and maximal, architectural and decorative”. Tory Burch brand codes, such as oak, rattan and brass, have been reimagined in different finishes and tones to create a contrast between high and low that the designer often references in her collections. The ground floor is defined by four main areas and features, with a specially designed parquet pattern floor, made with wood and ceramic, and baskets suspended from the ceiling forming a canopy of natural texture above handbags and accessories. This detail was pulled from the designer’s memories of woven baskets from all around the world that hung from the kitchen ceiling in her childhood home in Valley Forge, Pennsylvania. Image: courtesy of Tory Burch Tory Burch unveils new retail concept with Mercer Street boutique The second floor features footwear and home collections. The shoe salon is built in a circular room featuring a ceramic chandelier by Francesca DiMattio hanging above a divan de milieu that has been redone in vintage patchwork quilts found in antique markets. While pieces from the home collection are shown in a cabinet inspired by a vintage armoire in Burch’s home. Image: courtesy of Tory Burch Ready-to-wear is featured on the third floor, which has been designed to resemble a living room with a geometric layout, pink rag rug, floral chintz sofa and bold ceiling pattern. Other design highlights include a wicker honeycomb structure, inspired by Burch’s own bee apiary in Antigua, which was designed specifically for handbags, small leather goods, jewellery and personal objects she has collected, while landscape artist Miranda Brooks has created an outdoor garden space behind the store. Image: courtesy of Tory Burch Tory Burch launches new Mercer Street handbag and limited-edition Lee Radziwill Double Bags To celebrate the launch, the brand is introducing the new 151 Mercer handbag interpreted in two shapes, a classic crescent and a deconstructed shoulder bag, available in leather, suede and snakeskin. In addition, Burch has launched a limited-edition series of numbered Lee Radziwill Double Bags, limited to 25 of each style, which will be exclusive to this location. There are three colour combinations and two styles, and each can be personalised with a monogram and date. Pierre-Yves Roussel, chief executive officer at Tory Burch, added: “We believe in the strategic value of retail paired with our vibrant e-commerce channel. We want to continuously evolve our store experience and expand our omnichannel capabilities. We are excited for our customers to discover our storytelling and our beautiful products at Mercer Street. “As a New York brand, we will be contributing to the local community through partnerships, events and donations – we are committed to playing our part in our city’s resurgence after an incredibly tough year.” Image: courtesy of Tory Burch Image: courtesy of Tory Burch
http://dlvr.it/S6p9W8

Pucci confirms appointments of Camille Miceli

Image: Emilio Pucci Facebook page Camille Miceli has been named Pucci’s new artistic director, confirming an August report that she had been tapped to lead the brand. Pucci is shifting to a more resort-focused direction to capitalize on their prints they are so famous for. Miceli was previously accessories creative director at Louis Vuitton, another LVMH owned brand. Miceli is half Italian, although she was born in Paris and raised in France. She speaks both Italian and French fluently, and will be relocating to Milan to lead Pucci. Miceli is a fashion industry veteran, but she originally started off in fashion public relations rather than design. In 1997, she joined Louis Vuitton’s public relations department just as Marc Jacobs was set to start as the brand’s creative director. It was Jacobs who encouraged Miceli to try her hand at design and she began with costume jewelry. After her first pair of earrings became part of Jacobs’ debut runway show for Louis Vuitton, Miceli would go on to become fashion jewelry creative director and fine jewelry consultant for the brand. In 2009, she became jewelry director at Christian Dior. In 2014, Miceli returned to Louis Vuitton as accessories creative director. LVMH acquired Pucci in 2000, and over the course of owning the brand they have seen a series of creative directors ranging from Christian Lacroix to Peter Dundas. With the growth in the resort category over the past several years, Pucci is finally truly returning to its roots.
http://dlvr.it/S6ndzL

Luxury brands return to live show format at Paris Fashion Week

Chanel, Louis Vuitton, Dior, Hermès, Balenciaga, Givenchy, Chloe and Rick Owens are just some of the brands returning to physical shows formats at Paris Fashion Week later this month. A total of 37 brands will host live shows with audiences during the womenswear ready-to-wear calendar from 27 September to 5 October. France’s fashion federation, the Fédération de la Haute Couture et de la Mode (FHCM) this week announced its official ninety-two brand line-up, which also consists of digital presentations and invitation-only events. Maison Margiela, Dries van Noten and Schiaparelli are continuing to work within a digital framework while new additions to the womenswear calendar are Ludovic de Saint Sernin, Raf Simons and Botter, all of whom will host physical shows. All digital events will be broadcast on the Paris Fashion Week FHCM platform.
http://dlvr.it/S6ndx8

Nike give employees a week-long mental health break

Nike Inc. (NKE) said on Tuesday that it had given employees at its corporate offices a week off in August, giving priority to their mental wellbeing. The company said that it is giving its employees the free week so that they could "destress" in the backdrop of the fear and uncertainty brought on by the coronavirus pandemic. In a social media post, Matt Marrazzo, a senior manager of global marketing science at Nike, said that the company's Nike's headquarters in Beaverton, Oregon were "powering down" for the week from last Monday. He said, "Our senior leaders are all sending a clear message: Take the time to unwind, destress and spend time with your loved ones. Do not work." Marrazzo said that he believed taking the time to rest and recover was the "key to performing well and staying sane." Nike is not the first company to offer its employees a free week off by laying emphasis on their mental health. In June, the dating app Bumble gave more than 700 people a free week off so that they do not face work fatigue. LinkedIn also gave most of its employees a week's paid vacation in April so that they could recharge and rejuvenate. Teuila Hanson, chief people officer at the company said that it was "inspiring to see how our employees returned to work rejuvenated and recharged." "It reminds me just how critical company culture and the wellness and mental health of employees are to any business," Hanson added.(DPA)
http://dlvr.it/S6kSzp

Coach parent Tapestry appoints new board member

Image: Coach, Facebook New York-based luxury fashion group Tapestry has named Johanna W. Faber as its new board member. Faber has nearly 30 years of experience in consumer goods and retail, and is currently the president of global foods and refreshment at Unilever PLC. Earlier in her career, she was chief e-commerce and innovation officer at Royal Ahold Delhaize. Tapestry CEO Joanne Crevoiserat hailed Faber’s “proven track record of growth” in consumer goods, retail and e-commerce, and described her as a “recognized brand builder, innovator and champion for sustainability and diversity”. “We are confident that her knowledge and perspective will prove valuable to us as we continue to execute our people-centered and purpose-led strategy while fueling long-term growth and profitability across our portfolio of brands,” Crevoiserat said in a release. The appointment brings the membership of the Tapestry board to 11, including 10 independent directors. Faber commented: “I’m excited to be joining the board of directors of Tapestry, a company with three powerful global brands with deep connections to consumers and a commitment to people and purpose. “I look forward to supporting the organization as it focuses on strengthening its platform to drive brand growth while driving positive change for people, planet and community.”
http://dlvr.it/S6jxPG

Kanye West and Balenciaga team up once again for Donda merch

Image: shop.kanyewest.com Luxury fashion house Balenciaga is continuing its collaboration with rapper Kanye West releasing a capsule merchandise collection for the artist’s new album Donda. The collection includes two layered t-shirts, a cap and a black balaclava, available to purchase through an online store dedicated to the capsule. The t-shirts reference parts of Kanye’s childhood, a subject that is at the centre of his newest album. One t-shirt has a print of what seems to be his mother as a child on the front and an image of the stars childhood home on the back. A black balaclava-like mask is also available for purchase, similar to that of the one West has been seen wearing frequently at live shows and online streams hosted by him the past weeks. It is these large-scale events that have dominated social media recently, acting as promotion for the highly anticipated album that dropped this week. Balenciaga has continued to play an important role in the making of these performances, with the fashion house taking control of the creative direction for the shows and providing a range of Donda inspired garments for the rapper to wear. Most recently, Kim Kardashian was seen wearing a Balenciaga wedding gown at the final show, causing a stir online from viewers questioning what the meaning was of such a display. The build up to the album was drawn out, however, yesterday West took to Instagram with a post stating: “Universal put my album out without my approval and they blocked Jail 2 from the album.” The comment references the song Jail pt 2, with cameos from Marilyn Manson and DaBaby, both of which have recently been at the forefront of major criticism and accusations over the past year. Fans can buy the merchandise through a website exclusively for the collection that states ‘Engineered by Balenciaga’, with West’s music label Universal Music Group hosting the site itself.
http://dlvr.it/S6jxN0

De Beers partners with National Geographic in Africa

Image: courtesy of National Geographic Okavango Wilderness Project by Chris Boyes Jewellery group De Beers is teaming up with National Geographic to launch Okavango Eternal, a strategic conservation partnership to protect the source waters of the Okavango Delta in Africa and the lives and livelihoods they support. The five-year commitment will help protect Africa’s endangered species, ensure water and food security for more than one million people and develop livelihood opportunities for 10,000 people, explains De Beers. It also represents “critical inward investment to underpin the resilience and long-term recovery of the region in the years ahead”. The Okavango Basin, spanning southern Angola, eastern Namibia, and northern Botswana, is the main source of water for the Okavango Delta. Located in northern Botswana, the Okavango Delta is one of Africa’s most important ecosystems and is home to the world’s largest remaining elephant population as well as lions, cheetahs, wild dogs, and hundreds of species of birds. De Beers and National Geographic will work together by providing support, expertise and funding to expand and accelerate work already underway, to help establish sustainable local livelihoods in harmony with the Okavango Basin’s conservation. This will include protecting the natural world through long-term wildlife corridor protection for the movement and proliferation of endangered species, as well as supporting critical conservation research through funding expeditions to gather new data, installing monitoring technology and building capacity of local researchers through grants and training. “There is no doubt that the Okavango River Basin is under threat. How we treat this delicate ecosystem in the coming years will dictate its vitality — for its people and its wildlife — for future generations. This is our last chance to help protect this natural wonder and we are pleased to partner with De Beers on this critically important project,” said Dr. Steve Boyes, National Geographic Explorer and leader of the National Geographic Okavango Wilderness Project in a statement. “Together, we will leverage our collective resources to scale efforts to facilitate long-term, sustainable management of protected areas in the region by helping establish and further partnerships between governments, NGOs, and local communities through a sustainable conservation economy.” Bruce Cleaver, chief executive, De Beers Group, added: “De Beers has been in 50/50 partnership with both Botswana and Namibia for decades, making their people significant shareholders in De Beers and our commitment to the long-term sustainable development of the countries a core part of our business As part of our Building Forever mission to ensure every De Beers diamond creates a positive and lasting impact in the place where it is discovered, we manage half a million acres of land for conservation across southern Africa, protecting wildlife, supporting livelihoods and creating education and eco-tourism opportunities for the surrounding areas. “However, many areas in southern Africa are still at risk, including the critically important Okavango Basin. That’s why our partnership with National Geographic is vital. By sharing our expertise and resources and working with local communities, governments and other NGO partners, we will deliver a positive impact that is far greater than what any of us could achieve on our own, and ultimately protects the natural world and improves people’s lives.”
http://dlvr.it/S6frRs

DKNY to release new logo as NFT for auction

Image: DKNY.rad.live Announcing through a special platform, DKNY has unveiled its upcoming event auctioning of a non-fungible token of its new logo, with funds going to charity. On September 1, those interested will be able to access the brand’s auction site to bid on the digital package. Labelled ‘An Ode to NYC’, the fashion labels first NFT and new logo aim to capture the spirit of the brand’s home city, New York. The fresh logo is inspired by a DKNY billboard that marked the entrance of the Soho shopping district over a decade ago. The design aims to show the 21st-century development of the city, representing its evolution to a more modern environment that remains constantly changing. DKNY partnered with Mazarine on the new visual and additionally teamed up with the artistic collective Obvious on the creation of the soon-to-be-available NFT. The collective was responsible for the first artificial intelligence digital artwork sold at a major auction house, and have previously worked with Nike creating AI developed shoes based on the algorithm analysis. “To us, AI offers a new way to create,” explained Pierre Fautrel, one of three in the artist collective Obvious, in a quote on the NFT platform. “This is true not only in art but in every creative process. These algorithms are offering a new source of inspiration for creatives, and we believe they can lead to entirely new aesthetics within the realm of design.” The proceeds of the NFT auction will go towards American Nurses Foundation, an organisation focused on the health and wellbeing of frontline nurses. The company stated its choice of the organisation was based on its belief to give back to those who have given so much during these trying times. The new logo is set to appear on DKNY apparel and accessories on September 8.
http://dlvr.it/S6fKbB

Assyst: Photographs and digitally generated product images are now interchangeable

Interview As tough as the pandemic was, Hans-Peter Hiemer is convinced that it was important for the fashion industry. Since March 2021, he has been the new managing director of Assyst, the CAD specialist and 3D technology provider based in Germany, near Munich. Hiemer has known the fashion industry for a long time and from many angles. As a consultant and manager, he has worked for companies such as S.Oliver, the CBR Fashion Group, Orsay, Klingel, Zalando/Z-labels, Escada and Beeline. Even before joining Assyst, he made no secret of his conviction that the industry would have to fundamentally rethink its approach if it wanted to continue to be successful. Away from the guessing game of what the bestsellers of the next season would be, and towards a data- and demand-driven business model with more small series instead of more mass-produced goods. The good news: the technologies are there, now the industry has to follow. We talked to Hans-Peter Hiemer about digital transformation and how far the fashion industry has come. Mr. Hiemer, you have been in the fashion industry for a long time, then in management consulting, now you have joined a CAD vendor. Why is Assyst interesting for you? In recent years, I have always been fortunate in my work to have my finger on the pulse of the times and be able to help shape the major issues in the industry. The first major change process was globalisation in the 1990s, then came verticalisation, which was about bringing about consolidation in sales. Now we're on the subject of acceleration and technology, and Assyst is one of the pioneers here. I've always thought about what's next, and that's where Assyst offers a brilliant combination: this is where industry, commerce and technology come together. To be able to reshape that and play a significant role here is interesting. In that sense, Assyst was almost a logical consequence. For a long time, the market for CAD providers was manageable, but with 3D, new players have shown up and continue to show up. How does Assyst distinguish itself from these new competitors? Yes, that's true. Historically, there have only ever been a handful of CAD vendors specialising in the fashion industry. Assyst is certainly the most developed. Compared to the new players, you have to know that they essentially only offer individual solutions, or cover small areas, and work very well in these - incidentally also together with Assyst. But we have an end-to-end solution and don't just map individual steps. We accompany the product from A to Z and, if the customer wants us to, we can represent consistency. As CAD experts, we come from the cutting edge and can now integrate upstream and downstream processes throughout the entire process. That’s the big difference. You have been hard on the fashion industry in recent years - too sluggish, not customer focused enough, too many markdowns. The system no longer works. How should it get better? As tough as the pandemic was, it was important for the fashion industry. Until now, we have always tried to solve the problems with the same method, and of course that doesn't work anymore. We have to move to a demand-driven model, and that doesn't happen voluntarily. We currently have millions of unsold items in the system; the pressure on the industry is enormous. But the good news is: it is possible today to change fundamental processes! The tools are there, and so is the attention from companies. The situation now holds opportunities for new models to be considered as well. It will probably take another two years for companies to recover financially. But then the next step will come. The next step, in your opinion, would be to enter 3D product development. Why is that important? In 3D product development, one can take 30 percent of the time out of the development process. What used to be twelve weeks becomes eight - that's absolutely feasible. It makes a difference whether one has to start the design at a time when one doesn't have any data yet, or later on the basis of customer feedback. I have also saved enormously on the number of samples, depending on the maturity level, at least twenty percent, up to 70 percent. All these savings flow directly into the calculation, which is margin optimisation before the product is even made. How far has 3D technology come by now? Starting from a 5-stage model, we are just at the middle stage of the maturity model. That is, we are at the threshold of predictability, where we can incorporate external factors into product development. As far as we are concerned, our product is in a stable state, our solutions are safe, reproducible and affordable. Today, you can't tell the difference between a digitally generated product image and a photograph. About 1,500 customers are developing new products on our Assyst platform every minute. How far along have brands come in integrating 3D technology? They are one step below. But the attention is there, and companies are willing to invest. Assyst has been working on this topic for many years, which means that technology is leading the way, and now the market can catch up, which is a good thing. It would be difficult if the industry had demands that could not yet be offered on the technological side. As for us, we're already working with customers who are integrating digital products into their store and are already selling 50 percent of their collection digitally only, which has shortened the go-to-market process by months. In other words, products are sold here without any financial risk because no samples had to be produced and no fabric had to be purchased in advance. About 400 companies worldwide are already integrated to the point where they can sell digitally. In some cases, the majority of the collection is developed digitally. How digital is the supply chain already, fabrics for example? The rollout is imminent. We are encouraging fabric manufacturers to already digitise their fabrics and are offering an open system for this purpose with digital parameters such as weight, elasticity, etc. I see this as a great development opportunity for the preliminary stage in textiles. But we also help our customers create their own fabric libraries and learn how to evaluate fabrics as a technical image. They have to go through their own personal experience process to be able to read this data safely and reproduce their knowledge safely. What are the possibilities for 3D-developed products in the retail sphere? Are there examples already where digital products are sold to end customers? Technically, this is feasible, but you need a suitable sales concept. When end customers buy a product, they want it quickly. If it takes too long, interest drops. At the moment, there are still too many individual systems that are not connected to each other and that are in the wrong places. If transport takes ten days, that's too long. But there are already examples in the area of avatars and virtual try-on. In the USA, we are running an extensive research project together with a major US retailer. Here, we have also imported the technical product data for all products so that the end customer can try on the product virtually. To do this, we request some information from the customer, such as body size and the desired wearing comfort - we don't ask about weight - and match the data with the data cloud from Avalution [a sister company specialising in body data - editor's note]. Via the try-on button, the product is calculated on the body and provides information about how the fit is. For you, fast, small series are the future, manufactured in decentralised, digitally supported microfactories. Adidas already presented this three years ago with Assyst in Berlin. What was the next step? On the materials side, the steps are already very big. At the last Drupa, the world's largest printing press trade show, a sophisticated production process for printed T-shirts was presented together with the Textile Institute Denkendorf and Assyst: A roll of white fabric is inserted into the machine, the machine starts running, the design is created and the machine prints the fabric exactly where the print is to be later. Only then does the digitally controlled cutter come in and cut out the pieces. So the integration of printer, software and cutter is already working, and there are also the first companies working with it, especially merchandising manufacturers. Such machines are the entry prerequisite for nearshoring and on-demand production. I think we will see an industrial breakthrough here in two to four years. The investments for such printing presses range from less than ten thousand euros for small batches to millions. Large printer manufacturers like Epson are investing here right now. If they didn't find this market interesting, they wouldn't be promoting the topic. Has the pandemic also changed the view of the digital transformation of the value chain? Or is everyone only looking at retail? In two respects, the pandemic has changed the way we look at processes in the fashion industry. First and foremost, a company must be able to sell its products. For this to succeed, it needs completely new processes and has thus defined its need for change. For this, it needs technology. It doesn't make sense if I can sell my product in two days, but it takes months to get it ready. With technology, the development time is reduced from twelve weeks in the past to two to three today. With this time saving, it's also perfectly okay if the design takes six weeks, which is exactly where many now see a big benefit. Secondly, digital product development opens up completely new opportunities to pick up the market immediately. Assyst customers were able to design a homewear collection within two weeks in response to the lockdown phases and sell it digitally immediately - just because it was technically possible. What is your assessment as an industry expert: Does our wholesale model still have a chance? This is a regional discussion. Our 3-stage wholesale model is a special situation in Central Europe; there's really nothing like it anywhere else in the world. The direct model simply has the huge advantage that you have personal contact with the customer. I can still imagine wholesale in Germany and other European countries in two ways: One is in the high-end and luxury segment. Here, curation and service play a central role. The other example is in the area of low-entries, i.e. everywhere where it is a matter of meeting demand. It will be difficult for brands in the middle that do wholesale, retail and e-commerce at the same time. This mainstream middle will have to choose between retail and wholesale - to serve all areas will be too expensive. Basically, however, I believe that the pandemic has brought a great opportunity for brick-and-mortar retail, because everyone has noticed how lonely online shopping is in the long run. Fotos: Assyst GmbH This article was originally published on FashionUnited.de. Edited and translated by Simone Preuss.
http://dlvr.it/S6fKVl

Five years after closing in the UK, BHS stores remain empty

Image: Pexels Five years ago, when BHS collapsed, the UK lost more than 80 percent of its department store presence. That gap has not yet been filled, with 237 sites still vacant. Data compiled by CoStar Group, a commercial property information company, shows chains including BSH, Debenhams, House of Fraser and Beales had 467 stores between them five years ago. Today just 79 remain. The analysis of the state of the UK high street is dismal. The pandemic may have fuelled the rate of closures with the rise of online shopping, but the trouble for most chains began long before the coronavirus. Often the sites operated by department stores are costly real estate, which many businesses cannot afford. Vacant sites also affect adjacent retailers who must deal with a fall in footflow. Furthermore, demand for larger units have shrunk, Lucy Stainton, commercial director at the LDC, told the Guardian. “As time passes, units can become increasingly challenging to let, as they often require significant capital expenditure in order to rejuvenate the space or redevelop it for another use entirely,” she said. “Since December 2020, 120 ex-Debenhams stores have come on to the market, which means there are now many more of these large retail units than demand from retailers requires.” The changing shape of the high street without the anchor of a department store has been felt by many communities. But hope is not lost, with retailers such as Next occupying the space in some former Debenhams stores for its new beauty concept. From the current 237 empty BHS units, 52 have either firm plans in place or early planning approval for a change of use or repurposing, said the BBC. The shift to digital consolidates Data from Deloitte shows the shift to digital is consolidating. “Footfall at the end of May 2021 remained down on 2019 levels and while it is increasing, online sales are proving remarkably robust in light of the opening up of non-essential retail.” Deloitte said it predicts online sales to continue to grow at above market rates for the foreseeable future, driven by both consumer demand and retailer investments in increasing capacity and capability as the transformation of retail continues.
http://dlvr.it/S6bLg1

Why M&S stopped selling suits in most of its stores

Image: Pexels Once a destination for suits and formalwear, Marks & Spencer is betting on casual fashion and no longer selling suiting in most of its stores. The company said tastes have evolved and the pandemic fuelled the trend for casualwear, with men favouring smart separates over tailoring. Over 50 percent of M&S’s bigger stores are no longer selling suiting, with tailoring available in just 110 of its 254 larger stores. Instead, the retailer is focussing on categories such as chinos and shirts, which have higher sell-thrus. In total, sales of suits in the UK have fallen by 2.3 million over five years, according to the market research firm Kantar Group. It said men purchased two million of them in the year to July compared to 4.3 million for the same period in 2017. Suit sales down 80 percent at the start of the pandemic The decline began in 2019 when M&S said sales fell by seven per cent. In the first two months of the Covid pandemic, when millions of people were forced to work from home, M&S said it sold just 7,500 suits - a fall of 80 percent compared to the same period in the previous year. M&S said in the year to April its formalwear saw a decline of 15 percent online and 72 percent in stores compared to the previous year. During the same period, sales of casualwear increased 61 percent online Kantar data shows annual sales of men’s suiting feel from 469m pounds in 2016 to 159m pounds in past year to July. M&S currently operates around 700 stores, of which the majority sells food.
http://dlvr.it/S6ZsxQ

Five years after closing in the UK, BHS stores remain empty

Image: Pexels Five years ago, when BHS collapsed, the UK lost more than 80 percent of its department store presence. That gap has not yet been filled, with 237 sites still vacant. Data compiled by CoStar Group, a commercial property information company, shows chains including BSH, Debenhams, House of Fraser and Beales had 467 stores between them five years ago. Today just 79 remain. The analysis of the state of the UK high street is dismal. The pandemic may have fuelled the rate of closures with the rise of online shopping, but the trouble for most chains began long before the coronavirus. Often the sites operated by department stores are costly real estate, which many businesses cannot afford. Vacant sites also affect adjacent retailers who must deal with a fall in footflow. Furthermore, demand for larger units have shrunk, Lucy Stainton, commercial director at the LDC, told the Guardian. “As time passes, units can become increasingly challenging to let, as they often require significant capital expenditure in order to rejuvenate the space or redevelop it for another use entirely,” she said. “Since December 2020, 120 ex-Debenhams stores have come on to the market, which means there are now many more of these large retail units than demand from retailers requires.” The changing shape of the high street without the anchor of a department store has been felt by many communities. But hope is not lost, with retailers such as Next occupying the space in some former Debenhams stores for its new beauty concept. From the current 237 empty BHS units, 52 have either firm plans in place or early planning approval for a change of use or repurposing, said the BBC. The shift to digital consolidates Data from Deloitte shows the shift to digital is consolidating. “Footfall at the end of May 2021 remained down on 2019 levels and while it is increasing, online sales are proving remarkably robust in light of the opening up of non-essential retail.” Deloitte said it predicts online sales to continue to grow at above market rates for the foreseeable future, driven by both consumer demand and retailer investments in increasing capacity and capability as the transformation of retail continues.
http://dlvr.it/S6ZssM