Fashion designer Maroussia Rebecq and her model at an exhibition at the CAPC museum of modern art in Bordeaux. Credits: photo @sainte_colette
”The image of fashion is undoubtedly improving," the director of the IFM Economic Observatory said in the context of a recent study on fashion and sustainability conducted by the French fashion school and the trade show Première Vision. The report, entitled "Sustainable fashion hits its stride," gives insight into the dynamics of eco-responsibility and its developments.
About the study:
The results of this study conducted by IFM-Première Vision follow an initial edition published in 2019. The analysis is based on the responses to a survey of 5,000 individuals surveyed in five countries: France, the United Kingdom, Germany, Italy, and the United States. The study was released on September 13, 2023.
http://dlvr.it/Swp6mj
Women shirts & amp; Pajamas and versatile Fashion of Amazon and Alibaba., fashion, Facebook,youtube, instagram, tweeter and google
Saturday, September 30, 2023
Friday, September 29, 2023
PrettyLittleThing launches new premium collection PLT Label
PLT Label, premium collection at PrettyLittleThing Credits: PrettyLittleThing
In Pictures
Online womenswear retailer PrettyLittleThing has launched a new premium collection featuring pieces that offer “instant elevation”.
PLT Label launches with 28 looks that the e-commerce brand states have been selectively curated “to fulfil all your ‘what to wear’ dilemmas”.
Designed by its in-house team, the collection takes inspiration from the catwalk and “reimagines it for real life,” featuring trend essentials and statement pieces offering everything from weekend looks to elevated off-duty essentials.
PLT Label, premium collection at PrettyLittleThing Credits: PrettyLittleThing
Highlights include structured blazer and midi dress styles, micro-mini skirts, cut-out knitted co-ords, skin-baring low-rise trousers, as well as worn-in faux-leather pieces designed in matching sets and wide-leg trousers, all offered in a colour palette of oatmeal hues, olive accents and charcoal tones.
PLT Label collection is available now via PrettyLittleThing’s website in sizes UK 4-30 / US 0-26. Prices start from 16 pounds.
PLT Label, premium collection at PrettyLittleThing Credits: PrettyLittleThing
PLT Label, premium collection at PrettyLittleThing Credits: PrettyLittleThing
PLT Label, premium collection at PrettyLittleThing Credits: PrettyLittleThing
PLT Label, premium collection at PrettyLittleThing Credits: PrettyLittleThing
PLT Label, premium collection at PrettyLittleThing Credits: PrettyLittleThing
PLT Label, premium collection at PrettyLittleThing Credits: PrettyLittleThing
http://dlvr.it/SwlgpF
In Pictures
Online womenswear retailer PrettyLittleThing has launched a new premium collection featuring pieces that offer “instant elevation”.
PLT Label launches with 28 looks that the e-commerce brand states have been selectively curated “to fulfil all your ‘what to wear’ dilemmas”.
Designed by its in-house team, the collection takes inspiration from the catwalk and “reimagines it for real life,” featuring trend essentials and statement pieces offering everything from weekend looks to elevated off-duty essentials.
PLT Label, premium collection at PrettyLittleThing Credits: PrettyLittleThing
Highlights include structured blazer and midi dress styles, micro-mini skirts, cut-out knitted co-ords, skin-baring low-rise trousers, as well as worn-in faux-leather pieces designed in matching sets and wide-leg trousers, all offered in a colour palette of oatmeal hues, olive accents and charcoal tones.
PLT Label collection is available now via PrettyLittleThing’s website in sizes UK 4-30 / US 0-26. Prices start from 16 pounds.
PLT Label, premium collection at PrettyLittleThing Credits: PrettyLittleThing
PLT Label, premium collection at PrettyLittleThing Credits: PrettyLittleThing
PLT Label, premium collection at PrettyLittleThing Credits: PrettyLittleThing
PLT Label, premium collection at PrettyLittleThing Credits: PrettyLittleThing
PLT Label, premium collection at PrettyLittleThing Credits: PrettyLittleThing
PLT Label, premium collection at PrettyLittleThing Credits: PrettyLittleThing
http://dlvr.it/SwlgpF
Recover names new CEO amid expansion plans
Goldman Sachs x Recover labels. Credits: Goldman Sachs x Recover
Spanish materials science company Recover has announced the appointment of Anders Sjoblom to the role of chief executive officer as it continues expanding on its supply chain network.
From January 1, 2024, Sjoblom will take the helm of the company where he has been tasked with driving Recover into its next stage of growth. He will join the firm from the H&M Group, where he currently serves as global managing director of H&M lifestyle brands.
Sjoblom’s appointment is linked to a slew of shifts at Recover, with Alfredo Ferre, fourth-generation family steward of the company, also set to transition to the newly created role of chief product and innovation officer, in which he will focus on innovation and technical leadership.
It further follows the appointment of Matthew Neville as the company’s first global chief commercial officer, building on plans to establish a customer-centric sales team.
In a release, Recover’s chairman and former CEO, Olof Persson, said: “These leadership changes enable Recover to focus on ensuring operational and financial excellence while continuing to innovate and lead disruptive change for the apparel and textile industries.
“Anders has an outstanding track record of having successfully scaled global businesses while driving growth and brand awareness, while Alfredo will return to his roots as he focuses on strategic product vision and innovation.”
The group is currently scaling its production of sustainable recycled cotton fibre, having opened a facility in Bangladesh in 2022 that added to its existing network in Spain and Pakistan, as well as a planned facility in Vietnam.
http://dlvr.it/SwlgZ7
Spanish materials science company Recover has announced the appointment of Anders Sjoblom to the role of chief executive officer as it continues expanding on its supply chain network.
From January 1, 2024, Sjoblom will take the helm of the company where he has been tasked with driving Recover into its next stage of growth. He will join the firm from the H&M Group, where he currently serves as global managing director of H&M lifestyle brands.
Sjoblom’s appointment is linked to a slew of shifts at Recover, with Alfredo Ferre, fourth-generation family steward of the company, also set to transition to the newly created role of chief product and innovation officer, in which he will focus on innovation and technical leadership.
It further follows the appointment of Matthew Neville as the company’s first global chief commercial officer, building on plans to establish a customer-centric sales team.
In a release, Recover’s chairman and former CEO, Olof Persson, said: “These leadership changes enable Recover to focus on ensuring operational and financial excellence while continuing to innovate and lead disruptive change for the apparel and textile industries.
“Anders has an outstanding track record of having successfully scaled global businesses while driving growth and brand awareness, while Alfredo will return to his roots as he focuses on strategic product vision and innovation.”
The group is currently scaling its production of sustainable recycled cotton fibre, having opened a facility in Bangladesh in 2022 that added to its existing network in Spain and Pakistan, as well as a planned facility in Vietnam.
http://dlvr.it/SwlgZ7
Wednesday, September 27, 2023
SS24: Nostalgia, raves and ‘real’ fashion at Milan Fashion Week
Gucci SS24 Credit: Spotlight Launchmetrics
After years of spectacular fashion shows with a certain showmanship originally reserved for haute couture, this season's Milan Fashion Week offered a now rare insight into what ready-to-wear collections used to be all about: fashion that could move from the catwalk to the store.
A low-key debut puts the ‘product’ in focus
A sense of anticipation and marketing drowned out Sabato De Sarno's debut show for Gucci, which ended up making a name for itself primarily through a wearability that was unusual for the Italian luxury brand. While De Sarno's predecessor Alessandro Michele enchanted the fashion world with elaborate stagings and a dose of magic, De Sarno's ‘Ancora’ collection, designed to make people want Gucci again, focused more on the product than on a visionary idea and a spectacular catwalk show.
Read more about the Gucci debut here:
* Gucci in transition: The debut of Sabato De Sarno and the birth of a new luxury icon
* Milan Fashion Week: Gucci unveils the first collection designed by Sabato De Sarno
* Gucci’s whimsy to chic shift leaves some wanting more
The planned show on the streets of Milan fell through due to the weather, leaving the Florentine luxury fashion house with no choice but to bring the show to the dry ‘Gucci Hub’, the brand's Milan headquarters. Still, the question remains whether the mix of everyday looks, rhinestone-studded tops and bras and platform loafers presented in front of a star-studded Front Row would have brought a little more coherence in its original location.
Gucci SS24 Credit: Spotlight Launchmetrics
Gucci seemed to allude not only to its own brand archive, but also to the archives of the biggest brands of previous seasons, which not only received rave reviews, but also achieved corresponding sales figures. To what extent De Sarno's highly commercial performance is actually crowned with success will only become clear when the collection hits the shops next year. What cannot be denied, however, is that it is not difficult to imagine the Gucci sweatshirts, mini-skirts and coats on hangers in the stores and on numerous customers.
Gucci SS24 Credit: Spotlight Launchmetrics
Gucci, however, was by no means the only brand at Milan Fashion Week to look to the past for the upcoming spring/summer season. Donatella Versace went back to 1995 and returned with a ‘60s collection inspired by her late brother Gianni Versace and ‘90s supermodel Claudia Schiffer, while designer Peter Hawkings paid homage to his time at Gucci in his Tom Ford debut.
Despite the seemingly shared penchant for nostalgia and commercialism, however, Milan's designers continued to take radically different paths.
Raves and eccentricity for Gen Z clients
Diesel - seemingly a perennial outlier headed by designer Glenn Martens - invited some 6,000 guests to a techno rave in the pouring rain. With all the excitement, the fashion show that opened the party almost became a minor matter, at least on social media. Nevertheless, behind the spectacle was a collection that - at least within the ‘Dieselverse’ - is thoroughly wearable.
Diesel SS24 Credit: Spotlight Launchmetrics
Models braved the storm in T-shirts paired with grey trousers that revealed a hint of skin. Discoloured anoraks and knitted tank tops were reminiscent of well-worn garments, while V-neck dresses and oversized cardigans were deconstructed. Martens brought Gen Z friendly ensembles paired with gritty realism and party-ready style that resembled the outfits worn by guests at the venue, simultaneously offering a glimpse of future potential clientele. Graphic print shirts were reminiscent of film posters, and the models painted in silver spray paint nodded to their extraterrestrial protagonists. The ‘D’ logo still abounded, as did the illusion that torn clothes could fall off the models' bodies at any moment and, of course, lots of denim.
Diesel SS24 Credit: Spotlight Launchmetrics
Few brands remain as unbridled as Diesel, unless their own history allows it, as is the case with Roberto Cavalli. Fausto Puglisi, who has been creative director for the Italian label since 2020, seemed to delve deeper into Cavalli's archives and jungle with each season, with this one being a more literal take as the designer transformed the Milan Stock Exchange into a green oasis.
It is hard to imagine that Puglisi, like Cavalli himself, has ever heard of minimalism or "quiet luxury", and if he has, he categorically rejects them. His performance was loud, sometimes garish, full of ‘70s hippies and the excess that goes with them, but above all, the collection was 100 percent Cavalli - the only question is whether the customers for such a collection have not remained in the time of the flower children.
Roberto Cavalli SS24 Credit: Spotlight Launchmetrics
At Etro, another storied brand with a loud and eclectic history, creative director Marco De Vincenzo seemed to be finding his feet after two seasons and establishing his own vision, even if the collection was officially set in "nowhere".
Minimalist, commercial and yet surprising?
Even if fashion is an industry, the word ‘commercial’ is not necessarily always welcome – especially when it is used to describe a collection. But Bottega Veneta, Ferragamo and Jil Sander proved that commercialism can also be fashionable and, above all, surprising.
Matthieu Blazy started his Bottega Veneta show with his now customary simplicity, which gave way to increasingly extreme silhouettes and experimentation over the course of the 73 looks in total. The Belgian designer seemed to have turned over a new leaf with a collection that was, as he stated in the show notes, “free” and “without codes”.
Bottega Veneta SS24 Credit: Spotlight Launchemetrics
Despite bold new proportions, the designer stayed true to himself and his previously established aesthetic, as well as his penchant for leather, that had been combined his signature with a range of new textures reminiscent of fishnets and pom-poms, without appearing exaggerated or even childish. If anything, Blazy proved that minimalism doesn't have to be boring or predictable, and fashion can be incredibly wearable on the runway.
Bottega Veneta SS24 Credit: Spotlight Launchmetrics
Maximilian Davis also seemed to have taken a new path in his third show for Salvatore Ferragamo. Gone is the red so present in his first two collections, giving way to a minimalist, precision-cut performance that mixed officewear with elegant eveningwear. Like Blazy's collection, the 64-piece line consisted of lots of leather dipped in deep green, while the figure-hugging dresses contoured the models' bodies. Jackets were replaced by decorative evening wear and elegant capes revealed sophisticated constructions, all of which appeared both casual and sophisticated - a balance and art usually attributed mostly to Prada.
Ferragamo SS24 Credit: Spotlight Launchmetrics
Fashion is in the eye of the beholder
This season, the Italian brand Sunnei came up with something to expose their collection to the immediate feedback and criticism of the audience present. The idea went far beyond the usual well-behaved and polite applause for fashion shows, as those present were given a series of paddles with which they were instructed to rate the looks from one to ten, as is later done anyway in the comments on social media.
Sunnei SS24 Credit: Spotlight Launchmetrics
While the idea of the designer duo Simone Rizzo and Loris Messina was probably more a kind of socially critical mirror for the constant criticism and expression of opinions on Instagram and the like, it is also an extremely fitting symbol for a season in which fashion brands seem to have been particularly concerned with the favour of their customers and the commercial success that goes with it. While most brands will not experience the commercial appeal of their collections until February next year at the earliest, Sunnei may already have had a taste.
This article originally appeared on FashionUnited.DE. Translation and edit by: Rachel Douglass.
Read more from the SS24 fashion season:
* Making fashion week work: London brings wearable style to the forefront
* Tom Ford after Tom Ford? Peter Hawkings revels in memories of Gucci for his debut
* Runway crashers and Peter Do's debut: New York Fashion Week Spring/Summer 2024 recap
* Fashion Week Tokyo designers on Japan's market and broadening their horizons
* Fashion week gets personal: Copenhagen drives home the emerging designer movement
http://dlvr.it/SwfbhZ
After years of spectacular fashion shows with a certain showmanship originally reserved for haute couture, this season's Milan Fashion Week offered a now rare insight into what ready-to-wear collections used to be all about: fashion that could move from the catwalk to the store.
A low-key debut puts the ‘product’ in focus
A sense of anticipation and marketing drowned out Sabato De Sarno's debut show for Gucci, which ended up making a name for itself primarily through a wearability that was unusual for the Italian luxury brand. While De Sarno's predecessor Alessandro Michele enchanted the fashion world with elaborate stagings and a dose of magic, De Sarno's ‘Ancora’ collection, designed to make people want Gucci again, focused more on the product than on a visionary idea and a spectacular catwalk show.
Read more about the Gucci debut here:
* Gucci in transition: The debut of Sabato De Sarno and the birth of a new luxury icon
* Milan Fashion Week: Gucci unveils the first collection designed by Sabato De Sarno
* Gucci’s whimsy to chic shift leaves some wanting more
The planned show on the streets of Milan fell through due to the weather, leaving the Florentine luxury fashion house with no choice but to bring the show to the dry ‘Gucci Hub’, the brand's Milan headquarters. Still, the question remains whether the mix of everyday looks, rhinestone-studded tops and bras and platform loafers presented in front of a star-studded Front Row would have brought a little more coherence in its original location.
Gucci SS24 Credit: Spotlight Launchmetrics
Gucci seemed to allude not only to its own brand archive, but also to the archives of the biggest brands of previous seasons, which not only received rave reviews, but also achieved corresponding sales figures. To what extent De Sarno's highly commercial performance is actually crowned with success will only become clear when the collection hits the shops next year. What cannot be denied, however, is that it is not difficult to imagine the Gucci sweatshirts, mini-skirts and coats on hangers in the stores and on numerous customers.
Gucci SS24 Credit: Spotlight Launchmetrics
Gucci, however, was by no means the only brand at Milan Fashion Week to look to the past for the upcoming spring/summer season. Donatella Versace went back to 1995 and returned with a ‘60s collection inspired by her late brother Gianni Versace and ‘90s supermodel Claudia Schiffer, while designer Peter Hawkings paid homage to his time at Gucci in his Tom Ford debut.
Despite the seemingly shared penchant for nostalgia and commercialism, however, Milan's designers continued to take radically different paths.
Raves and eccentricity for Gen Z clients
Diesel - seemingly a perennial outlier headed by designer Glenn Martens - invited some 6,000 guests to a techno rave in the pouring rain. With all the excitement, the fashion show that opened the party almost became a minor matter, at least on social media. Nevertheless, behind the spectacle was a collection that - at least within the ‘Dieselverse’ - is thoroughly wearable.
Diesel SS24 Credit: Spotlight Launchmetrics
Models braved the storm in T-shirts paired with grey trousers that revealed a hint of skin. Discoloured anoraks and knitted tank tops were reminiscent of well-worn garments, while V-neck dresses and oversized cardigans were deconstructed. Martens brought Gen Z friendly ensembles paired with gritty realism and party-ready style that resembled the outfits worn by guests at the venue, simultaneously offering a glimpse of future potential clientele. Graphic print shirts were reminiscent of film posters, and the models painted in silver spray paint nodded to their extraterrestrial protagonists. The ‘D’ logo still abounded, as did the illusion that torn clothes could fall off the models' bodies at any moment and, of course, lots of denim.
Diesel SS24 Credit: Spotlight Launchmetrics
Few brands remain as unbridled as Diesel, unless their own history allows it, as is the case with Roberto Cavalli. Fausto Puglisi, who has been creative director for the Italian label since 2020, seemed to delve deeper into Cavalli's archives and jungle with each season, with this one being a more literal take as the designer transformed the Milan Stock Exchange into a green oasis.
It is hard to imagine that Puglisi, like Cavalli himself, has ever heard of minimalism or "quiet luxury", and if he has, he categorically rejects them. His performance was loud, sometimes garish, full of ‘70s hippies and the excess that goes with them, but above all, the collection was 100 percent Cavalli - the only question is whether the customers for such a collection have not remained in the time of the flower children.
Roberto Cavalli SS24 Credit: Spotlight Launchmetrics
At Etro, another storied brand with a loud and eclectic history, creative director Marco De Vincenzo seemed to be finding his feet after two seasons and establishing his own vision, even if the collection was officially set in "nowhere".
Minimalist, commercial and yet surprising?
Even if fashion is an industry, the word ‘commercial’ is not necessarily always welcome – especially when it is used to describe a collection. But Bottega Veneta, Ferragamo and Jil Sander proved that commercialism can also be fashionable and, above all, surprising.
Matthieu Blazy started his Bottega Veneta show with his now customary simplicity, which gave way to increasingly extreme silhouettes and experimentation over the course of the 73 looks in total. The Belgian designer seemed to have turned over a new leaf with a collection that was, as he stated in the show notes, “free” and “without codes”.
Bottega Veneta SS24 Credit: Spotlight Launchemetrics
Despite bold new proportions, the designer stayed true to himself and his previously established aesthetic, as well as his penchant for leather, that had been combined his signature with a range of new textures reminiscent of fishnets and pom-poms, without appearing exaggerated or even childish. If anything, Blazy proved that minimalism doesn't have to be boring or predictable, and fashion can be incredibly wearable on the runway.
Bottega Veneta SS24 Credit: Spotlight Launchmetrics
Maximilian Davis also seemed to have taken a new path in his third show for Salvatore Ferragamo. Gone is the red so present in his first two collections, giving way to a minimalist, precision-cut performance that mixed officewear with elegant eveningwear. Like Blazy's collection, the 64-piece line consisted of lots of leather dipped in deep green, while the figure-hugging dresses contoured the models' bodies. Jackets were replaced by decorative evening wear and elegant capes revealed sophisticated constructions, all of which appeared both casual and sophisticated - a balance and art usually attributed mostly to Prada.
Ferragamo SS24 Credit: Spotlight Launchmetrics
Fashion is in the eye of the beholder
This season, the Italian brand Sunnei came up with something to expose their collection to the immediate feedback and criticism of the audience present. The idea went far beyond the usual well-behaved and polite applause for fashion shows, as those present were given a series of paddles with which they were instructed to rate the looks from one to ten, as is later done anyway in the comments on social media.
Sunnei SS24 Credit: Spotlight Launchmetrics
While the idea of the designer duo Simone Rizzo and Loris Messina was probably more a kind of socially critical mirror for the constant criticism and expression of opinions on Instagram and the like, it is also an extremely fitting symbol for a season in which fashion brands seem to have been particularly concerned with the favour of their customers and the commercial success that goes with it. While most brands will not experience the commercial appeal of their collections until February next year at the earliest, Sunnei may already have had a taste.
This article originally appeared on FashionUnited.DE. Translation and edit by: Rachel Douglass.
Read more from the SS24 fashion season:
* Making fashion week work: London brings wearable style to the forefront
* Tom Ford after Tom Ford? Peter Hawkings revels in memories of Gucci for his debut
* Runway crashers and Peter Do's debut: New York Fashion Week Spring/Summer 2024 recap
* Fashion Week Tokyo designers on Japan's market and broadening their horizons
* Fashion week gets personal: Copenhagen drives home the emerging designer movement
http://dlvr.it/SwfbhZ
Monday, September 25, 2023
Shein hosts live fashion show for AW23 collection
Shein Marseille pop-up. Credits: Shein.
Fast fashion giant Shein took to a new format over the weekend to present its latest autumn/winter 2023 collection, opting to unveil nine of the pieces via a livestreamed runway show on social media.
Dubbed ‘Shein Live: Front Row’, the shoppable livestream lasted three hours and was co-hosted by actress and influencer Taela Dunn and Shein host Renee Ariel.
Viewers could tune into the event via Shein’s own e-commerce app, as well as its Facebook, YouTube, Instagram and X – formerly Twitter – pages, where looks spanned nine new collections, including ‘Totally Timeless’, ‘Ready for Romance’ and ‘Fits for All’.
In a release, George Chiao, president of Shein US, said: “Shein was founded on the mission of making fashion accessible to all, and through Shein Live: Front Row, we're excited to give all fans the opportunity to experience fashion from prime first row seating.
"Through this virtual show, we are looking forward to showcasing our wide variety of clothing for Fall/Winter and making it possible for fans to shop styles directly from the runway to their closets."
The concept of such fashion show setups isn’t entirely new and has proved to be a successful marketing tactic for other brands, such as Victoria’s Secret and Rihanna’ Savage x Fenty, both of which have built entire cultures around their events.
http://dlvr.it/SwZ6b8
http://dlvr.it/SwZ6b8
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