FW24: Young talents at the MFW Fashion Hub

Via Piave 33 Credits: National Chamber of Italian Fashion


Milan Fashion Week inaugurated a new edition of its Fashion Hub on Monday, which serves as a meeting place and a training space, a forge for innovative projects and talents, open to the public and the city of Milan. The project is supported by the Ministry of Foreign Affairs and International Cooperation and the Italian Trade Agency (Agenzia Ice). The venue, hosting various emerging brands, will remain open until Sunday, February 25, at Palazzo Giureconsulti.
Escvdo Credits: National Chamber of Italian Fashion


Specifically, among the projects hosted by the Fashion Hub will be Designers for the Planet, now in its eighth edition, MFW Forward, and the educational projects that will unfold in a programme of educational talks.


The Designers for the Planet project involves 8 brands that take various sustainability factors into consideration in the creation and production of their collections. The designers participating in the project were selected by a technical jury, chaired by Carlo Capasa, president of the National Chamber of Italian Fashion (CNMI). The 8 emerging brands selected for the FW24 edition of the event are: 0331, Defaïence, āim/Handmadeinitaly, Eliels, Escvdo, Gams Note, Pīferi, and Via Piave 33.


The MFW Forward project involves brands that primarily focus on research, innovation, and experimentation, blending these aspects with new trends and cultural shifts. The brands presenting their collections at this edition, who will rotate throughout the duration of the fashion week, are six: Almond Oct, Amato Daniele, DassùYAmoroso, Francesco Murano, Pairi Daeza, San Andrès Milano, Sake, Salvatore Vignola, and Victor-Hart.


The programme on Sunday, February 25 will be curated by Cittàdellarte – Fondazione Pistoletto Onlus, presenting Fashion to Reconnect, inspired by Michelangelo Pistoletto's new dynamic equilibrium of the Third Paradise and proposing clothes and fashion items as works of art that become tools to foster awareness in moving towards responsible social change.


Designers, entrepreneurs, brands, and artists reconnect with nature to create a harmonious relationship, where the selection of materials, processes, and the very perception of creation become the drivers of a virtuous transformation in the world of fashion.
Gams Note Credits: National Chamber of Italian Fashion


This article was originally published on FashionUnited.IT. Translation and edit from Italian into English: Veerle Versteeg.


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Paris Fashion Week: The FHCM announces partnership with Air France and KLM

Air France plane. Credits: Pixabay



An exclusive travel offer has been negotiated between France's governing body for fashion Fédération de la Haute Couture et de la Mode (FHCM) and the national airline Air France, offering a special fare to all professionals accredited to Paris Fashion Week Haute Couture autumn/winter 2024/2025 and men's spring/summer 2025 collections.


Notably, these events come during a period for which many professionals had expressed concern regarding the soaring prices linked to the impending Olympic Games in the city, which collides with the fashion weeks in the last fortnight of June.


To receive the offer, FHCM-accredited professionals simply need to enter a discount code when booking, which will entitle them to a 10 percent reduction on the price of tickets, excluding taxes and supplements, on Air France & KLM flights costing at least 140 euros.


This code is provided once accreditation has been validated. This offer can be applied for travel in the last fortnight of June 2024, with a minimum of one day on site during the dates of the event.


While the offer may put the minds and wallets of travelling professionals at ease, questions have been raised surrounding the environmental impact such an influx of flights into Paris could cause.


This article originally appeared on FashionUnited.FR. Translation and edit by: Rachel Douglass.


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Zalando plans to remove misleading sustainability labels

Zalando's headquarters in Berlin Credits: Zalando



According to the EU Commission, online retailer Zalando has committed to removing misleading sustainability labels and symbols from its website.


From 15 April 2024, the symbols, such as leaves or trees, will no longer appear next to the products on offer. This was announced by the Brussels authority on Thursday. The Consumer Protection Cooperation (CPC) network, which is coordinated by the European Commission, had set its sights on Zalando in 2022.


"After more than a year of intensive work on our customer experience and a close dialogue with the European Commission, we are pleased that we have now reached an agreement: Our proposals to improve the communication of sustainability-related product information to customers have been accepted and the matter has been closed, subject to the implementation of the agreed changes," Zalando said in response to an enquiry from FashionUnited.


Clear information instead of labelling




Instead of the previous labelling, the online retailer wants to provide clear information about the specific product in future, such as the percentage of recycled materials used.


In addition, the previous "sustainability page" is to be revised with the introduction of two new websites – one with further information on product standards and one with information on Zalando's sustainability-related approaches and strategies.


According to EU law, companies must provide consumers with truthful information and must not mislead them in order to influence their decisions.


The company supports a standardised application of the existing guidelines to ensure that customers are not misled by different interpretations, according to a statement from Berlin. Zalando's primary goal is to provide its customers with all the information they need to make an informed purchasing decision.


Zalando is also expected to submit a report documenting the implementation of its obligations. A network of consumer protection organisations - coordinated by the European Commission - will then assess this. If it finds deficiencies, it can impose fines.


"As a range of new/further legislation for the textile sector will be developed in the coming years, we encourage EU policy makers to create a coherent legal framework that not only boosts confidence but also the interest of consumers, while providing legal certainty for businesses," the statement said. "The outcome of our joint agreement with the European Commission is an important first step towards achieving clarity on the presentation of sustainability-related product information for our entire industry."


At Zalando, products were previously labelled with certain symbols if they met one of the company's sustainability criteria, as the company explains on its website. These previously included symbols for ecological or innovative materials, natural ingredients or items without animal testing.(DPA/FashionUnited)


This article originally appeared on FashionUnited.DE. Translation and edit by: Rachel Douglass.


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Milan Fashion Week launches anti-discrimination initiative: 'Results within a year'

Milan Fashion Week SS23 - Gucci Credits: ©Launchmetrics/spotlight



Three Italian organisations have signed an agreement that aims to promote equality within the fashion industry. The Italian Fashion Council (Camera Nazionale della Moda Italiana, CNMI), nonprofit African Fashion Gate (AFG) and the Italian government's anti-discrimination agency (Ufficio Nazionale Antidiscriminazioni Razziali della Presidenza del Consiglio dei Ministri, UNAR) have agreed that more needs to be done to "detect, identify and combat" discrimination.


The initiative starts with a broad survey of the experiences of women, people of colour and other underrepresented groups in the industry, with both fashion brands and retailers to be scrutinised. During the conference on the Tuesday of Milan Fashion Week at the Fashion Hub (Sala Parlamentino) in Palazzo Giureconsulti, it was announced that fashion blogger Tamu McPherson will become the chair of Diversity and Inclusion at CNMI.


CNMI president Carlo Capasa told The Associated Press that he hopes to share results from the initiative within a year. "I don't think an association like ours can solve the [discrimination] problem, or that it would be very easy to solve it. I think we can try to make a small contribution," Capasa said, adding that the role of the government is crucial.


Capasa revealed that the CNMI has previously made an attempt to combat discrimination in the fashion industry, but that establishing figures was hampered by privacy restrictions, which he hopes to circumvent with the new research.


The Italian fashion industry has been under pressure since the July 2020 Black Lives Matters movement, due to the shortage of people of colour in leadership positions.


This article originally appeared on FashionUnited.NL. Translation and edit by: Rachel Douglass.


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Calida Group posts 4.6 percent drop in 2023 sales

Calida store Credits: Calida Group



Calida Group sales in 2023 were 304.4 million Swiss francs, down 4.6 percent from a year earlier, or down 1.7 percent when adjusted for currency effects.


Calida brand's share of group sales was 157.7 million Swiss francs, an increase of 3.8 percent adjusted for currency effects or 1.8 percent in CHF, while against the brand’s pre-pandemic performance, sales grew by 22 percent.


Aubade brand sales declined 4 percent or 7.1 percent in CHF to 70.9 million euros and increased over 25 percent compared to 2019.


"The Calida Group achieved a solid operating result in a very difficult environment, with sales slightly lower compared to the previous year. The strategic realignment focusing on our profitable core brands will support long-term growth for a thriving Calida Group," said Felix Sulzberger, executive chairman of the company in a statement.


Calida Group posts loss in 2023




Lafuma Mobilier sales declined 23.2 percent or 26 percent in CHF in 2023, to 48.9 million euros but increased 18 percent against 2019. Sales at US lingerie brand Cosabella were 1.8 percent lower, at 25.1 million dollars.


Adjusted for currency effects, operating profit declined to 12.2 million Swiss francs in 2023, and EBIT margin dropped to 4 percent. Adjusted net profit also declined to 7 million Swiss francs.


The loss from discontinued operations (Erlich Textil) was 21.7 million Swiss francs, while the total corporate loss amounted to 66.5 million Swiss francs.


The company’s board of directors will propose a dividend of 0.60 Swiss francs per share at the annual general meeting (AGM) on April 5, 2024.


Calida Group announces changes to its board of directors




The company also announced that Stefan Portmann, after eight years of service, and Laurence Bourdon-Tracol, after two years of service, will not be standing for re-election at the upcoming AGM.


The board proposes Corinna Werkle for election as a new member. With over 35 years of management experience in international clothing companies in Europe, America and Asia, the company said, she brings new impulses to the Calida Group.


The company added that after 25 years with the group, most recently as COO, Daniel Gemperle will retire in April 2024 and Hanna Huber, who joined as CIDO in 2023, has decided to pursue a new career opportunity outside the company.


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LVMH launches media company, 22 Montaigne Entertainment

LVMH launches media company 22 Montaigne Credits: LVMH



LVMH is launching 22 Montaigne Entertainment, a platform for developing film, TV, and audio productions across its luxury brand portfolio. The name is derived from the company’s Paris headquarters. Partnering with Superconnector Studios, a company based in California, LVMH aims to co-develop and co-produce entertainment properties that highlight the narratives of its portfolio brands like Louis Vuitton, Dior, and Bulgari.


The news was first reported by Deadline, who stated the venture taps into the untapped storytelling potential of brands with centuries-old legacies, bridging the worlds of luxury and entertainment. Anish Melwani, LVMH North America chief told Deadline the platform would serve as a vehicle to tell the stories of the various Maisons through premium entertainment that enrich the customer experience.


The new entertainment company aligns with the longstanding intersection of high-end fashion and Hollywood, aiming to leverage the cultural significance of LVMH brands in the entertainment landscape. Melwani also underscored the strategic evolution of LVMH's approach, facilitating collaborations that resonate with each Maison's heritage and values while opening avenues for compelling storytelling by partnering with seasoned entertainment professionals.


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The world's largest anti-fur campaign calls on Max Mara to cut out fur

Humane Society International and Fur Free Alliance team up on Max Mara campaign to ban fur. Credits: Humane Society International/Fur Free Alliance.



At the start of fashion week in Milan and ahead of the upcoming fashion week in Paris, the animal welfare organisations Humane Society International and USA as well as the Fur Free Alliance, which together represent organisations in more than 35 countries, have joined forces. Their aim: to persuade the Max Mara Fashion Group to abandon fur in the future.


The luxury group was chosen because it is one of the last major fur users, selling products with fox fur, raccoon fur and mink from China and Finland in its more than 2,500 shops in 105 countries (227 of which are in the EU).


Max Mara continues to adhere to fur, while major fashion houses such as Dolce & Gabbana, Saint Laurent, Valentino, Prada, Gucci, Versace, Alexander McQueen, Balenciaga and Jimmy Choo plus pioneers such as Hugo Boss, Armani, Tommy Hilfiger, Stella McCartney and Vivienne Westwood have long since joined the fur-free movement.


Max Mara continues to hold on to fur




"Max Mara is one of the last major fashion brands still supporting the cruel fur trade. They stand alone in a world where most people think that using fur is simply wrong. The evidence is clear: fur is cruel to animals, bad for the environment and a risk to our health. It's time for Max Mara to stop using fur and set an example for compassionate fashion by going fur-free," said Elise Allart, corporate engagement director of Humane Society International/Europe, in a press release.


Around 10 million foxes, martens, minks and chinchillas are killed on EU fur farms every year, although such processes have already been banned in 15 Member States (Austria, Belgium, Croatia, Estonia, France, Ireland, Italy, Latvia, Lithuania, Luxembourg, Malta, the Netherlands, Slovakia and Slovenia).


Five other European countries - Bosnia and Herzegovina, Norway, UK, North Macedonia and Serbia - have also banned them, while Switzerland and Germany have enacted strict animal welfare regulations that have effectively ended fur farming. Tens of millions of animals suffer and die every year in the global fur trade.


At the time of publication, Max Mara did not respond to a request from FashionUnited for comment.

Read more:



* BFC releases provisional fur-free schedule for LFW






* Activists slam conditions at Europe's fur farms






* Italy vote to ban fur farming and shut down mink farms






At the time of publication, Max Mara did not respond to FashionUnited's request for comment.


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LFW AW24: All-aboard SRVC’s London commute

SRVC's Ricky Wesley Harriott Credits: SRVC



InterviewA standout moment from this season’s London Fashion Week had to be attending a fashion show on an iconic red London double-decker bus to see SRVC present its autumn/winter 2024 collection inspired by the morning commute on return from a tropical holiday.


SRVC (pronounced service) was founded in 2021 by designer Ricky Wesley Harriott to address the needs of the modern woman by exploring innovation and functionality with a “hyper-futuristic edge”.


For its autumn/winter 2024 ‘Human Resources’ showcase, SRVC turned London’s mundane morning commute into a fashion show, with models wearing body-hugging looks with cinched-waist and statement shoulders weaving their way up and down the narrow staircases of three Transport for London (TfL) buses parked outside of Bloomsbury’s Stewart House.


SRVC AW24 Collection Credits: SRVC



On the inspiration behind the catwalk location, creative director Ricky Wesley Harriott said: “This collection and all its themes are so very rooted in my lifelong relationship with London and the incredible that command this city.


“We really wanted to allow you to see this collection in the way we encounter clothes every day. In passing, in motion, in real life.”


SRVC AW24 Collection Credits: SRVC



The collection made a statement, blurring the line between masculinity and femininity, with tailored suits cut to boxy proportions with cut-out detailing to the hips and trouser hems sporting shirt collar-inspired details alongside pinstripe shirts worn as dresses and as miniskirts skirts. There were also woollen two-piece sets, featuring jackets with cinched waists, commanding shoulders, and off-centre buttons, and poplin button-up dresses and shirts with cut-out accents at the chest and statement sleeves with a perpetual rolled-up appearance.


There was also a day-to-night bus feel, with lace body-hugging jumpsuits layered underneath provocatively draped dresses and satin-like two-pieces with cut-out detailing, and knitted denim skirts and backless maxi dresses with thigh-high slits.


SRVC AW24 Collection Credits: SRVC



SRVC’s Ricky Wesley Harriott on rethinking womenswear




Before LFW, creative director Ricky Wesley Harriott, previously a designer at Vetements, spoke to FashionUnited about how SRVC is rethinking womenswear, the inspiration behind the AW24 collection, as well as the importance of sustainability, diversity, and inclusivity.


What inspired you to launch SRVC?




When we came together, we understood that we wanted to address diversity, empowerment and visibility for different kinds of women at different stages of their lives. We as a team feel incredibly passionate about giving space and being of service to women who look to fashion to help armour themselves through life and its many societal expectations and pressures.


How would you describe your brand’s aesthetic?




The brand very much aims to address the needs of a wardrobe. We look at things that we all recognise and amplify them with twists and details that feel of servitude to the wearer. We often incorporate elements that allow self-styling as it’s really important to us that the client feels they can make the pieces truly theirs. Our relationship with how the client feels is a really big priority so we really enjoy finding ways to make our garments purposefully utilitarian.


SRVC AW24 Collection Credits: SRVC



What was the starting point and inspiration for the autumn/winter 2024 collection?




The last collection depicted the idea of a dystopian resort and was focused on our digital bad habits even when we are supposed to be on vacation. For this collection, I wanted to address what happens after the holiday. You go back to work. I have always spent a lot of time observing and being inspired by things and people I see on my morning commute, and I began to document this with a lot more intent.


I found a fascination in how we as people armour ourselves at the top of the day to face society, work, responsibility, and life. The source of this collection is really human and honest but reworking it in the context of SRVC was exciting and playful.


How do you implement sustainability in your designs?




At SRVC all of our denim is actually repurposed. We source vintage and second-hand denim and cut our shapes from this. It’s a really lovely process because each piece is slightly different. I love that nostalgic feeling of your favourite worn denim against our shapes.


SRVC AW24 Collection Credits: SRVC



Why is it important for SRVC to be part of London Fashion Week?




For me as a Londoner, it feels like such a privilege to be able to share SRVC with London Fashion Week. I think fashion in London always has such heart and intention. Designers here really tell stories and deliver collections that resonate beyond just clothing. London is a bold and fearless fashion capital and I love being a part of that.


You had a diverse and inclusive cast on the catwalk – why was that important to you?




Diversity is so important to us. The world is full of different kinds of people representing different points of view, I genuinely wouldn’t have it any other way.


As a designer one of my main focuses is for women to be able to see themselves in what I am proposing so having a diverse cast is truly non-negotiable for me.


SRVC AW24 Collection Credits: SRVC



What’s next for SRVC?




After our show, we regroup and begin production on the pieces for our stores, but I get to sit and think about the next part of the story. I have some really great ideas that I want to explore, but I am excited to move forward and continue building our narrative as a brand.


I also really want to work more closely with our growing community. We have a pool of women who have taken SRVC to heart and the more I see our clients in our clothes, the bigger need I feel to work with them in shaping what this brand truly represents.


What are the biggest challenges facing your business?




I think a lot of small independent brands are expected to function at the same level as bigger houses and that’s a really slippery slope. I think that expectation can be quite daunting and is not always sustainable for young designers mentally and financially.


I think we need to reset our expectations and allow brands to sustainably grow their businesses in ways that really reflect the stage of their business.


SRVC AW24 Collection Credits: SRVC



If you could be the creative helm of any luxury house, which would you choose?




I of course have houses I feel that I would thrive in taking on, but honestly, my work with SRVC is my focus, I am at the helm of this house, and I want to make it a house that really means something to people.


If you weren't a fashion designer - what would you be?




Asleep.


Who in the fashion industry inspires you?




Martine Rose, I love her work so deeply. Her references and her perspectives, I recognise a lot of where she is coming from, and it means the world to have a designer who creates exquisite clothing that I personally both identify with and feel great in. She is masterful at creating community and I think that is a beautiful thing.


SRVC AW24 Collection Credits: SRVC



SRVC AW24 Collection Credits: SRVC



SRVC AW24 Collection Credits: SRVC


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New York FW24– Key Colors and Fabrics: red, brown and lots of fluff

NYFW FW24 main image Credits: NYFW
FW24/Launchmetrics Spotlight


New York Fashion Week for FW24 ran from Thursday, February 9 through
Wednesday, February 14 with 50 designers participating.
Despite strong competition for viral social media time from The Super
Bowl LVIII, NYFW held its own. Arguably, the most talked about show
was Raul Lopez’s ‘metrosexual’ show for Luar.

Beyonce at Luar FW24 Credits: Luar
FW24/Launchmetrics Spotlight


Beyoncé sat front row with mother Tina and sister Solange to watch
nephew "Julez" Smith Jr.'s runway debut. Collina Strada and Christian
Cowen both celebrated diversity and Puma transformed Grand Central
into a futuristic amusement park.

Puma FW24 set design Credits: Puma
FW24/Launchmetrics Spotlight


When it came to the old guard, most returned to their roots. Tommy
Hilfiger showed his collection of classic preppy looks in Grand
Central’s Oyster Bar. Thom Browne came back to NYFW with a show at
‘The Shed,’ inspired by Edgar Allen Poe’s ‘The Raven.’ As for Michael
Kors, he utilized a legendary location, the original Barney’s store in
Chelsea, Colors tended to be muted, with the exception of bright red,
and fabric trends were focused on texture and surface interest.



Lady in Red




In a week that mostly lacked bright color, saturated shades of red
were seen in many collections. In a series of looks that ranged from
tailored separates to eveningwear, it represented female power and
strength. Pantone had predicted that this particular hue would be seen
during NYFW FW24 stating that, “PANTONE 19-1558 ‘Scarlet Smile’ is a
glamorous and decadent red that captures our desire.”


Badgley Mischka

Badgley Mischka FW24/ Look 26 Credits: Badgley
Mischka FW24/Launchmetrics Spotlight


Look 26: a full-length fitted red crepe coat dress with self-belt;
opera-length red leather gloves and a red satin clutch.


Negris LeBrum

Negris LeBrum FW24/ Look 7 Credits: Negris LeBrum
FW24/Launchmetrics Spotlight


Look 7: a red ostrich leather two-piece suit with a one-button jacket
and straight leg pants.


Prabal Gurung

Prabal Gurung FW24/ Look 1 Credits: Prabal Gurung
FW24/Launchmetrics Spotlight


Look 1: a full-length red evening coat over a red turtle-neck and a
shiny skirt with red leather long gloves, a red skullcap and point-toe
shoes.


Sandy Liang

Sandy Liang FW24/ Look 29 Credits: Sandy Liang
FW24/Launchmetrics Spotlight


Look 29: a tailored red wool coat with tortoise buttons over a zip-up
jacket and mini skirt. Black round toed boots with a bow detail
completed the look.


Carolina Herrera: designer, Wes Gordon

Carolina Herrera FW24/ Look 1 Credits: Carolina
Herrera FW24/Launchmetrics Spotlight


Look 1: a dress with a red mock turtle-neck top and a black satin
asymmetric skirt over black skinny pants and red patent point toe
flats.



Coffee Break




‘Latte dressing’ continues to resonate as a chic alternative to black.
Shades of brown colored a variety of garments including puffers,
leather jackets, dresses and tailored separates.


Fforme: designer, Paul Helber

Fforme FW24/ Look 24 Credits: Fforme
FW24/Launchmetrics Spotlight


Look 24: a brown puffer jacket over a brown knit top and pants with a
brown knit skullcap and brown ballet flats.


Helmut Lang: designer, Peter Do

Helmut Lang FW24/ Look 18 Credits: Helmut Lang
FW24/Launchmetrics Spotlight


Look 18: a two-button tailored brown blazer with matching culottes; a
brown oversized tote and brown knee boots finished the look.


Michael Kors Collection

Michael Kors FW24/ Look 41 Credits: Michael Kors
FW24/Launchmetrics Spotlight


Look 41: a shiny brown leather jacket with surface effects with a
shearling collar and a matching knee-length skirt. Accessories
included brown point toe shoes, a tiny satchel and tortoiseshell
sunglasses.


Ludovic de Saint Sernin

Saint Sernin FW24/ Look 21 Credits: Saint Sernin
FW24/Launchmetrics Spotlight


Look 21: a brown leather bomber jacket and a matching skirt with
silver grommets, plus brown hose and brown pumps.


Luar: designer Raul Lopez

Luar FW24/ Look 7 Credits: Luar FW24/Launchmetrics
Spotlight


Look 7: a brown wool turtle-neck dress with broad shoulders, brown
shiny boots and an oversized bronze-colored tote.



Gender Reveals




In recent seasons using classic plaid and bouclé has gone from
strength to strength, signaling as it does, the current mood for
gender fluidity. It showed up in a variety of styles with both
masculine and feminine influences.


Kobi Halperin

Halperin FW24/ Look 36 Credits: Halperin
FW24/Launchmetrics Spotlight


Look 36: a charcoal wool coat over pinstripe separates that included a
jacket, pants and a bustier.


Michael Kors

Michael Kors FW24/ Look 44 Credits: Michael Kors
FW24/Launchmetrics Spotlight


Look 44: a double-breasted fitted long line jacket in brown and cream
plaid and a knee-length skirt with a split; accessorized by a skinny
belt, tiny satchel and brown patent pumps.


Monse: designers, Laura Kim and Fernando Garcia

Monse FW24/ Look 4 Credits: Monse FW24/Launchmetrics
Spotlight


Look 4: a grey/brown floor length tweed coat with a brown suede
collar, over a matching vest, deep vee navy sweater and blue and white
striped shirt. Strappy sandals finished the look.


Retrofete: designer, Ohad Seroya

Retrofete FW24/ Look 1 Credits: Retrofete
FW24/Launchmetrics Spotlight


Look 1: a Prince of Wales check floor-length coat over a matching
double-breasted blazer and a mini skirt. Accessories included a black
valise and pumps.


The Salting: designers, Michael Ward and Michael Smaldonem

The Salting FW24/ Look 3 Credits: The Salting
FW24/Launchmetrics Spotlight


Look 3: a cropped bouclé jacket in black and white plaid with matching
drawstring-waist shorts, a white shirt and tie and black hose, socks
and black boots.


Thom Browne

Thom Browne FW24/ Look 14 Credits: Thom Browne
FW24/Launchmetrics Spotlight


Look 14: a wide collared black, grey and white tweed plaid coat over
contrasting plaid layers. Accessories included a net covered hat,
black tie and clear zip-up booties.



Knit Wit




Cocooning was a big theme running through the week and designers
showed a variety of head-to-toe cozy knit looks.


Aknvas: Christian Juul Nielsen

Aknvas FW24/ Look 1 Credits: Aknvas
FW24/Launchmetrics Spotlight


Look 1: a pale lavender cable knit oversized sweater embellished with
pompoms and matching pants.


Bibhu Mohapatra

Mohapatra FW24/ Look 7 Credits: Mohapatra
FW24/Launchmetrics Spotlight


Look 7: a cream-colored cable-knit maxi dress with an oversized scarf.
Other accessories included an extra-wide leather belt and an
embellished green beret.


3.1 Phillip Lim

3.1 Philip Lim/ Look 24 Credits: 3.1 Philip
Lim/Launchmetrics Spotlight


Look 22: a space-dyed knit dress in green, blue and white with a polo
collar over matching pants.


Alejandra Alonso Rojas

Rojas FW24/ Look 13 Credits: Rojas
FW24/Launchmetrics Spotlight


Look 13: a cream pointelle knit tight dress and cream leather boots.


Ulla Johnson

Ulla Johnson FW24/ Look 40 Credits: Ulla Johnson
FW24/Launchmetrics Spotlight


Look 40: a maxi dress in bands of purple, ochre and cream-colored
fair-isle knit with a matching sweater. Burgundy Mary-Janes and ochre
socks finished the look.



Fur Sure




Again, the cocoon theme drove this fabric trend with many designers
showing fluffy textures for outerwear, often in winter white or blond
colorations.


Gabriela Hearst

Gabriela Hearst FW24/ Look 11 Credits: Gabriela
Hearst FW24/Launchmetrics Spotlight


Look 11: a shaggy knit cream-colored coat over a matching dress and black boots.


Sally Lapointe

La Pointe FW24/ Look 4 Credits: La Pointe
FW24/Launchmetrics Spotlight


Look 4: a faux fur short coat, marabou feather bolero over a sheer
knit top, short shorts, white hose and beige boots.


Puppets & Puppets: designer, Carly Mark

Puppets & Puppets FW24/ Look 3 Credits: Puppets &
Puppets FW24/Launchmetrics Spotlight


Look 3: a natural colored faux fur coat over green satin pants and a
blue leather bag.


Proenza Schouler: designers, Jack McCollough and Lazaro Hernandez

Proenza Schouler FW24/ Look 12 Credits: Proenza
Schouler FW24/Launchmetrics Spotlight


Look 12: a cream-colored coat in short faux fur in a midi-length with
white boots and red satchel.


Ulla Johnson

Ulla Johnson FW24/ Look 41 Credits: Ulla Johnson
FW24/Launchmetrics Spotlight


Look 41: a cream-colored marabou feather coat with a shoestring tie
belt and grey suede boots.


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Lanvin Group manages to achieve marginal sales growth

Lanvin flagship in New York Credits: Lanvin



Lanvin Group reported revenues of 426 million euros, a 1 percent increase versus 2022.


Commenting on the company’s performance, Eric Chan, CEO of Lanvin Group, said: "2023 was a year full of macroeconomic headwinds and global challenges. A softening second half saw the luxury fashion industry in a position it has not been in, in quite some time. Therefore, I am pleased to report that Lanvin Group maintained growth for the year."


Review of Lanvin Group’s results




The group reduced its store-base by 12 stores during the year and reported flat DTC sales growth on a like-for-like basis. St. John and Sergio Rossi posted store like-for-like growth of 13 percent and 6 percent, respectively.


While Lanvin brand’s first half revenue decreased by 11 percent, the brand ended the year down 7 percent. St. John grew its DTC channel by 7 percent in 2023 and Caruso achieved 30 percent growth in global revenue.


The company saw North America grow slightly and EMEA decreased slightly. In Asia, despite a slow start to the year in China in the first half, Greater China posted 8 percent growth and overall, the APAC region grew by 8 percent.


Lanvin’s digital revenue rose 3 percent with St. John grew 14 percent and Sergio Rossi by 5 percent. Lanvin and Wolford remained flat for the year.


Lanvin expects regional markets to grow in 2024




The Group anticipates that while continued softness in the overall global market will impact the business, regional economies will fare better and present opportunities for growth.


Furthermore, the company said that the APAC region shows opportunities for market share gains.


Planned marketing initiatives and product launches are expected to drive sales in 2024.


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Inside the technology of Beyoncé's new haircare brand Cécred

Cécred haircare brand from Beyoncé Credits: Cécred



Beauty


Grammy-winning singer Beyoncé Knowles-Carter has launched a new haircare brand, which draws inspiration from hair rituals from global cultures and features patent-pending technology and fermentation for visible strength, moisture, and shine for textured hair.


Called ‘Cécred,’ the haircare line has been years in the making and aims to deliver “what hair craves,” with rich conditioners and fortifying protein formulas featuring an array of butters, oils, honey, and fermented rice water to strengthen weak, damaged, or highly manipulated hair.


Commenting on her launch into hair, Beyoncé Knowles-Carter, founder and chairwoman of Cécred, said in a statement: "The journey of creating Cécred has taken years, and I'm so proud to finally reveal what we've been working on. As a Black founder, it was important to me to concentrate on where I saw the greatest need for healthy haircare and to place scientific innovation and product performance above all else. We started by prioritising the needs of textured hair like mine, along with other types and textures that need more moisture and strength.


“My entire life and career, I've worn my hair in so many different ways: natural, flat-ironed, braids, coloured, weaves, wigs. I want everyone to have the freedom to express their hair in ways that make them feel good, so I began by creating the essentials for hair and scalp health. My vision is to be an inclusive force of excellence in the haircare industry while celebrating hair rituals across global cultures and helping dispel hair myths and misconceptions on all sides."


Cécred haircare brand from Beyoncé Credits: Cécred



New haircare brand Cécred launches with patent-pending keratin recovery technology




Developed from her own experiences, Cécred launches with an eight-piece Foundation collection designed to cleanse, condition, and visibly repair hair. Products include shampoos and conditioners, a treatment mask, a hair oil, and a ritual treatment featuring patent-pending technologies, like its proprietary patent-pending Bioactive Keratin Ferment, made from wool-derived keratin, honey, and lactobacillus ferment.


Cécred explains that its formulas are enhanced by the ancient process of fermentation and the keratin proteins are small enough to penetrate deep into the cortex of each strand, closely matching and replacing depleted proteins to visibly repair and strengthen weak or damaged hair. They are also formulated without silicones, which mask damage with an artificial coating, and deliver moisture and visible strength for a healthy foundation.


The new haircare brand has also conducted extensive clinical, salon, and lab testing to ensure that its range of hair solutions is beneficial for hair textures from straight to coily and hair states, including virgin, colour-treated, chemically processed, and heat-styled, which need extra moisture and strength.


Cécred haircare brand from Beyoncé Credits: Cécred



Highlights of the debut products include a clarifying shampoo and scalp scrub, which combines exfoliants, fermented purple willow bark, and tea tree oil to remove buildup and residue from hair and scalp for a deep clean, while the reconstructed treatment mask is described as “hair repair in a jar” as it clinically tested to visibly reduce damage, increase strength, and improve shine after one use.


Other products include a moisture-sealing lotion, a nourishing hair oil, and a fermented rice and rose protein ritual, a two-step treatment to help strengthen hair. Prices range from 25 to 42 pounds / 20 to 52 US dollars and are available on the brand’s website, cecred.com.


In addition, Cécred has set up a philanthropic arm in partnership with BeyGood, Beyoncé’s charity foundation, to invest in the stylist community. The brand plans to donate 500,000 US dollars to fund cosmetology school scholarships and salon business grants.


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EssilorLuxottica and Michael Kors renew licensing partnership for a minimum 5 years

EssilorLuxottica (ESLOF.PK) and Michael Kors
Wednesday said they have renewed their licensing partnership to
develop and sell frames and sunglasses under the Michael Kors brand.


The renewal, which is for a period of 5 years with an option for
5-year extension, will be effective from January 1, 2025, when the
current agreement expires.


The early renewal, coming almost a year before the expiration of the
current agreement, is a testament to the strong confidence and
collaboration between the two companies since 2015, EssilorLuxottica
said in a statement.(DPA)


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The UK's best cities for sustainable shopping revealed

Black Tulip unveils UK's best sustainable shopping cities Credits: Black Tulip



The fast-fashion sector churns out over 92 million tonnes of textile waste annually, which at the very least poses significant environmental threats. However, recent studies indicate a shifting consumer mindset in the UK, with more than half expressing a desire for eco-friendly shopping in 2024.


Searches for slow fashion have surged by 130 percent since January 2023, signaling a growing inclination toward conscious consumption. Black Tulip, an environmentally conscious footwear brand, conducted research to identify UK cities embracing slow fashion principles.


Bristol emerged as a frontrunner with the highest number of certified B-Corp companies per capita. Leicester followed closely, excelling in textile recycling infrastructure and volume. Surprisingly, London, despite its low density of fast-fashion retailers, ranked lower due to limited clothing and textile recycling facilities and charity shops.


The top 10 cities leading the slow fashion movement include Bristol, Leicester, Nottingham, Brighton, London, Leeds, Liverpool, Southampton, Edinburgh, and Glasgow. According tot the data from Black Tulip these cities prioritise sustainable shopping habits, emphasising quality over seasonal trends.


About Black Tulip




Black Tulip champions slow fashion as a sustainable alternative to fast fashion's throwaway culture. Founder Sonam Joshan said the importance of investing in timeless pieces transcends fleeting trends. By embracing slow fashion, consumers can reduce their environmental footprint, support fair labour practices, and cherish garments crafted with care and ethical sourcing.


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Downton Abbey, Peaky Blinders and more: 60 film costumes to go up for auction

In Pictures


Downtown Abbey group shot. Credits: Lightscamera.auction and Kerry Taylor Auctions.



Cosprop and Kerry Taylor Auctions have announced that they are preparing to host an auction of iconic film and television costumes running from February 22 to March 10, during which time a live auction will also take place on March 5 where pieces will also be available to bid on.


All of the 60 items – some costumes, some film memorabilia – derive from the archives of costume house Cosprop and had initially been donated to the organisation in support of The Bright Foundation, an arts education charity established by Cosprop founder and costume designer John Bright.


As such, 100 percent of the proceeds will be donated to the charity to provide free access to theatre shows, museum tours, visual and performing arts workshops for children and supporting creative career pathways for young people.


In a release, Bright said: “My life’s work has been committed to costume design for film, TV and theatre, and I feel incredibly fortunate to have been able to pursue this path. It is my firmly held belief that the arts and creativity can shape happier and healthier children and enable young people to reach their full potential.”


Among the pieces up for auction are that of a 1950’s Christian Dior taffeta ball gown worn by Madonna in ‘Evita’, Johnny Depp’s costume as Ichabod Crane in the film ‘Sleepy Hollow’, Colin Firth’s wet shirt from the BBC TV’s drama series ‘Pride & Prejudice’ and Heath Ledger’s masquerade ball costume from ‘Casanova’.


See more of the looks here…


Drew Barrymore EVER AFTER - A CINDERELLA STORY Credits: Kerry Taylor Auctions - © 1998 20th Century Studios, Inc. All rights reserved



"Ever After" Drew Barrymore dress. Credits: Kerry Taylor Auctions.



The costumes of Johnny Depp, Anya Taylor-Joy and Colin Firth in Sleepy Hollow. Credits: Lightcamera.auction/Kerry Taylor Auctions.



Dame Elizabeth Taylor close up Young Toscanini 1998 Credits: Lightcamera.auction/Kerry Taylor Auctions (c) Tom Rand.



Dame Elizabeth Taylor "The Young Toscanini" 1988 costume side view designed by Tom Rand Credits: Lightcamera.auction/Kerry Taylor Auctions



Carey Mulligan FAR FROM THE MADDING CROWD Credits: ©2015 20th Century Studios, Inc. All rights reserved



"Far From The Madding Crowd" 2015 Carey Mulligan's costume designed by Janet Patterson Credits: Lightscamera.auction/Kerry Taylor Auctions



"Peaky Blinders" 2017 Tom Hardy full costume designed by Alison McCosh Credits: Lightscamera.auction/Kerry Taylor Auctions



The Duchess 2008 Keira Knightley & Ralph Fiennes costumes designed by Michael O'Connor Credits: Lightscamera.auction/Kerry Taylor Auctions


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LFW AW24: Menswear brand Derrick makes catwalk debut

Derrick AW24 collection Credits: Derrick



In Pictures


London-based menswear brand Derrick from Central Saint Martins graduate Luke Derrick offered a sleek and elevated display of tailoring for his catwalk debut at London Fashion Week.


Entitled ‘Nightwalking,’ the autumn/winter 2024 collection took inspiration from Derrick’s 12-minute nightly walks from his studio in Bethnal Green back to his flat in Spitalfields, East London.


Derrick AW24 collection Credits: Derrick



In the show notes, the designer, who has trained with the likes of Brioni, Alexander McQueen, Dunhill, Rapha, and Savile Row, described the curated 18 looks as an “examination of the allure of restless nightcrawling,” offering up outerwear, luxe loungewear, and his elegant, modern take on traditional tailoring for a new, younger consumer.


Highlights included jackets in Hainsworth merino wool, elevated shawl-drape tops, cotton terry “near-velvet” joggers, tailored stirrup jodhpurs, knitted jumpers with cut-out detailing, and stylish long overcoats all geared towards a new-era in British elegance for men.


Derrick AW24 collection Credits: Derrick



Derrick AW24 collection Credits: Derrick



Derrick AW24 collection Credits: Derrick



Derrick AW24 collection Credits: Derrick


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Burberry closes out LFW AW24

Burberry AW24 collection Credits: Burberry



In Pictures


British heritage brand Burberry closed out the autumn/winter 2024 season of London Fashion Week with an outdoorsy catwalk showcase in a giant circus-like tent in Victoria Park, East London.


For AW24, creative director Daniel Lee continued to lean into Burberry’s outdoor and nature connections, as well as the landscapes and people of the UK and Ireland. The collection offered a more elegant sophistication, centred around protection and warmth with outerwear, with Burberry trenches appearing in moleskin, alongside duffle coats and field jackets.


Burberry AW24 collection Credits: Burberry



Lee also delved into the archives and used traditional craft and techniques from mills in Donegal and Lochcarron to inspire construction, fabric and detailing, with shearling, braided fringing and fleecy wool adding a cosy and tactile feel throughout.


On the inspiration, Lee said in the show notes: “I wanted this collection to feel warm and protective. There’s a sense of craft in this collection. We began in the Burberry archive and the mills of Lochcarron and Donegal. I wanted to take a traditional approach to the fabrics and how each piece is made. Craftsmanship has always been at the heart of design.


“The collection itself is inspired by British and Irish wool and fabric, centred around protection and warmth. Burberry trenches are designed with texture in mind. Coats are at the core, shoes and bags are functional. These pieces are made for the outdoors.”


Burberry AW24 collection Credits: Burberry



Daniel Lee places focus on outerwear for Burberry AW24




Highlights included duffle coats with shearling necklines, teddy-bear bomber jackets, leather field coats cut with oversized funnel necks, parkas with detachable plaid linings and knee-length woollen coats with military influences.


For the ready-to-wear, Lee offered pleated maxi kilts, rollneck knitted dresses with long, chunky fringed detailing, blanket-inspired wrap dresses, a draped gold velvet dress for women, and heavy stripe suits, textured luxe loungewear, silk shirts, and trousers with zips down the front and left open at the knees for the men.


Lee finished the looks with functional bags and shoes, including sturdy Wellingtons and biker boots with buckle detailing, alongside sculptural feather bracelets.


Burberry AW24 collection Credits: Burberry



Burberry AW24 collection Credits: Burberry



Burberry AW24 collection Credits: Burberry



Burberry AW24 collection Credits: Burberry



Burberry AW24 collection Credits: Burberry



Burberry AW24 collection Credits: Burberry



Burberry AW24 collection Credits: Burberry



Burberry AW24 collection Credits: Burberry



Burberry AW24 collection Credits: Burberry


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Coty and Etro sign new beauty and fragrance license

Etro spring/summer 2024, ready-to-wear Credits: ©Launchmetrics/spotlight



Beauty


Beauty and cosmetics giant Coty has inked a long-term beauty license with luxury Italian fashion house Etro to produce and distribute its signature fragrance lines and home scent collections beyond 2040.


In a statement, Coty said that the deal will actively drive the expansion of Etro’s fragrances, and it will also work with the fashion house to explore new categories and innovations “to grow the brand’s beauty portfolio”.


Sue Nabi, chief executive at Coty, said: “We are delighted to announce our new alliance with Etro, an Italian luxury fashion house that is renowned for its timeless designs and relentless focus on quality. Etro is an iconic brand with a long-standing heritage of excellence that is reflected across every facet of its business.


“This agreement further underscores Coty’s focus on fashion driven licenses with significant multi category potential which resonate with consumers in our key markets. We are excited to collaborate with Etro, building on the brand’s existing beauty offering and bringing its unique brand identity to life through new categories and launches.”


Coty and Etro logos Credits: Coty/Etro



This is the first beauty license for Etro as the brand’s fragrances, including ‘Shantung’ and ‘Paisley,’ have been developed in-house until now. Coty will now assume the development, production, and distribution of all Etro perfumes and fragrances.


Fabrizio Cardinali, chief executive at Etro, added: “This partnership with Coty marks another invigorating chapter for Etro as we continue to bolster the evolution of our beauty portfolio. The collaboration will enable us to leverage synergies between our companies while taking advantage of Coty’s expertise and industry-leading capabilities.


“We are looking forward to working with the Coty team to explore ways of developing our beauty presence in a way which is authentic to Etro, further strengthening our ability to meet the dynamic, and ever-evolving demands of our consumer across different markets.”


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Revivals, mergers and London’s return: What went down at the first Pure London x JATC

Pure London x JATC, Feb 2024 edition. Credits: Pure London x JATC.



In the world of the UK’s trade show landscape, the merging of Pure London and Just Around the Corner (JATC) was a one that brought much attention to the industry. The duo, once rivals individually hosting their respective events in the UK’s capital, announced their decision to come together mid-2023, aligning with the promise of boosting reach and offer. It reaffirmed a trend for such unification among the wider trade show industry – with Copenhagen International Fashion Fair (CIFF) also recently absorbing its smaller rival Revolve, bringing exhibitors under one roof.


Spanning February 11 to 13, and running simultaneously to sister fair Scoop, also run by parent company Hyve Group, the first edition of Pure London x JATC took place, returning to Pure’s home of Olympia London, welcoming a “record number” of exhibitors to the venue. Over the course of the three days, the event played host to trend seminars, panel discussions and runways shows, where featured brands and overarching seasonal trends were put on display for all those passing through.


Merging markets and missions




Like CIFF, the challenge for Pure and JATC was to combine their missions, a learning curve for the shows’ respective organisers, Gloria Sandrucci and Juls Dawson. Next to the goal of making the trade show more accessible for buyers and exhibitors, elements of each show could be seen among the stands. For example, a new showroom package allowed exhibitors to have a more simple, and therefore cheaper format. Speaking to FashionUnited, Sandrucci added: “For us, we embraced the more simplistic way that Juls had at JATC. We’ve introduced other very simple packages to allow new brands, young talents to experience the show in an innovative way.”


This was evident in Pure x JATC’s expanded ‘Pop’ section where, alongside established Gen Z-targeted brands, were a number of upcoming labels led by Gen Z themselves. One-year-old Heretic Nine was among those, co-founded by Leyla Edwards, who draws on past eras to inform her highly otherworldly yet nostalgia-based collections. Akin to the concept of Pop as a whole, Edwards’ mission is to eventually de-gender fashion and while the brand itself stood out among some of the more household names, she said that being at the event has helped her to learn a lot in the way of business and how to operate.


Heretic Nine’s presence at Pure comes ahead of a soon-to-be-revealed collaboration with Asos, which has previously offered the brand’s collections through its e-commerce site, and on the back of a concept store opening in Shoreditch. And being at the event has only expanded the possibilities for Edwards, who said: “Quite a few developing streetwear boutiques and outlets have come by, a lot from Ireland and a few in the US and around Europe. I’m also looking for people to collaborate with. We’re around pretty like-minded people, so it’s been quite a community-feel here and I’ve done a lot of networking.”


Pure London x JATC, Feb 2024 edition. Credits: Pure London x JATC.



Such a mission to bolster newcomers has and will continue to be an important part of Pure x JATC, and for Sandrucci, who noted that it was also the second time the fair had partnered with the Graduate Fashion Foundation, participants of which showed their own lines at the show. She continued: “They’re the future. They are absolutely crucial to the landscape of fashion. We are very much championing young talent and offer a pared back solution for brands that are nearing the start of their journey, with pre-ordered furniture, so brands can turn up with their wares and it makes attending easier for them.”


Former JATC exhibitors become Pure returnees




This builds on JATC’s prior mission of backing those who have less accessibility to the industry overall. For Dawson in particular, there had previously been an emphasis on the Northern industry, bringing in a demographic from this area through biannual Manchester events, which were decidedly closer to home for Northern English, Northern Irish and Scottish retailers, for which a trip to London was likely too much of a financial burden.


It was a concept that drew some exhibitors towards JATC, pushing them to switch out Pure in favour of what they perceived as a more wide-reaching and accessible event. While the trade show’s parent company, Hyve Group, also hosts an event in Birmingham – a city that is on the cusp of the northern territory – the departure from this setup seemingly proved a little disappointing to some.


Among those was Byoung, a Danish brand under the DK Company umbrella that hosted one of the larger stands at this edition of the show. The label had been a long-time exhibitor at Pure before it opted to move to JATC. Now returning to the Olympia grounds, for the representatives of the brand, despite a buoyant footfall of independents, there was a distinct lack of Irish and Northern retailers. They had also seen a similar mentality among the buyers that were stopping by, who were expecting to see a much bigger iteration of past editions.


Pure London x JATC, Feb 2024 edition. Credits: Pure London x JATC.



Agent Mary Ryan said: “The problem is, when splitting the shows and now coming back, not enough brands have also come back. A lot of buyers have come back but the general feeling is there is not enough here. There needs to be more of the bigger brands. We are part of DK Company, so we’ve got this big area. I think as much as buyers have come back because they like the idea of the shows being together, there have been a few disappointed ones that expected it to be bigger.”


This contrasted the sentiment of Cara Melzack, CEO and founder of Cara & The Sky, who had similarly been a prior attendee of JATC, but for whom the latest shift had been a positive experience. She commented: "I like that they’ve kept the feel of JATC, just having the rails so we didn’t have to buy into giant production areas. It’s been a huge benefit because there’s just one show everyone’s coming to. You don’t have to divide your time. I’ve got lots of new customers. It’s a large venue, which can make it feel quiet, but I’m selling. It’s been a really positive experience. And the team has been so welcoming.”


Revival of menswear and eveningwear




As mentioned, a record number of exhibitors were present amid what Pure’s Sandrucci said was a “curve” that was only growing. Such expansion could be seen among the “destinations” of the event. While Pure had initially put its focus on womenswear, JATC was decidedly more diversified despite its smaller format, bringing together a much more equal mix of womenswear, menswear and accessories. As such, on the balcony of Olympia London overlooking the fair’s ground were a handful of menswear and accessory brands, representing the expanded categories for the season.


On the challenge of retaining relevance among the categories, Sandrucci said: “The level of people travelling is going to exceed pre-pandemic. That is a reflection of what we have to keep in mind for developing new areas. Clothing has definitely become very much versatile, you can dress up or dress down according to the accessories that you are utilising. That's why it's so important that we've got all these destination areas together and offer a retailer a department store experience.”


Menswear has arguably navigated the wave of economic uncertainty with more difficulty than womenswear. Yet with the upcoming surge in tailoring, one of the definitive trends among brands this season according to Sandrucci, the reintroduction of the menswear category was critical for this edition. In a talk alongside journalist Eric Musgrave, Dawson said: “A lot of brands and boutiques offer for men and women, specialising in both, and that means we can offer what they want. Womenswear is about 60 percent of our industry, but menswear is still key. When so much of the high street is working in competition and looking the same, independent boutiques make such a fantastic point of difference. They can really concentrate on what the people in their location want.”


Pure London x JATC, Feb 2024 edition. Credits: Pure London x JATC.



Another sector on the up following a pandemic-induced standstill is eveningwear, a category which had a growing, yet still notably small presence at Pure x JATC. For Manchester-based Portia & Scarlett, a brand that was recently acquired by Australian group Allure Bridals last year, this smaller presence meant that the typical prom-centric clients the team usually targets were lacking, albeit it allowed them to delve deeper into a more multicultural market that they had previously not considered. Used to the chaos of seasonal and specialised trade shows the brand usually frequents, the team at Pure said there was a much calmer atmosphere, however that allowed them to speak to a number of potential clients to onboard at a later date.


On the event and industry as a whole, agent Eleanor McKinnon said: “In bridal, we had a boom in 2022 when everyone went back to shopping, and that’s kind of plateaued. We’re hoping for a lot more growth this year. Eveningwear has been hit harder because this is not an essential item that is also available on other platforms at a lower price point. Prom girls were watching what they’re spending, but they’re coming back because they want the experience and choice. They don’t want to go online, they want to try it on. It’s been quiet [at Pure] for us, but I think that with our type of product, we’re probably more likely to have more footfall at a show directed towards this product. We’ve mostly seen small boutique owners that want high-priced items, so that hasn’t been a problem. I did approach this event from a more networking standpoint, so it has been really good to see that there are other stores that would be interested in this kind of product.”


Supply chain issues are not a factor but high street concern remains




In fact, a large part of the UK has become a lot more budget-conscious in the past year, as the cost-of-living crisis continues to clamp down on the wallets of end consumers. It is this factor that has also sowed a seed of doubt into the longevity of high streets across the country, a concern that could be seen even among the largest of exhibitors of Pure. Ryan of Byoung, for example, said that while parent company DK was not worried about the similarly ongoing supply chain issues – noting that Danish shipping company Maersk had been able to avoid any delays – she added that physical retailers, and especially independents, were feeling the squeeze.


Amid an ongoing strategy to secure a larger foothold in the bigger markets like the US, Ryan said of the current atmosphere among UK retailers: “They’re trudging along, doing their best, but online is affecting them. They all say that. But I think there’s been a lot of things in the last year, because we’ve had the cost-of-living crisis, the war in Ukraine, and all of those are feeding into it. It’s not just online.”


Sandrucci recognised the concern, yet had a more positive outlook on the future, commenting: “We saw a very strong attendance of buyers here and also at the previous show we had in Birmingham last week [Spring Fair]. We know that buyers are out there and they want to buy so that is actually quite encouraging and a really good sign for what the future will be. UK trade shows are super important because the budgets are tighter and there's not the same budgets for buyers to go sourcing abroad.”


Pure London x JATC, Feb 2024 edition. Credits: Pure London x JATC.



In relation to supply chain concerns – largely centred around the Red Sea, where there has been a hold up in distribution due to certain attacks – the overarching feeling is a less immediate worry. Spanish brand Vilagallo, another expansive exhibitor at the fair, said that with production in Europe the team had not experienced many difficulties, simply dealing occasionally with slightly late orders.


By now, however, with the turbulence of the supply chain having already been ongoing for a number of years, JATC’s Dawson hopes brands are well adjusted to the flexibility needed. He added: “There have long been problems with the supply chain and hopefully people build that into their critical path now, because there's always something at this point. I'm an agent as well and most of my brands are delivering spring on time despite there being a one or two week delay because they built it into their process. You have to make allowances nowadays.”


What’s to come




Both Dawson and Sandrucci have a positive perspective, in fact, with a lot of hope for the future of the UK industry. “Travelling is coming back. London has suffered from a lack of tourism, and people are scheduling big trips now just for buying. That is certainly something that I can see coming back,” Sandrucci said. When asked how as event organisers, they ensure the event stays relevant for those attending, she added: “We really embrace changes and in order to stay relevant. We reinvent ourselves constantly in how we do trade shows. This is an example of coming together, the resources that you can combine. We are bringing the breadth of branding, we are growing the brand mix, which then gives the retailers the freedom to spend their time here. What consumers' behaviours are, what they want; so really always being ahead of the curve and that's where our trend partners become helpful because we can understand where to focus our energies.”


When it comes down to what to expect for next season, the duo are tight-lipped, but their enthusiasm for what is to come already hints at big things. Dawson, who said the merging of events was a “dream come true”, said: “It's just what we wanted to make it easier for the buyers and the industry, to bring everything together. We've seen it happen in other capital cities around the world, like Copenhagen. And the reaction when we first announced this over six months ago was really positive. We saw the impact of that this time with the show growing so much, so we're expecting big growth given the reaction we've had the last few days.”

Read more:



* Brexit, budgets and a high street revival: Down the rabbit hole at Scoop International






* Child’s play and monster tailoring: AW24 Trends from Pure London x JATC


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London Fashion Week blends tweed and Y2K amid economic gloom

JW Anderson AW24 collection shown at London fashion week. Credits: Launchmetrics



From tweed to the iconic low-rise jeans of the
early 2000s, London Fashion Week unveiled a spectrum of styles on Friday,
kicking off its 40th season which has been dimmed by the UK's gloomy economy.


Some 60 designers, ranging from rising talents to renowned brands like
Burberry, will show their new designs over five days, hoping to draw the
interest of buyers and fashion influencers.


Irish-American designer Paul Costelloe's show, titled "Once upon a Time" --
a reference to the iconic 1984 film "Once Upon a Time in America" -- showcased
wide-belted coats in ecru, anthracite and checkered tweed.


Costelloe, 78, who is bedridden with a virus, was absent from the event.


Gen Z favourite




In another early show, Ukrainian Masha Popova, a "Gen Z" favourite,
presented a collection inspired by early 2000s so-called Y2K era.


Performed against a backdrop of techno music and in front of a crowd of
influencers, it featured models in low-waisted pants, washed out denim -- and
heels topped with long gaiters.


Elsewhere, Turkish designer Bora Aksu delivered a gloomier mood, aimed at
finding and celebrating "the purest beauty amidst the most vivid of horrors".


Slender models wearing bodices paired with wide sleeves, lace gowns,
flowing skirts, blouses and masculine jackets paraded to slow-beating music,
with cream, grey, black and dark blue the predominant colours.


The designer, who was inspired by the work of sculptor Eva Hesse who fled
Nazi-Germany as a child in 1938, used tones of pink and blush to retain a
light, feminine energy, while making use of old stock and rejected rolls for
his garments.


On Friday night, British-Nigerian Tolu Coker was given rapturous applause
after her show, which featured a runway made to resemble a traditionally
African street, with yellow, blue and green umbrellas, stacks of tyres and a
"Give Way" street sign.


Beige, brown and black and white were the prominent colours, with the
models wearing coats, heels, boots and skirts.


The packed audience snapped photographs on their cellphones when one model
walked the runway wearing a multi-coloured calabash head decoration.


Another model drew applause as she paraded wearing a green jacket and beige
skirt.


At the end of the show the stern-faced models huddled on the catwalk before
breaking into smiles and waving their hands, drawing cheers from the audience.
Coker waved and smiled as she followed the models down the runway.


Tumultuous time




Despite the audience's excitement, the showcase comes at a tumultuous time
for Britain's fashion industry, amid post-Brexit trade barriers and the
country's inflation-fuelled cost-of-living crisis.


The situation has prompted some nascent designers to question the viability
of investing in British fashion events.


Rising star Dilara Findikoglu made headlines last September after she
cancelled her show days before the event for financial reasons.


The industry, which employs close to 900,000 people in the UK and
contributes £21 billion ($26 billion) to the British economy, is facing
"incredibly challenging times," LFW's director Caroline Rush told AFP.


But what can be garnered from 40 years, she said, "is that in the most
economically challenging times, you see the most incredible creativity".


"There's almost this visceral reaction to what's happening at home," Rush
added.


"I'm hoping that the creativity that we see over the next few days will be
incredibly uplifting, that it will talk about the role of culture and
creativity in society."


The first edition of British Fashion Week was held in 1984 in a tent set up
in the parking lot of the former Commonwealth Institute in West London.


Initially overlooked, the British capital earned its rebellious reputation
thanks to legends like Vivienne Westwood and John Galliano, who put the city
on the fashion map. Then there was the "Cool Britannia" era in the 1990s, a
cultural euphoria period when Stella McCartney or Matthew Williamson dressed
supermodels Kate Moss and Naomi Campbell.


Since then, London has lost some of its allure, with the departure of star
designers and houses preferring Paris, such as Alexander McQueen or Victoria
Beckham.


However, the BFC's NEWGEN sponsorship program, which supports young
designers, has affirmed London's position as a talent incubator.


And while it remains less prestigious than Paris or Milan, London Fashion
Week is celebrated for being freer, more radical, and less formulaic.


This anniversary edition also aims to highlight greater diversity and
inclusivity, in terms of body shapes, ages, or skin colours of the models, as
well as in the designers' collections, with identities or inspirations from
the Caribbean, Iran, India, or Ethiopia.


The weekend will feature more familiar names like JW Anderson, Richard
Quinn, Ahluwalia, and Simone Rocha, before Burberry's show scheduled for
Monday evening.(AFP)


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The Body Shop’s German business falls into administration, Belgium next

The Body Shop Bond Street store Credits: The Body Shop



Following the fall into administration of its UK business, The Body Shop’s German stores are now beginning to close down after also taking the plunge, a process that will reportedly soon follow in Belgium.


The closures are being carried out by restructuring specialist Aurelius, which snapped up the cosmetics retailer in an acquisition deal last year and later put the company’s main UK business into administration last week.


According to previous media reports, however, Aurelius had sold a portion of The Body Shop’s European operations to Alma24 last month, which was also reportedly behind the take over of the company’s Japanese and Irish businesses.


Meanwhile, in Germany, staff told the Guardian, which initially reported the news, that all 60 stores and the head office in the region were likely to close, with an insolvency specialist from law firm White & Case believed to have been appointed to handle the case.


In Belgium, where the chain employs around 50 people over 16 stores, workers were believed to have been told that administrators were also to be appointed.


Other sources for the media outlet further stated that in Ireland, Austria and Luxembourg, a similar process was also expected to unfold shortly.


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UK modelling agency breaks catwalk taboos

Smashing the fashion world's rigid
conventions, UK modelling agency Zebedee has been filling catwalks with a
diverse array of models for seven years.


On the catwalks at London Fashion Week, which started on Friday, it is now
common to see models from all ethnic backgrounds, with minorities now making
up around half of shows, compared to 14 percent just 10 years ago, according
to a report published in January.


Zebedee also works to find greater exposure for models with visible
disabilities or who are transgender.


"It's still incredibly rare to see anybody with a disability feature.
London, Paris, Milan, New York, it's still very, very rare," Zebedee's
co-founder Laura Winson told AFP.


A former social worker who often worked with disabled people, Winson
founded the agency in 2017 with her sister-in-law Zoe Proctor, a former model.


"We launched it because we felt that there was a lack of representation and
fashion and media," she explained.


Zebedee works like any other agency, except that all of its models have a
"visible difference".


Some are in wheelchairs, have atrophy of limbs or albinism, while others
have Down syndrome.


Around 15 percent of the world's population, or one billion people, live
with some form of disability, according to UN figures.


"Yet figures show that maybe around one percent of people featured in
advertising have a disability", with catwalk representation even worse,
pointed out Winson.

Relentless campaign



Two Zebedee models will tread the catwalk at London Fashion Week: Vic, a
young woman in a wheelchair who will show for Gasanova, and Oscar, a
transgender model with autism, who will display for Helen Kirkum.


It is reward for Winson's years of relentless campaigning to convince
designers and brands of the advantages of employing a diverse roster of models.


"The first thing is, of course, it's morally the right thing to do,
everybody should be awarded the same equality of opportunity," she explained.


"Secondly, you can develop some amazing creative campaigns. We know that
our models can do the job."


"And then the third reason, and which is what interests most customers, is
the financial aspect," because people with disabilities represent an important
market, she added.


For Zebedee, success really began in 2020 when Gucci chose one of their
models, Ellie Goldstein, who has Down syndrome.


Goldstein has since graced the cover of British Vogue, and Zebedee has also
gone from strength to strength, representing more than a thousand models in
Europe, the United States and Australia.

'Genuine change happening'



Junior B, a Briton who uses the non-binary pronouns they/them, started
working with the agency in 2020. Suffering from Ehlers-Danlos syndrome, Junior
B often uses a wheelchair.


"Before modelling, I didn't think any job was possible for anyone in my
position," Junior B told AFP.


"I think there is definitely some genuine change happening," particularly
among small businesses "or those where younger people are in charge," added
the model.


"Some brands have really got the message".
Despite the wins, Winson complained that progress is still too slow.


"Everybody knows who we are, everybody knows we exist. They can book
disabled models if they want to... but for some reason, it's not happening,"
she complained.


"So I am getting to the point where somehow brands need to be held to
account," she added.


Caroline Rush, director of London Fashion Week organiser the British
Fashion Council, said that "in terms of size inclusivity, we've been the
number one fashion capital for a few seasons."


"The catwalks in London feel, I think, very different to quite a few of the
other fashion capitals. They feel that they are a real reflection of the
society in London," she added.


In London, a city known for its innovative young talent, designers like
Sinead O'Dwyer are known for holding inclusive shows.


However, Rush acknowledged that "there's still quite a lot of work to do
behind the scenes".(AFP)


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Luckynelly changes business model from sales to rentals

February 2024 cover of the Serbian Elle - model Karen B. with handbag by Luckynelly. Credits: Christine Polz via Luckynelly



Vegan accessories label Luckynelly, which FashionUnited featured just a few weeks ago, has gone one step further in its sustainable efforts and changed its business model: From now on, it will only offer its vegan accessories on a rental basis.


“As one of the most successful labels for vegan designer handbags, we not only attach great importance to sustainable production, but also to conscious consumption. That is why our vegan luxury bags are no longer for sale as of this year. All of our unique pieces, which we have handmade since our foundation in 2012, are now exclusively available for rent. We will only produce customised bags as exceptions,” announced the label in a recent press release.


Although just twelve years old, Luckynelly creations have already appeared on international catwalks and in renowned fashion magazines: At fashion weeks in New York and Paris, for example, as well as on the cover of Elle and in features in Vogue, Harper's Bazaar and Cosmopolitan.


The handbags are available for exclusive fashion shoots, fashion shows, red carpet events and film productions. They are distributed to registered fashion and art professionals via PR agencies such as the Copper Room by Flying Solo in New York City or Gallery Malina in Berlin.


Will there be no new Luckynelly creations?




Despite the change in business model and a focus on more sustainable consumption, the label will continue to create new bag styles. “We will continue to develop exclusive designer models from innovative materials. This process is important for promoting the visibility of the brand and use of vegan materials, such as the Berriestex and Plantfur (vegan fur made from plants) materials we have developed, in the luxury fashion world. At the same time, it offers space for creative and innovative new, exclusive designs,” states Luckynelly.


Customised products are also still available on request. These are made to individual specifications, carefully handcrafted and made from sustainable materials, just like the Berlin label's other styles.


“This process is time-consuming and reflects the emotional connection we have with our bags. A production period of up to six months is not uncommon. Each bag is unique, made with passion, love and quality,” says Luckynelly proudly. The result are high-quality and innovative, unique pieces that are designed to last a lifetime.


With its latest move, the Berlin-based accessories label is following a trend: According to research by the Ellen MacArthur Foundation, circular business models, in sectors such as rental and resale, have the potential to grow from 3.5 percent of the global fashion market today to 23 percent by 2030, representing a 700 billion US dollar opportunity.


In an interview with FashionUnited at the beginning of December 2023 Luckynelly founder and designer Christine Rochlitz told more about the label’s PETA-certified vegan materials, the manufacturing process, winning the Green Product Award as the editors' favourite and the inspiration behind the brand.


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