Armedangels appoints André Hennigers as Director Global Sales

André Hennigers Credits: Armedangels



Armedangels has a new Director Global Sales.


André Hennigers has been appointed to the role of Director Global Sales, the Cologne-based clothing retailer announced on Tuesday. In his new role, which he has held since September 15, the designated sales manager will be responsible for the strategic development and expansion of the sales business.


Henningers is taking over the position from Greta Meyza. She is leaving the company at the end of October of her own accord to pursue a new, exciting challenge, according to the announcement. According to her profile on the career network Linkedin, Meyza worked for the Cologne-based label for just over four years.


"I am delighted to be part of the Armedangels team and to support the company in its mission to make more sustainable fashion accessible to a wider audience," said the new Director of Global Sales. "Especially in a dynamic and growing area like this, there is still great potential that we can exploit together," said Hennigers about his new role.


Henningers, who is currently also a guest lecturer at the Munich International School of Management, was Managing Director of the Neuss-based men's fashion retailer Lerros until 2022. Previously, he held the role of Managing Director of Marc O'Polo Denim at the Stephanskirchen-based fashion retailer and held the title of Sales Director Central Europe at the US company Levi Strauss & Co.


This article originally appeared on FashionUnited.DE, translated and edited to English.


It was translated using an AI tool called Gemini 1.5. .




FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@fashionunited.com


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More than “traditional sponsorship”: Snipes becomes partner of Paris Saint-Germain

Close to the man: The Snipes logo on the PSG jerseys Credits: Image: Snipes SE



The retail chain Snipes will soon have a prominent presence in top-level football. On Monday, the sneaker and sportswear retailer, which is part of the Deichmann Group, announced that it will be collaborating with the top French club Paris Saint-Germain (PSG) as an Official Culture & Community Partner.


As part of the agreement, which is initially set to run for three years, the company said, among other things, "the Snipes logo will be visible on the back of the first men's team's jersey at all Ligue 1 games." The aim of the partnership is also to "go beyond traditional sponsorship and embed Snipes' cultural roots deeply into the club's activities and community initiatives."


The retailer also wants to integrate the collaboration into its charity program "Snipes serves." "Not only children and young people from the greater Paris area, but also from other markets relevant to the retailer and club, will be able to benefit from various unforgettable moments in sport, but also in the area of ​​cultural education," the company explained.


CEO Schröder praises “biggest deal in Snipes history”




Snipes CEO Dennis Schröder underlined the importance of the partnership for the retailer. "This is the biggest deal in Snipes history - and I am very proud of it," he said in a statement. "It is important to us that we do not just place our logo on the back of the PSG jersey and play classic perimeter advertising. PSG is the biggest lifestyle brand in world football. Together we want to make a difference - locally in Paris and together in the world!"


The strategic importance of the collaboration is correspondingly great: "Through the partnership, Snipes is massively increasing its commitment to France and underlining its importance as one of the most important growth markets for the retailer," a statement said. At the same time, the retailer is using "the club's unique global reach to strengthen its presence globally."


This article originally appeared on FashionUnited.DE, translated and edited to English.


It was translated using an AI tool called Gemini 1.5. .




FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@fashionunited.com


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Belgian brand Bernadette opens temporary café during Paris Fashion Week

Mother-daughter duo behind the brand Bernadette Antwerp Credits: © Bernadette, spring-summer 2021. Photo: Laurence Ellis



Antwerp fashion label Bernadette has headed to Paris Fashion Week. The brand has opened two temporary cafés, as can be seen on the brand's Instagram page.


Bernadette Antwerp can be found at two locations of Petibon Paris. The pop-up café can be found here from Tuesday 24 September until 2 October.


The pop-ups are supposed to be designed to be a small resting place during the hectic fashion weeks. The two cafés are designed according to the concept of Bernadette Antwerp and also show the colorful tableware and interior items that are part of the assortment.


The Bernadette brand was founded five years ago and is run by mother-daughter duo Charlotte de Geyter and Bernadette de Geyter. The brand is known for its colorful and voluminous designs with a sense of modern femininity. The prints are hand-drawn by Charlotte and Bernadette is an expert in the field of fits for women of all ages, thanks in part to her work for Ralph Lauren, among others.


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Goosebumps and stars as Paris Fashion Week kicks off

L'Oreal Paris show “Walk Your Worth” as part of the Paris Fashion Week Women Ready-to-wear Spring-Summer 2025 collection at Palais Garnier (Opera national de Paris) opera house, in Paris. Credits: JULIEN DE ROSA / AFP



Paris - Hollywood stars braved the rain to open Paris Fashion Week at L'Oreal's giant outdoor show Monday as rumours swirl of musical chairs at the top of fabled French brands.


The cosmetics giant persuaded Jane Fonda — in snazzy silver sneakers — Kendall Jenner, Eva Longoria, and several of its other brand ambassadors to walk in a spectacular public show in front of the gilded glory of the Opera Garnier.


With invites to the big luxury shows strictly limited to the glitterati and fashion insiders, L'Oreal said it wanted to democratise the glamour of fashion week.


Introduced by singer Celine Dion, the "Walk Your Worth" show also featured Andie MacDowell, Indian star Aishwarya Rai Bachchan, models with prosthetic limbs, and Brazilian supermodel Luma Grothe proudly showing off her bump.


"The idea is to let the public see for themselves the beautiful clothes, settings, and people that they would never normally have access to," L'Oreal's Paris director general, Delphine Viguier, told AFP.


Fashion's young guard had earlier endured a stormy start to the nine-day extravaganza. Rising French star Victor Weinsanto staged his spring-summer show on the wet and windy roof of the Pompidou Centre museum, with his fishnet and mesh ensembles — created around Croatian drag queen Le Filip — being tested by the elements.


The Paris shows started as falling profits at the two luxury giants, LVMH and Kering, sent a shudder through the industry, fuelling talk of a "Game of Thrones" among top designers.


Celine's Hedi Slimane and Simon Porte Jacquemus — the young French designer who made tiny handbags and tiny everything else a thing — are being talked about to fill Karl Lagerfeld's empty chair at Chanel after Virginie Viard, who took the reins after the death of "the Kaiser" in 2019, bowed out in June.


Hotly anticipated




Tongues are also likely to wag at the spring-summer shows over where John Galliano might go, with his contract at Maison Margiela nearing its end.


The first shows from the big-hitter French houses will come Tuesday, with Dior and Saint Laurent, with a packed calendar confirming Paris's crushing dominance over rivals Milan, New York, and London.


And there is no let-up at the end: Chanel opens the final day on October 1 by returning to the vast Grand Palais, the scene of some of Lagerfeld's most jaw-dropping shows, after an absence of four years.


The house is shelling out 30 million euros ($33 million) to stage its shows at the iconic Belle Epoque edifice, which reopened after a major facelift to host fencing and taekwondo at the Paris Olympics and Paralympic Games.


With Viard — long Lagerfeld's right-hand woman — gone, observers expect a collection drawn from Chanel classics.


In contrast, there could well be fireworks from Alessandro Michele, the mercurial Italian designer who transformed Gucci, who may be keen to make his mark with his debut show for Valentino.


Equally anticipated is French duo Coperni, who are staging their show at Disneyland Paris on the final night, with an after-party in the theme park that promises to go on into the wee hours.


The brand's founders, Arnaud Vaillant and Sebastien Meyer, pulled off a coup with their outfit for Belgian singer Angèle for the Olympics closing ceremony, and are clearly in a mood to celebrate.


Another hot duo, the Olsen twins, the Los Angeles child actors turned designers, have kept their place for their luxury line, The Row, in fashion week proper, thanks to a cash injection from the owners of Chanel and L'Oreal.


Paris will, however, be without Givenchy this time, with its new British designer Sarah Burton — a stalwart at Alexander McQueen for a quarter of a century — just made creative director (AFP).


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Minimum wage for Cambodian garment workers to increase

Image of a garment worker for illustration. Credits: Pexels.



The minimum wage for Cambodian garment workers will increase to 208 dollars per month by 2025. This is an increase of four dollars from 2024, when it was 204 dollars per month.


The agreement comes after months of talks between the Cambodian government, led by prime minister Samdech Thipadei, and the National Council on Minimum Wage (NCMW), which focuses on minimum wages for workers in the textile, garment, footwear and bag industries.


According to Heng Sour, minister of labour and vocational training and chairman of the NCMW, the results of the negotiations on the minimum wage for 2025 were decisive: 46 out of 51 votes were in favour of setting the wage at 206 dollars. Thipadei shared via social media that he "instructed" minister Sour to add two dollars to the amount. Therefore, the new minimum wage for next year is 208 dollars per month.


Thipadei continued: "Even in the difficult circumstances of the global economy, the Royal Government remains committed to improving the living conditions, employment and well-being of people at all levels. This year's wage increase, although modest, is intended to alleviate some of the hardships of our workers."


Cambodia has been an important export country for major fashion companies since the 1990s due to its strategic location in Southeast Asia and cost-efficient production. The employees in the factories produce for Nike, Adidas, New Balance, Levi's and Puma, among others.


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Michael Kors opens temporary London store

Michael Kors opens temporary London store. Credits: Michael Kors.



US fashion label Michael Kors has unveiled a new temporary store location in London as its yet-to-be-unveiled flagship store in the city undergoes construction.


Located at 9 Old Bond Street, the temporary site will house Michael Michael Kors, Michael Kors Mens and Michael Kors Collection among its stock.


This will serve as one of the brand’s core London stores until its new flagship, located at 187-191 Regent Street, is complete. This site is then expected to open in the summer of 2025.


The brand had previously opened a Regent Street flagship store back in 2022, which had been dubbed Michael Kors’ largest European store to date, spanning 16,275 square feet across three floors.


At the time, the brand’s eponymous designer reaffirmed the brand’s commitment to the city, stating to press: “London is one of the world’s great fashion cities and an endless source of inspiration for me personally.


“I’m thrilled to be opening a beautiful new flagship on Regent Street that represents everything we do and offers our customers the full world of Michael Kors.”


The Regent Street opening marked the debut of a new retail design concept for the brand, seen in the use of stainless steel, Macassar wood and marble features. The aesthetic has seemingly been transferred to the temporary location, which puts forth a similar use of materials in a pared back setting.


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Hugo Boss and Movado Group extend partnership to 2031

Boss store in Tokyo Credits: Hugo Boss AG



Watchmaker Movado Group has announced the extension of its licensing agreement with German fashion brand Hugo Boss, expanding the duo’s partnership until December 31, 2024.


Included in the agreement is an option for Movado subsidiary, MGI Luxury Group S.A., to potentially further prolong the agreement for an additional five years, subject to certain conditions.


Among the updated terms, Movado has revised royalty rates, revisited the minimum sales targets, and updated marketing and advertising expenditure requirements for the period 2024 through 2031. New pricing arrangements have also been set for the sales from MGI to Hugo Boss and affiliates.


Movado additionally noted in the regulatory filing that the amendment follows a settlement made in August 2023 – acknowledged in the new agreement as resolved – during which Hugo Boss was compensated for formerly inadvertent overcharges on sales to specific affiliates.


The company said that it would seek confidential treatment for the terms of the amendment when it files its upcoming quarterly report ending October 31, 2024. It added: “This strategic move is expected to reinforce Movado's position in the luxury watch market by continuing its association with the prestigious Hugo Boss brand.”


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Debenhams plans new websites for Ireland and Australia

Credits: courtesy of Debenhams.com



Boohoo-owned Debenhams is preparing its expansion into international markets, with new websites set to launch in Ireland and Australia before Christmas. This is according to CEO Dan Finley, who confirmed in an interview to Drapers that the return to these markets was part of a wider expansion drive.


This will also involve the launch of a Nasty Gal marketplace in the US, as well as the debut of a fulfilment service later this year, which will enable the onboarding of UK brand partners. With this, Debenhams stock will be stored and dispatched via Boohoo's automated distribution centre in Sheffield.


In regards to the launches in Australia and Ireland, both of which Debenhams will be returning to after previously exiting the markets, Finley said that the company was responding to the demands of consumers, with Australia in particular presenting a “great opportunity to bring our new Debenhams business back”.


He added: “We have seen the opportunity to be bi-directional as we internationalise, and essentially that means it is an opportunity for our existing partners through services that we offer to reach consumers in other territories and provide another avenue for growth. Equally, we see it as an opportunity for international and overseas brands to sell through our Debenhams platform to the UK consumer too.”


It comes as Finley reported that around 10,000 brands had joined the Debenhams marketplace platform as it continues to “double-down” on this online-focused strategy following Boohoo’s acquisition of the retailer in 2021.


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Bottega Veneta holds investors' aces as Madonna pops into D&G

Bottega Veneta Spring Summer 2025, Ready to Wear. Credits: ©Launchmetrics/spotlight.



Milan – Milan Fashion Week came to a close on Saturday with its share of surprises, not least an unlikely source of inspiration for Bottega Veneta's much-anticipated evening show.


"For this show, I took as my starting point the scene from Spielberg's film E.T., when the mother opens the closet to reveal a world of stuffed animals..." Bottega Veneta's artistic director Matthieu Blazy explained backstage.


"The surprise of an imaginary world, the world of childhood, where everything is possible, where everything is a game, a joy, an adventure," he said.


Blazy sought to recreate children trying on their parents' clothing, or even the first day of school, "when parents have prepared the perfect outfit for their child, who comes back with everything upside down."


That resulted in dresses just a bit too big, outfits with one leg in pants, the other in a skirt, superimpositions or creases.


As for the dress embroidered with matches?


"It's the object of childhood's forbidden game, intrepid and dangerous," he said.


Earlier Saturday, no less a superstar than Madonna sat in the front row of the Dolce & Gabbana show—her face barely visible under a black lace veil.


The catwalk became a tribute to the "Material Girl," with all models in blond wigs, some in corsets with pointy breasts, others in black men's tuxedos embellished with trouser braces.


But at Bottega Veneta, not only fashion fans were watching, but investors too.


Founded in 1966 in Vicenza in the northeastern Italian region of Veneto, the label renowned for its woven leather goods and expert craftsmanship became a part of France's Kering group in 2001.


And with Kering's flagship brand Gucci currently in a sales dive—down 20 percent in the first half of this year—the company is hoping to make the most of its smaller and less showy Italian brand.


In the first half of 2024, Bottega Veneta posted revenue growth of three percent to 836 million euros ($933 million), whereas Gucci's revenue, while down significantly, was 4.1 billion euros—nearly half of Kering's entire revenue of nine billion euros.


So while Bottega Veneta may be a drop in the luxury group's ocean, it is a promising one—and one that goes hand in hand with its distinctive approach to fashion.


A coveted brand that is notably absent from social networks, Bottega Veneta thrives on discreet hyper-exclusivity, led by the Franco-Belgian Blazy, who took over as creative director at the end of 2021.


Tell-tale 'intrecciato'




With sumptuous materials that flirt with trompe-l'oeil and cult pieces such as jeans-like pants in buttery calf leather selling for 5,200 euros, Bottega Veneta has built up considerable cult status in recent years under Blazy.


The brand eschews logos on its products, instead letting its famous "intrecciato," or signature woven leather, speak for itself, or incorporating a brass "nodo" or knot as an essential design element into shoes and other accessories.


The brand has also strategically snubbed social networks. In 2021, it deleted its Instagram account only for fans to take over an unofficial "newbottega" account so as not to miss any of the latest news.


Passionate about contemporary art and design, Blazy fuels the brand's projects through collaborations with photographers and creatives.


Some are even revealed during fashion shows themselves, such as last year's 400 chairs designed by furniture and art designer Gaetano Pesce, who died in April, or the February homage to architect Le Corbusier with a reinterpretation of his Tabouret Cabanon.


The recent opening of Palazzo Van Axel in Venice will now welcome Bottega Veneta's exclusive clients to discover the world of the brand in a fully restored palace in the heart of the watery city.


There, personalized services include the opportunity to choose from luxurious leathers or unique pieces not available in stores.


The palace will also host exhibitions, special projects, and the presentation of Bottega Veneta's high-end jewellery collection in November (AFP).


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Looking back at 15 Years of the BFC under Caroline Rush

Caroline Rush. Credits: BFC.



Next year, Caroline Rush will officially step down from her role as chief executive officer of the British Fashion Council (BFC), bringing to an end a 15 year run at the helm of the UK’s leading fashion industry non-profit. The announcement of her departure comes at a time of great evolution at the organisation, which has set about repositioning itself as a “catalyst for change” as it looks to help revive the local industry following a tumultuous period.


A day after her plans to exit were revealed, we look back at Rush’s career at the helm of the BFC, from the launch of various charitable initiatives to her most recent work advising the new UK government.


2009: Caroline Rush joins the BFC




While Rush was first appointed to the BFC in 2009, she already had a solid relationship with the council prior, having previously served as a consultant for London Fashion Week (LFW) in 1998. She continued this collaboration under her own PR firm Crush Communications, launched in 2002, before eventually assuming the role of CEO for the BFC. At the time of her appointment, Rush had been tasked with restructuring both LFW and the BFC’s British Fashion Awards (now only known as the Fashion Awards).


Newgen Men


One of the first changes under the guidance of Rush was the introduction of Newgen Men, a menswear-dedicated platform that expanded on the already existing Newgen programme that had previously been focused on womenswear.


Headonism


Before merging with the Newgen programme, which expanded to involve the accessory category, BFC Headonism had been launched during the council’s 25 year anniversary to celebrate British milliners. Those selected went on to receive mentoring from Stephen Jones OBE, who also curated the programme.


2011: BFC Fashion Trust founded




The BFC Fashion Trust was formed as an amalgamation of all of the BFC’s charitable initiatives, bringing them under one umbrella in order to more seamlessly support selected designers. According to the BFC, the trust has awarded almost three million pounds to 57 designers to promote growth and fund the implementation of practical solutions. Among those already awarded are Christopher Kane, David Koma, Molly Goddard, Rejina Pyo and Roksanda.


(From left) Roksanda Ilinčić, Christopher Kane and David Koma. Credits: ©Launchmetrics/spotlight



2012: London Fashion Week Men’s launches




One of the most notable developments in 2012 was the creation of London Collections: Men (which has since undergone rebranding: firstly, as London Fashion Week Men’s and, most recently, LFW: June). Prior to this, menswear collections had been shown in a dedicated slot on the final day of LFW, yet this marked the first time menswear became a bi-annual, standalone project.


Rock Vault


Rock Vault was another initiative that eventually came under the wing of the Newgen scheme. Prior to this, however, it began as a platform for emerging jewellery designers, created to promote and raise the international profile of select brands on an annual basis.


Britain Creates


This year also saw the BFC expand its horizons into different cultural sectors. Via the Britain Creates project, the council sought out to establish relationships between fashion designers and visual arts, uplifting a curation of artworks during the London 2012 Festival. This was part of her work with the London Organising Committee of the Olympic and Paralympic Games.


2013: Introduction to BFC/GQ Designer Menswear Fund




Now a long-standing staple of the council, the BFC/GQ Designers Menswear Fund built on past efforts to further support emerging British menswear businesses. Those selected for the yearly accolade receive a 12-month mentorship and a grant to help aid the future growth of their brand. Since its inception, the winners of the fund have included Bianca Saunders, Ahluwalia, Craig Green and Wales Bonner, among others.


Bianca Saunders winner of the BFC/GQ Designer Fashion Fund 2024 Credits: British Fashion Council



2014: Rush founds the Fashion Forum




Rush, together with Natalie Massenet and Jonathan Goodwin, was behind the founding of the Fashion Forum, a think tank with the mission of opening up conversations about issues in the wider UK fashion sector. At the inaugural event, held in Syon House, over 180 guests were in attendance, coming together to discuss investments, financing and growth potential.


BFC Contemporary


The BFC and Ebay partnered on the formation of BFC Contemporary, an initiative that set out to bolster the presence of the UK’s contemporary ready-to-wear market by supporting designers in this category. At the time, Rush said the project could help in accelerating “very viable fashion businesses” that marked a “new wave in British contemporary design”.


2015: Rush awarded CBE




Rush was appointed Commander of the Order of the British Empire (CBE) in the 2015 New Year Honours, recognising her for her services to the fashion industry.


Fashion Futures Awards launch


Together with Decoded Fashion, the BFC launched the Fashion Futures Awards, celebrating “how the fashion industry and retail industries are evolving through tech based ideas, solutions and tools”. The awards seemed to come to a halt by 2018, with 2017 being the last year for which winners were announced.


2016: BFC sets out to support educational initiatives




In an attempt to further bridge the gap between fashion and art, the BFC Fashion Arts Foundation, for which Rush was a trustee, and the Royal Academy Schools formed the Fashion Arts Commission project, which paired RA Schools with Newgen designers. At the time, Rush said the project was about “creating inspiring and educational content as well as generating funds for future artists and designers”.


Educational investments


A focus on education continued into the year with the launch of the Fashion Apprenticeship Standard alongside the University of the Arts London, aiming to create further career opportunities in the fashion sector. Its launch followed the BFC’s pledge to raise 10 million pounds over the next years to invest in and attract young design talent to study in London.


2017: Fashion Week takes on new structure




Experimentation into the format of LFW continued into 2017, when the BFC opted to bring LFW, LFW Festival and LFW Men’s under one location at The Store Studios in London. With this, an event formerly known as London Fashion Weekend became London Fashion Week Festival, and was designed to give the public an opportunity to attend in either its February or September edition. Rush said that the move reinforced “offering direct to consumer experiences”. It was here that it became clear that Rush was intending to formulate LFW as a “city-wide celebration”, expanding fashion week beyond the confines of its standard schedule, which it has now become known for.


Ashish SS17. Credits: ©Launchmetrics/spotlight



Newgen’s new face


Having now combined menswear and womenswear designers, Newgen seemed to take what was to be almost its final form in 2017. It was then that the platform began to be awarded annually instead of seasonally in efforts to streamline the support offered to recipients.


China ties


While the BFC and JD.com have recently renewed their partnership this season, the duo’s relationship actually spans back to 2017, when the Chinese e-commerce giant first stepped in as a supporter of the BFC/Vogue Fashion Designer Fund. Rush underlined the importance of the Chinese market for British designers, noting that the partnership would help them to penetrate the often tricky region.


Models First initiative


On the back of the establishment of the British Fashion Model Agency Association, the BFC launched its Models First initiative, which set about addressing industry challenges and outlining the best practices for agencies to follow.


2018: Queen Elizabeth II Award




The inaugural Queen Elizabeth II Award for British Design was introduced in February 2018, with Richard Quinn named as the first recipient. It marked the first time the late Queen Elizabeth had visited LFW, and came following Her Majesty’s 90th birthday, after which it was decided the award would be created to recognise emerging British fashion talent.


Richard Quinn receiving the Queen Elizabeth II Award at LFW. Credits: BFC.



BFC becomes fashion visa assessor


Brexit had created obstacles for the UK fashion industry that the BFC sought to remove. Among its efforts, Rush established a partnership with the Arts Council and the Department for Digital, Culture, Media and Sport to expand the Exceptional Talent Tier 1 visa for fashion industry applicants. Those successful would be granted five years in the UK, after which they could expand their stay upon display of talent.


2019: BFC moves towards membership organisation




In 2019, Rush announced that the BFC was to become a membership organisation as part of a mission to encourage collaboration and inclusivity. BFC Membership was introduced and allowed designers to opt in to an annual membership subscription in differing schemes depending on their brand’s size. After this, they were invited to contribute to various events and access other benefits via a members website, including reduced LFW fees.


BFC Foundation is created


The BFC Foundation was formed as part of the merger between two charities previously launched by Rush. The charitable organisation is focused on education and grant-giving for British fashion talent, underlining the overarching mission of the BFC. Since its founding, the foundation has reportedly awarded 4.3 million pounds to support designers.


Institute of Positive Fashion


The BFC officially launched its Institute of Positive Fashion (IPF) mid-2019, established to be an industry-wide coalition with the goal of outlining industry standards for the creation of green businesses. The BFC said it was hoping to create an industry blueprint that could accelerate the progress of sustainability in all areas.


2020: The pandemic changes fashion’s course




In response to the pandemic, the BFC began to shift its focus to uplifting designers and fashion freelancers struggling in the backdrop of the crisis. The council launched its Coronavirus Relief Fund with the goal of raising 50 million pounds. An initial one million pounds was funnelled into businesses as an emergency fund, taken from the support grants that would usually have been awarded at the beginning of the year.


LFW goes digital and gender neutral


Looking towards a digitally-enhanced LFW in June 2020, Rush said that the pandemic was leading “us all to reflect more poignantly on the society we live in and how we want to live our lives and build businesses”. It was here that she broached the idea of a “cultural fashion week platform” that was fully digital, with the added element of being entirely gender neutral.


16Arlington FW20. Credits: ©Launchmetrics/spotlight



D&I Steering Committee


In response to the Black Lives Matter movement that gripped the US mid-2020, Rush said the BFC would be doubling down on efforts to tackle systemic racism. Part of this came in the form of a ‘Diversity and Inclusion Steering Committee’, which was established as part of the IPF and set out to ensure accountability and best practices were integrated into all aspects of business.


2021: BFC Changemakers Prize launches




BFC Changemakers Prize is an initiative aiming to celebrate the “unsung stars” of the fashion industry. For the first edition, recipients were chosen on the basis of mirroring one of three pillars of the IPF: Environment, People or Craftsmanship, and Community. The winners of the inaugural prizes were Glass Onion founder John Hickling, hairstylist Cyndia Harvey and London Embroidery Studio owner Andrew Kenny, who each received 7,500 pounds and a mentoring package.


Inaugural IPF Forum


Expanding on the efforts of the IPF, a forum for the institute was introduced as a platform to put forth visionary keynote speakers, practical workshops and panel discussions all with the mission of instilling a sense of duty and activism among the audience.


Circular Fashion Ecosystem


The IPF was also responsible for the development of the ‘Circular Fashion Ecosystem’ white paper, which is now used globally as a tool aiming to push forward circularity and decarbonisation.


2022: Venrex BFC Fashion I Fund introduced




London-based venture capital firm Venrex teamed up with the BFC to launch an investment fund specifically dedicated to funding the fashion sector and diversifying its revenue streams. The initial recipients were Intimately, Vollebak and Digital Village, to which the BFC acted as a facilitator in return for fees and a portion of the carry to then reinvest back into fashion education and talent programmes.


Helsinki Fashion Week Digital Village Credits: Evelyn Mora



Circular Fashion Fund


Resale marketplace Ebay became a new patron for the BFC, and with it launched the first Circular Fashion Innovator’s Fund, awarding 100,000 pounds to small businesses with circular fashion solutions. Rental app By Rotation was among the first recipients.


80 million pound government funding


During a champagne reception, former prime minister Boris Johnson pledged to funnel 80 million pounds in government funding into a 10-year programme to push the UK towards a circular fashion model. The scheme was reportedly to be led under the direction of the BFC’s IFP.


2023: Restrategising the BFC




It was around this period that it became more clear that LFW was flailing in the shadow of its more fleshed out Paris and Milan counterparts. With this in mind, Rush and the BFC’s then freshly appointed chair, David Pemsel, put their heads together to strategise. It was here that plans to reposition the BFC as a “catalyst of change” were unveiled, pivoting the organisation towards a more commercial and cultural focus, while utilising the IPF as a platform to aid businesses in increasing their sustainability efforts.


Rush then underlined a wider plan to reevaluate the structure of fashion week, moving LFW into an ongoing “transition phase”. This resulted in halting LFW’s January edition, once dedicated to men, and instead creating the now in place LFW June, a shorter rendition of the menswear fashion week that incorporated business that typically strayed from the calendar, including Savile Row tailors. The Fashion Awards were also due for a change, with Rush stating that the ceremony was to further uplift British designers over international names.


Circular Fashion Innovation Network (CFIN)


Under the guidance of the BFC, UKFT and UKRI, CFIN sits within the scope of the IPF with the mission of bringing together industry innovators to formulate an action-led roadmap to guide the industry towards a circular fashion economy. Rush was announced as the co-chair of the network alongside UKFT chief executive Adam Mansell.


2024: BFC launches UK Fashion DEI report




A new report by the BFC launched early 2024, the UK Fashion DEI report, was described by the organisation as the “first comprehensive report on diversity, equity and inclusion in the fashion industry in the UK”. In it, despite noting there had been a positive shift in fashion’s persona over the past 10 years, there was still more that needed to be done. Only 9 percent of executive and board positions in the UK fashion industry, for example, were held by people of colour, and 39 percent by women. Rush said the report presented a “wake up call for all of us”, adding that it was “critical for brands to align their external messaging and internal practices” in relation to DEI goals.


#FashionsFuture plan


One of Rush’s most recent achievements was spearheading the development of ‘#FashionsFuture’, a five-point plan for the government in which key priorities and potential solutions for investing in the fashion industry were outlined.


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Shein France runway show: Where designer pieces meet everyday wear

In Pictures


Mohammad Hossein Mahjouri / Shein France. Credits: Shein France



What do the looks created by Mathilde Lhomme, Eddie Corps, and Mohammad Hossein Mahjouri – emerging designers showcased at the Shein France runway show last week – look like?


Just days before Paris Fashion Week, the Shein France show took place at the Pavillon Vendôme, once again disrupting industry norms. Ironically, the show was titled 'New Codes'.


New codes, because the concept involved blending original creations with off-the-rack clothing and accessories from Shein. A clever way to fuse designer pieces with fast fashion.


This was exemplified by Mathilde Lhomme, who presented three of the most glamorous silhouettes. Lhomme, a stylist and costume designer for cabaret (she designed the costumes for the Barrière casinos show). For the red total look, she designed the bustier. The rest (skirt, boa, gloves, etc.) is Shein's work. The same goes for the bustier (garter belt look) and the feather trousers, which she designed herself.


Bustier by Mathilde Lhomme. Shein France. Credits: Shein France



Mathilde Lhomme / Shein France. Credits: Shein France



Mathilde Lhomme / Shein France. Credits: Shein France



As a participant in the Shein X competition, Mathilde Lhomme has a showcase on the platform, visible to 150 international markets. Her total looks include an oversized belted blazer made from polyester/viscose for less than 52 dollars, and an asymmetric dress made from polyester for less than thirteen euros.


Another intriguing case is that of Mexican designer Eddie Corps, who sought to reinterpret French couture heritage, at a time when others were all saying ‘we're not forgetting the heritage of French fashion and we're mixing it with more contemporary, urban pieces’.


His cape coat and two jackets, one with pointed shoulders, evoke the image of a couture-clad woman, a touch of the courtesan, on her way to the Opera. The rest of the outfit is by Shein.


For those interested, Eddie Corps will be showcasing his collection in the town of Asnières- a place seemingly keen on forging links between the fashion world and its residents- on Friday, September 27 2024, at 8 pm, during Paris Fashion Week.


Eddie Corps / Shein France. Credits: Shein France



Eddie Corps / Shein France. Credits: Shein France



Eddie Corps / Shein France. Credits: Shein France



Could it be that Shein's power comes from the fact that the brand now embodies the Vox Populi?




Iranian-born Mohammad Hossein Mahjouri, for his part, turned away from the path laid out by his family to take up fashion. The end result? His cape-coat, adorned with jewels made using 3D, worn over a transparent top from Shein at a time when women in his country are fighting to be able to (just) remove their veils. As for her white jumpsuit, it was inspired by the underground miners of northern France.


What are we to make of a show that uses young designers to showcase pieces that are already on the market (at divisive prices and under divisive conditions)? Perhaps it's a reflection of what the middle and working classes do: mix a high-end accessory (a bag, for example) with cheap pieces from a commercial brand or second-hand finds.


Mohammad Hossein Mahjouri / Shein France. Credits: Shein France



Mohammad Hossein Mahjouri / Shein France. Credits: Shein France



Mohammad Hossein Mahjouri / Shein France. Credits: Shein France



This article originally appeared on FashionUnited.FR, translated and edited into English.


It was translated using an AI tool called Gemini 1.5.




FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@fashionunited.com.


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Brazilian fashion and innovation spotlighted at LFW

Brazil: Creating Fashion For Tomorrow exhibition at LFW (Malwee (left), WTNB (middle), Isabela Capeto (left) Credits: Brazil: Creating Fashion For Tomorrow by Max Goldman



In Pictures


The ‘Brazil: Creating Fashion For Tomorrow’ opened London Fashion Week this season with an exhibition spotlighting the pivotal role of Brazilian women in the fashion industry, featuring brands including Farm Rio, PatBo, and Catarina Mina, as well as innovative solutions that address the challenges of the climate emergency.


The ‘Chain of Women’ exhibition, held at the Brazilian embassy, was curated by Camila Villas, Lilian Pacce, and Marilia Biasi to illuminate issues about women in fashion and the broader economy while celebrating Brazil’s groundbreaking contributions to sustainable fashion, with a focus on craftsmanship, innovation, and social responsibility.


Highlights include Farm Rio showcasing a Rauti beaded maxi dress crafted from Lenzing Ecovero viscose fibres and adorned with more than 10 metres of meticulously beaded fringes, handcrafted by Yawanawa women. The exquisite craftsmanship took over 20 days to complete and weighs nearly 5kg to spotlight Indigenous artistry and modern design.


Brazil: Creating Fashion For Tomorrow exhibition at LFW - Farm Rio Credits: Brazil: Creating Fashion For Tomorrow



The dress was crafted as a homage to Yawanawa culture, drawing inspiration from its traditional jewellery, alongside a print that honours the community’s profound connection to nature and their vibrant cultural heritage, incorporating symbolic elements such as snakes and butterflies.


Katia Barros, co-founder and creative director of Farm Rio, said in a statement: “We celebrate our long-lasting partnership with the Yawanawa women. Meeting these female leaders, artists, and guardians of the forest has forever transformed our relationship with nature and our feminine essence. Moved by this intention of mutual care, more and more, we connect with those who speak for their land as a place of healing, respect, and love.”


Farm Rio has been partnering with the Yawanawa Sociocultural Association, an indigenous community from Rio Gregório, Acre, Brazil, for seven years.


Farm Rio, Lenny Niemeyer and Flavia Aranha spotlight contributions from Indigenous communities of Brazil




Brazil: Creating Fashion For Tomorrow exhibition at LFW (PatBo (denim suit), Irá Salles (Bag)) Credits: Brazil: Creating Fashion For Tomorrow by Max Goldman



Other highlights included a two-piece denim suit embroidered by Patricia Bonaldi for PatBo, which was part of the brand’s spring/summer 2024 show at NYFW, spotlighting the handmade embroidery craftsmanship of Brazil, while Catarina Mina, known for its crochet bags, showcased a Mandacaru dress by Celina Hissa to celebrate its partnership with communities in Ceará.


Brazil: Creating Fashion For Tomorrow exhibition at LFW (Catarina Mina, Malwee, Vix) Credits: Brazil: Creating Fashion For Tomorrow by Max Goldman



Brazilian designer Lenny Niemeyer shared a Buriti dress made in partnership with artisans from the Barreirinhas Craftswomen's Association, in the state of Maranhão. Marina Bitu showcased a dress made from the ‘fluffy’ straw of the banana tree stem inspired by the ancestral technique of fuxico, which originated in Africa and is popular in the Northeast of Brazil.


Brazil: Creating Fashion For Tomorrow exhibition at LFW Credits: Brazil: Creating Fashion For Tomorrow



Dayana Molina’s Nalimo continued to place a spotlight on indigenous representation in Brazil with a Ciranda ancestral dress made in collaboration with independent artisans from the state of Pernambuco and Ceará, while Flavia Aranha’s vest and trousers celebrated the brand’s partnership with Central Veredas, in the north-west of Minas Gerais, impacting over 300 women, highlighting the traditional weaving technique preserved by the women of the region.


Malwee unveils innovative technology focused on decarbonisation for the global textile market




Malwee at the Brazil: Creating Fashion For Tomorrow exhibition at LFW Credits: Brazil: Creating Fashion For Tomorrow



Material sustainability and innovation in Brazil were also displayed with Santa Catarina-based Malwee, which makes comfortable, practical and versatile clothing, displaying pieces crafted from Fio do Futuro (Thread of the Future), a material first launched in 2022 made up of 85 percent different types of fibres from used and shredded clothes, that are collected in partnership with the Red Cross. For the BCFT exhibition, Malwee collaborated with women from the Elas Fazem Nós collective, part of the Malwee Institute's Menos Resíduo, Mais Renda (Less Waste, More Income) programme, to give new meaning to textile waste, while showcasing macrame and crochet handcraft techniques.


Malwee also announced the launch of the ‘Ar.voree’ T-shirt, made with the first Brazilian fabric capable of capturing CO2 from the environment and eliminating it during the washing process. This new decarbonisation technology is a result of a partnership with Singapore-based start-up Xinterra, which has developed the application of COzTERRA technology for the textile market.


The solution allows a T-shirt to capture 12g of CO2 from the atmosphere, meaning that 25 T-shirts, in one day, would capture the same amount of carbon dioxide that a full-grown tree captures daily.


Malwee ‘Ar.voree’ T-shirt Credits: Malwee



Gabriela Rizzo, chief executive of the Malwee Group, said: "In 2019, Malwee Group became the first Brazilian fashion brand to sign the commitment to the global campaign Business Ambition for 1.5°C: Our Only Future, launched by the United Nations (UN). This initiative aims to mobilise large companies to limit the increase in the average global temperature to 1.5°C above pre-industrial levels and achieve the goal of zero greenhouse gas (GHG) emissions before 2050.


“Therefore, the decarbonisation technology we are launching is an important front to make this commitment tangible. We have already reduced total greenhouse gas emissions by 37 percent and now we are launching a T-shirt that captures CO2 from the atmosphere. In other words, our fabric transforms the textile product into an ally in the fight against climate change.”


Brazil: Creating Fashion For Tomorrow exhibition at LFW Credits: Brazil: Creating Fashion For Tomorrow



Brazil: Creating Fashion For Tomorrow exhibition at LFW Credits: Brazil: Creating Fashion For Tomorrow



Brazil: Creating Fashion For Tomorrow exhibition at LFW Credits: Brazil: Creating Fashion For Tomorrow


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AAFA president on the US election year, counterfeiting and conscious regulation

Steve Lamar, president and CEO of the AAFA. Credits: American Image Awards, 2020.



Interview


The US election is continuing to heat up, with voting day now visibly on the horizon. While at the forefront of debates are the policies and outlooks presented by political candidates, there is much behind-the-scenes work by industry representatives that goes well beyond the deadlines of ballot entries. For fashion, the American Apparel & Footwear Association (AAFA) is one of those leading the way.


The national trade association is currently overseen by its president and CEO Steve Lamar, who has led the organisation and its associated members – of which there are around 1,000 – through a tumultuous period, yet has retained the perspective that the AAFA is to act as an advocate for the industry, seeking out best practices for the interests of those involved. Speaking to FashionUnited, Lamar discusses the role of a national organisation like AAFA during the US election year and why we should be paying closer attention to the implementation of policies aiming to regulate the fashion industry.


Since joining AAFA, how have you watched the organisation evolve over the years? How has its mission changed to align with the times?




The association predates me by more than 100 years. I joined in the late 90s and the association traces its roots back to the 1850s, both on the apparel side and on the footwear side. Our current association is the product of a merger of three associations, which is about to celebrate its 25th anniversary. Those associations were themselves the products of a series of previous mergers dating back to the 1800s.


In some respects, the mission is very different, and in others it is the same. The membership makeup has changed and our role has adapted. At the same time, our basic role as an association is likely very much aligned to what it was more than 100 years ago, which is to bring the industry together, to advocate on behalf of the industry and to use that collective opportunity to seek best practices, to seek policies that help the industry and its stakeholders compete and succeed, and to, frankly, fight against policies that get in the way of that of that success mission.


AAFA Logo. Credits: AAFA.



You were appointed president of the AAFA back in 2020, just prior to the start of the pandemic. How did that shape your own mission for AAFA when taking on this role?




One of the things that I've been promoting a lot at the Association is our ability to deliver value back to our members. Members invest in us: they join, they attend events, they interact with us. We want to make that worth their time. One of the things that the pandemic taught me is that this was something we needed to be doing in ‘normal’ and ‘abnormal’ times. Over the last five years, people have referred to the “new normal”. But normal times are often, by definition, almost abnormal times.


Our focus, which was in place before the pandemic but has gotten deeper since, has been three pillars that reference how we approach our trade association. These are brand protection, preventing counterfeits, for example; supply chain and sourcing, all of the responsible business practices and regulation that goes into making and delivering a product; and trade logistics and manufacturing, which is about getting something from that side of the border to this side, and vice versa.



“Normal times are often, by definition, almost abnormal times,”


Steve Lamar, AAFA President and CEO




E-commerce really exploded and created tremendous challenges and opportunities, but it comes with a very darkside, which is the ability for counterfeiters to more easily prey on you. We have also seen tremendous changes to trade policies that have been developed in response to either the pandemic, or things connected to it. It's a push to get a more regulated approach to ESG and CSR disciplines.


Now, four years into your position, another election year has come around. How does this period complicate the organisation’s role? How do you adapt to the changing needs of the industry at this time?




I think elections, whether they are in the US or anywhere in the world, are always something we want to celebrate, because it's an opportunity to come together to peacefully elect leaders that are going to take us forward over whatever time period that is. We always approach elections as a natural part of our civic engagement, and in the US, we have in our Constitution, embedded into the First Amendment, a number of freedoms – freedom of speech, freedom of press, freedom of religion, etc.


One of these is the freedom to petition the government for redress of grievances. That means the ability to go into government agencies and talk to folks there – whether it’s Congress or the administration – and let them know what’s going on and speak our minds without fear of reprisal. We can have a responsible, peaceful conversation, share information and know that the policymakers are going to be able to take that and hopefully craft some good policies.


US VP and Democratic presidential candidate Kamala Harris listens as former US president and Republican presidential candidate Donald Trump speaks during a debate at the National Constitution Center in Philadelphia, Pennsylvania, on September 10, 2024. Credits: Photo by SAUL LOEB / AFP



We also encourage our membership to be active throughout the year in that process, and to encourage their employees to go out and vote, too. It's a conversation that doesn't begin and end in an election. After the election, next year, we're there on swearing-in day. We're there as they start to debate initial ideas or policies, looking at budgets and policies that have been in place, or perhaps new ones that were proposed in the last Congress that possibly didn’t get far. We try to figure out how we can advance the conversation further.


In an election year, the dynamic is a little different, but in many respects it's no different than any other year. It just adds an element to this long-term civic engagement that we think is our responsibility, not only as a trade association, but as citizens of the US.


Do you have to keep a level of neutrality when it comes to politics? How do you navigate your work in this respect, particularly at a time of such contrasting views?




We are nonpartisan. We abide by that very strongly and don’t express preferences for political parties. Rather, we express preferences for policies and for concepts behind policies. We have developed a protocol that is primarily used for sustainability, but it applies everywhere. This is the THREADS protocol [Transparently developed and enforced; Harmonised across jurisdictions and industries; Realistic timelines; Enforceable; Adjustable; Designed for success; and Science-based, ed.]. We developed this to guide our conversations with federal and state legislators, primarily on sustainability policies, to say: if you want to regulate the industry, that’s welcome, but here’s the way it needs to be done in order for it to be helpful for you and for us.



“You’d be amazed at how many times someone will set a regulation, and there is no existing test method, so there’s no way to comply with that rule,”


Steve Lamar, AAFA President and CEO




In the field of chemical management, for example, there must be test results and methods. You’d be amazed at how many times someone will set a regulation, and there is no existing test method, so there’s no way to comply with that rule. We focus our attention on the policies more than the politics, if I can draw that distinction.


What challenges is the US fashion industry currently facing that you hope will be addressed under the direction of the incoming party?




In this respect, we are looking at Congress and state houses. If you look back to the federal level, however, one of the areas both candidates, vice president Kamala Harris and former president Donald Trump, have been talking about is trade policy and tariff policy. Former president Trump has called for an extensive range of brand new tariffs. Vice president Harris has, rightfully, said that’s a mistake. However, the record of the Biden-Harris administration has been to embrace a lot of the same tariffs that the Trump administration had previously proposed.


One of the things we keep calling for is for them to really go forward with a tariff policy that’s going to work, and is not based on the 1920s economy, on which our current tariff policy is based. A policy that creates market-opening opportunities and renews existing trade programmes that support efforts to diversify the industry away from China, such as the Africa Growth and Opportunity Act (AGOA), which is expiring in September of next year. Our job is to make sure that it gets done. Additionally, there is the task of looking at trade policy as a way to create predictability that can support jobs and consumers through affordable fashion.


Are there any policies or topics currently being discussed that you think need to be revisited, changed or accelerated on?




One big dynamic in the area of policy will be to make sure the industry has the tools to become the best partner for combating climate change, to become traceable and transparent. We all want this. The industry wants it, stakeholders want it, NGOs want it, consumers want it. There's a lot of ideas about the best way to do that. What's important is for us all to come together on a regulatory approach that enables us to accomplish those things without creating obstacles. One example that people are talking about is the Digital Product Passport (DPP), where QR codes will be put on labels of clothing to give more information to consumers. This I agree with, but wouldn’t it be amazing if we could use the QR code to communicate all the other information on a label, instead of having a booklet of labels at your neck.



“There’s a number of places where the best of intentions are going to stand in the way of doing what those intentions want us to do,”


Steve Lamar, AAFA President and CEO




Getting policymakers to agree to that single point has been a very challenging task so far, because they’re seeing these QR codes as a means to provide more information rather than replacing the way in which that information is communicated. Our current regulations, once added up, mean you are using enough label tape – made because collective governments are requiring us to produce it – to go from the earth to the moon and back 12 times. That’s how much label tape we produce every single year at the request of government regulators. We are calling for a smarter and more efficient approach. There’s a number of places where the best of intentions are going to stand in the way of doing what those intentions want us to do.


Illustration of the Digital Product Passport (DPP). Credits: FashionUnited / Made using an AI tool.



There is also the Uyghur Forced Labour Prevention Act (UFLPA), which is a really important provision in ensuring there’s no forced labour in the supply chain. While it's an important, basic law that needs to be in place, it is based on something that goes back to the 1930s. It was improved a few years ago with a version specific to Xinjiang [a district in China that has often come under criticism for allegations of forced labour, ed.]. The way customs interprets the current rules, however, is that you have to go back and prove every one of those recycled pieces of clothing doesn’t have a link to Xinjiang, which at this stage is impossible. What happens if the component is made of recycled material or clothes?


The end result is that companies are not willing to, or are afraid to, use recycled materials in their end products, because if that product gets stopped, they can’t move it into the country. There’s no practical way to go past the recycler. You are unable to prove anything from the recycler all the way back down the supply chain. So, the UFLPA, as good as it is, because of the way it’s being implemented, is actually causing a roadblock to the development of a fully circular recycling industry. Trying to get policymakers and regulators to understand the side effects has been a challenge. We are able to define the policy and enforcement strategy so it doesn’t need to be a problem, but this hasn’t been done yet. Part of what we do is try to make sure that the policies and regulations that go forward don’t conflict with each other.



“The UFLPA, because of the way it’s being implemented, is actually causing a roadblock to the development of a fully circular recycling industry,”


Steve Lamar, AAFA President and CEO




You also mentioned the rise of counterfeits and how that has become an increasing problem in the US. What are the issues here, and why is it such a challenge to regulate this side of the industry?




There is indeed a need to make sure that those in the e-commerce space can truly authenticate a product, and that we’re not seeing the flood of counterfeits we are seeing right now. It’s at an unacceptable level. We allow third-party marketplaces to traffic in counterfeits, and those counterfeits come with all kinds of dangers, including product safety. They are also likely made under conditions that abuse workers rights or cause environmental impact. Then the profits earned often get channelled into the Black Market, or even terrorism, which has been documented.


The biggest obstacle is that, for a lot of folks, there is a perception that counterfeits aren’t a big deal. “It’s a fake bag, so what? No one got hurt.” That’s the kind of justification that often gets used for these inexpensive knock-offs. We don’t feel that way. The reality is, if it's a counterfeit good, it's probably got dangerous chemicals or some other product safety hazard. It was made under conditions that have hurt people, that have polluted the environment. They're not doing all the things necessary to make sure it's a responsible product. They can pocket those profits and then turn around and use them to advance their criminal enterprise, for example. I think part of it is just raising an awareness to both policymakers and consumers that this is a bigger problem that they're realising.


The RealReal counterfeit installation at 301 Canal Street Credits: The RealReal


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Executive changes at IED: Danilo Venturi to manage Milan office, new director in Florence

Left: Danilo Venturoni, director, IED Florence. Right: Francesco Gori, CEO, IED Group. Image for illustrative purposes. Credits: courtesy of IED.



Fashion and design school IED has announced changes to the management of two of its main locations. In the context of its development plan, the Italian institution has named Danilo Venturi director of IED Milan, with Benedetta Lenzi set to occupy the Florence office Venturi has been managing since 2022.


Danilo Venturi comes from a multidisciplinary background and has broad experience in fashion and education, as per a news article on the IED website. At IED Florence, the executive has carried out IED’s expansion strategy that allowed the Florence office to extend its campus and create multiple locations throughout the city.


It all started with the historic headquarters in Florence’s Via Bufalini. In 2023, the fashion workshop at Palazzo Pucci was added and more recently IED opened the Polo delle Arti Digitali e Visive in the spaces of the former Teatro dell'Oriuolo.


Benedetta Lenzi has more than 15 years of professional experience with the art and design system. She will focus on further expanding the international reach of the Florence office.


IED: Danilo Venturi new head of Milan office, Benedetta Lenzi to manage Florence




The IED Group's expansion plan also involves the historic Milan headquarters and its development in the area to be redeveloped in the Ex Macello where the future IED international campus will be built.


The Istituto Europeo di Design has a well-established presence in Milan, the city where it was founded and ‘where a dialogue with the creative, entrepreneurial and institutional fabric is present’, the news article reads.


In addition to the school being involved in important city events such as the Salone del Mobile and Fuorisalone, Milan Fashion Week, Milan Digital Week and PianoCity to name but a few.


Commenting on the news in a release, Danilo Venturi, said: “In the IED educational model, art inspires, design contributes to design sense, fashion creates identity awareness and communication has an impact on society. Each sector benefits from the other.”


He continued: “This is what happens between the IED Group's locations: in the permanent dialogue between Milan, Florence, Rome, Turin, Cagliari and with Madrid, Barcelona and Bilbao, the exchange and benefit are reciprocal and continuous, this model keeps the system alive and allows it to always respond to new challenges.”


“Accepting the direction of the Milan office means continuing a project path begun in Florence and at the same time preserving an interdisciplinary and transdisciplinary training model and pursuing an international ambition,” the new director of IED Milan said.


Benedetta Lenzi added on her part: “‘I am honoured to have been called to join the team of the European Institute of Design and to be able to give my contribution to a group that is confirmed as one of the most innovative realities in the international design scenario.”


“Directing IED Florence, which is based in a unique cultural context, will be a continuous source of inspiration,” she continued.


“I therefore consider it strategic to continue to strengthen relations with the territory, with institutions, the art museum sector and the textile industry, making the creativity and talents of our students available to them to network towards new projects,” she conclude


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Former Harrods boss accused of sexual assault in new exposé

Harrods 175th-anniversary celebration Credits: Harrods



Over 20 women have come forward as part of a BBC exposé alleging that they were sexually assaulted by former Harrods boss Mohamed Al Fayed, who passed away at the age of 94 last year.


Note: This article contains brief descriptions of sexual assault that some may find disturbing


In a newly released documentary and podcast, ‘Al-Fayed: Predator at Harrods’, the BBC unveiled evidence of allegations against the late boss, with testimonies from over 20 female ex-employees, five of which said they were raped by Fayed while others stated they were sexually assaulted.


Those included in the exposé detailed how the former Harrods owner would tour the department store’s sales floors, identifying young female assistants who would then be promoted to work in the offices upstairs. Reported incidents then took place in London, Paris, St Tropez and Abu Dhabi, either at the Harrods’ offices, in Fayed’s own apartment or on overseas trips.


“Mohamed Al Fayed was a monster, a sexual predator with no moral compass whatsoever,” said one of the anonymous victims, who had been a teenager at the time Fayed had allegedly raped her. “We were all so scared. He actively cultivated fear. If he said ‘jump’ employees would ask ‘how high’.”


Fayed had previously faced sexual assault claims while he was still alive, yet he had avoided legal action. In 1997, for example, ITV programme ‘The Big Story’ had broadcasted testimonies from former Harrods employees in which it was claimed that Fayed had sexually harassed women. A similar story was later at the centre of a 2017 Channel 4 Dispatches episode, when Fayed was described to have “groomed” his victims.


In 2008, he had also faced questioning from the Metropolitan Police after an allegation of sexual assault against a 15-year-old schoolgirl. The case was ultimately dropped by the Crown Prosecution Service.


Since the release of the BBC exposé, Harrods’ current owners have responded to its contents, telling the media outlet they were “utterly appalled” by the allegations and that Fayed’s victims had been failed.


The statement continued: “The Harrods of today is a very different organisation to the one owned and controlled by Al Fayed between 1985 and 2010, it is one that seeks to put the welfare of our employees at the heart of everything we do.”


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Chubbies names George Kittle as creative director of football

George Kittle wearing Chubbies limited edition collection classic swim trunks Credits: Chubbies



American casualwear brand Chubbies, which describes itself as the weekend-centric lifestyle apparel brand within the Solo Brands portfolio, is launching licensed NFL apparel with San Francisco 49ers tight end George Kittle as creative director.


In a statement, Chubbies said it is expansion into sports-inspired apparel with the NFL will be led by Kittle, who will serve as a brand ambassador, lead design efforts and drive its strategy for its NFL apparel collections as creative director of football.


The move expands Chubbies relationship with Kittle, who signed a partnership deal with the casual lifestyle brand in January 2023 as a brand partner and collaborator. He has released two collections featuring sports shorts, graphic tees, polos, and swim trunks.


Commenting on the new role, Kittle said: "I've loved every moment of working with Chubbies over the past two years and am thrilled to take on this additional new role.


"This partnership perfectly fuses my on-field dedication with my off-field creative passion. I can't wait to bring our shared vision to life and connect with fans in an exciting new way."


Chubbies said its NFL collaboration will combine “its signature fun style with Kittle's unparalleled passion and energy for the game,” and fans can expect a range of NFL merchandise dropping this autumn, featuring apparel from select teams “that reflect the fandom of the Chubbies' community”.


The collection will expand to include all NFL teams in spring 2025.


Rainer Castillo, co-founder and president of Chubbies, added: "George has brought an electrifying energy to our brand. Evolving our partnership with him while teaming up with the NFL is an exciting new chapter for us. We're eager to leverage his distinct style and our brand's creativity to deliver something truly special for fans."


Chubbies’ deal with the NFL follows its multi-year licensing deal with Team USA and Olympic Heritage, announced in July. The collaboration began with Paris 2024 and will continue through to the LA 2028 Olympics.


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SCAD appoints Hermès Americas chairman as university’s executive in residence

Robert Chavez, executive chairman of Hermès Americas and executive in residence for SCAD. Credits: SCAD.



The Savannah College of Art and Design (SCAD) has named Robert Chavez its executive in residence, a role he will assume immediately as the university heads into its 2024/25 academic year.


In this position, Chavez, who is the current executive chairman of Hermès Americas, will travel to the three SCAD locations – Savannah and Atlanta, Georgia, and Lacoste in France – to visit classes, review portfolios and offer mentorship to select students.


He will also work with SCAD leaders on reviewing assignments and developing new curriculum for the SCAD De Sole School of Business Innovation and the SCAD School of Fashion.


In a release, SCAD chief academic officer, Jason Fox, said: “Bob Chavez is a visionary leader in the international luxury space and a longtime champion of SCAD who will bring tremendous expertise and insights to the university’s esteemed academic programmes.


“We are honoured to have Bob serve as executive in residence and engage deeply with talented SCAD students across an array of disciplines. He is committed to SCAD’s mission to prepare talented students for creative professions.”


Chavez’s new role expands on his current relationship with SCAD, for whom he has been a long-time friend of the university and champion of its students. In 2019, SCAD had already recognised Chavez’s ties to the institution by awarding him with an honorary degree for human letters.


SCAD said this added presence emphasised the university’s “curricular preeminence” in a number of disciplines, including luxury and brand management, creative business leadership and design management.


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Zegna Group revenues increase but profit dips

Zegna store in New York Credits: Zegna



Ermenegildo Zegna Group’s profit declined to 31.3 million euros in the first half period and adjusted EBIT to 80.9 million euros compared to the previous year.


Revenues for the period of 960.1 million euros, were up 6.3 percent but down 2.7 percent on an organic basis.


Commenting on the trading results, Ermenegildo “Gildo” Zegna, group chairman and CEO, said in a statement: “Even though the overall environment is expected to remain even more challenging, I am confident that our projects and actions are the right ones to unleash the untapped long-term potential of all three of our brands.”


The Zegna brand recorded revenues of 566.1 million euros, up 4.6 percent or 5.9 percent organic growth. Thom Browne revenues were 166.7 million euros, down 19.4 percent or down 26.7 percent organic.


Tom Ford Fashion recorded 148.5 million euros of revenues, up 132 percent or 4.7 percent organic and textile revenues were 71.8 million euros, down 1.7 percent or 0.6 percent organic.


Gross profit increased to 637.4 million euros with a gross profit margin of 66.4 percent and the group reported an operating profit of 73.1 million euros compared to 116.5 million euros in the six months of 2023.


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Shein X emerging designers present accessible fashion in Paris

REPORT


Shein France Fashion Show September 2024. Credits: F. Julienne



A digital native brand, ultra fast-fashion and live stream shopping – welcome to the world of Chinese giant Shein and the Shein France fashion show.


Thursday, September 12: the Shein France show took place at the Pavillon Vendôme, a former bank in Paris's Place Vendôme. Fifty models walked the runway, showcasing designs by 18 young international creators from diverse backgrounds: regular collaborators, freelance designers, Shein X competition participants, and students from IBSM Bordeaux.


The theme chosen by Shein France's artistic director, Luca Raveillon, was ‘The New Codes’, he explained to FashionUnited: "We've seen a lot, especially in the series 'Emily in Paris,' of berets and Breton stripes. I asked the designers, 'What does French style mean to you?' They all agreed: 'We're not forgetting the heritage of French fashion, but we're mixing it with more contemporary and urban pieces.'"


The result? 50 percent original creations and 50 percent Shein items. The show flirted with different moments of the day: outfits for work, streetwear, cocktail wear, slogans like ‘It's a dress, not a yes’, but also, more surprisingly, looks inspired by the fetish scene: oversized capes, suggestive transparencies, corsets, thigh-high boots, and fishnets. "Beyond Paris, in an inclusive approach, we wanted to embody all of France to reach the widest possible audience," added the artistic director.


When ultra fast fashion, embodied by Shein, defends its production model




As proof of this desire to professionalise aspiring designers, a QR code provided access to their profiles, including their name, photo, background, and a sentence summarising the spirit of their collection. For example: ‘Where there's a will, there's a way’ by Eddie Corps from Mexico, ‘Shine, dare, live" by Mathilde L'homme from France, and "a childhood dream come true" by Mohammad Hossein Mahjouri from Iran, demonstrating the opportunity offered by the brand to unknowns outside the traditional fashion ecosystem.


The designs were available for purchase during the show via the Shein app's live stream, creating an almost unique bridge between a venue symbolic of luxury jewellery and the reality of the famous ‘purchasing power’ – a term that has invaded the political and economic sphere and for which this "Chinese Edouard Leclerc of fashion" is shaking up the rules of the game by dressing Gen A, Z, X, Y, and even boomers because, according to statements collected on site, "Shein's customers are loyal." It remains to be seen at what cost – not the one on the labels, but the environmental and social cost.


To address this, Leonard Lin, Shein's president for the EMEA region (Europe, Middle East, and Africa), answered questions, starting by defending the brand's production model, explaining once again that clothes are initially produced in small quantities (100-150) to test the market before being launched on a large scale. What about returns? "They are less than 10 percent and 95 percent are resold," assured Fabrice Layer, Shein's head of public affairs, who was present at the event in a Shein suit and tie.


Regarding the impact on the climate, Leonard Lin assured that the company wants to optimise sourcing, both for raw materials and manufacturing. To convey this intention, the Shein France fashion show, a media event, was composed of 20-30 percent deadstock fabrics. The brand even went so far as to name its supplier in Paris's Sentier district – a statement easily verifiable.


"If these thresholds are removed (and Brussels is aware of them, editor's note), we will pay what needs to be paid," the managers affirmed in unison. In fact, the issue seems to stem more from the slow pace of decision-making.


One last piece of information noted in the press release: "During the show, Shein also unveiled a new programme aimed at identifying, supporting, and developing emerging European designers, with an initial investment in the millions of euros. A dedicated team will aim to integrate 250 European designers over the next five years into the Shein X programme." Enough to make detractors jump?


This article originally appeared on FashionUnited.FR, translated and edited to English.


It was translated using an AI tool called Gemini 1.5.




FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@fashionunited.com.


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LFW SS25: Tolu Coker talks the struggles of being an emerging designer

Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



Interview


One of the hottest emerging talents at London Fashion Week has to be Tolu Coker, a West London-born, British-Nigerian designer and multi-disciplinary artist who is part of the British Fashion Council’s NewGen programme.


Coker, a graduate of Central Saint Martins, acquired experience in the design studios of J.W. Anderson, Maison Margiela and Celine before launching her namesake brand in 2018. No stranger to LFW, Coker made her debut in AW19 as the winner of the Fashion Scout Merit Award, an accolade that has kickstarted the careers of designers including Eudon Choi, Phoebe English, and David Koma.


Her work has a vintage and joyful sensibility, which celebrates her heritage as well as her sustainable approach to design, utilising upcycled, deadstock and reclaimed materials, and her SS25 collection was no different.


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



Coker invited her guests into a world built on personal and collective memories, transforming the show space into a British-Nigerian living room, paying homage to her late father Kayode Coker’s photography, and even decorating the walls with 60s-inspired wallpaper projections and offering up mid-century furniture as seating, for an immersive experience into the intimacy of the family home.


Tolu Coker SS25 ‘Olapeju’




The setting provided the perfect backdrop for her collection named ‘Olapeju’, a female name of Yoruba origin translating to ‘where wealth gathers,’ and that of Coker’s mother, the muse of this season, and a look back at the migrant communities in London in the late 60s and early 70s, which acted as a starting point for the collection.


This translated into a narrative of cultural fusion, identity, and community, with timeless and versatile pieces coming down the catwalk emphasising sharply tailored silhouettes, high cinched waists, equestrian-inspired jackets and jodhpurs-style balloon-hem trousers. The retro-infused aesthetic continued with 60s A-line forms, exaggerated collars, and shortened hemlines, with matching co-ord sets, hats and shoes taking centre stage to reflect the influence of top-to-toe dressing.


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



Sustainability was highlighted with upcycled and deadstock leathers, reclaimed satins with bold 70s-inspired prints, and the brand’s signature upcycled denim houndstooth jacquards, now washed in soft spring pastels. The collection also reaffirms Coker’s commitment to heirloom fashion with garments from previous seasons intricately woven into the catwalk styling, underscoring the importance of extending the lifespan of clothing by revisiting and reimagining existing wardrobes rather than discarding them with the next trend cycle.


This season also included a collaboration with Manolo Blahnik, including three new boot styles designed by Coker, which reimagine the luxury footwear brand’s heritage and equestrian codes from the legacy of the Westway Stables whilst utilising offcuts of deadstock leather from the collection.


Interview with Tolu Coker ahead of her SS25 catwalk show at LFW




Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



Ahead of her spring/summer 2025 show at LFW, FashionUnited caught up with Coker to find out more about the collection, how she designs with sustainability in mind, as well as the issues facing young designers and her advice for aspiring fashion designers starting out in the industry.


How would you describe your brand’s aesthetic?




My brand's aesthetic is polished, tailored, classy, and sophisticated.


What was the starting point and inspiration for the spring/summer 2025 collection?




I was looking at immigration in the late 60s and early 70s, and my late father's photo archives, which was a real reference point for me, where he had documented the migration of Nigerians to England, the communities that they birthed, and the significant contributions they made here in the UK. I just used those images to piece together their stories while looking at them through the lens of the matriarch.


My family has a long history within the North Kensington estates, the Ladbrook Grove and Portobello areas of London. At that time, they were kind of slums, and there was a huge landlord crisis and a mix of Irish, Caribbean, Black, Portuguese and Algerian communities, which you still see today in the area.


I think it's a very special community. I wanted to look at the notion of wealth, the ideas of luxury, and what that means, and luxury being rooted in heritage, and what that could mean for communities that were birthed through immigration. This idea of wealth not being about monetary value but the value of community, the value of culture and cultural preservation, which I think was very prevalent at that time.


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



How do you go about blending your cultural heritage with contemporary designs?




I don't think it's necessarily something that's done, incredibly intentionally, I think it's very much part of the subconscious. When you design from a space of self, you sort of design with all of the influences, cultural, social, spiritual, and environmental, that shape you as a person.


I think a lot of my cultural heritage is just inherently a part of the lens and gaze through which I design clothing.


I spend a lot of time talking with people and researching before I even begin the design process. It very much is a process of discovery and of learning a story in order to tell it.


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



How do you implement sustainability in your designs?




It's less just within the designs, and it's more so a way of working. It's in the consideration of how we source materials, the kind of materials that we're sourcing, and what we're using, as well as thinking about the longevity of what we're designing, reinforcing garments, thinking about finishes that allow these garments to last for a long time and be passed down from the actual design process.


It's also thinking about designing pieces that can be worn across seasons, that can be wardrobe essentials, that can be dressed up and dressed down, that can be layered, and worn in a myriad of ways. I think that's incredibly important for building out these essential wardrobes, that people get a lot of use out of their garments and also feel a connection to their garments. That's really significant for me.


I also do a lot of panelling within the tailoring, which is great for kind of contour and shaping, but it also means that I'm able to work around, perhaps defective or end-of-life materials to maximise them and get the most out of them.


Also, a lot of my designs consider using the offcuts of other designs or other patterns to be implemented into other designs, meaning that we're just maximising the usage of anything that we are using for production or sampling.


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



How has being part of NewGen helped your brand?




NewGen has been significant for amplification and visibility. London Fashion Week is a big stage, a global stage, and there are a lot of eyes on it. It's significant to be a part of this programme to have that visibility as a brand. It's so essential.


Beyond that, the mentorship that comes with it I really find invaluable. Likewise, my peers. I learn a lot from other designers within my cohort. It's just really significant to feel part of a level of community and know that you're not just the only one out here trying to do this.


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



Do you think the fashion industry is doing enough to support emerging talent like yourself? What more could they be doing?




A lot more could be done, but I'm hopeful about the industry. I think that there is a lot of consideration when programmes are built out for young designers. I think it's really important for the industry to step back and reassess where we are and reassess, actually, what is the actual needs of designers. I think the biggest thing for young designers across the board that I always hear is about financing.


We are on schedules with a lot of the big giants, and it's really difficult to keep up with that. We don't have million-pound marketing budgets, and we have to be incredibly resourceful with any resources that we do have, and where things within the market can be very up and down. We've seen what's happened with the wholesale market and the closure of big e-retailers and how that's affected everybody.


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



I think young designers are kind of the small fish that feel the impact the most, because we don't have the resources for flexibility or really for contingency, and I think you see a lot of independent brands pack up, as certain tides of the industry shift because they just can't survive it.


I think it's important for there to be consideration of what young designers need, and that is more financing, and also the reality of the pace at which we're able to work at we don't have huge teams or departments that can turn around several collections a year, and I think it's also very highly unsustainable, especially if that's what the industry says it's working towards. That's something that I would love to see shift, and I think there's huge room for improvement in that area.


What’s next for your brand?




Just carrying on - we have, obviously, market and showrooms. For me, it's thinking about sustainable scalability, and how we can have more of a presence, but also more of an impact. Taking it day by day, and just growing and having more visibility and more impact in the most sustainable way.


What are the biggest challenges facing your business?




Finance! I think that's the underpinning of everything. A lot of people don't know that I am an incredibly tiny team of one within the studio most days. I have a team that works across press and other business functions, but as far as design and day-to-day studio, I wear a lot of hats.


I think one of the biggest challenges is finance and workload, you're always trying to manage it, and you're always trying to maintain consistency. It's a lot of work, and it's ongoing. We never really stop. We never really have a break. It's our season's are always in season. If it's not preparing for the show, it's preparing for market. If it's not preparing for market, it's managing production. It's sort of a 365 job.


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer



One piece of advice you’d give a student fashion designer starting out?




Upskills - like lend your hand to helping people so that you can learn.


I think a lot of the perception today for a lot of people is that you can become a huge, global fashion design superstar overnight, and I think good things, just take time. That's not saying you can't have a quick process. The goal is that with each generation, things become easier. But I don't think that skills should be lost for the sake of that. I think it's important to become a master of your craft, and you can only really do that by continuing on. I think graduation is just the beginning of the process. It's not the end of the process. It's your stepping foot in the industry, and it's your opportunity to learn how things work at an industry level because I think there is a big disparity between how students perceive it at university and the realities of it.


I think it's important to also learn the business of fashion. I think that's such a lapse for so many people coming out of university. A lot of universities are churning out creative directors, and not necessarily business people, and not necessarily the most skilled people. I think it's important to continue to upskill and just to always remain a student. One of the best ways of doing that is by trying to get as much experience as you can and recognise that it might not be the most glamorous, or the most highly salaried, paid job, but think about the value you can get from it, to pour into your craft, because the best ways to make mistakes is on someone else’s budget!


Tolu Coker SS25 at LFW Credits: Tolu Coker by Stefan Knauer


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