London celebrates its 'fearless' young fashion designers

The story of how British designer Lee Alexander McQueen's legendary first "Taxi Driver" collection was lost after he showed it on a clothes rack at the Ritz Hotel is told in a new exhibition in London. The late McQueen -- who used the name Alexander McQueen professionally -- was going nightclubbing after the presentation and couldn't afford to put the clothes in left luggage. Instead, the prodigiously talented young designer stuffed the pieces back into the black plastic rubbish bags he'd used to transport them and "secreted them next to a dumpster outside the club and completely forgot about them," said exhibition co-curator Rebecca Lewin. McQueen, who took his own life in 2010, went home without them later only to find they'd been cleared away when he returned the next day. The 1993 collection, which debuted McQueen's famous "bumster" low slung trousers, has never been recovered. "REBEL: 30 Years of London Fashion" at the city's Design Museum celebrates the hundreds of "fearless" young designers who were part of the NewGen scheme which supports designers at the start of their careers. McQueen was one of the first to be helped by the initiative in 1993, becoming the stand-out talent of the first cohort. 'Man Stink' According to his friend and collaborator Simon Ungless, young designers were badly hit by the UK recession of the early 1990s. "There were no jobs, our goals of heading off to Europe or off to New York straight after graduation just weren't happening," the print designer revealed in an audio interview included in the exhibition. "So it was a time to make things happen ourselves so that's what we did," he added. Even though money was tight, Ungless recalled how the pair would go out almost every night and the exhibition uses archive footage, photographs and nightclub posters to evoke the London of the early 1990s. One of McQueen's favoured haunts was Man Stink in Kings Cross where he lost his collection. "It was a continuous circle of every day laughing and draping and working and doing all the things that we loved," he said. Eventually McQueen started to make an impact and found himself billed in media articles as one of a new breed of up-and-coming British designers able to combine creativity with commercial nous. But he had to hide his face in photographs for newspaper and magazine articles for fear of losing his unemployment benefit which he was still relying on to pay the bills. Bjork's swan dress Lewin said McQueen's story of talent that might have been stifled by financial struggles illustrated the importance of NewGen, just as the UK is facing renewed economic hardship with the worst cost-of-living crisis in a generation. She said the start of the scheme was also a "really important moment" in London's journey to becoming a major fashion capital. In the early 1990s, however, London didn't have the profile it does today and there was little support for designers graduating from art school. As a result, most would try to go to Paris, Milan or New York to get started. Designers who caught the attention of the British Fashion Council's NewGen scheme include Erdem, J.W. Anderson and Simone Rocha. Pieces from all three are among around 100 looks from couturiers who benefitted from the initiative showcased in the exhibition. Many of their creations have entered pop culture history such as the now iconic swan dress worn by Bjork at the 2001 Oscars by Macedonian-born designer Marjan Pejoski. The avant-garde Icelandic singer accessorised with a trail of eggs that she "laid" as she made her way down the red carpet prompting widespread mockery at the time. Others include Sam Smith's inflatable latex suit by Harri for this year's BRIT Awards and Harry Styles' Steven Stokey-Daley outfit from his video for "Golden".(AFP)
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L’Oréal makes string of new executive appointments

L'Oréal headquarters. Credits: L’Oréal. Beauty giant L’Oréal has announced a series of appointments as part of the group’s executive committee, which are due to come into effect in the first quarter of 2024. This includes the creation of the new role deputy CEO in charge of divisions for L’Oréal China, which was established to address the “increased complexity of the Chinese market” and will be taken on by Laurence Ma, who is currently general manager of L’Oréal Luxe China. Ma initially joined L’Oréal China 26 years ago, during which time she also took on the position of general manager of Lancôme, with the company crediting her with building the brand into an “undisputed leader” in the Chinese luxury market. Leadership in China gets boost amid ‘increased complexity’ Alongside Ma, Vincent Boinay has been appointed president of North Asia zone and CEO of L’Oréal China after he first joined the group in 1992 and rose through the ranks before becoming general manager for Travel Retail Worldwide in 2014. According to L’Oréal, Boinay has strengthened the group’s global leadership in this sector, making it a “major contribution” to the company’s growth. He will fully assume his new responsibilities at the beginning of February 2024. Boinay succeeds Fabrice Megarbane, who will be stepping into the chief global growth officer at the end of January next year, taking on a role that had been held by Frédéric Rozé, who has announced his intention to retire after 38 years at the group. Now, Megarbane, who has been with L’Oréal since 2000, has been tasked with accelerating growth, leading transformational projects and animating the group’s zones. Finally, stepping into Boinary’s former position is Emmanuel Goulin, who will also be joining L’Oréal’s executive committee at the beginning of next year. Goulin is currently general manager of L’Oréal Italy, a role he acquired after working his way through the company following his initial entry in 2000. Since then, he has served in a number of positions, including managing director of Travel Retail, Asia Pacific zone.
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John Lewis Partnership narrows H1 loss, but turnaround timeline extended

John Lewis Horsham store Credits: JLP John Lewis Partnership, which comprises department store chain John Lewis and supermarket Waitrose, expects its turnaround strategy to be delayed by two years despite narrowing losses in the first half of the year. In the six months to July 29, the employee-owned company made a loss before tax and exceptional items of 57.3 million pounds from a loss of 66.8 million pounds a year earlier, while its pre-tax loss narrowed to 59 million pounds from 99.2 million pounds. That came as total partnership sales increased 2 percent to 5.8 billion pounds in the first half, with Waitrose sales up 4 percent to 3.7 billion pounds, but John Lewis sales falling 2 percent to 2.1 billion pounds. Customers at John Lewis “continued to spend on themselves” in the first half, with fashion and beauty up 3 percent and 2 percent, respectively. That growth was partly driven by the introduction of new brands, including JoJo Maman Bébé and Le Specs, the company said. However, that growth was offset by shoppers reigning in their spending on ‘big ticket' items across home and tech, which were down 5 percent and 4 percent, respectively. JLP turnaround delayed The latest financial update comes as the John Lewis Partnership continues to push forward with its major turnaround strategy launched in 2020, with an aim to reach profits of 400 million pounds by 2025. However, various factors continue to stand in the way of that goal, including inflationary and investment costs, meaning the turnaround is now not expected to be completed until 2027/28. “Those two factors mean the plan will take a couple of years longer to get us back to the sort of profit levels that we'll be happy with,” John Lewis Partnership chair Sharon White told reporters, Reuters reports. In a statement in the first-half results, she said the company is in a “unique model that has been tested and come through stronger many times in our 100 year history”. She continued: “While change is never easy - and there is a long road ahead - there are reasons for optimism. Performance is improving. More customers are shopping with us. Trust in the brands and support for the Partnership model remain high.” Looking ahead, the company said it expects an improved full-year financial performance compared to a 77.6 million pre-tax loss last year. “We typically make most of our profit in the last three months of the year so a successful peak is always critical,” it said.
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RPI, FIT and Field to Fiber among those to lead New York’s Fashion Innovation Centre

SHoP Architects’ rendering of FIT’s new academic building. Credits: FIT. As New York Fashion Week began to shutter its doors for the season, eyes started to look towards the future of the city’s textile industry as it continues to set up a new Fashion Innovation Centre. Initially unveiled during NYFW of September 2022, the centre was said to have started development to help advance the production of New York state-produced smart and sustainable textiles to be used by the fashion industry. Addressing the lack of collaboration between the state’s agriculture community and fashion, the location hopes to give leaders from across these sectors the opportunity to build on this, supporting local farms and reducing environmental waste. Now, during the NFYW just passed, governor Kathy Hochul, who has been involved with the initiative since its inception, has announced a consortium of six members that have been selected to manage the centre. Consortium to receive nine million dollar grant Led by Rensselaer Polytechnic Institute (RPI), the members consist of the Fashion Institute of Technology (FIT), Hudson Valley Textile Project, Field to Fiber, SUNY Morrisville and Made X Hudson. Each of those selected have been tasked with conducting research to bolster the centre’s mission, as well as creating an accelerator that provides space for early-stage companies to work on promising developments. The consortium was selected by the Empire State Development’s Division of Science, Technology and Innovation, which awarded the group a five-year, 8.95 million dollar grant to reimburse the establishment and operation of the centre. In a statement, Hochul said: "As the fashion capital of the world, New York is working to develop innovative ideas that help make this industry more sustainable. “We’re stitching together a team of experts at the Fashion Innovation Center that will help develop a smarter, greener fashion industry here in New York. “From the farmers who produce raw materials like linen and cotton to the universities educating the next generation of designers, New Yorkers from across sectors are working together to advance innovative solutions and build a more sustainable industry.”
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Lululemon names new board of directors member

Lululemon Hamburg storefront Credits: FashionUnited. Athletics apparel company Lululemon has announced the appointment of Shane Grant to its board of directors, effective November 1. Grant currently serves as the group deputy CEO, CEO Americas and EVP dairy, plant based and global sales at food and beverage company Danone, roles he has collectively held since January 2023. He joined the firm in May 2020 after serving at the Coca-Cola Company for almost 20 years, most recently as the president, still beverages business unit, North America. The New Zealand-native is also a member of the board of directors of FMI, the Food Industry Association, the Consumer Brands Association and American Beverage Association. Speaking on his appointment, Martha Morfitt, chair of Lululemon’s board, said: “Shane has an impressive track record of driving global growth of branded consumer businesses and I am delighted to welcome him to the Lululemon board of directors. “Shane’s global experience, insight into consumer trends and product innovation will be beneficial as Lululemon continues to execute on its Power of Three ×2 growth strategy.” The scheme, initially introduced in 2019, involves a five-year plan centred around the goal of doubling the men’s and digital revenues, as well as quadrupling revenues internationally.
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V&A celebrates Gabrielle ‘Coco’ Chanel with new fashion exhibition

Gabrielle Chanel. Fashion Manifesto exhibition at the V&A Credits: V&A, Victoria and Albert Museum, London In Pictures London’s V&A Museum is celebrating Gabrielle ‘Coco’ Chanel’s pioneering approach to fashion design with a new exhibition charting how the French couturière paved the way for a new elegance. ‘Gabrielle Chanel. Fashion Manifesto,’ opens on September 16 and features more than 200 objects, many of which are seen together for the first time, including accessories, perfume, jewellery, and clothing, from the earliest surviving Chanel garments from 1916 to the designer’s final collection in 1971. Based upon the exhibition organised by the Palais Galliera, Fashion Museum of the City of Paris, the V&A has reimagined it through the addition of rarely seen pieces from the museum’s archive, alongside looks from Palais Galliera and the Patrimoine de Chanel, the heritage collections of the fashion House in Paris. Oriole Cullen, curator of modern textiles and fashion and the V&A, explained at the press preview that items in the exhibition have been collated from 25 different countries worldwide. Gabrielle Chanel. Fashion Manifesto exhibition at the V&A Credits: V&A, Victoria and Albert Museum, London The exhibition charts the designer’s evolution of her iconic design style, analysing her sixty years in fashion, her contribution to history, as well as the establishment of the House of Chanel, from her first millinery boutique in Paris in 1910 to her final collection. The V&A also spotlights Chanel’s British inspirations, such as her adoption of tweed, partnerships with British textile firms and a textile factory in Huddersfield. Tristram Hunt, director of the V&A, said in a statement: “As one of the most successful fashion houses in existence, Chanel owes much to the templates first laid down by its founder Gabrielle Chanel, over a century ago. “We are delighted to be partnering with Chanel and the Palais Galliera on this exhibition, which provides us with the opportunity to explore the origins and elements of this enduring style and to display little-known historic Chanel garments from the V&A collection.” Gabrielle Chanel. Fashion Manifesto exhibition at the V&A Credits: V&A, Victoria and Albert Museum, London Gabrielle Chanel. Fashion Manifesto opens at the V&A in London on September 16 Described as one of the most influential figures in fashion, the exhibition spans ten sections, exploring Chanel’s innovative approach to fabric, silhouette, and construction, as well as her use of embroidery in her designs, while also highlighting how she drafted a new framework for fashion in the twentieth century. Each room is dedicated to the French designer’s skill and innovation, highlighted by some of her most notable designs, from the Chanel suit to her little black dress and ground-breaking evening trousers. Highlights include original costumes designed by Chanel for the Ballets Russes production of Le Train Bleu in 1924, outfits created for Hollywood stars Lauren Bacall and Marlene Dietrich, early examples of Chanel's evening trousers, and the designer’s first and only 1932 collection of fine jewellery commissioned by the International Diamond Corporation of London. Gabrielle Chanel. Fashion Manifesto exhibition at the V&A Credits: V&A, Victoria and Albert Museum, London One of the most striking rooms in the exhibition is the spotlight on ‘The Suit,’ described by Vogue in 1964 as “the world’s prettiest uniform”. There are more than 50 ensembles on display showcasing Chanel’s post-war contribution to fashion and highlighting how the simplicity and elegance of the Chanel suit have become a timeless classic and a staple reference for fashion today. First exhibition dedicated to Gabrielle Chanel to be held in the UK at the V&A Other standout rooms included an exploration of Chanel’s distinct love of costume jewellery and how eveningwear has become an important element of Chanel’s couture collections with an array of cocktail suits in a plethora of richly decorative fabrics such as gold and silver lamés, textured weaves and intricately patterned silks. Alongside the fashion, there is a section dedicated to the “invisible accessory,” Chanel’s debut perfume N°5, which became the world’s best-selling fragrance. Designed as an extension of her clothing and echoing her vision of modernity, Chanel made N°5 the signature of her fashion house. This section highlights the launch of Chanel's range of make-up in 1924 and skincare in 1927. Gabrielle Chanel. Fashion Manifesto exhibition at the V&A Credits: V&A, Victoria and Albert Museum, London The exhibition finale recreates the mirrored staircase from Chanel’s Paris atelier to celebrate the evening dress and Chanel’s exercise in style, focusing on how she proposed a relaxed version of the formal dress that was both discreet and refined. Bruno Pavlovsky, president of Chanel SAS and president of Chanel Fashion, said: “We are happy and honoured that the first exhibition dedicated to Gabrielle Chanel to be held in the UK, will be presented at the V&A, one of the most prestigious museums in the world. Gabrielle Chanel was a legend in her own lifetime. “This exhibition will analyse her contribution to fashion and her radical vision of a style that created modernity and reflected the aspirations of women and the evolution of their place in society." ‘Gabrielle Chanel. Fashion Manifesto’ at the V&A Museum in London runs from September 16 to February 25. Gabrielle Chanel. Fashion Manifesto exhibition at the V&A Credits: V&A, Victoria and Albert Museum, London Gabrielle Chanel. Fashion Manifesto exhibition at the V&A Credits: V&A, Victoria and Albert Museum, London Gabrielle Chanel. Fashion Manifesto exhibition at the V&A Credits: V&A, Victoria and Albert Museum, London Gabrielle Chanel. Fashion Manifesto exhibition at the V&A Credits: V&A, Victoria and Albert Museum, London Gabrielle Chanel. Fashion Manifesto exhibition at the V&A Credits: V&A, Victoria and Albert Museum, London Gabrielle Chanel. Fashion Manifesto exhibition at the V&A Credits: V&A, Victoria and Albert Museum, London Gabrielle Chanel. Fashion Manifesto exhibition at the V&A Credits: V&A, Victoria and Albert Museum, London
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Reiss launches a new luxury Atelier line

Reiss Atelier collection Credits: Reiss In Pictures Premium womenswear retailer Reiss has launched a new Reiss Atelier collection of timeless wardrobe staples crafted from luxurious fabrics. In a press release, Reiss said that the 37-piece collection takes inspiration from the retailer’s archive and features clothes that “skim the frame, giving the wearer a sensual look without compromising on the notion of elegance”. The line features tailoring, dresses, and outerwear in a colour palette of soft shades, neutrals, and black, as well as abstract animal-inspired prints in luxurious fabrics, such as silk, duchess satin, and fine Italian wool fabrications. In addition, Reiss notes that the fabrics are predominantly European, coming from the brand’s most trusted mills. Reiss Atelier collection Credits: Reiss The pieces have been designed to effortlessly integrate into anyone’s wardrobe and “live through the decades without losing appeal,” explains Reiss. Una Joyce, womenswear director at Reiss, said: " Our customer comes to us for an elevated wardrobe, and Reiss Atelier delivers on that, with effortlessly chic occasion pieces that are timeless. ‘Atelier’ provokes the idea of bespoke craftsmanship, design consideration, and ultimate luxury." The first drop of the Reiss Atelier collection will be available on Reiss.com and in select stores. Reiss Atelier collection Credits: Reiss Reiss Atelier collection Credits: Reiss Reiss Atelier collection Credits: Reiss Reiss Atelier collection Credits: Reiss Reiss Atelier collection Credits: Reiss Reiss Atelier collection Credits: Reiss
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Zara owner Inditex posts jump in H1 profit, sales

Zara storefront Credits: Inditex Spanish fashion giant Inditex has reported robust revenue growth and a 40 percent increase in profit in the first half, ahead of expectations. The group, whose portfolio includes brands Zara, Massimo Dutti, and Pull & Bear, generated revenue of 16.9 billion euros in H1, up 13.5 percent from the same period a year earlier, with the group citing “very satisfactory development both in stores and online”. All the group’s brands posted double-digit growth, with Oysho and Massimo Dutti the standout performers, reporting growth of 18.3 percent and 16.8 percent, respectively. Zara, which is by far the group’s biggest brand, saw sales increase 13.1 percent to 12.36 billion euros. Index profit ahead of expectations The company’s net profit jumped by 40.1 percent to 2.5 billion euros in the first half. Inditex CEO Óscar García Maceiras said: “The H1 2023 results demonstrate that the talent of our teams continues to consolidate the improvements in the performance of our business model. “The ongoing commitment to creativity, quality and customer experience, as well as the determined progress in sustainability, drives a strategy that is taking our business to the next level.” Inditex also managed to improve its inventory thanks to a “robust” operating performance and the normalisation in supply chain conditions, with levels 6.9 percent lower as of July 31 compared to a year earlier. Inditex added that its spring/summer collections have been “very well received” by customers. Looking at more recent trading, it said autumn/winter collections have also been well received, with constant-currency store and online sales between August 1 and September 11 up 14 percent year-on-year.
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Les Deux funds the renovation of two basketball courts in New York City

Credits: Courtesy of Les Deux Danish menswear label Les Deux are putting down roots in New York City, kicking off their upcoming arrival by contributing to the community. With an investment of 70,000 U.S. dollars, Les Deux has completely redesigned two basketball courts in Washington Market Park in Tribeca, aimed at local students as well as the greater city locale. Developed in collaboration with Copenhagen-based design duo Kongstad Studio and non-profit organization Project Blackboard, the renovated courts feature updated surfaces, walls, and artwork, in addition to a range of new basketball gear. The opening of a sales office in New York marks the brand’s first foray in the U.S. market, with much intention behind the choice of address. “New York is the world’s city, and our goal is to be a worldwide brand,” said Les Deux co-founder Andreas von der Heide in an interview with FashionUnited. Drawing aesthetic inspiration from American collegiate style and skating street culture, Von der Heide cites New York as both an aspirational nexus and a home-away-from-home. “New York has always been a big inspiration for us because of that connection with the American dream, that mentality of staying hungry and striving for more,” said Von der Heide, who hopes to see the U.S. become the biggest market for Les Deux. With a longstanding connection to Nordstrom and a newly signed partnership with Bloomingdale’s, Les Deux is on the brink of significant growth, strengthened by not only retailer connections but also a shared ethos of entrepreneurship that “mirrors some of the best values you see in the U.S.”, according to Von der Heide. Legacy, the CSR platform of Les Deux, sponsored the refurbishment of the basketball courts—an initiative that followed the funding of a school for Syrian refugees last year. “It’s really important to me that this isn’t a one-off,” said Von der Heide. The courts were the leading project of 2023, with more efforts underway in the coming years. Credits: Courtesy of Les Deux Credits: Courtesy of Les Deux
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UPM, Central Saint Martins announce concepts shortlisted for renewable materials product design competition

UPM and Central Saint Martins exhibition showcases new, sustainable design concepts developed by students. Credits: image courtesy of UPM As part of a collaborative project by Finish biochemical company UPM, and Central Saint Martins College of Arts and Design (CSM) at the University of the Arts London (UAL), students have developed a number of sustainable design concepts for which they reimagined everyday products by making them from renewable, bio-based materials. The aim of the collaborative project is to develop alternative solutions to substitute fossil fuels and instead develop design concepts “that have the potential to disrupt traditional product concepts and trigger transformative designs and enable sufficiency, recyclability and reuse,” a press release sent out by UPM reads. With the initiative, UPM and CSM want to demonstrate how multiple industries can make the necessary transition to the use of renewable, circular material in their products. Now, eight student concepts who participated in the competition have been shortlisted: a mono-material and modular motorcycle armour, furniture crafted from a single sheet of bioplastic material, a versatile, modular, and interchangeable snowboard binding, a hybrid, modular, electro-acoustic synthesiser made from 100 percent renewably sourced bioplastic. Furthermore, a student design concept for a stylish ‘plogging’ (a combination of jogging and picking up litter) set combining environmental care, comfort and fitness has been shortlisted, a transformative rationing stamp setting rigorous standards to authenticate sustainability claims, a modular shoe designed to address the prevailing issue of shoe waste by prioritising repairability, and six user-friendly devices for camping. UPM and Central Saint Martins shortlist 8 student concepts in product design competition The winning concepts will be announced and unveiled to the public at Design Transforms ‘23, UAL’s exhibition in collaboration with the London Design Festival. Commenting on the news in a release, Nick Rhodes, programme director, product ceramic and industrial design at Central Saint Martins said in a statement: “Through our stimulating partnership with UPM, we have gained an invaluable opportunity to engage with concrete and pressing needs in design for manufacturing.” “This collaboration has challenged us to develop compelling propositions that not only demonstrate but advocate for the urgent transition away from fossil fuels to renewable sources in manufacturing materials,” he continued. “This partnership is both challenging and inspiring, aligning with our commitment to transformation through design to a more responsible and sustainable future.” The shortlisted design concepts are on display at Design Transforms ‘23 at the Lethaby Gallery in King’s Cross, London. UAL’s exhibition Design Transforms ‘23 runs from September 11 to October 15.
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Rimowa celebrates 125th anniversary during New York Fashion Week

Peggy Gou's personal Rimowa case Credits: Rimowa Rimowa, the German-founded luggage company owned by LVMH, has successfully established itself as a coveted fashion accessory brand. Known for its enduring suitcase designs crafted from lightweight, robust materials like aluminum and polycarbonate, its minimalist aesthetics and iconic grooved exteriors have propelled it from a traditional luggage company to a celebrated LVMH success story. Last week during New York Fashion Week Rimowa launched the second leg of its touring exhibition, 'Seit 1898,' marking the celebration of its 125th anniversary. Following its debut in Tokyo on June 8th, this retrospective exhibition delves into Rimowa's enduring legacy since its inception in Cologne, Germany, in 1898. It showcases a collection of cases from the company's archives, contributions from friends of the brand, and various artworks. The exhibition presents these cases in captivating diorama displays, narrating the stories behind the materials, craftsmanship, individuals, and locations that define Rimowa's identity. This includes a meticulously curated selection of archival pieces, collaborative creations, and specialized cases designed for discerning enthusiasts. To mark its New York showcase, Rimowa exclusively features privately owned cases from notable public figures such as Spike Lee, Martha Stewart, Roger Federer, Justin Theroux, LeBron James, Lewis Hamilton, Takashi Murakami, Billie Eilish, and Patti Smith, among others. Additionally, a centerpiece sticker diorama, constructed from metal sheets sourced from Rimowa factories, invites guests to personalize it with their own stickers on the aluminum walls. This interactive display will continue its journey to Shanghai and Cologne as part of the 'Seit 1898' exhibition, accumulating memories of encounters and places along the way. The New York showcase will remain open at the Chelsea Factory until September 17th.
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Tourist tax harmful to the UK, says retail Landlord

Oxford Circus Credits: New West End Company In Westminster Hall last week, Members of Parliament convened to discuss tax-free shopping for international visitors. The debate has sparked a wide range of opinions amongst the UK’s retailers, with the majority advocating for aVAT-free shopping scheme to attract foreign visitors and remain competitive against other European destinations. Hugh Seaborn, Chief Executive of Cadogan, commented on the debate: "The Government seems to be missing an obvious opportunity with VAT-free shopping. We possess the data that clearly demonstrates money that could support jobs, growth, and prosperity in the UK is being spent abroad. While London's historical and cultural attractions are unique, more needs to be done to incentivize international travel and maintain a competitive position compared to European counterparts. Today's debate highlights that tax-free shopping is a national issue affecting various businesses, from luxury retailers in Chelsea to manufacturers in the Midlands, textile workers in the north, and whiskey producers in the Scottish Highlands." Cadogan is a longstanding family business involved in property management, investment, and development, known for its 300-year history, which guides its contemporary estate management approach. With over 90 acres in Chelsea and Knightsbridge, Cadogan aims to preserve the area's unique character while ensuring its future vitality. Steven Medway, CEO of the Knightsbridge Partnership, shared his perspective on the MPs' debate regarding Tax-Free Shopping: "We appreciate the Government and MPs addressing the topic of tax-free shopping, but they must also consider the evidence presented by hospitality and retail businesses over the summer. This evidence indicates that the current policy is adversely affecting tourist sentiment and spending. While the minister hinted at a possible review, an undecided stance does not assist Knightsbridge businesses in making the case for further investment or entice tourists to spend their money here." Knightsbridge BID is one of London's designated international retail centers, attracting 19 million annual visitors, with 15 million drawn by its luxury retail offerings, including jewelry, fine art, cosmetics, fashion, beauty, hotels, spas, and dining. The majority of visitors are domestic, and international visitors significantly contribute to the UK GDP, with Knightsbridge playing a substantial role. The Knightsbridge Partnership represents 300 businesses operating in Knightsbridge, including prominent names like Harrods, Burberry, Harvey Nichols, Mandarin Oriental Hyde Park, and Pavilion. The Partnership also advocates for 190,000 residents and numerous employees crucial to the district's enduring appeal.
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Vagabond Shoemakers expands in Asia with Tmall

Vagabond Shoemakers AW23 Credits: Vagabond Shoemakers Swedish footwear brand Vagabond Shoemakers is expanding within the Asian market with a concept store on the Chinese e-commerce platform Tmall, part of the Alibaba Group. The concept store launches with the brand’s autumn/winter 2023 collection as the footwear brand looks to expand its reach within Asia, adding to its recent collaboration with a new distributor in South Korea and its availability through local retailers in Japan. Anders Odén, chief executive of Vagabond Shoemakers, said in a statement: “We are excited to start working more focused towards the Asian markets and launching at Tmall is a huge step for us. “We see a vast interest in our products from all corners of the world, and we focus on local market adaptation, not the least to avoid unnecessary freight for sustainability reasons.” Vagabond Shoemakers, which expanded into apparel earlier this year, is available in more than 45 markets, including the UK, US, Canada, and most European countries.
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Canada fashion mogul in court for first of several sexual assault trials

Businessman Peter Nygard arrives at Norby Walters' 26th Annual Night Of 100 Stars Oscar Viewing at The Beverly Hilton Hotel on February 28, 2016 in Beverly Hills, California. Credits: MINTAHA NESLIHAN EROGLUANADOLU AGENCYAnadolu Agency via AFP. Fashion executive Peter Nygard on Monday made a brief appearance in a Toronto court for the first of several trials on charges for sexual assaults that spanned decades in Canada and the United States. Jury selection was set for next week, followed by the prosecution's presentation of evidence starting on September 26. Held in prison since his arrest in December 2020, the 82-year-old Finnish-Canadian is being tried in Canada's largest city for alleged sexual assaults and forcible confinement involving several people between 1987 and 2006. He faces similar charges in Quebec and Manitoba, as well as extradition to the United States, where he has been accused of raping dozens of women and girls, racketeering and trafficking. Through his lawyers, Nygard, known for his long, flowing gray hair and flamboyant dress sense, has denied all of the accusations. Reports from the Toronto courtroom described him arriving in a wheelchair, looking frail. At the time the Toronto charges were laid in October 2021, Nygard was already fighting a US extradition request. Months later Quebec police would lay charges too, followed by Manitoba in July. In the United States, dozens of women and girls from disadvantaged economic backgrounds or who had histories of abuse have accused him of grooming and luring them to his luxury estates on the pretense of lucrative modelling opportunities. Those alleged crimes, according to the US indictment, took place between 1990 and 2020. Nygard and his accomplices, including employees of his group, "used force, fraud, and coercion to cause women and minors to have sex" with them, it said. Nygard, the founder of women's clothing company Nygard International, has long boasted about his rise from humble beginnings, as a young immigrant who built a fashion empire with nearly 170 stores at its peak. His company, however, filed for bankruptcy shortly after the FBI and police raided Nygard's Manhattan corporate headquarters in 2020. According to US court documents, company funds were said to have been used to host dinner parties, poker games and so-called "pamper parties" where minor girls were drugged and women assaulted if they did not comply with his sexual demands. Partygoers were often photographed and their personal information, including weight and physical measurements, were kept in a registry. Nygard also paid from corporate accounts for victims' travel, living expenses, plastic surgery, abortions and child support, said American prosecutors.(AFP)
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Creative director Sarah Burton to exit Alexander McQueen after two decades

Sarah Burton, Alexander McQueen RTW AW19. Credits: Launchmetrics Spotlight. The upcoming Alexander McQueen show during Paris Fashion Week on September 30 will be Sarah Burton's last. The creative director is leaving the British luxury fashion house after a total of 26 years, parent company Kering announced on Monday. A “new creative organisation” for the house will be announced in due course. “We would like to express our deep gratitude to Sarah for writing such an important chapter in the history of the Alexander McQueen House,” said Alexander McQueen CEO Gianfilippo Testa. “Sarah’s contributions over the past 26 years will leave an indelible mark.” The end of a decades-long collaboration Burton joined McQueen as an intern in 1996 after she asked Simon Ungless, a McQueen collaborator and Burton's teacher at London's Central Saint Martins art and design school, to recommend her. The brand had only existed for four years at this point, but had already established the aesthetic that would henceforth be forever associated with the McQueen name. Her internship was the first, but not the last, time she worked for Alexander Lee McQueen, as she returned immediately after graduating. As of 2000, Burton's official title was head of design for Womenswear at McQueen, but she was more commonly referred to as the designer's right-hand woman. Since Alexander McQueen's death in 2010, Burton has been the creative director of his eponymous brand, which was sold to what is now Kering Group in 2001. Under Burton, McQueen softened a bit, largely eschewing the shock value of the original McQueen brand, but continuing the designer's legacy of uncompromising tailoring with striking silhouettes. Over the past 13 years, Burton has managed to emerge from McQueen's formidable shadow without ever being forgotten. “I am so proud of everything I have done and of my incredible team at Alexander McQueen,” said Burton. “They are my family and this has been my home for the last 26 years. I would like to thank Francois-Henri Pinault for believing in me and offering me this incredible opportunity. Above all, I would like to thank Lee Alexander McQueen. He taught me so much and I am eternally grateful to him. I look forward to the future and my next chapter and will always carry this cherished time with me."
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Perfect Moment launches rental offering with My Wardrobe HQ

Perfect Moment rental edit Credits: Perfect Moment Luxury skiwear fashion brand Perfect Moment is launching a rental offering powered by My Wardrobe HQ. Launching today, September 11, the rental offering will help new and existing customers take a more conscious approach to their ski apparel at a more accessible price point. The rental edit is available via the Perfect Moment website and offers jackets, pants, sweaters, and ski suits in sizes XS to XL from 7 pounds a day. Rentals are available for up to 14 days. Jane Gottschalk, co-founder and creative director at Perfect Moment, said in a statement: “Perfect Moment exists to inspire shared perfect moments, and we have a responsibility to do so with the smallest disruption to nature- we are constantly innovating and looking for new ways to reduce our impact upon it. “Introducing rental is the next phase in our commitment to sustainability and the environment, and we are excited to be embarking on this new venture with MWHQ powering our offering.” Perfect Moment rental edit Credits: Perfect Moment
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Pantone reveals NYFW SS24 colours offer “new sense of freedom”

Pantone SS24 NYFW Colour Trend Report Credits: Pantone Pantone, the global authority on colour, states that the colours of New York Fashion Week spring/summer 2024 will embody a feeling of nostalgia while reflecting the desire to embrace positive change. According to Pantone’s colour trend report for NYFW, designers will embrace colours that evoke sweet aromas, warm waters, and sugar-coated zest to envelop the senses for SS23 as a “new sense of freedom” emerges following the pandemic. Leatrice Eiseman, executive director of the Pantone Color Institute, said in a statement: “Colours for NYFW Spring 2024 inspire feelings of release. Opening the imagination and amplifying and liberating our own unique artistic spirit, they enable us to express ourselves in more inventive ways. “A harmonious mix of familiar shades infused with a contemporary edge, colours for NYFW Spring 2024 introduce a new interpretation of current times as memories of the past and a glimpse of the future bring hope for the present”. At the heart of the report, Pantone reveals that the top 10 standout colours offer a palette that encourages personal self-expression, alongside feelings of joy and comfort with a versatile mix of lively shades, from a sweet and tangy red-orange hue to a warm and engaging pink. Pantone NYFW SS24: Lively colour palette to inspire personalised self-expression and feelings of freedom For SS24, the trend forecasting and colour consultancy has selected 10 “lively” colours and five new core classics for NYFW, including a cooling mint, a sugar-coated lemon, and a vibrant bright blue, alongside a pastel lilac, a peppery green, and a denim blue. Pantone 18-1355 ‘Rooibos Tea’ is a full-bodied red colour with rich, woody notes. Pantone 17-1461 ‘Orangeade’ is a sweet and mildly tangy red-orange hue with a “fruity citrus touch”. Pantone 17-0220 ‘Watercress’ is a refreshing peppery green with a “sprightly” presence. Pantone 15-1435 ‘Desert Flower’ is a warm and engaging pink whose flowers thrive in the sun. Pantone 15-4030 ‘Chambray Blue’ is a brightened denim blue infused with an easy vitality. Pantone SS24 NYFW Colour Trend Report Credits: Pantone Pantone 4-3812 ‘Pastel Lilac’ is a soft and powdery shade of lavender reminiscent of a sweet aroma. Pantone 18-3932 ‘Marlin’ is an aquatic tropical tone. Pantone 12-0736 ‘Lemon Drop’ is a sugar-coated Lemon Drop filled with zest. Pantone 16-5938 ‘Mint’ is a cooling, mentholated green that is “a breath of fresh air”. Pantone 15-4722 ‘Capri’ is a bright blue shade reminiscent of the azure waters of the Blue Grotto. Pantone spring/summer 2024 core classic colours for NYFW The 10 standout colours for NYFW sit alongside five new classic hues, which offer “reliable core tones infused with a contemporary edge to create new visions of tradition,” adds Pantone. Pantone SS24 NYFW Colour Trend Report - Classic Colours Credits: Pantone Pantone 11-4001 ‘Brilliant White’ offers a clean, crisp, and pristine white that is suggestive of simplicity and modernity. Pantone 14-1305 ‘Mushroom’ is an earth-rendered taupe composed in temperature and tone. Pantone 14-4104 ‘Northern Droplet’ is a grey for rainy days that promises “a quiet respite”. Pantone 18-4006 ‘Quiet Shade’ is a shadowy grey that offers a protective shelter. Pantone 16-1317 ‘Brush’ is a utilitarian khaki hue that blends naturally into its surroundings.
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Helmut Lang and Ralph Lauren kick off New York Fashion Week

Helmut Lang SS24. Credits: Launchmetrics Spotlight. New York - Amid sweltering heat and jitters over the Hollywood strike, New York kicked off its Spring-Summer 2024 Fashion Week on Friday, with heavyweights Ralph Lauren and Helmut Lang returning to the industry's flagship event with fresh ideas. American luxury brand Coach unveiled its collection of sensual translucent dresses at the New York Public Library in Manhattan on Thursday, but the event was briefly disrupted by animal rights activists. As Vogue editor Anna Wintour and Jennifer Lopez watched the show, two female protesters from the animal rights group PETA -- one covered in body paint that mimicked animal flaying and another holding a poster that read "Coach: Leather Kills" -- joined the models on the runway before security led them away. At another unofficial kick-off event on Wednesday, featuring Naomi Campbell, Doja Cat, Naomi Osaka and Gigi Hadid, the iconic lingerie label Victoria's Secret teased a film meant to showcase the brand's new and more inclusive identity after it was criticized for designing garments that objectify women. The film, entitled "The Victoria's Secret World Tour," to be released on Amazon Prime at the end of September, highlights the work of creators and artists from Lagos, London, Bogota and Tokyo. Yellow taxi This year, New York Fashion Week will feature young talents and emerging brands, along with heavyweights such as Ralph Lauren, Michael Kors, 3.1 Phillip Lim, Altuzarra, Gabriela Hearst, Carolina Herrera, Tory Burch and Luar. The city will then pass the baton to London, Milan and Paris. "New York has always been a cornerstone of Fashion Week," said Steven Kolb, CEO of the Council of Fashion Designers of America. "It really underscores how strong it is, in terms of presenting creative thinking." Under the humid heat of the New York summer, the six-day marathon kicked off Friday afternoon in Manhattan's Lower East Side with a show by Helmut Lang, who rose to fame in the 1990s and 2000s, thanks to the minimalist aesthetic of the Austrian artist. Helmut Lang, the designer, left fashion in 2005 but Helmut Lang, the brand, lives on, bought by Prada and then by the Japanese group Fast Retailing, which owns Uniqlo. Helmut Lang SS24. Credits: Launchmetrics Spotlight. The brand now returns to the runways of the Big Apple with a collection concocted by its new artistic director, Peter Do, widely considered a fashion prodigy. The show had nostalgic undertones, a bow to the 1990s when it became the first fashion brand to advertise on New York yellow taxi signs. Fewer red carpets Another brand to make its return on Friday, albeit in Brooklyn where many of the fashion shows have migrated, was Ralph Lauren, the legendary brand that defined American elegance and embodied preppy US style with an annual turnover of more than 6 billion dollars. The brand, whose founder was born in the Bronx, has not held a show in New York since 2019. Ralph Lauren SS24. Credits: Launchmetrics Spotlight. This fashion season is marked by the double strike of Hollywood screenwriters and actors seeking better compensation, which has reduced the number of red carpet previews to a minimum, thus depriving brands of chance to dress stars and promote themselves in the process. "Certainly, the red carpet is a way to speak to the audience," said Kolb, adding that fashion shows were no less important. The "content that they create for social channels will contribute to a very loud, very visible Fashion Week," he added.(AFP)
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Burberry launches city takeover series in London

Burberry Streets campaign Credits: Burberry British heritage brand Burberry is launching a series of city takeovers, kicking off in London, which “celebrate the art of discovery and exploration in cities worldwide”. Entitled ‘Burberry Streets,’ the initiative will offer experiences, installations and events across the chosen cities, starting with London this month before heading to Seoul, South Korea and Shanghai, China in October. The takeovers will “merge the brand’s forward-thinking vision with its rich heritage, bringing modern British luxury to life in new and innovative ways,” explains Burberry in the press release, while showcasing the brand’s signatures, such as seasonal check in knight blue, rose print, and the newly redefined Equestrian Knight design. Burberry Streets campaign Credits: Burberry Kicking off in London, ‘Burberry Streets’ will launch with a takeover of Norman’s, the North London Cafe renowned for its British cuisine, where during London Fashion Week, a travelling Norman’s food truck will make appearances on The Strand and Duke of York Square. While symbols of the house will be seen in multiple locations across the capital, such as flags featuring the new rose print flying above Bond Street, and Piccadilly’s screens lit up with videos from the winter 2023 campaign. In addition, the Equestrian Knight will also be showcased in the form of chalk stencils on paths and in parks, and London's iconic black taxis will be wrapped in Daniel Lee’s English rose print. Burberry winter campaign Credits: Burberry The series coincides with the highly anticipated launch of Daniel Lee’s first collection for the brand for winter 2023, which is now available both in-store and online, alongside a redesign of the luxury label’s e-commerce website. Rod Manley, chief marketing officer at Burberry, said: "We are so excited to see Daniel's first collection arriving in store and online. With our redesigned website, new brand signifiers across product and branding and the launch of our global Burberry Streets initiative here in our home market, we're looking forward to sharing the new Burberry world with our clients.” Burberry winter campaign Credits: Burberry
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Hanky Panky teams up with Prabal Gurung

Hanky Panky x Prabal Gurung collection Credits: Hanky Panky Lingerie brand Hanky Panky has unveiled a limited-edition capsule collection with fashion designer Prabal Gurung for autumn/winter 2023. Inspired by the rare beauty of the rhododendron, the Hanky Panky x Prabal Gurung collection has been designed to empower women “with the confidence to be seen as they choose” and features more than 30 pieces, including bras, bralettes, thongs, teddys, bodysuits, dresses, a limited-edition silk and lace blazer. The capsule collection, which made its debut during Prabal Gurung's spring/summer 2024 NYFW catwalk show on September 8, aims to encourage women “to reveal their innerwear as outerwear, giving them the freedom of being themselves as they define it here and now,” explains Hanky Panky in the press release. Hanky Panky also adds that the collection promotes its new ‘Behind The Petals’ social movement, which shines a light on the craftsmanship and behind-the-scenes making of the collection, as well as encouraging the wearer to share their personal stories of what is unseen about themselves with the hashtag #behindthepetals. Brenda Berger, chief executive officer at Hanky Panky, said: "Prabal Gurung is a designer known for inclusivity and unconditional advocacy for women, making him the perfect partner to help Hanky Panky continue empowering women with the confidence and freedom to be themselves in the intimates they wear. "We're thrilled to partner with Prabal Gurung to design a limited-edition collection of intimates that gives visibility to the unseen and highlights each woman's distinct way of blooming." The Hanky Panky x Prabal Gurung collection has been made with luxurious fabrics and high-end details, including the lingerie brand’s US-made lace, and is available in inclusive sizes from XS to XL with under-wired bras ranging from 32A to 36DD. The collaboration will be available from September 27 on HankyPanky.com, in Hanky Panky's Bleecker Street store and select retailers nationwide. Prices range from 32 to 600 US dollars. Hanky Panky x Prabal Gurung collection Credits: Hanky Panky
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Rue21 appoints new chief information officer

Fashion platform Rue21 has appointed Scott Saeger as its new chief information officer. Saeger joins Rue21 with experience from GNC, 1-800-Flowers, Hewlett-Packard, ExxonMobil, and Laura Mercier and will be responsible for further enhancing Rue21’s customer journey and optimising its platforms to support growth and enhanced interactions with the brand’s diverse community. In a statement, Rue21 said that Saeger will “provide leadership to the development of an innovative, robust, and secure information technology environment throughout Rue21's business,” and will be in charge of strategic planning and execution for the brand’s business applications and operations, as well as integration of e-commerce and back-office platforms, B2B and B2C initiatives and maintenance of retail. Josh Burris, president and chief executive of Rue21, said in a statement: "We are thrilled to welcome Scott Saeger as our latest addition to the Rue21 leadership team, fortifying our commitment to driving success in the affordable fashion industry. "This strategic appointment marks a pivotal moment in our brand journey, cementing Rue21's position to deliver exceptional experiences to our customers. With a relentless focus on innovation, we strengthen our ability to set new standards and reach unparalleled milestones in the ever-evolving world of fashion." Saeger is the latest addition to Rue21’s executive leadership team following the recent hires of three other key positions earlier this year, including Matt Crummy as chief strategy officer, Ann-Marie Clendenin as senior vice president head of stores, and Karlyn Mattson as chief customer officer. Commenting on his appointment, Saeger said: “Rue21's mission to optimize the technology buying experience as a relevant, authentic, and affordable fashion destination resonates with my passion and expertise for enhancing the overall customer experience. I'm looking forward to collaborating closely with the team to help carry out Rue21's mission of offering accessible fashion for all."
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Westwood and Galliano: Ahead of her designer auction, founder of PR house 2e Bureau reminisces

Sylvie Grumbach. Credits: 2e Bureau.Interview From Vivienne Westwood to John Galliano to Azzedine Alaïa, the auction of pieces from the collection of Sylvie Grumbach, founder of the press office 2e Bureau, entitled "From the avant-garde to today", is an opportunity to revisit her past. Through her story, a whole era of fashion comes to the forefront, with its variables (Paris’ place in fashion) and its intangibles (the evolution of our consumer society). FashionUnited spoke to Grumbach on her experiences in the fashion industry and memories from her career. How did your relationship with Vivienne Westwood come about? I first met Vivienne Westwood at Le Palace in 1980. She was with Malcolm McLaren, a manager of British bands. At the time, the London boutique World's End was already open, dressing band members, punks and also the New Romantics [a musical and clothing movement associated with New Wave]. In 1983, following the death of Fabrice Emaer, I left Le Palace and opened my own press office, 2e Bureau*, with Vivienne Westwood, Swatch and Jean-Paul Goude. That year, Vivienne Westwood decided to come to France. Her first show was at Angelina (the patisserie on rue de Rivoli, next to Paris’ Hôtel Meurice). Naturally, we were two hours late. Well-established brands were already parading in Paris, but this was the time when young international designers were arriving at Paris Fashion Week, a phenomenon initiated by Créateurs & Industriels. Vivienne Westwood realised that showing in Paris would give her an international image and help her to market in America. Credits: Vivienne Westwood. How do you explain the popularity of the Paris catwalk? Paris has become the capital of fashion thanks to Couture, which is a French excellence. Can you tell us a story about working with Vivienne Westwood? I was in charge of a travelling fashion photography festival held in Monaco. Vivienne was on the jury. We walked around Monte Carlo arm in arm. She was dressed as we know her and wearing platforms. I myself was dressed like Vivienne Westwood too: a big pink trench coat and Jean-Paul Gaultier platform tennis shoes. We were banned from the casino. Where did you meet John Galliano? In London, I went to his graduation show [Central Saint Martin School, 1984, inspired by the Directoire's 'Incroyables']. It was so great that I told him if he wanted to come to Paris, I'd be delighted to look after him. I was looking after Vivienne Westwood at the time. John had a great admiration for her; he dressed in her clothes. Like all the younger generations, he probably wanted to surpass her. I remember scenes where John would sit at Vivienne's feet to listen to her. They share the same way of telling a story in their fashion shows. Both are very English. Galliano bag AW18, Ready to Wear. Credits: Launchmetrics Spotlight. He launched his brand thanks to an English investor. He did two or three shows in Paris, then went back to England. Their story ended badly because, obviously, the return on investment wasn't quick enough. He came to Paris with his assistant without a penny to his name. Mind you, Vivienne didn't have any money either. How was he able to develop collections without money? He had the support of Anna Wintour, then editor of Vogue GB. Everyone thought he was brilliant and he was endorsed by Fayçal Amor (Plein Sud), who opened his workshops on Rue Servan (Paris) and gave him a space. He supported him from the moment he arrived until he met Bernard Arnault, orchestrated by Anna Wintour and André Leon Talley. What do you remember about John Galliano? When he arrived, he was a bit like Cédric, a Little Lord Fauntleroy [excessively polite and well-dressed]. He was very elegant and handsome. Obviously, when you see how he's transformed, it's a bit sad. We were very close, I could almost say that I fed him when he started out in Paris, he liked my soup a lot in fact. With Philippe Pasquet (formerly of Première Vision, now GL Events), we organised a four-day fashion cruise in the Fjords. 400 people from the fashion world (manufacturers, institutions, designers and couturiers) came on board. There were conferences, stopovers, film screenings, a new exhibition every evening, and so on. The young designers of the day included Vivienne, John, Jean Colonna, Olivier Guillemin and others. It was June, it was daylight 24 hours a day, and the young people danced the night away on the bridge. On the last night, John was so scared he wouldn't wake up that he fell asleep on the piano, which sat in the middle of the boat, so we wouldn't forget him. Were you close to Azzedine Alaïa? I met Azzedine Alaïa through Andrée Putman, in 1978. After that, I wore his suits and jersey dresses every day. At the time, he hadn't yet designed what I call his ‘skater dress’. I didn't work with him until late. He used to parade outside the calendar and would ask me, from time to time and on a friendly basis, to help him with organisational matters. He didn't need a press office, he had everything he wanted. One day, Didier Grumbach (then President of the Fédération Française de la Couture, du Prêt-à-Porter des Couturiers et des Créateurs de Mode) asked him to appear in the official Couture calendar. He accepted. Azzedine Alaïa was a friend. He spent all his nights at his sewing table, but from time to time he would come to the party. He liked to have fun and went out a lot. I met him at Le Palace with Grace Jones. Of course, he didn't dance in the middle of the dance floor. Could you explain why he stayed on the fringes of the fashion system? He always lived at his own pace. He wanted to show his clothes when he thought that they were definitely finished. He would cut the first models, do fittings, make patterns and so on. He was more or less alone. Today, there are a lot of dressmakers who don't know how to sew. Do you have an anecdote with Azzedine Alaïa? With him, personally, no. With one of his dresses, yes. I often wore this famous black jersey dress with zips that went round the figure. It was knee-length. It had a funnel neck at the front, but enough cleavage at the back for someone to run their hand down my back. Every time I wore that dress, everyone complimented me on how pretty I looked that night. One day, I lent this dress to a friend. We were at Le Palace bar, and people came up to her and complimented her in the same way. I realised that it was the dress that attracted them and not me. Credits: Foundation Azzedine Alaïa.Are the outfits you are offering in your auction [which runs until Thursday 7 September 2023 on Drouot Digital] from your personal collection*? Some of them I've worn, and others I've seen on the catwalk. At the time, a lot of designers didn't look after their archives, didn't have a venue and, very often, we didn't get paid. Fortunately, I had a few clients who allowed me to be a fashion patron. I kept these archives, either as compensation or because the designers didn't care about them. Why are you parting with these material memories? The first 15 years of the 2nd Bureau were spent in an attic in the countryside, in Faverolles, which we are in the process of converting into a foundation for the creative arts and fashion industries. The clothing library has been transformed into a library of books. Are you feeling nostalgic? Yes, firstly because many of the trades didn't exist and we were very close to the designers. They were their own masters, setting up their own companies. They hoped to earn money and make a living from their craft, but their creativity was not muzzled. Today, we're all dependent on marketing and sales. What's more, I think the street has become very ugly. Sportswear is made for sports. *Before opening her press office, Deuxième Bureau, Sylvie Grumbach already worked in fashion: Valentino, Ungaro, Créateurs & Industriels. *The pieces in the "From the Avant-Garde to Today" auction (Drouot Digital, until 7 September 2023) are by Vivienne Westwood, John Galliano and Azzedine Alaïa, as well as Jean Paul Gaultier, Kenzo, Jean Paul Knott, Kenta Matsushige, Claude Montana, Thierry Mugler, Saint Laurent Rive Gauche and Koji Tatsuno. This article originally appeared on FashionUnited.FR. Translation and edit by: Rachel Douglass.
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