Kalyaev to close factory

Image: Caitlyn Terra Business of Fashion has reported that Kalyaev, one of Russia’s biggest fur retailers, is closing its factory. Kalyaev says the decline in Russia’s fur trade is to blame, and they will be selling their remaining stock. In addition to their factory, Kalyaev also runs 20 retail stores in Moscow and Kazan. The company has not said what would be done about these stores, or if they will also close. “Over the past two years, the world has changed tremendously. Some of [these changes] are not very pleasant for our business. Many high fashion companies began to refuse to use natural fur in their products. This has led to a wave of widespread abandonment of the cultivation and sale of raw furs around the world,” the company said in a statement. In fall 2021, previously the biggest time of the fur trade season, Russia’s fur trade volume declined 10 percent. In comparison to pre-pandemic numbers, the fall fur trade was down 90 percent. While some blame shifting consumer preferences, climate change is also to blame as less severe winters decrease the number of shoppers who would even consider buying fur.
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Danish trade fair CIFF confirmed to go ahead physically next month

Image: CIFF, courtesy of FashionUnited Copenhagen International Fashion Fair (CIFF) will go ahead in person from February 2-4 following fears it may be cancelled due to the pandemic. “We have just had the fabulous news that there are no longer any restrictions in place to hinder CIFF”, organisers of the event announced. “We are incredibly grateful that we can all be here together in Copenhagen again this season,” they said. The trade fair will take place in its traditional location at the Bella Center in the Danish capital. Organisers of CIFF said: “We dare to feel optimistic about the future despite an unpredictable start of the year and ongoing hurdles we all must climb. “Our optimism is not about crossing-your-fingers-and-hoping-for-the-best - It’s a belief in a future that we make better by stepping up, taking responsibility, standing shoulder to shoulder as the global community we are.” It comes after international fashion trade fairs were forced to cancel their physical shows and instead launch digital iterations since the outbreak of the pandemic in 2020. But more recently, in-person events have returned, including iconic menswear trade show Pitti Uomo, whose 101st edition just came to a close in Florence on Thursday. Similarly, the organisers of British fair Scoop x Pure confirmed this week the event is still scheduled to go ahead next month.
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Ralph Lauren debuts sustainable cotton polo shirt for Australian Open

Image: Ralph Lauren As of the 2022 Australian Open Tennis Tournament, Ralph Lauren has unveiled its Rlx Clarus Polo Shirt, developed using innovative sustainability methods that highlight the company’s commitment to the area. The shirt utilises a first-to-market patented platform, developed by sustainable material start-up Natural Fiber Welding (NFW), that transforms virgin and recycled cotton into high-performance materials, complete with attributes like moisture management. The final cotton material, used for the polo shirt, acts similarly to synthetic fabrics like polyester and nylon. The release comes as part of Ralph Lauren’s past investment in NFW, made back in August 2020, that looked to aid the organisation in scaling its patented process and develop the technology to make the material at hand. The investment is also part of the fashion brand’s goal of achieving 100 percent sustainably sourced key materials by 2025. During the Australian Open, Ralph Lauren will be host to an exhibition tennis clinic alongside tennis player Sam Groth and footballer Josh Cavallo, who will each be sporting the shirt to display its performance qualities. The Rlx Clarus Polo Shirt will exclusively debut at the 2022 Open before rolling out global distribution. Further styles, colours and a womenswear option will be available in the coming weeks.
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Pitti Uomo: Good news from Firenze

Report Image: Pitti Uomo Florence - The new fashion year begins in a minor way, but with a dash of optimism. The men’s fair, Pitti Uomo, which traditionally opens the new season in Florence, has experienced some quick reorganisation. Guest of honour Ann Demeulemeester cancelled her scheduled event last week. Brunello Cucinelli, a usually consistent main exhibitor at the fair, also withdrew last minute. In Milan, where men’s fashion week is due to start on Friday, the show calendar looks remarkably empty. Additionally, Paris is juggling runway shows, digital presentations and showroom appointments next week. For the Chinese and Japanese, among others, travelling remains difficult. Russian visitors and exhibitors, on the other hand, are limited by their vaccine, Sputnik, which is not yet recognised in Europe. But in Florence, there was also good news. Image: Pitti The atmosphere was good at the fair itself and in the ballroom of the 15th-century Palazzo Pitti, where a rare event was organised on Wednesday evening: a ballroom presentation in the style of Ru Paul’s Drag Race, by the Finnish designer Ervin Latimer, who, decked out in red lingerie and with a blonde wig, launched his label Lattimmier. “It’s gratifying to be able to see and speak to people in person again,” said another Finnish designer, Rolf Ekroth. Quite a few established Italian labels, from Herno to Caruso to Kiton, did stay true to their menswear appointments, unlike Cucinelli. In the end, 548 companies rented exhibition space, 28 percent of them from outside Italy. “We have lost another 60 exhibitors in the last four weeks,” said Raffaello Napoleone, CEO and organiser of Pitti Immagine, in his office at Fortezza Basso, the former fortress where the fair takes place. He specified that these were often small brands. “When such a small team suddenly has to quarantine, there is still little room for manoeuvre,” he said. 37 brands limited their participation to a digital presence on the Pitti Connect online platform. Image: Pitti There were more exhibitors than in the previous edition, and more visitors too. There were remarkably many Dutch buyers, more than a hundred, according to Napoleone. The turnout from European countries like France, Germany and Belgium was good. Despite everything, small numbers of buyers from Asia and Russia were spotted. “And we received seventeen American stores, accounting for about thirty buyers,” said Napoleone. Compared with the more ‘normal’ editions of the past, which hold an average of about 1200 exhibitors, things remain difficult. The event also ran a day less this time around. “We didn’t think for a moment about cancelling this edition,” the CEO said. “Italian legislation allows trade shows with the ‘super green pass’ and so there was no reason for Pitti not to go ahead. When we cancelled the physical editions of June 2020 and January 2021, we also followed the law. We lost 39 million euros then. Pitti Immagine was founded in the 1950s to advance Italian and international fashion. That is our role, and we must take up that role as soon as possible.” Napoleone pointed out the safety measures taken, which include free tests and FFP2 masks, which are mandatory in Italy from the moment you step outside. “We have ordered twenty thousand of them,” he said. Image: Pitti He continued: “This is a stronger season than the last. The winter edition is actually stronger than the summer. There are more exhibitors. And the turnover and export figures of Italian fashion are going up. The only markets with falling figures are Britain, Japan and Hong Kong. Should you scrap Pitti in such circumstances? No, we did what we had to do, in difficult circumstances. We only made the right decisions. I like to compare our situation to a car ride during a snowstorm: do you stand by the road, turn off the engine and wait for it to pass, or do you put on your snow tires and go for it?” Sustainability has definitely broken through A notable foreign exhibitor was Itoh, from New Delhi, which specialises in exclusive, hand-woven fabrics. “We’ve been around for four years,” said creative director Amit Babbar. “We bring a new Indian aesthetic, which is not ethnic but relevant to now. Although we do use our traditions, fabrics and techniques. Our customers are architects and artists. As an Indian label, winter clothing is not our strong point. For this first participation in Pitti Uomo, we bring a collection that can be called ‘trans-seasonal’, including hand-woven wool. Next season we will definitely come back.” The response has been excellent, Babbar said. “There are quite a lot of people, albeit mostly locals. There are few Japanese or Americans, and I think for Italian buyers we are just a little too niche.” Image: Pitti Finnish designer Rolf Ekroth launched his collection for next winter digitally through Pitti’s platform. The collection is full of references to the nineties, in particular techno and motorcycle racing. “My cousins were really into motorcycles, myself not so much,” said Ekroth, at his booth. “I tried to imagine what my childhood in Finland could have looked like. A kind of nostalgia for memories I don’t have myself.” He added: “The first day was very quiet, but today went very well. People are happy. Being able to meet each other again, to talk ‘live’, does good, mentally and physically. I think it’s important to see fashion, to touch clothes, to talk about it. A video alone is not enough.” Yet this season Ekroth opted for a video presentation rather than a physical show. “I found a show to still be a bit difficult. Meeting people works in an exhibition hall like this, with lots of space, so you can keep some distance. At a show, everyone sits too close to each other. A video is also cheaper, which, for an independent designer like myself, works too.” Image: Pitti A striking element this season was the definitive breakthrough of sustainable fashion, with large, freestanding pavilions for brands such as Ecoalf and Save The Duck. Both labels went big with their ‘B Corporation’ certificates. The Italian Save The Duck celebrated its tenth anniversary with, among other things, the most exciting collab of the fair: the British designer Edward Crutchley designed a capsule for the label’s Protech line. Additionally, Ecoalf, from Spain, launched a new premium line, Ecoalf 1.0. “I loved Ecoalf’s slogan: There Is No Planet B,” said Sonja Noël, owner and buyer of the renowned Brussels designer boutique, Stijl . For her first visit to the fair since 2019, she travelled by train as a matter of principle. Noël ran a sustainable boutique, Halelujah, between 2010 and 2015 and remains a strong believer in slow fashion. “I really see an evolution in that area, both among the brands and among my customers. There are fewer pre-collections, fashion weeks are filled out differently and customers buy less, but attach less importance to price. They also don’t ask for discounts as early as December.” “Also at Pitti this week, I saw a real emphasis on sustainability,” said Noel. “There’s a lot of promise everywhere now: no-waste, animal-free, recycling. Some brands go for everything, and that’s good, you can’t be against that. But when I walk around Pitti, I see few products that stick with me. I’d forgotten them in no time. That goes for the big brands, but also for small designers, who often can’t offer a real collection. It was nice to see Christopher Raeburn again. He is a pioneer and holds a beautiful story. Furthermore, I’ve also seen quite a few Italian brands that specialise in one product category, just pants or knitwear or shoes.” Image: Pitti Herno continues to invest in the younger side line Globe, with a focus on recycled materials. And Marc O’Polo is also fully engaged in a change, of course: all products on the stand were sustainable. In fact, the Swedish-German brand aims to be fully sustainable by 2023 and climate neutral by 2025. Marc O’Polo also works with Manteco, an Italian company that makes wool with ‘post-consumer recycling’. Elsewhere at the fair, another section was devoted to young sustainable labels, S/Style Sustainable Style. The most compelling collection there was that of Philip Huang, a New York and Bangkok-based designer who creates indigo-dyed workwear in Isan, Thailand. “Our cotton is hand-spun, hand-dyed and hand-woven. We make thirty meters per month.” Huang also introduced hand-dyed leather, recycled denim, indigo Ikat, and a new moss green, made with indigo and mango. Additionally… The American outdoor brand Filson, known for, among other things, sturdy lumberjack shirts, backpacks and other bags, signed a distribution and licensing agreement with WP Lavori in Corso, the group that also has labels such as Woolrich, Baracuta, Barbour, Nanamica, Engineered Garments and Beams in its portfolio (sometimes for the Italian market, then internationally). At Pitti, the focus was on an extensive clothing collection, with down jackets, jeans and shirts in flannel and moleskin. On the walls of the pavilion hung decades-old pieces from the company’s archives. Underpants giant Sloggi tried a collab for the first time - with the team behind German avant-garde magazine 032C. Liu Jo debuted a men’s collection at Pitti and Russian Red September by designer Olga Vasyukova, who presented in Florence for the first time. The absence of Brunello Cucinelli was met by labels such as Caruso, with creative director Aldo Maria Camillo, and Kiton. The latter company came to Pitti for the first time with KNT (for Kiton New Textures), the urban wear label by twins Mariano and Walter De Matteis, the third generation of the Kiton family. Despite everything, a thriving turnout In the end, Pitti Immagine Uomo 101 welcomed a total of 548 menswear collections, with 30 percent coming from abroad. Simultaneously, Pitti Bimbo 94, the childrenswear sister show, presented 170 collections. For its last day, Pitti reported an attendance of around 4,900 Italian and international buyers, which it said “confirmed the positive feelings”. It concluded that around 8,000 visitors were present in total, including guests, agents, representatives and suppliers. The figures are similar to that of the show’s hundredth edition in June 2021, which also toned down celebrations due to covid-19 uncertainties. However, despite everything, the organisers of Pitti remained hopeful for the event’s future. In a closing statement, Napoleone expressed his gratitude to exhibitors, buyers and the press alike for the contribution of support and “great energy and passion”. He added: “Finally, I deeply thank all the people at Pitti who have worked well and hard, our collaborators of all kinds, the fitters, the city services, the restaurants, the hotels, Florence. We all deserved this Pitti.” Image: Pitti This article originally appeared on FashionUnited.NL. Translation and edit by: Rachel Douglass.
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FW22/23: menswear trends of the season

Brioni SS22; Etudes SS22. Catwalk Pictures Autumn/winter 2022-23 will welcome an array of new styles in the menswear wardrobe, from bright hues and easy staples to cosy tailoring and retro-inspired classics. Their common point? They’re all focused on comfort and understated elegance. FashionUnited dives into the five main trends of the next winter season. Comfortable tailoring Genderless overshirts, flannel shirts, polished T-shirts, sporty blazers: the formal wardrobe is getting an update that makes it much more comfortable and approachable. It’s designed for an easier, more relaxed and day-to-day look that’s not constricted or overdone. We’ll see earthy tones mixed with preppy details, playful prints and motifs. Inspirations come from the homewear wardrobe, with casual classics such as sweatpants and plush sweaters. Outdoor appropriate Designed for relaxed city adventures, the outdoor wardrobe is looking polished and casual for the season ahead. From technical fabrics to oversized shapes, it’s all about mixing style with practicality, elegance with comfort. We’ll see prints and textures inspired by nature too, whether it’s patchworks, embroideries or exotic motifs. Collections will present hybrids - think suit trousers with tech influences or unstructured blazers. The menswear attire is focused on functionality while still providing style credentials throughout the season. Mans SS22; Phipps SS22. Catwalk Pictures. Bring on the brights A staple both in menswear and womenswear wardrobes for 2022, bright colours will take on a range of statement pieces, from casualwear to eveningwear. Energy will be celebrated thanks to vibrant hues that’ll be used for sporty fabrics and warm knitted handles. Red is particularly prevalent, invigorating wardrobes and celebrating a return to action, but we’ll also see pops of earthy colours appear like WGSN and Coloro’s Honeycomb, Jade or Dark Oak hues. Casablanca SS22; Dolce & Gabbana SS22. Catwalk Pictures. Cosy and functional everyday-wear Classics of the casual wardrobe are updated with both a cosy and functional twist. While fun knits come in all colours and shapes and are overly saturated, the utilitarian wardrobe is elevated with sharply-cut trousers, elegant chore jackets and relaxed cuts. The idea is to mix the cosiness and softness of fleece handles and plush textures with practical cuts that come from traditional workwear. AMIRI SS22; Bethany Williams SS22. Catwalk Pictures. Retro inspiration Heritage-style sneakers have been around for quite some time, but their retro appeal is still all the rage. Menswear is taking cues from traditional styles and many classics are revisited in a more modern way while still paying tribute to decades past. Plaids and British-inspired checks and motifs will appear on blazers, sweaters and trousers while the skiwear wardrobe is all about ‘70s inspirations - we’ve spotted a return of primary colours as well as simple, uncomplicated cuts. Courrèges SS22; Missoni AW21. Catwalk Pictures
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Mulberry launches Nicholas Daley collaboration

Image: Mulberry; Mulberry x Nicholas Daley In Pictures Mulberry has unveiled the latest iteration of its Mulberry Editions designer collaboration series featuring emerging London-based designer Nicholas Daley, who has designed a capsule of bags and music-inspired accessories. Daley, known for exploring his dual Jamaican and Scottish heritage and music, has reinterpreted Mulberry’s classic unisex ‘Antony’ satchel for the collaboration, as well as introducing Mulberry’s first foray into music accessories, with a guitar strap, a saxophone strap and a plectrum case. For the capsule, Daley has evoked the era-defining sonic movements of the 1960s and 1970s the heydays of jazz, reggae and rock’n’roll, updating the ‘Antony’ with whipstitch, fringe and braided motifs in a nod to the outfits and accessories worn by Miles Davis, Roy Ayers and Jimi Hendrix on stage. Image: Mulberry; Mulberry x Nicholas Daley The bags come in five size options, including a new oversized iteration, and Daley has also updated Mulberry’s signature hardware, flipping its Postman’s Lock, so the twist goes north to south and framing it with fine embroidery. The tonal palette for the capsule features navy, ochre and oak, with contrasting panels of suede, grained leather and cotton canvas to echo the rich textural plays of Daley’s ready-to-wear collections. Mulberry x Nicholas Daley introduces music accessories for the first time The collaboration also allows Daley to bring his love of music to the forefront, with a series of luxury musical accessories, a first for Mulberry, which were created specifically with Daley’s close community of stage-performing musicians in mind. The music accessories include fringed guitar and saxophone straps, crafted in complementary suede tones, alongside a plectrum case and bucket hat featuring embroidery techniques that echo artisanal leather goods found across North Africa and the Caribbean. Image: Mulberry; Mulberry x Nicholas Daley Commenting on the collection, Daley said in a statement: “This range has been created with the musicians I’ve worked with in mind - almost like an accessories wardrobe for them to wear on stage. “Collaborating with Mulberry has been such a privilege. I’ve always felt a strong sense of alignment with the brand’s support of British craftsmanship, as well as its stance on sustainability. The team were so open and supportive in bringing new ideas to life, I’m excited for people to resonate with the pieces, and love and wear them for years to come.” Image: Mulberry; Mulberry x Nicholas Daley The Mulberry x Nicholas Daley collection also highlights the British brand’s sustainable business practices, combining Mulberry’s ‘Made to Last’ ethos with Daley’s community-conscious approach to design. As the regular and oversized Antony models have been crafted at Mulberry’s carbon-neutral factories in Somerset, and all leathers and suedes used are accredited by the Leather Working Group, the leading global certification for responsible leather manufacturing. Thierry Andretta, chief executive at Mulberry, added: “We are proud to reveal Nicholas Daley’s chapter in Mulberry Editions. Daley’s vision for modern British craft, his passion for music culture, as well as a commitment to sustainable craft that shares our Made to Last ethos, makes him a truly exciting creative partner for Mulberry.” Image: Mulberry; Mulberry x Nicholas Daley To mark the launch, Daley and Mulberry have produced a film showcasing the bags in a live jazz session, with a specially written composition by Sons of Kemet frontman Shabaka Hutchings, accompanied by Grammy-nominated recording artist Lianne La Havas. The film also highlights other artists within Daley’s “creative community” including Daisy George, Jasmine Kayser and Shirley Tettah, and a horn section featuring Grifton Forbes-Amos, Elijah Clarke and David Laleye-Thomas. "> The Mulberry x Nicholas Daley collection launches in-store and on Mulberry.com on January 13. Prices range from 150 pounds for the plectrum pouch to 1,795 pounds for the oversized Antony. Image: Mulberry; Mulberry x Nicholas Daley
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Meta-works: Online universe becomes lab for real-life products

Image: Ralph Lauren x Roblox New York - Online platforms that are precursors of the metaverse vision for the internet's future are already serving as workrooms to develop products destined for real-life sale. From sneakers sketched in the virtual world but produced in the real one, to designers who preview clothes on avatars before making them -- the barrier between digital and tangible is thinning. "In real life, it's extremely expensive to make any product," said French couture designer Julien Fournie, who runs his own eponymous fashion house. Online is "a place of openness to test things virtually and recreate an extremely precise connection with the real-life experience," he added. The clamor over virtual goods comes amid feverish predictions that the metaverse -- a virtual reality version of the internet -- will eventually replace the web of today. In recent months, a growing number of brands have been trying to establish a presence on buzzed-about platforms from Roblox to Fortnite, for fear of missing a major tech and societal shift. How users interact with online goods -- what they flock to and what they ignore -- offers a relatively low-risk and low-cost opportunity for firms to develop products. This is part of an underlying trend of exploiting data collected online "to develop better collections, to do better forecasting" said Achim Berg, partner at McKinsey & Company consulting. The coronavirus pandemic has helped shrink the distance between virtual and real by pushing many designers to create in three dimensions, for lack of being able to meet physically, the consultant added. Opportunity for young designers At the end of February 2021, RTFKT studio, together with Seattle artist FEWOCiOUS, launched a limited edition of 621 pairs of virtual sneakers via their NFT -- digital items that can be bought and sold using blockchain technology. One aspect of the operation was to match each digital pair sold that day with tangible shoes, which each buyer could pick up six weeks later. "We think that emotional bond to physical objects is still important and can increase the attachment" to digital products, Benoit Pagotto, one of the founders of RTFKT, which was acquired by giant Nike in December, told The Wall Street Journal. The Aglet app, which mixes virtual sneakers and augmented reality, has created its Telga shoes, similarly to heavyweights Adidas or Reebok. Now it plans to make real sneakers, said the company's CEO Ryan David Mullins, who noted the first batch of 500 has already been sold before production even began. "Once you can quantify the demand within these platforms, it makes it much easier to build the channel into the physical world to manufacture them," he added. Aglet noted the firm is starting to work with younger designers, for whom the cost of entry to building their own physical brand can be a little bit too steep. "But starting to design it virtually is much easier," he said. Another variation of the growth online, is the high-end fashion platform Farfetch, which in August launched a formula that allows people to pre-order Balenciaga, Off-White or Dolce & Gabbana items that are only digital. The site has collaborated with the studio DressX, which designs virtual clothes, to achieve a rendering that is as convincing as possible. The pieces are then manufactured in the workshop only according to the pre-orders, a set-up that is especially attractive for high-end brands rather than for ready-to-wear behemoths. That way of working can also help avoid overproduction and unsold goods, which have become a concern for the environmental costs associated with them. Not all, however, are convinced by the vision of making the digital into the tangible. "Digital pieces can be worn, collected and traded in the metaverse so there's no need for physical counterparts," said The Fabricant, a virtual fashion house. The Dutch company still sees the permeability between the two worlds as a good thing when people choose "to bring the aesthetic of the virtual world into their physical lives." "In the end, it's about desirability," said Berg, the consultant. "If it is desirable in that (virtual) space, why wouldn't it be desirable in another space?"
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Jim Beeman joins as VP, U.S. sales, Columbia brand

Image: Jim Beeman, Business Wire Columbia Sportswear Company has named Jim Beeman as vice president, U.S. sales for the Columbia brand. In this role, the company said in a release, Beeman will report to Tim Sheerin, senior vice president, global wholesale, Columbia brand. The company added that U.S. wholesale is a core business for the Columbia brand, and Beeman brings a wealth of leadership experience in that area. “Jim has led multiple teams at Nike and driven significant growth in support of large integrated wholesale partnerships, driven category brand marketing and retail brand marketing, as well as territory-based teams across wholesale, digital and direct,” said Sheerin. “We could not be happier to have a leader of Jim’s caliber join Columbia Sportswear,” added Joe Boyle, president, Columbia Brand.
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Lululemon to launch first-ever tennis collection this spring

Image: Lululemon; Leylah Fernandez Lululemon has confirmed that it will launch its first-ever tennis collection this spring, as it names US Open 2021 runner-up Leylah Fernandez as its newest ambassador. The Canadian tennis star will wear Lululemon on-and-off the court starting at the upcoming Australian Open, running from January 17 to 30. Lululemon added that Fernandez would put its products “through the paces,” including its upcoming tennis collection, and provide the brand with “instrumental feedback” that will inform future design and development. Image: Lululemon; Leylah Fernandez Michelle Davies, vice president of global sports marketing and partnerships at Lululemon, said in a statement: “Every time she steps on a tennis court, Leylah demonstrates an undeniable strength and passion with a clear focus on achieving her goals. She was the natural choice to become Lululemon’s next ambassador, given her determination and positive approach to wellbeing. “Leylah is inspiring people of all ages, as well as the next generation of athletes to pick up the sport of tennis, and we’re proud to be her partner on the amazing journey in front of her.” Image: Lululemon; Leylah Fernandez On becoming a Lululemon ambassador, Fernandez added: “I’m very excited to be a part of the Lululemon family, and representing the brand on and off the court is a dream come true. I describe my personal style as casual-chic and I’m always on the go because of tennis. “It is super important to me to walk out on the court and have no doubt that my match outfits feel good on me, and I’m confident I’m going to feel my absolute best wearing Lululemon.” Fernandez joins Lululemon’s growing roster of ambassadors, including NBA athlete Jordan Clarkson, runners and activists Colleen Quigley and Mirna Valerio, and fitness coach and YouTube sensation Joe Wicks.
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Studio appoints director of data to spearhead new team

Image: Studio; Gareth Powell Online value retailer Studio.co.uk has appointed Gareth Powell as its director of data to spearhead a new data team. Powell, who joined Studio in June as head of enterprise data products and insight, has been named the online retailer’s new director of data and tasked with bringing together Studio’s analytics, data governance, data engineering and architecture talents. In his new role, Powell will implement a data programme, including a target operating model, a data governance framework, an approach for data integrity, and introduce cloud data platforms Snowflake and Microsoft Azure. He will also oversee Studio’s new data team, which brings together Studio’s analytics, data governance, data engineering and architecture talents. The team will expand to 35 members, with Powell having onboarded 10 new members of staff. Studio states that Powell was chosen for the role due to his “wealth of data experience across retail and telecoms sectors,” with previous roles including director of data science at N Brown and insight and analytics director at TalkTalk. Online value retailer Studio.co.uk accelerating digital transformation with new data division Commenting on his new role, Powell said in a statement: “My vision is to make data and insights easy to access for our employees. A positive customer experience is underpinned by easy-to-access and good quality insight. “We have successfully embedded a hub and spoke model for analytics which ensures we have close insight partnerships with our customer and digital, trading and customer experience teams, ensuring we utilise data in the most efficient way possible.” Paul Kendrick, chief executive of Studio Retail Group, added: “Gareth has a proven track record in data management, his skills are therefore pivotal to our ambitious plans to utilise data to grow and expand the business. “We have already seen fantastic results from Gareth and look forward to seeing what he brings to an already strong leadership team on the challenging journey we have ahead of us.” The online value retailer recently reported having over two million active customers, a 79 percent increase over the last five years. With Studio adding that its digital transformation plans were accelerated by lockdown, and its app has achieved more than 1.2 million users, representing 32 percent of sales and a 25 percent increase year-on-year. Studio.co.uk is part of Studio Retail Group and sells discounted clothing and footwear from top brands such as Adidas, Nike, Timberland, Skechers, Ugg, Diesel, Emporio Armani and Puma.
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A new trading platform hopes to help indies recover from pandemic

Image: Bira, Neartoo The British Independent Retailers Association (Bira) has launched a new platform that hopes to aid independent retailers in their pandemic recovery. Set to launch for customers in February 2022, Neartoo will act as a national trading platform to provide retailers with a new way of selling online, with the goal of helping them to build their presence both locally and nationally. It will be exclusively available to indies and promises to operate at a lower sales commission than its competitors. Each retailer will have its own profile that will allow them to maintain personal relationships with other retailers and consumers. Its launch comes as the pandemic presented a difficult atmosphere for independents and also falls in line with the increasing consumer trend of shopping locally. “The pandemic has accelerated shopping behaviours, with more use of the internet and people also shopping more locally,” commented Bira’s CEO, Andrew Goodacre, in a news release. "This platform, owned by independents, addresses both of those societal changes and will allow these retailers to open up new ways of selling to customers, and more profitably.” Image: Bira, Neartoo Indie’s take the reigns in online presence Goodacre added that the new nationally-advertised platform will enable retailers to increase their own visibility, allowing them to start selling online and therefore not lose business to other online trading stores, such as Amazon. He continued: “There is such a huge gap between indies not having an online presence and we believe they have been left behind for far too long with big tech companies taking over. This is the answer for thousands of indie stores across the UK to still maintain a brick and mortar presence on the high street, while also allowing them to sell online but at a lower cost.” According to Bira, “hundreds” of its members have already signed up to take part in the trading platform in the few weeks that it has been made available to businesses. Bira members can use the platform for free for 12 months, while non-members can receive five months free when they sign up. Retailers can sync existing online sales from previous platforms or start completely afresh, depending on their previous experience with the online sphere. Consumers could also benefit from shopping on the platform, with offers that include a number of delivery options as well as click and collect or in-person collections. Built-in Google Maps will also allow customers to easily locate the store, while the personalised profile pages further enable a more transparent shopping experience.
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Item of the week: the statement suit

(From left) Image: Scotch & Soda, Premium, Karl Lagerfeld What it is: With the uncertainty of lockdowns looming over all of us for almost two years, the workplace has started to feel like a fictional setting. However, as the world inches its way closer to the light at the end of the tunnel, so does this widely talked about ‘new normal’. And what better way to enter this twist on normality than to reshape a classic workplace look into something that is a bit more fitting for this budding way of life. Enter the two-piece trouser suit. This definitive look has seen a major upgrade in recent years, as we move towards a world where smart-casual has outrun the typically neat attire we used to know. Now, suits can be found in an assortment of conspicuous styles, marking the look as an immediate statement-maker and allowing for an outfit option that extends beyond work attire. Image: The Kooples Why you’ll want it: Dramatic lifestyle changes over the past two years have caused consumers to rethink their wardrobe choices, specifically causing less demand for formal wear and more interest in casual attire. The statement suit is the perfect balance between these two lifestyle approaches, offering consumers something that is both work-appropriate yet suitable for daily wear. Many styles offer a pop of colour or fun prints, forming more daring looks that will appeal to the fashion-forward consumer. Others play with the silhouette of a typical suit, implementing belted waists or oversized proportions to transform this classic look. Either way, a statement suit is something that exists as a versatile piece, presenting itself as an item that can translate into the currently unusual times. Image: Ted Baker Where we’ve seen it: If any brand was to be noted for their statement-making two-piece it was Versace. Donatella brought her A-game for the SS22 collection, presenting a runway show inspired by the icon that is the Versace scarf print. Among the latex-like dresses and sparkly minis, an array of striking suits caused a stir, each boasting either daring scarf prints or neon colourways. Stella McCartney also took on the trend with bold colour choices, offering relaxed fit suits with adjustable waistbands. The oversized blazer fit mirrored that of Kenneth Ize’s take on the style. As part of his ready to wear collection, Ize presented a striped multi-layer ensemble complete with a matching high neck shirt. In a major contrast, Armani approached the statement suit with a more classic interpretation. Across the group, suits in the SS22 collections consisted of androgynous tailoring and sleek modernist designs, that brought twists and turns to the traditional trouser suit. Image: Sandwich How to style it: The statement suit is an item that truly speaks for itself. Its ability to stand on its own is just another positive element to it, making it an easy-to-style fit for any season. When putting a look together, consider the occasion that the shopper would wear it. If the suit has the potential to be a workplace staple, pair it up with a loose-fitted shirt or basic turtleneck and ankle boots, for an understated yet stylish appearance. If the occasion is a more cocktail and champagne affair, pair the two-piece with a sparkly cami and strappy heels to bring the look into a nighttime one. When opting for a more daily-appropriate outfit, layer up more comfortable items, such as a casual shirt underneath a sweater. Image: Na-kd When thinking about the transition from continuous lockdowns to a ‘new normal’, the suit is something that has been transformed into the perfect lifestyle crossover. The statement suit has made its way into multiple designer collections and has twisted the formality originally linked to the typical workplace attire. It can help a customer find their identity, just as the world begins to open up and life comes back knocking. Image: Scotch & Soda Similar items available for (pre)order can be found in the FashionUnited Marketplace. You can find them by clicking on this link.
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Urban Outfitters holiday sales up 14.6 percent

Urban Outfitters, Inc. (URBN) has reported 14.6 percent increase in total company net sales for the two months ended December 31, 2021, compared to the two months ended December 31, 2019. URBN now believes that the total company fourth quarter gross margin could deleverage due to higher than anticipated inbound transportation costs. The company said in a statement that comparable retail segment net sales increased 14 percent, driven by strong double-digit growth in digital channel sales, partially offset by high single-digit negative retail store sales primarily due to reduced store traffic. By brand, comparable Retail segment net sales increased 47 percent at the Free People Group, 15 percent at the Anthropologie Group and 3 percent at Urban Outfitters. Total Retail segment net sales increased 15 percent, while wholesale segment net sales decreased 18 percent primarily from reducing the Free People Group’s sales to promotional wholesale customers. For the eleven months ended December 31, 2021, total company net sales increased 14.4 percent compared to the eleven months ended December 31, 2019. Comparable retail segment net sales increased 16 percent, while wholesale segment net sales decreased 22 percent. During the eleven months, the company opened a total of 56 new retail locations including: 29 Free People Group stores (including 18 FP Movement stores), 17 Urban Outfitters stores, nine Anthropologie Group stores and one Menus & Venues restaurant; and closed 10 retail locations including: four Anthropologie Group stores, two Free People Group stores, two Urban Outfitters stores and two Menus & Venues restaurants. During the period under review, one Urban Outfitters franchisee-owned store and one Anthropologie Group franchisee-owned store were opened.
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Textile manufacturer Texon receives certification from The Vegan Society

Image: Mathias P R Reding via Unsplash Texon Vogue, a cellulose-based material used as an alternative to leather, has now been verified by The Vegan Society following a rigorous authentication process. The material, produced by textile manufacturer Texon, can be used for a wide variety of products, including bags and accessories and jeans labels. Its new certification enables the product to carry the Vegan Trademark, confirming that the production of Texon Vogue does not involve the use of any animal product, by-product or derivative. It also does not involve the testing of any sort on animals. In a statement as part of the company’s announcement, the general manager of Germany and France and director of exports at Texon, Holger Hoffman, noted that Texon Vogue also utilises eco-friendly production and finishing methods. He added: “As demand for Texon Vogue continues to grow, we are delighted that we can now officially brand the range ‘vegan-friendly’. The Vegan Society’s Vegan Trademark is a powerful symbol that’s instantly recognised by consumers worldwide. “It is great to be able to use this hallmark of quality, which reinforces our diligence, our ethics and our commitment to creating products that have minimal impact on the environment and the world around us.” To achieve the certification, Texon completed a series of in-depth audits, disclosing all raw materials and processing chemicals used in the production of the material. Suppliers and partners also took part in the process, providing evidence that ingredients were vegan friendly.
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PrettyLittleThing’s creative director addresses criticism around wealth inequality comments

Image: PrettyLittleThing Less than five months into her position as PrettyLittleThing’s creative director, Molly-Mae Hague has already faced a cohort of criticism following comments she made on the Diary of a CEO podcast. In the episode, Hague said: “I just think you’re given one life and it’s down to you what you do with it. You can literally go in any direction.” She added that she has previously been “slammed” for saying “we all have the same 24 hours in a day”, a comment which people claimed overlooked her privilege and others’ disadvantages. She went on to say: “But technically what I’m saying is correct. We do. I understand that we all have different backgrounds and we’re all raised in different ways and we do have different financial situations, but I do think if you want something enough, you can achieve it.” Since the episode’s release back in December 2021, Hague’s comments have been met with widespread backlash, with many online saying she was insensitive and didn’t acknowledge systemic oppression, which can often cause wealth inequality. Following a lengthy silence that was only once filled by a statement from her representative, Hague has now personally responded to the criticism in an Instagram post in which she noted that she never intended to cause an upset with her statements. Image: PrettyLittleThing “I apologise to the people that have been affected negatively or misunderstood the meaning of what I said in the podcast,” she added. “The intentions of the podcast were only ever to tell my story and inspire from my own experience.” The 22-year-old television personality and influencer was appointed as the Boohoo-owned brand’s creative director in August 2021, continuing on from her regular collaborations and partnerships with the retailer. However, PrettyLittleThing has also faced criticism of its own, as its parent company has come under fire on a number of occasions for accusations surrounding the exploitation of its garment workers. Since 2020, investigations by different publications, which have centred mostly around Boohoo’s Leicester factory, found that employees were not paid minimum wage and were also told not to discuss their pay with other employees. The findings were confirmed by both Sky News and The Sunday Times, which both reported evidence of exploitation at the factory. In August 2021, the company responded to accusations with an initiative that invited people to come and view its factories for themselves, stating at the time that “customers can be confident in our operations and the way in which we are working with suppliers to drive positive change”.
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New York State introduces the ‘Fashion Act’ in a history-making move toward supply chain accountability

Rebecca Minkoff (Sept 2016). Foto: Fernanda Calfat / Getty Images via AFP New York - New York State has introduced legislation that would accelerate the urgency for fashion businesses to conduct their manufacturing more responsibly. The generally unregulated industry that contributes substantially to the world’s greenhouse gas emissions at a rate of 4-8.6 percent, contaminates billions of gallons of water dyeing textiles, and has—knowingly or unknowingly—benefited from exploitative labor practices in a race to the bottom to sell the cheapest and fastest-made clothing. The Fashion Sustainability and Social Accountability Act would shift the responsibility from consumers to navigate greenwashing and require fashion retail sellers and manufacturers doing business in the state—those with an annual worldwide gross receipt that exceeds one hundred million dollars—to map out their supply chains, disclose the environmental and social impact of their activities, and set binding targets to improve those impacts. This would affect brands from the largest luxury multinationals, like LVMH, to opaque fast fashion e-sellers, like Shein. The bill would mandate companies to post these disclosures clearly on their websites within twelve months of the enacted law. It would also establish a Community Benefit Fund, administered by the Department of Environmental Conservation, that would commit monies obtained through fines to benefit environmental justice projects. Companies found in violation, and who do not remedy within three months of notification, may be fined up to 2 percent of annual revenues. And while the Attorney General is tasked with enforcement, consumers may also take civil action against a person or companies perceived to be skirting the law. Senator Biaggi: “We set out to create standards that enact real change” State Senator for the Bronx and Westchester, Alessandra Biaggi, sponsored the bill with support from the Act on Fashion Coalition, which includes think tank New Standard Institute, the Natural Resources Defense Council (NRDC), and the New York City Environmental Justice Alliance. In response to a request for comment by FashionUnited, the Senator explained that her interest in the issue originated back in law school. “I took a course on fashion law and was instantly drawn to working on this before ever working in government. Early last year I connected with the New Standard Institute to collaborate and draft a first of its kind piece of legislation that addresses various systematic problems within the industry. We looked at issues that many industry leaders have been working to address— such as strengthening labor practices and lowering carbon emissions—and set out to tie them all together and create industry wide standards that will enact real change within the field.” Rebecca Minkoff (Sept 2016). Foto: Fernanda Calfat / Getty Images via AFP It is significant that New York, a fashion capital of the world, is taking leadership on this issue and the New York Times reports that “there is no general legislation in any country governing the greater social and environmental actions of the fashion industry and mandating change.” Senator Biaggi goes on to acknowledge that if New York is committed to climate justice and workers’ rights the state “has a moral responsibility to serve as a leader in mitigating the environmental and social impact of the fashion industry,” noting that, “For too long, the fashion industry has operated in a black box, preventing consumers and government alike from seeing the scope of production.” New York State has already implemented ambitious climate laws, including the Climate Leadership and Community Protection Act of 2019 that requires a 40 percent reduction of economy-wide greenhouse gas emissions by 2030. A co-sponsor of the ‘Fashion Act’ in the state senate, Brian Kavanagh, has long supported legislative efforts to enhance energy efficiency in construction projects, prohibit new fossil fuel infrastructure, and reduce carbon emissions. “In order to successfully combat the effects of climate change, we must fundamentally improve the practices of all sectors of our society, including the apparel and footwear industry,” the Senator for Brooklyn’s waterfront and Lower Manhattan stated. The New Standard Institute urges a voice of support for the bill through the hashtag, #ActOnFashion, to encourage New York to move quickly. As Senator Biaggi appropriately concludes, “It is not hyperbole to say, our state, nation, and world’s future depends on it.”
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Joe Browns receives Investors in People Award

Image: Joe Browns, Simon Brown Fashion retailer Joe Browns has announced it is the recipient of The Investors in People Standard, recognising the brand for its leadership, commitment to values, people empowerment and performance. The award boosts the brand’s sustained growth ambition through the recognition of the role people play in the business. The ‘People’ value comes as one of the brand’s three pillars, also including ‘Product’ and ‘Places’, each developed as a foundation of the company’s ongoing growth ambition. The announcement follows that of Joe Browns’ newly revealed strategy to deliver annual sales of 100 million pounds by 2026, representing a 138 percent increase in current turnover. The retailer recently announced that it started the autumn/winter 2021 season with cumulative growth up 68 percent year-on-year, which it said proved the strategy was beginning to deliver. “Our people, more so now than ever, are central to the success of Joe Browns and, although this is something that we have known for a long time, it’s great to receive an external pat on the back with The Investors in People Standard,” commented Simon Brown, founder of the retailer, in a release. He continued: “To say that the last year has been challenging is an understatement due to external pressures. Throughout the pandemic, the people of Joe Browns have gone above and beyond to ensure we continue to deliver a great product at great prices, and it’s important that I take the opportunity to say a huge thank you.”
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The North Face collaborates with contemporary artist Kaws

Image: The North Face In Pictures Outdoor brand The North Face has unveiled a collaboration with contemporary artists Kaws that aims to blur the lines between on-and-off mountain performance and style. The North Face XX Kaws collection, available from February 17, showcases a world envisioned by Kaws “outside the lines” brought to life using the brand’s technical and signature styles as a canvas. Kaws plays with the theme of perception and visibility throughout the collection, applying his signature eye-catching, abstract patterns and a bright colour palette across soft accessories and luggage, as well as outerwear and apparel for men, women and youth. Image: The North Face Popular The North Face styles getting a Kaws makeover include the Retro 1996 Nuptse Jacket and its Freeride high-performance layers and outerwear styles designed for snow, the Freeride Bib, Freeride Fleece, and Freeride Jacket. Commenting on the collaboration, Kaws said in a statement: “I’ve always admired The North Face iconic silhouettes – I have had them in my winter rotation for years. The blocking, stitching, and details on their coats really lent themselves to the way I structure a painting, so I treated the garments in our collaborative collection like a blank canvas. And I enjoyed exploring their extensive colour and material archive as I would a new paint set.” The North Face XX Kaws collection will be available on its website and in select The North Face stores from February 17. Image: The North Face Image: The North Face Image: The North Face Image: The North Face
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Valentino launches Lunar New Year collection

Image: Valentino In Pictures Italian fashion house Valentino is celebrating the Lunar New Year with a Valentino Tiger 1967 collection featuring ready-to-wear and accessories. In a press release, Valentino states that the tiger is an icon for the fashion house and its Lunar New Year 2022 capsule features the storied tiger motif that first appeared in its haute couture autumn/winter 1967 collection. The pattern was immortalised by Veruschka, who donned the tiger coat for Vogue USA (October 1967) in an image shot by Franco Rubartelli. Image: Valentino As part of its Lunar New Year celebrations, the tiger motif has been reinterpreted on a selection of contemporary looks, including shorts, hoodies and Valentino Garavani accessories such as bucket hats and Roman Stud bags in natural and neon palettes. Image: Valentino Valentino is also highlighting its new Garavani Locò bag, a compact double handle bag, with a nineties allure that the luxury label states “embodies the process of resignification and the evolution of the iconic codes of the Maison”. The Valentino Tiger 1967 collection is available in selected Valentino boutiques worldwide. Image: Valentino Image: Valentino Image: Valentino Image: Valentino
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Women in leadership: Isabella West, founder and CEO, Hirestreet

Interview Image: Hirestreet, Isabella West Rental has inched its way into the fashion industry slowly but surely, and in recent years has seen significant growth in demand as consumers lean towards more sustainable alternatives to shopping. Founded in May 2018, Hirestreet was one of the first rental platforms in the UK, launched by Newcastle Upon Tyne’s Isabella West. The idea sprouted from personal savings and flourished in her parent’s basement, from which the now nationally-renowned company was formed. Since then, the 26-year-old Oxford economics grad has assembled the beginnings of a rental empire. In 2021 alone, West has introduced major brands to Hirestreet, most recently Marks and Spencer, taken part in COP26’s New York Times hub and launched Zoa, a white-label tech company. Catching West for a quick chat, FashionUnited spoke to the budding female entrepreneur about who Hirestreet is, her experience in the industry and what we can expect from the booming rental market. How was your experience setting up a business in Newcastle? We always knew we were going to be an online concept. I think I was always quite lucky to have been in Newcastle and there are many reasons for that. One, that I didn’t know at the time, is that the developer market is amazing, which helped as we transitioned into a tech company. There is also the community, in Newcastle, everyone is so supportive. Everyone knows everyone, so I really benefitted from that in the early days. Especially for the launch, where the first orders I would see were from friends of friends or people from my old school. It was almost like people wanted to champion someone from the local area. It has obviously gone beyond that now, but I think it really helped to give me a boost in the beginning. I think if I started in London, I would have felt lonelier, a bit more disconnected. Where did the idea for Hirestreet come from? Ultimately, we wanted to provide a sustainable and affordable alternative to fast fashion. Four years ago, when I was thinking about launching a business, I read about the rise of rental in the US and Australia. What I noticed in those markets was that you tended to see more rental at a more premium level. I started doing market research in the UK and in the UK we just love fast fashion. I wanted to reduce the waste that was associated with fast fashion, and find out whether it was possible and sustainable to build a business based around rental that was at a more accessible point. Our average rental price is deliberately 30 pounds because that is what our customers told us was the price a dress on Asos would need to be for them to wear it once. We wanted people to have a substitution for that kind of behaviour. I think way too often, sustainable businesses are too expensive for consumers and they can actually put people off. I really just wanted to solve that problem, offering a mass-market solution that is more comparable to fast fashion price points. Image: Hirestreet Did you face any challenges when setting up this rental business model? There was a lot of learning, of course, because we launched at a time when there was only one rental business in operation and they were more focused on celebrity and occasionwear. We were very new to the market and our proposition was very different. There was a lot of learning in terms of what stock would work, what brands people wanted, what items were durable, the size profiles - there were so many things you had to test in the beginning. If you look at the market now, rental businesses popping up can look at Hirestreet and see how we have shaped the business. There is a bit more of a blueprint if you enter the market now, and when we entered there was nothing at our price point in the world even. What are the environmental benefits of rental in the industry? The key thing about rental is that it extends the lifetime of an item. If we take the standard polyester dress like the one someone would buy for a Christmas party, for example, it typically releases an average of 24 kilograms of carbon into the atmosphere during the retail lifecycle. Now, 90 percent of that actually happens during the manufacturing process, not in its daily use. When people are buying that to only wear it once, you end up with all that emission that is getting wasted, when, in fact, what rental does is give several people the opportunity to wear one garment. It splits the production-produced carbon over every person that is wearing the dress and reduces the carbon footprint associated with that item. It is about how many times someone is going to wear an item, and that is why we don’t go in saying rent everything that you are going to wear. There is a certain use case for rental, whether that be occasionwear or skiwear: anything from when you stand in a store and you’re not convinced you would wear something over and over again. What is the most important category for Hirestreet? Weddings are the biggest conversion factor. Many people start renting for the first time because of weddings. It is our most visited category. We update our categories depending on the time of year. We have to be on the pulse with what people are doing and where they are going, then we curate categories to rent within that. Who is the Hirestreet customer? We generally see more dominance from London and Manchester, because of the population of people. Our key customer is typically a 28-year-old working female, with a lot of events, often at the start of the wedding season. She wants to be conscious of her consumption, but also have a salary that can equally support her living expenses. Ultimately, she is trying to be financially sustainable and environmentally conscientious. When we ask our customers what they would have done if they didn’t hire from us, they say they would have panic bought from Zara - it is that kind of person that is our core market. We need to intercept them at the point before they decide to buy an outfit for an occasion. Do customers really intend to prioritise the sustainable part of the business then? To be honest, if you look at any kind of customer survey, the main driver for customer behaviour is almost always price. Price and sustainability are an important mix and that is something we deliver on that no one else does. The key driver is the price factor, and sustainability is something they are looking for, so it is an added conversion benefit. Image: Hirestreet Do you think it is then the brands’ responsibility to educate their customers on their environmental impact? 100 percent it is. There is so much that can be done on the education side and there has definitely been a shift post-covid. Since summer, our consumer research saw more and more people say they were feeling guilty for purchasing or that renting made them feel better. We are seeing an attitude shift from customers, but at the same time, there is still so much to do on an educational level. When we launched our partnership with Marks and Spencer, what was interesting was the number of people that had never heard of rental before. It is an industry that is nearly five years old in the UK and it has grown dramatically, but if you compare it to the size of retail there is so far to go. With the Marks and Spencer release, we were reaching a part of the population that had never thought about rental before. The partnership with Marks and Spencer is quite a big achievement. Absolutely. They are the second biggest retailer in the UK and their move into rental will have certainly signalled others to look at the market seriously. How do you select the brands you work with? So we work on both Hirestreet, our own B2C platform, and Zoa, our tech platform that helps brands power their own rental service. We have a lot of people coming to us with an interest in rental and in the initial meeting we ask them what their goals are; whether it be looking into how desirable their clothing is for the market or testing the profitability of renting their returns. Sometimes they just want to dip their toes in to get some early access and understand how their items perform. A Hirestreet proposition works best here. But if they are, let’s say, a business that has already decided that rental is going to work for them, we present the Zoa technology and we figure out how we can support them from there. We always have different ways we can work with you. Many brands already want to know about rental and how it can fit into their future, so we sit down and figure out what is best for them: either Hirestreet, their own white-label service we can provide or a tech only solution, which is what a lot of start-ups are doing. So is this the reason you launched the tech platform Zoa? Yes. We used to have a relationship where we only worked with brands to list their stock on Hirestreet, but there became a tipping point during the pandemic where brands started asking us, theoretically, what if they wanted to do this with their own brand. We realised this is the way the market is going. Like the second-hand market, they would feel it out through third-party platforms then take it in house and do it themselves. We decided to get ahead of the market, so we were, effectively, the first in the UK to launch a white-label rental proposition. Do you have any further plans of expansion for both of your fast-growing companies? Absolutely, I can’t say too much but we do have a good pipeline of brands that are going to be onboarding with us soon, doing their own white-label rental early in 2022. I think this year will be the tipping point for the UK rental market, and we will see a big wave of brands launching their own rental service. For us, that is our current focus. Image: Hirestreet at COP26 You recently took part in COP26. How was that experience? It was amazing! It was a definite wow-factor moment and I was so proud of the team for everything they did up to the launch. We spend so long thinking about the impact fashion has and we preach this message day in and day out. It was a really nice way to bring it all together. Sometimes it can feel like an uphill battle and you are the sole voice, then you go to COP and everyone is there to champion the same message. It becomes strangely reassuring. Finally, what has it been like to be a young female entrepreneur in the industry? When I worked in the industry as a consultant, the favourite statistic of the business I worked at was that they hired more people that had left Eton than there were females in the company. It was so male-dominated. When I started my own business, I would say being a female entrepreneur is really celebrated. It’s sad that it’s so rare, but I think it is important that I love what I am doing even more. Something I really value is that so many of my close friends have started a business since I launched Hirestreet, and I would hope that some of the confidence to take that leap has been driven by the fact they saw me do it and they knew they could too. There are still challenges, of course. For example, in fundraising, you can see in the numbers how much female-led start-ups raise in A rounds. I was also asked to find a male co-founder at one point. There are still areas that are sadly behind, but I think it’s changing because people want it to change. There are just some who find it difficult to celebrate a female entrepreneur running a multi-million-pound business. It is just something that we need to prove and change the more of us that do it.
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Physical shows return to Paris men's fashion week, despite cancelations

Image: FHCM At the upcoming Paris men’s fashion week, physical shows are not just going ahead, they will the majority of the week’s 77 events, despite some brands cancelling their catwalk presentations and others opting for digital. Louis Vuitton will hold two shows, at 14:30 and 18:30 on Thursday, January 20th. The posthumous collection by Virgil Abloh was already 95 percent completed by the time of his unexpected passing last November. Elsewhere Rick Owens, Loewe, Lemaire, Ami and Hermes will go ahead with catwalk presentations with live audiences. Absent from the official schedule is VTMNTS, the Swiss offshoot of Vetements, which was to show its first catwalk collection during Paris men’s fashion week. A surge of American brands and retailers are also expected to cancel, with Joseph Keefer, a fashion brand consultant and creative director saying on Twitter his showroom in Paris was being cancelled: “Looks like Paris is done an dusted for any North American brands, retailers, reps. Word the last two days is the heavy hitters are all holding off on going. We’re in the process of canceling our showroom space now.” While the menswear season is notably impacted by the rise of omicron, including Ann Demeulemeester pulling out of Pitti Uomo and tradeshow Project New York cancelled, the February womenswear shows and fashion weeks are thus far still forging ahead without major cancelations.
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