From Westwood to Lee: London Fashion Week ushers in a new age of luxury consumerism

Burberry AW23, LFW show finale. Image: Burberry London Fashion Week returned to the UK capital this week, boasting a teeming line up of 127 brands that showed through a series of runways, presentations and events throughout the city. Like always, the fashion week continued to put its emphasis on emerging designers and new names, bolstering their platform via its NewGen initiative. However, over the five-day period it wasn’t just the anticipation surrounding what the innovative young designers would present that had people buzzing, but that of eagerly awaited debuts and special occasions that were taking to London for the first time. Luxury prevails in the fashion capital And the event seemed to have rolled around right on time, just as the English capital was experiencing something of a luxury fashion revival. The sector is seemingly thriving in London, indicating a hint of promise for luxury despite the region braving the current cost-of-living crisis alongside record-breaking inflation. This was evident in a recent report by Savills, which stated that premium fashion brands were continuing to dominate the city’s retail landscape, moving in at a rate slightly higher than pre-pandemic. The property consultants found that there were some 21 international fashion and footwear brands that had opened debut London stores in the last year, double that of its 2021 figure. And the optimism is predicted to continue over the coming year, with more expected to come. London Fashion Week street style. Image: British Fashion Council London Fashion Week street style. Image: British Fashion Council This sentiment was reflected in LFW’s lineup this season, where a number of luxury brands had either returned to the city or made their debut. However, unlike its Parisian and Italian counterparts, LFW relies more on that of young talent and emerging names, which take up the bulk of the schedule in the form of the British Fashion Council’s (BFC) NewGen initiative. This didn’t distract the spotlight from established names though, who were still sparking conversations throughout the week. There was one definitive matter that did partially eclipse the rest. While last season the industry remembered Queen Elizabeth II, this season LFW was dedicated to the queen of punk, Vivienne Westwood, who passed late December 2022. Prior to the event’s kick off, the BFC already announced its intention to honour the late designer and her legacy, recognising her role in defining punk and driving positive change. In light of this, LFW was arguably ushered in through Westwood’s memorial, which took place at the beginning of the week-long event on Thursday and saw a cohort of celebrities and public personalities, including Stormzy, Kate Moss and Elle Fanning, descend on London’s Southwark Cathedral all donning fantastical, on-theme fits — ensuing in a fashion show in its own right. Westwood, Moncler and Daniel Lee spark discussions Meanwhile, the literal fashion week kicked off on Friday, with a line up that already set out the bold pace for the coming days. Anticipation had already been heightened by the addition of Moncler Genius and Burberry, both of which hosted shows consecutively on Monday evening. While Burberry was returning to London after a three-year absence, for Moncler, it was the first time attending under its collaborative project Moncler Genius. During the event, the Italian luxury brand unveiled its new “co-creators” – Louis Vuitton’s new creative director Pharrell Williams, designer Rick Owens, singer Alicia Keys, sportswear giant Adidas Originals and motorist Mercedes-Benz, among others – each of which presented creative concepts and new iterations of Moncler’s staple jackets in their own space. Moncler Genius AW23, LFW. Image: Moncler Moncler Genius AW23, LFW. Image: Moncler The event, set in Olympia London, aimed to portray an evolution of the Moncler Genius concept, which the brand established in 2018 with a focus on co-creation across multiple industries. In a release, the company said: “The platform now evolves from the established concept of collaboration, which merges two sets of brand codes together, entering a new phase of co-creation focused on human creative skill and imagination to make something each brand couldn’t achieve on its own.” The concept took the idea of collaboration one step further, extending the strategy so favoured by brands beyond the boundaries of the fashion industry. Meanwhile, a new phase was also being celebrated over at Burberry, where the house’s latest creative director Daniel Lee made his highly-anticipated debut. Upon his appointment, Lee had been tasked with rejuvenating Burberry’s British heritage, something that had been lost under its previous head Riccardo Tisci, while also driving it towards the five billion pound revenue target set by its CEO Jonathan Akeroyd for 2025. This alone chimed in a revival for Burberry, seeing many of the brand’s familiar codes receive a welcomed restoration through a fresh colour palette and contemporary detailing. Burberry AW23, LFW. Image: Burberry A particular focus for Lee was that of accessories, a category the 37-year-old designer has become particularly versed in after building a flourishing body of work at Bottega Veneta, where he previously served at, and therefore serves as a beacon of hope for Burberry shareholders. His efforts were already evident on the runway in the form of faux trim shoulder bags and leather crossbodies, as well as a casual take on footwear that drew on the outdoor aesthetic that once thrived at the British brand. Like many other labels, a younger consumer was also at the forefront of both Lee and Akeroyd’s mindsets, for which the house translated its traditional values into punky graphics and emboldened silhouettes for a string of zhuzhed up classics. Even Lee’s evolution of the brand’s Equestrian Knight Design logo was prominent, inflated onto dresses, knits and accessories. Fashion week regulars make their own statements JW Anderson AW23, LFW. Image: Launchmetrics Spotlight JW Anderson AW23, LFW. Image: Launchmetrics Spotlight Burberry and Moncler weren’t the only globally renowned brands to grace London this season, and many used the platform to firmly reiterate their own values and visions. Offering up his quintessential tongue-in-cheek flair, JW Anderson returned with a show that saw his guests confronted by a phallic-inspired presentation. The designer, who has become known for his unconventional commercialism, tackled the topic of “fandom”, as stated in the show’s notes, mirrored through the use of logomania graphics and slogan jumpers — a standout piece being a Tesco-branded bag shaped into a leotard. Meanwhile, other statements were a little less raunchy. Turkish designer Bora Aksu, for example, decided to utilise the opportunity to pay homage to his home country, holding a minute’s silence for the victims of the February 6 earthquake that has ravaged the region resulting in the loss of tens of thousands of lives. While he was one of the few designers to reference the tragedy during the event, he joins a growing number of fashion houses and retailers responding through hefty donations and humanitarian initiatives hoping to alleviate the effects of the disaster. Aksu’s attitude was also mirrored in his predominantly black and white line, a world away from his typically vibrant colour schemes. The designer told Reuters post-show that, while it was not his initial intention, the choice of black “felt right in the sense of a silent grieving”. Bora Aksu AW23, LFW. Image: Bora Aksu Bora Aksu AW23, LFW. Image: Bora Aksu Backstage at 16Arlington AW23. Image: British Fashion Council Backstage at 16Arlington AW23. Image: British Fashion Council For many designers, the ever-shifting consumer mindset was at the core of their offerings, causing subtle repositionings when it came to their collections. This was subtly evident at 16Arlington, for which designer Marco Capaldo partially stepped away from the brand’s partywear origins to present a more casual take on its aesthetic. While heavily sequined dresses and shimmery evening staples were still on show, the sparkles were juxtaposed with comfy skirts, fluffy fleece and elevated basics. Next to this, Capaldo also took this season as an opportunity to introduce menswear, a category he has long expressed his desire to enter and has now done so through co-ords and tailoring that still references his design codes. It brought to light the possibility that the Italian-born designer is looking to evolve the brand in order to appeal to a wider clientele, with items that take consumers from the dancefloor to the local pub to the supermarket. A similar mentality of wearability was also apparent at the show of the usually flamboyant Molly Goddard. While still proposing her signature exaggerated tulle, for this season Goddard appeared to have dialled her collection back in a line that linked to the simplicity she felt when she started out in the industry in 2014, as stated in the show’s notes. Many pieces drew inspiration and were reworked from the British designer’s personal and professional archive, with references to nostalgic items from her childhood and popular looks that had previously been featured in magazines. Her focus on wearability and simplicity was further reflected in the choice to show the line at her East London studio. In the notes, Goddard said: “The space is basic, stripped back to the bare minimum, the perfect setting for a collection that isn’t about drama or optics, but wearability and the joy of dressing.” Molly Goddard AW23, LFW. Image: Molly Goddard Molly Goddard AW23, LFW. Image: Molly Goddard Brands turn to a old-school glamour, stepping away from Y2K In a stark contrast to the toned down route, some brands went in a completely different direction towards that of high-glamour and Hollywood drama – possibly implying a brief departure from the Y2K trend that has run rampant among recent trends. While David Koma drew design cues from the 1930s and 1960s, as seen in deconstructed tuxedos and exaggerated ruffles, Roksanda took to the runway with references to the art world, specifically the work of Japan’s Atsuko Tanaka, which guided the creation of sculptural gowns that closed the show. The intimate event appeared to be designed specifically for the Serbian brand’s dedicated clientele and fans, who lined the front row while models paced the runway to the backdrop of a live reading from poet Arch Hades. Richard Quinn AW23, LFW. Image: Launchmetrics Spotlight Richard Quinn AW23, LFW. Image: Launchmetrics Spotlight In a similar dramatic fashion, Richard Quinn also delivered a spectacle, with a show that heavily recalled Frances Hodgson’s The Secret Garden. In typical Quinn manner, the collection brought together his now staple design combination of florals and BDSM-inspired details, as well as voluminous shapes that still seemed to mirror old-school Hollywood glamour. A highlight of Quinn’s show was a selection of bridal looks composing half of the collection. A series of 16 brides strode down the aisle donning gowns that incorporated everything from corsetry to embellished netting to highly structured silhouettes. The prominence of this line hints at the designer’s blooming bridal business, something he has been notably vocal about, particularly when it comes to international clients. The category is a one that Quinn has been building up over the last few years since he first ventured into the wedding arena prior to the pandemic. Simone Rocha was another to lean on bridal wear this season. The Irish designer first entered the sector in 2021, just as weddings were beginning to pick back up after Covid-related restrictions forced many to be rescheduled. While her debut collection was designed to cater to brides looking for toned down gowns, which were popular during the age of Zoom weddings and restrained ceremonies, for AW23 Rocha did a distinct U-turn in the form of flowing lace and puffed-out skirts. Meanwhile, other pieces in this season’s collection saw the designer continue to bulk out her menswear offer, an area she only first dove into for SS23. While last season, the designer attempted to bring a new sense of femininity to her menswear, this year saw her further blur the lines, deftly intermingling women’s and men’s clothing to become one and therefore appealing to any and all who desire them. Simone Rocha AW23, LFW. Photos by Ben Broomfield. Image: Simone Rocha Simone Rocha AW23, LFW. Photos by Ben Broomfield. Image: Simone Rocha Read more: * LFW: Ukrainian Fashion Week comes to London * Pantone reveals AW23 colour trend report for London Fashion Week * LFW: Patrick McDowell declares “Cinderella shall go to the football”
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Clarks taps Set Free Richardson as creative specialist

Set Free Richardson, Clarks Originals creative specialist. Image: Clarks Footwear retailer Clarks has announced the appointment of Set Free Richardson to the role of Clarks Originals creative specialist. In the multifaceted position, Richardson has been tasked with executing various creative projects, producing live events and acting as an ambassador and conduit to different cultures and areas, with a particular focus on music and art. His appointment builds on the duo’s already established relationship, with Richardson having previously worked with Clarks on a basketball-inspired collaboration in the past – seeing the release of Clarks Originals Wallabee collection for Art Basel Miami. In a release, Richardson said: “It’s not often you get the opportunity to work with a brand that you’re truly a real fan of. “Working with the Clarks team feels like working with family, there’s a mutual trust and belief in my creative vision which I truly appreciate. The partnership so far has been great, and we’re only just getting started.” The brand’s chief marketing and digital officer, Tara McRae added: “Working hand in hand with Free on our now multi award-winning Clarks and New York short film was a triumphant experience, and the start of a working relationship that we felt could only go from strength to strength. “We already have lots lined up with Free for the coming year and I cannot wait to see what we can achieve together.”
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Forever 21 relaunches in Japan, with upmarket aspirations

Image: Forever 21 by FashionUnited When Forever 21 filed for bankruptcy in 2019 it had exited nearly 40 markets, closed hundreds of stores and was dousing the flames of a pr disaster for insulting the plus-size community. It was, by all accounts, not a good year for the fast fashion retailer. Yet bankruptcy did not spell the end of the brand, which relaunched the following January as an e-commerce first business via a series of new licensing deals, more market exits, changes of ownership and navigating the pandemic. It was a year that compounded more turbulence than growth. Japan, once a key market for the retailer, was keen to see the brand return under a new umbrella and formula, with Forever 21 announcing it has formed a partnership deal with local retail giant Itochu and Adastria, where it will launch as digital first company along with a pop-up in Tokyo. More store openings are planned in the future, with up to 18 outlets to be opened by 2028, according to the Japan Times newspaper. The strategy in Japan, however, is to move away from its fast fashion past and embrace are more high-end image and product. “We hope to thoroughly manage production and remove ourselves from the image of mass production and mass disposal,” Osamu Kimura, president of Adastria, said during a news conference in Tokyo. This would make the product different from its other markets. Currently the majority of Forever 21’s retail network is in its home market, operating some 400 stores in the U.S. In the UK and Europe Poetic Brands was granted licensee rights to manufacture, market, and distribute the brand. As in Japan, most of Forever 21 stores are franchised or, in some markets, operated as joint ventures with a local partners. The retailer is targeting sales of 10 billion yen (70 million dollars) for the year ending February 2028, the newspaper reported.
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Inside the fairs of FW23, from Florence to Copenhagen to London

The first Neonyt in Düsseldorf comes to an end. Photo: FashionUnited After the interruptions during the pandemic, fashion fairs in Europe are returning to normal operations. But the lockdowns have left their mark, brands and buyers alike were often reluctant to travel in light of the uncertain economic situation. To what extent have fairs like Pitti or Premium been able to return to their old form? FashionUnited has brought together an overview of the fairs for FW23. Pitti Uomo, Florence Pitti Uomo is and remains the place where the (men's) fashion industry gathers at the beginning of the ordering season. The number of exhibitors recovered from the slump during the pandemic to a total of 800. Meanwhile, the number of visitors rose to over 18,000: 13,500 were buyers, 33 percent of whom came from outside Italy. Before the pandemic, the fair had 1,200 exhibitors and over 21,000 buyers. In its January edition, the fair was again able to impress with fashion highlights, such as fresh up-and-coming brands and shows by guest fashion designers like Jan Jan van Essche and Martine Rose. For the first time, there was also an section for dog fashion. Read more about the Pitti Uomo: * Pitti Uomo: An animalistic mood in Florence * Golden Hour in Florence: The street styles of Pitti Uomo Image: FashionUnited Premium and Seek, Berlin The mood at the Berlin trade fairs Premium and Seek was more relaxed than expected after fears surrounding the Christmas business did not materialise. Around 500 brands showed their collections at the two fairs, compared to about twice as many before the pandemic. According to the organiser Premium Group, a total of around 10,000 visitors were counted, 80 percent of whom came from German-speaking countries. Overall, Seek seemed livelier with streetwear and many green brands, while Premium was quieter. Some visitors remarked afterwards that Premium in particular could be more curated. For the first time in three years, Berlin Fashion Week took place at the same time as the fairs. In the same week, the sustainable fashion fair Beyond Fashion Berlin made its debut. Read more from Berlin here: * Berlin Fashion Week: Things are happening, but what’s next? Image: Pure London | Credit: FashionUnited Pure and Scoop, London While other cities experienced some declines in attendance and participation, Hyve Group fairs Pure and Scoop reported positive figures on their return to the UK capital. Over 250 brands exhibited at each show, spanning womenswear, menswear, footwear and accessories. While Pure had a dedicated space for manufacturers, Scoop opted to also show lifestyle collections during its event. Notably, the group never discloses exact numbers of attendance, however at Scoop, which took place the last three days of January, reported “its highest ever number of buyers” for an AW show. Pure also saw positive numbers, with its organiser Gloria Sandrucci noting that international buyers had been among those returning. In total, there were attendees from over 22 countries, Sandrucci told FashionUnited. Read more from Pure and Scoop: * Pure London enjoys positive AW23 edition despite wider retail woes * Pure London: The role of smaller businesses in pioneering sustainable fashion * Scoop celebrates record buyer numbers Modefabriek January 2023. Image: Aygin Kolaei for FashionUnited. Modefabriek, Amsterdam At Modefabriek, 450 brands presented themselves in a colourful and lovingly curated ambience. With this number, the Amsterdam fashion fair is still below the pre-pandemic level. Around 100 newcomer labels used the event mainly to present or reposition themselves in the Dutch and Belgian markets. The fair did not disclose the numbers of visitors, but some brands noticed an increase compared to the previous edition. Like Pitti and Premium, however, Modefabriek is not a traditional ordering fair, so for most exhibiting brands it was still a matter of waiting to see whether the good mood would also be reflected in showroom orders. Read more from Modefabriek: *
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Luxury sector eyes reopening of China

After a year of record sales and profits despite slowing global growth the luxury sector is looking to the reopening of China to deliver further expansion in 2023. The world's largest luxury group LVMH posted a 23-percent jump in sales to a record of 79 billion euros (86 billion dollars) in 2022 and saw profits climb 17 percent to 14 billion. The company's chief executive, Bernard Arnault, wants to continue along that path in 2023, "at the risk of becoming boring". LVMH's rivals also managed blistering growth in sales and profits last year. Sales at Hermes jumped 29 percent to 11.6 billion euros and profits soared 38 percent to a record 3.4 billion. Kering, despite a tough time for its flagship brand Gucci, still managed a 15-percent increase in sales to 20 billion euros, while profits rose 14 percent to 3.6 billion. Ferrari also saw sales race to a new record of five billion euros, delivering 13,221 vehicles last year. The 2022 results were barely dented by the disruption in China linked to end of its coronavirus-related travel restrictions and their progressive lifting at the end of the year, with LVMH calling the month of December an "air pocket". Only Hermes escaped unscathed. "There was no drop in traffic in our stores," said Hermes chief executive Axel Dumas. The company's sales rose 30.7 percent in its Asia-Pacific region excluding Japan. The gradual reopening of China -- which abandoned the last of the draconian travel restrictions of its zero-Covid policy on January 8 -- should help the economy expand by 5.2 percent in 2023, according to the International Monetary Fund's latest forecast. With the restrictions having restrained consumption, the reopening of the Chinese economy is being looked at as a growth opportunity for 2023. Analysts at UBS say 2023 will be the "year of the Chinese consumer", noting that the pandemic restrictions pushed down the share of Chinese consumers in global luxury spending to 17 percent last year, compared with 33 percent before the pandemic. 'Volcano ready to explode' "The Chinese clientele is much more important than it was in 2019," LVMH's financial director Jean-Jacques Guiony told journalists. Guiony does not expect Chinese tourists to return to Europe, where they traditionally spent heavily on luxury goods, before next year. Instead, luxury groups are focusing on Chinese consumers at home. LVMH's Arnault said it was no secret that China needs growth and that the government would likely take steps to facilitate economic expansion as the country reopens. "If that is indeed the case -- and it began in the month of January -- we have every reason to be confident, even optimistic about the Chinese market," he said at the presentation of LVMH's 2022 results. China is a "volcano ready to explode", said Arnaud Cadart at asset manager Flornoy Ferri. "There is an incredible amount of savings that has been built up, an incredible reserve in the hands of the well-off class which wants to purchase luxury goods," he added. Cadart estimated the luxury market in China could jump by 30 percent this year. Kering's chief executive Francois-Henri Pinault visited China at the end of January and said he was amazed by the people thronging stores "like the virus had never been in China". "This is a good sign," said Pinault, who also welcomed moves by Chinese authorities to boost domestic consumption.(AFP)
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Francesca's announces launch of resale program with ThredUp

Image: ThredUp Women’s boutique chain Francesca's has announced the introduction of a resale program called ‘Forever Francesca’s’ that aims to combat fashion waste. For the launch of the new program, the brand will partner with ThredUP, one of the largest online resale platforms worldwide. "We are aware of the environmental impact apparel has on our planet, and our work with ThredUP in launching ‘Forever Francesca's’ is an important first step in doing our part to make a difference," stated chief marketing officer Jann Parish in a press release. The program will allow customers to shop for secondhand products and resell clothing, shoes, and accessories through ThredUP's Resale-as-a-Service platform. The partnership between those companies is part of a growing trend among retailers to address the negative environmental impact of the fashion industry. According to a report from the Ellen MacArthur Foundation, the equivalent of one garbage truck of textiles is wasted every second, and the fashion industry is responsible for 10 percent of global carbon emissions. Through the program, customers can send worn items from any brand to ThredUP for free, which will handle the cleaning, pricing, and selling. By receiving a payout in form of store credits, Francesca's supports the sustainable use of clothing while offering customers an incentive to return and repurchase. According to ThredUP, nearly one billion clothing purchases of secondhand items were made in 2021, showing the shift in consumer demand. Parish commented: "Our Millennial and Gen-Z customers value their eco-footprint but they also come to our boutique for a fun opportunity to find something unique – resale is the perfect blend of both of those experiences.”
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