Can Asos ramp up revenue after its sales decline?

Shopping online at Asos Credits: Asos, Multiverse



Asos wants to reverse its sales decline, grappling with an 18 percent drop in revenue amidst intensified competition from brands like Shein, H&M, and Zara. This challenge is compounded by shifting consumer preferences away from exclusive online shopping, marking a stark departure from the gains Asos experienced during the pandemic, the Guardian reported.


To address these obstacles, Asos said it will embark on a comprehensive turnaround strategy. This strategy entails a concerted effort to reduce new stock volumes, liquidate old stock, and expedite the release of new products, adopting an innovative "Test and React" model. José Antonio Ramos Calamonte, CEO of Asos, has emphasised the ongoing transformations aimed at bolstering agility and operational speed by "becoming a faster and more agile business" to foster sustainable growth.


While Mr. Ramos Calamonte underscored these strategic shifts, the company must re-address its product development and speed to market. By emulating the Shein method of ultra-fast production driven by data analytics, Asos aims to infuse its offerings with the freshness and immediacy needed to reignite sales momentum.


However, amidst a backdrop of cautious consumer spending, particularly in the UK, Asos must go beyond merely offering fashion; it must deliver desirability. This necessitates increased investment in marketing and a concerted effort to streamline its logistics operations.


The modern consumer, who once shopped at Asos two decades ago, loving its convenience, now seeks more curated and nuanced product selections. The same shopper is also likely to eschew the exhaustive array of style options and endless scrolling. Younger consumers turn to platforms like TikTok and Instagram for trend insights and product recommendations, equally preferring a more tailored shopping experience.


While the allure of affordable apparel remains strong, Asos has also felt the financial implications of its liberal returns policy, which erodes margins due to the high volume of returned items per purchase. A turnaround strategy will take more than one season to take effect.


http://dlvr.it/T5kzZD

Agilitas to design and distribute Lotto products in India, Australia and South Africa

Lotto Credits: WHP Global



WHP Global has announced a new long-term licence for Lotto with Agilitas Sports.


Through this licence, WHP said in a release, Agilitas will have the exclusive rights to design, manufacture, promote, and distribute the Lotto brand in India, Australia, and soon in South Africa.


Commenting on the development, Stanley Silverstein, chief commercial officer at WHP Global said: "Agilitas dedicated focus on the sportswear industry, and a profound belief in India's promising future as well as other markets like Australia and South Africa, is in line with our core mission of growing the Lotto brand globally."


Speaking on the partnership, Abhishek Ganguly, co-founder & CEO of Agilitas Sports added: "Through this licence agreement, we will build and implement state-of-the-art manufacturing, cutting-edge technology, and design innovation for Lotto for its product development, in addition to marketing and retailing of the brand."


Agilitas, recently acquired Indian footwear manufacturer Mochiko that has scaled up its production and manufacturing solutions. With an aim to launch by early 2025, Agilitas plans a multi-category offering in footwear, apparel, accessories, and sports equipment. Mochiko has established a dedicated factory in Noida to manufacture Lotto product range.


Agilitas will distribute Lotto products through D2C online channels, brand EBOs, shop-in-shops with retail partners and online marketplaces from its first year of launch.


http://dlvr.it/T5kbks

Giving a second life to fashion's deadstocks

At the Nona Source showroom in northern
Paris, designers pick through luxurious textiles with ornate names: curly
alpaca, geometrical macrame guipure, silk diamond cloque Jacquard.


What makes them really exotic, however, is that they all come from
"deadstocks" -- the leftovers designers discard when they have finished with a
roll of fabric.


Until recently, it was common for deadstocks -- like unsold clothes -- to
be burned or buried. At best, they gathered dust in storerooms.


Ever conscious of its image, luxury giant LVMH set up Nona Source three
years ago, selling deadstocks at a sizeable discount to up-and-coming
designers.


"I realised there were what we call 'sleeping beauties' in the depots,
magnificent fabrics that were lying there for years after collections were
made," said co-founder Romain Brabo.


Last year, it sold some 280 kilometres (170 miles) of fabric, enough for
roughly 140,000 items of clothing.


Among the regular customers is Arturo Obegero, a 30-year-old Spanish
designer who uses only upcycled and recycled materials.


Despite working out of a small space in his house, he has scored some
big-name orders including a sheer corset dress for Beyonce on her Renaissance
tour -- a sign of his skill and the increasing attraction of climate-conscious
design.


"I come from a family of surfers, of fishermen. When you come from a small
town, you're connected to nature, you learn to respect it," said Obegero.
He says Nona Source has allowed him to work in the big leagues.


"People are more conscious about which products they purchase... but it can
be complicated to offer something really sustainable at an affordable price."


Evolving beauty




As pressure mounts on the fashion industry to manage its mountains of waste
and massive ecological impact, initiatives like Nona Source are multiplying.


Luxury behemoths like LVMH can afford to make an effort -- and also
understand the marketing value.


It has ambitious aims such as shifting transport from planes to boats,
training suppliers in better water-management, and investing in tech-driven
new textiles like vegan leather (it says it tested 300 such innovations last
year).


But Helene Valade, LVMH's head of sustainability, says the company's main
role is to "evolve" people's understanding of beauty.


"That's really our power. Ten years ago when we wore something recycled,
people found it ugly. That's no longer the case," she told AFP.


"Beauty is no longer something that is completely smooth, perfect,
straight... It's also what designers can do with recycled fabrics."
Some are sceptical.


"Until they get PVC plastic out of their supply chain, especially at Louis
Vuitton, LVMH will never be a green company," said Dana Thomas, author of
"Fashionopolis" about the industry's climate impact.


Louis Vuitton, the world's biggest-selling luxury brand, makes most of its
money from its monogrammed bags, which are made from PVC-coated canvas.


'Major change'




Thomas welcomes ideas like Nona Source, but finds it frustrating.


"It's a sensible idea. So why weren't they already doing this 20 years
ago?" she said.


"Fashion is so behind compared to, say, the automobile industry. You can
now buy an electric truck, but bags are still made from plastic?!"
She says a new generation of fashion executives are finally paying
attention, and Nona Source is seeing the impact as an increasing amount of the
deadstock it receives is already made from recycled textiles.


"We are seeing a real major change," said Brabo.
As he spoke to AFP, in walked Charles de Vilmorin, the 27-year-old prodigy
who was creative director for Rochas and runs his own Paris label.


"I come here for inspiration. I like to be surprised," said De Vilmorin.
"I find it wonderful that they give new life to these materials, that they
are not thrown away or destroyed... It's very important."(AFP)


http://dlvr.it/T5k9gy

Reitmans posts Q4 revenues increase of 3.8 percent

Reitmans store Credits: Facebook/Reitmans



Apparel retailer Reitmans Canada (RCL) increased fourth quarter revenues by 8.1 million Canadian dollars or 3.8 percent to 221 million Canadian dollars, while comparable sales including e-commerce net sales, decreased 1.6 percent.


Net revenues for fiscal 2024 decreased by 8.6 million Canadian dollars or 1.1 percent to 794.7 million Canadian dollars and comparable sales decreased 3.2 percent.


"We are pleased with the results for the fourth quarter of 2024 which capped off a year that saw significant headwinds for the retail industry with high inflation and high interest rates negatively impacting consumer shopping behaviour", said Andrea Limbardi, president and chief executive officer of RCL.


Gross profit for the quarter increased 5.4 million Canadian dollars to 114.9 million Canadian dollars, while gross profit as a percentage of net revenues increased to 52 percent.


Gross profit for fiscal 2024 decreased 20.4 million Canadian dollars to 431 million Canadian dollars, while gross profit as a percentage of net revenues decreased to 54.2 percent.


The company had no net earnings compared with 27.5 million Canadian dollars or 0.56 Canadian dollars basic and diluted earnings per share for the fourth quarter of 2023. Adjusted EBITDA for the quarter rose to 1.7 million Canadian dollars.


Net earnings for fiscal 2024 declined to 14.8 million Canadian dollars or 0.30 Canadian dollars basic and diluted earnings per share and adjusted EBITDA for the year decreased to 29.2 million Canadian dollars.


http://dlvr.it/T5jmP5

QS World University Rankings 2024 unveil top universities for art and design

Illustrative image of art and design students discussing their work. Credits: RF-Studio / Pexels



Higher education data platform Quacquarelli Symonds (QS) published its 2024 ranking for the world’s top universities to study art and design last week. The Royal College of Art (RCA) in London has come out on top for the second year in a row.


The University of the Arts London, known for its London College of Fashion (LCF) and Central Saint Martins College of Art and Design (CSM) is QS’ second best international institution for art and design programmes, occupying this position for the third consecutive year.


Moving down to the third place, we notice the first change. The New School in New City which includes Parsons School of Design, has taken the third spot from the Rhode Island School of Design (RISD), which has in its turn moved down to fourth place.


Continuing along the trend of UK and US institutions, we find the prestigious Massachusetts Institute of Technology (MIT) in fifth place and Pratt Institute in New York City with its School of Design, in sixth place.


QS World University Rankings, UK and US institutions dominate top 5




All of the institutions ranked in the top 5, except for MIT, offer one or more fashion programmes.


The QS World University Rankings 2023 list a total of 1500 institutions. Each institution's ranking is based on five indicators: academic reputation, employer reputation, publication data, the H Index (a way of measuring the productivity and impact of a professor or university department) and international research network (the ability of institutions to diversify the geography of their international research network through partnerships).


For this year’s World University Rankings, QS implemented its ‘largest-ever methodological enhancement’, introducing three new metrics: Sustainability, Employment Outcomes and International Research Network, the official website reads.


Comparing this year’s ranking to the QS World University Rankings 2023, it is apparent that Finland’s Aalto University, which occupied the sixth place last year, has moved down two spots to the eighth place.


Rounding out the top 10, a second European University, The Netherlands’ Design Academy Eindhoven has ended up in ninth place this year. It is followed by The School of the Art Institute in Chicago which has managed to move up one spot in the 2024 rankings.


In 11th place this year, we find the first institution offering art and design programmes in Asia, Tongji University in Shanghai, China. Another Chinese art and design institution follows not too long afterwards, namely the Central Academy of Fine Arts (CAFA) in Bejing.


View CEO World’s top 10 ranking for 2024 below.

The 10 best art and design schools worldwide according to QS


* 1 - Royal College of Art (RCA), London





* 2 - University of the Arts London (UAL)





* 3 - The New School (Parsons), New York City, US





* 4 - Rhode Island School of Design (RISD), Providence, US





* 5 - Massachusetts Institute of Technology (MIT), Cambridge, US





* 6 - Pratt Institute, New York City, US





* 7 - Politecnico di Milano, Milan, Italy





* 8 - Aalto University, Espoo, Finland





* 9 - Design Academy Eindhoven, Netherlands





* 10 - School of the Art Institute of Chicago, US





Upon further inspection of the list, a few more changes are visible when comparing the 2024 rankings to last year’s rankings. Well-known fashion and design institution the Savannah College of Art and Design (SCAD), based in the US but with a campus in Lacoste, France, has moved up one spot this year, to 15th place.


Fashion students to find prestigious and well known global institutions in 2024 Rankings




In terms of other European institutions that offer fashion programmes, Scotland’s Glasgow School of Art has ended up in 13th place this year, the Royal Danish Academy of Fine Arts (KADK) in 22nd place and the Universität der Künste Berlin in Germany in 35th place.


The first French institution in the ranking, Ecole Nationale Superieure des Arts Decoratifs (ENSAD), which also happens to offer a fashion (design) programme, appears in 41st place.


One of Australia’s top universities for art and design, RMIT University in Melbourne, which describes itself as ‘a global leader in fashion and textiles education’, occupies spot 18 in the 2024 rankings.

The 20 best art and design schools worldwide according to QS


* 11 - Tongji University, Shanghai, China





* 12 - Delft University of Technology, Netherlands





* 13 - The Glasgow School of Art, Scotland





* 14 - Art Center College of Design, Pasadena, US





* 15 - Savannah College of Art and Design (SCAD), US





* 16 - Carnegie Mellon University, Pittsburgh, US





* 17 - Central Academy of Fine Arts (CAFA), Beijing, China





* 18 - RMIT University, Melbourne, Australia





* 19 - The Hong Kong Polytechnic University





* 20 - School of Visual Arts (SVA), New York City, US





Just like in previous years, US art and design institutions are well represented in the top 20 and 30 of the QS World University Rankings. Apart from the well known, often private, institutions that make it to the top 5 and 10, it is also worth mentioning some colleges and schools that are perhaps not as well known.


For instance, for the second year in a row, the Art Center College of Design in Pasadena, California has firmly maintained its spot in 14th place. Then there is also the School of Visual Arts (SVA) in New York City which has ended up in 20th place this year and the California Institute of the Arts in Santa Clarita in 23rd place.


http://dlvr.it/T5hkH9

WRC 2024: 'We greatly value local consumers', say CEOs of Harrods and Galeries Lafayette

World Retail Congress Paris 2024. From left to right: Selvane Mohandas du Ménil, Michael Ward, Nicolas Houzé. Credits: F. Julienne



Michael Ward, managing director of Harrods (London), and Nicolas Houzé, CEO of Galeries Lafayette (Paris), have shared their expert advice at the World Trade Congress, the international event for retail professionals that kicked off on Tuesday and concludes its talks today, April 18.


Host Selvane Mohandas du Ménil asks the two major retail players what challenges they face. For Ward, it is a question of "getting their customers to buy luxury brands in London, even if they are originally from Paris". Ward's answer stems from creating a brand identity specific to Harrods: "We adapt our brand DNA to build a bond with our customers. They come back to the shop as friends. It's not just about sales, it's also about knowledge."


Houzé agreed: "Galeries Lafayette today is a brand; we strive for the best in luxury. Physical trade remains relevant, even though we have been challenged by the internet, especially during the Covid crisis. But today, buyers are returning to shops."


The entrepreneur stressed the importance of technology. "We are adapting by looking at things from a phygital [physical and digital, ed.] perspective. In light of this, on the initiative of the Carrefour and Publicis groups, we joined the Unlitail platform to have the best possible product range. Customer data is fundamental in this game."


Unilitail is a data-driven platform created for Retail Media in June 2023 by the Carrefour and Publicis groups. According to Carrefour's press release, Unilitail represents companies that collectively have more than 120 million loyal customers and 1.5 billion page visits per month.


A selection of the list of brands it represents: Kingfisher France, Galeries Lafayette Group, Rakuten France, Showroomprive Group, Ïdkids, LuisaViaRoma, MyOrigines, Bringo, Maquillalia, Juguetilandia, Public, and two Carrefour franchise partners in Morocco (LabelVie) and Israel (Electra Consumer Products).


Local consumers as important as tourists for department stores




"The relationship with local consumers is very important," Ward stressed. "We have invested a lot of money in understanding our customers. It's all about how we communicate with them, but it's also about being loyal to the brands we represent."


Houzé added: "Local consumers are the first ones we welcome; they are as important as tourists. Fifty per cent of French people go to our website first to check the offer and whether there is stock. Our challenge is also service and information about what is happening in the shop."


Houzé stressed the importance of consumer knowledge in this regard. "We need to put consumers at the heart of our business and listen to them. They are the boss."


"You need to make sure you can offer them what they want, to make sure you don't miss anything, from the sustainable trend (with Go for Good) to the creation of a space dedicated to wellness. This is so that the time spent in the department store is a joyful one that offers the right services and the right products," Houzé said.


This article was originally published on FashionUnited.FR. Translation and edit from French into English by Veerle Versteeg.


http://dlvr.it/T5h2pc

Berluti unveils Team France’s Olympic opening ceremony outfits

Berluti Team France’s Paris 2024 Olympic opening ceremony outfits Credits: Berluti



With 100 days until the opening ceremony of the Paris 2024 Olympic Games, French luxury menswear fashion house Berluti has unveiled Team France’s outfits designed to embody “true elegance à la française”.


The LVMH Moët Hennessy Louis Vuitton-owned brand said it wanted to bring together the “savoir-faire and experience of its artisans to ensure that the French athletes look their very best” with custom-tailored head-to-toe outfits for the opening ceremonies for the Paris 2024 Olympics on July 26 and the Paralympic Games on August 28.


Described as a historic first for the French fashion house, Berluti has created 1,500 outfits for Team France for both men and women, including a tuxedo, shirt, belt, scarf or pocket square, and shoes, which have been designed in France and made in Italy using fabrics sourced exclusively in Europe.


Berluti Team France’s Paris 2024 Olympic opening ceremony outfits Credits: Berluti



Designed under the creative direction of fashion consultant and stylist Carine Roitfeld, Berluti consulted the athletes themselves, the Paris 2024 Organising Committee, the French National Olympic and Sports Committee and the French Paralympic and Sports Committee to gather their experiences and understand their specific needs.


This led to a collection featuring outfits in a vast array of sizes, with the fashion house having to expand its current size chart to offer the 14 sizes required by Team France, with clothing ranging from 3XS to 6XL and shoes in sizes 1 to 22.


Team France’s Paris 2024 Olympic Games opening ceremony outfits by Berluti




The outfits feature an elegant, midnight blue wool tuxedo designed to invoke pride among the French team, with the jacket featuring a shawl collar sporting a motif inspired by an all-new “French flag” patina. This motif has been created especially for the occasion in shades of blue and red, in tribute to the Maison’s historic savoir-faire. The jacket is also presented in a sleeveless version for women.


The tuxedo will be paired with a white shirt, sleeved for men and sleeveless for women, cut from a cotton-silk blend. Female athletes will also be able to choose between trousers with a trim or an elegant silk wrap-around skirt.


On their feet, men will wear a pair of Berluti Shadow trainers, redesigned with the French national colours, while female athletes and coaches will sport either the Shadow or the Maison’s flexible Lorenzo leather loafer.


Berluti Team France’s Paris 2024 Olympic opening ceremony outfits Credits: Berluti



On the design process, Roitfeld, said in a statement: “This has of course been an unprecedented project for me: dressing 1,500 athletes for a worldwide event! I had to find a way to marry together comfort and elegance in crafting an outfit that would be worthy of such a historic moment.


“I immediately opted for the tuxedo, a resolutely French garment, paired with a Berluti signature patina-effect shawl collar in the French national colours. All eyes will be on the athletes and coaches for the big day, so I hope that they will be feeling stylish. I want them to be as proud to wear their outfit as I have been to contribute to this fantastic project.”


Jean-Marc Mansvelt, chief executive of Berluti, added: “With this outfit, we have sought to honour French elegance and to serve French athletes and coaches. In my eyes, it has been a resounding success!”


Berluti Team France’s Paris 2024 Olympic opening ceremony outfits Credits: Berluti


http://dlvr.it/T5gcKw

Julia Goddard to join as CEO of Harvey Nichols

Julia Goddard Credits: Harvey Nichols



Julia Goddard, EMEA president of Alexander McQueen will be joining Harvey Nichols in June as its new chief executive officer (CEO).


Commenting on the new appointment, Sir Dickson Poon and Pearson Poon, chairman and vice chairman of Harvey Nichols said: “Julia is a dynamic business leader with a strong track record of delivering quality growth and successfully developing and executing a VIC clienteling strategy. Her expertise and strategic capabilities will be invaluable in delivering long-term sustainable growth for Harvey Nichols.”


The company said in a statement that Goddard joins Harvey Nichols following 14 years at Alexander McQueen. At Alexander McQueen, Julia led the EMEA region as president from 2019 to 2024 with dynamic growth and expansion for the region in wholesale, retail and e-concession channels. This included new flagships in key cities such as London, Paris, Milan, Rome, Dubai, Kuwait, and Qatar.


Prior to that she was worldwide wholesale, franchise and e-concession director for the brand.


“The opportunities that exist within this iconic brand fill me with excitement and enthusiasm. I very much look forward to working with the team to accelerate growth and strengthen the position of Harvey Nichols,” added Julia Goddard.


The company added that Goddard will sit on the management board of Harvey Nichols and will report to Sir Dickson Poon and Pearson Poon.


http://dlvr.it/T5gCb1

Lululemon unveils Team Canada’s Olympics uniform

Lululemon Team Canada Summer Athlete Kit for Paris 2024 Olympic and Paralympic Games Credits: Photo by Scott Ramsay for Lululemon.



In Pictures


Vancouver-based activewear brand Lululemon has unveiled Team Canada’s summer athlete kit for the Paris 2024 Olympic and Paralympic Games.
This marks the second time the Canadian brand has dressed its home country's Olympic and Paralympic teams but the first time it is creating athlete kits for warm weather.


Calvin McDonald, chief executive at Lululemon, said in a statement: “For Paris 2024, we had the opportunity to deepen our partnership with the Olympians and Paralympians who represent Canada on the global stage.


“We took an innovation-first approach to design a collection driven by athlete insights, so they can feel and perform their best in Paris. All of us at lululemon are honoured to support these athletes, both as individuals and a team, as they represent their country this summer.”


Lululemon adds that athletes inspired “every element” of the collection and during the design process, it led product testing and feedback sessions with 19 Canadian Olympic and Paralympic athletes across 14 different sports to understand their unique physical and mental needs during the Games.


The result is kits that blend function and style through innovative construction and performance fabrics, featuring ultra-lightweight and stretch fabrics, customisable drawcords, and newly engineered pocket shapes and placements, as well as thermal comfort with SenseKnit technology and sweat-wicking fabrics to enhance breathability through ventilation.


Audrey Reilly, Team Canada creative director at Lululemon, said: “One of the biggest innovations in the kit is the idea of cooling the body. Temperatures will be high in Europe in July – September so this had to be a key focus. We used close-to-body summer base layers created in our SenseKnit technology, perforation, and sweat wicking yarns to let moisture move away from the body.”


Team Canada and Lululemon launch kit for Paris 2024 Olympic & Paralympic Games




Lululemon Team Canada Summer Athlete Kit for Paris 2024 Olympic and Paralympic Games Credits: Lululemon



In addition, Lululemon has ensured adaptability so that the kit could support more bodies and abilities with features such as magnetic-close zippers, pull-on loops, and sensory touch guides. The two adaptive styles, the Seated-Fit Carpenter Pant and the Seated-Fit Packable Rain Poncho are intentionally designed to deliver functionality and comfort in a seated position.


Zak Madell, Lululemon ambassador and Team Canada wheelchair rugby player added: “My biggest takeaway from this process was Lululemon’s commitment to working with Paralympians to make the pieces accessible and adaptable.


“It’s not only about looking good, but also about feeling good – and I can’t imagine a better way to show up for Canada. I know this kit will be a part of my daily wardrobe moving forward because of the attention to detail.”


Athletes, coaches, and support staff will wear Team Canada apparel, all featuring Canadian-inspired prints, throughout key moments at the Games, including the Opening and Closing Ceremonies, medal ceremonies, media appearances, travel, and daily life in the Athlete Village.


Lululemon Team Canada Summer Athlete Kit for Paris 2024 Olympic and Paralympic Games Credits: Lululemon



The opening ceremony uniforms sport a jacquard bomber featuring a one-of-a-kind print that celebrates the diversity of art, architecture and nature found in Canada, while the podium uniforms have been designed to layer up or down created for unpredictable weather with water-resistant and windproof trousers that convert into shorts and a convertible jacket with zip-off sleeves in a graphic red and white print.


For the closing ceremony, Lululemon has collaborated with Whistler-based artist Mason Mashon of the Saddle Lake Cree Nation on a print that interprets signs of illumination in nature, including the Aurora Borealis.


The Team Canada official kit also includes an Olympics-themed running shoe, a packable rain poncho, and a hooded jacket and high-rise shorts to wear to media interviews.


Lululemon Team Canada Summer Athlete Kit for Paris 2024 Olympic and Paralympic Games Credits: Lululemon



Select looks from the collection will also be available in stores and online in Canada, with Lululemon adding that Team Canada apparel and accessories will launch online in the US and select stores in Paris in the lead-up to Paris 2024.


For Paris 2024, Lululemon is also expanding the ‘Future Legacy’ programme, in partnership with the Canadian Olympic Committee and Canadian Paralympic Committee, to include a Team Canada ball cap, scarf, and mini belt bag. 10 percent of sales from all Future Legacy items support the Canadian Olympic Foundation and Paralympic Foundation of Canada to help Canadian athletes access the resources, equipment, and funding they need.


Lululemon Team Canada Summer Athlete Kit for Paris 2024 Olympic and Paralympic Games Credits: Lululemon


http://dlvr.it/T5d64S

Do fashion schools need to stage graduate shows during New York Fashion Week?

Look from Academy of Art graduate show Credits: Courtesy Of Academy Of Art University Uploaded By Belen Van Der Deijl



This month begins the global cycle of graduate fashion showcases with designers from schools located in fashion capitals like New York or London often gaining the most press. This has forced program directors at regional schools to question if their students are losing out and has pushed some US institutions to stage their own graduate shows in September during New York Fashion Week. But it takes a village to pull it off successfully. Is it really worth the effort and expense?


The expense and effort of an NYFW graduate show




Ann Mariko Walter, Director NYC Fashion at Kent State University has been integral to the staging of the KSU fashion show during NYFW since 2022 and the logistics of ensuring the Ohio-based institution could participate last September involved coordination with multiple, even international, entities. Kent State University partnered with IFA Paris (International Academy of Fashion) to present selected graduate work from 20 designers across 40 looks at Lightbox NYC along with other organizational partners, the New York Film Academy and the Garment District Alliance. KSU is the only public school located outside NYC to stage a fashion show during New York Fashion Week.


“For us it was daunting but we loved the idea and just didn’t have the infrastructure and the people resources in New York to make it happen. All that’s in Ohio,” Walter told FashionUnited. “We really wanted a presence, a visibility, in New York City, the fashion capital of the United States and where all the other leading schools are located.”


KSU had already partnered with IFA for its first NYFW show in 2022, a smaller scale event that had proved successful. The Paris-based program led by Jean-Baptiste Andreani had similar goals to KSU but different strengths, according to Walter. “We have the presence, the relationships, the New York know-how, and they had a great network and a global prestigious brand that they were looking to continue to develop,” she said. “Last year’s collaboration was a lot stronger than either of us could have achieved on our own.” Adhering to the belief of strength in numbers, Walter tapped her network further for the school's second NYFW iteration by reaching out to the New York Film Academy which had already partnered with KSU students on photoshoots and media projects over the years.


Walter also brought on board the New York Garment Alliance, becoming a member of its Business Development Collaborative which is aimed at strengthening and preserving the area’s manufacturing and apparel industry, building community, and elevating the district’s identity. KSU’s New York campus has been located in Manhattan’s historic Garment District since its inception 15 years ago. Walter avails of the organization’s knowledge to locate venues, refine programming and in return KSU hires vendors and utilizes resources from the Garment District to put on the show. Outside of classroom hours, Walter offers up the school space to small fashion and media businesses for networking events, photoshoots, pop-up showrooms, and market week appointments. “The whole collaboration was natural, organic, but also a great way to engage students with experiential hands-on learning. which is at the heart of what we do and why the NYFW show is important to us.”


Do schools benefit more than students from a NYFW show?




Simon Ungless was Executive Director of Fashion at the Academy of Art University in San Francisco until May 2022, a program that he launched 25 years before. Academy of Art graduates were a regular fixture at NYFW until the pandemic.”I was part of that whole push to do that. I think our first one was in 2004 off- schedule and then we got on schedule, showing in both Bryant Park and Lincoln Center.” The final NYFW show was in 2019, but by then Ungless had begun to question the motivation behind it. “To be quite honest with you. I didn't want to do it again. When we first started doing it, it was for the designers, launching them into that arena, and I think that worked for a few years,” he said. “But then the school's marketing team and executive office understood what an incredible recruitment opportunity it was. Why do a show just for the school to get more students, more funding, more press?”


The industry had also changed during the fifteen years since Ungless had been bringing his graduates to NYFW and for him the time had come to consider other ways of introducing students to the industry that depended little on what he refers to as “the conveyor belt “ of fashion week runway shows. Jobs in design houses that prioritize the runway experience are fewer nowadays but many schools continue to force designers on that pathway. “Then there's nothing at the end of it,” said Ungless. “It represents something that the US system lacks and why, I think, what Sara Kozlowski did with the CFDA Graduate Showcase was one of the most brilliant, important things that anyone has done in terms of fashion education.”



The CFDA Fashion Future Graduate Showcase was an event to parallel London Graduate Week involving 8 national schools during its 3 years of physical existence from 2019 - 2021. It provided a platform for the best students to be invited to New York with their garments and portfolios, and set up with a booth. Industry members visited and could chat with the designers as well as review not only their collections but their process books and sketches so that meaningful connections could be made between graduates and potential employers and partnerships forged with recruiters. An estimated 50 - 60 graduates were showcased annually and 600 talent acquisition, editors, and influencers were in attendance. In 2021, the platform migrated to fully digital on CFDA Runway 360, integrating graduate profiles alongside members and emerging industry talent. According to the CFDA website the program has to date secured graduate placements at leading brands including Nike, Proenza Schouler, Pyer Moss, Reebok, Telfar, and Tory Burch.


AI and the future of graduate fashion




FashionUnited reached out to Kozlowski, Vice President of Program Strategies, Education & Sustainability Initiatives at the CFDA, to ask her opinion on whether a NYFW graduate show is important for students hoping to make a career in NYC or internationally. “I think the presentation of capstone work {whether a traditional runway-ready collection or other thesis outcomes such as what more systems-focused design thinkers are producing} is critical, yet there’s more openness today for varied formats and locations,” she told us. While she agreed that graduate collections timed with September's NYFW can benefit from the ability to invite an industry audience, schools hosting industry guests at regional campuses can provide for worthwhile immersive visits with time to see studios, and view portfolios. “I think what is most important is not how large scale production of such events and showcases are but the experience for graduates to present their work as the final capstone milestone,” she said. “And hopefully use that work and the presentation to springboard into the first steps of their careers.”


Since Ungless left the Academy of Art in May 2022, AI has dominated the picture of education, and become something that educators like Walter must now reckon with, if not embrace. For Kozlowski it presents new opportunities for graduates to fulfil their career goals, regardless of whether they are selected to represent their schools at NYFW. “As we move into the AI frontier / 2.0 digital revolution, there’s so much possibility to re-code graduate talent platforms; it’s fascinating to visit thesis studios and see students develop their individual design identities in tandem with exploration and discovery of physical and digital expressions, with portfolios of work that contain garments alongside digital film, and interactive technology.”


Therefore the question of whether regional schools need to ship the work of their top graduates to New York City for an expensive fashion week runway appearance might soon be rendered moot. Said Kozlowski, "That these creatives know how to code AR, create their own 3d materials, and understand the environmental and social impacts of the materials and processes they make with is phenomenal. It will be exciting to see how AI can amplify their work.”


http://dlvr.it/T5cjVb

Fy! acquires marketplace Trouva

Fy! co-founders Tom Beverley and Jonathan Thomson Credits: Fy!



London-based Trouva, the platform for independent boutiques and brands, has been acquired by Fy!, the AI-enabled marketplace for home and living.


The acquisition doubles Fy!'s business size and is part of its wider strategy to leverage artificial intelligence to offer unparalleled marketplace experiences for sellers and buyers alike.


Trouva, founded in 2015 and acquired by Cambridge-based start-up Re:store in January 2023 after its former owner Made.com collapsed, helps customers find fashion, homeware and lifestyle products from independent retailers.


The platform, which has more than 600 independent boutiques across the UK and EU, will continue to operate as a separate brand while benefiting from Fy!'s AI and marketplace expertise.


Fy! said in a statement that Trouva will particularly benefit from its enhanced AI-enabled search and discovery tools, which it states have significantly improved customer engagement and increased revenue.


Tom Beverley, chief executive and co-founder of Fy!, said: "The coming together of Fy! and Trouva represents an exciting new chapter for both companies.


“Trouva’s strong brand, unique community of independent boutiques and product curation provide a compelling destination for customers. We look forward to working with the Trouva team to leverage Fy!’s AI-enabled search and discovery to benefit Trouva boutiques and customers.”


Fy! acquires Trouva, doubling the size of its business




Trouva 'For The Independents' campaign Credits: Trouva



Fy! was launched in 2017 and partners with more than 20,000 brands and artists to sell their home and living products. It leverages AI to address complex marketplace challenges at scale, from advanced product tagging to intuitive natural language search and enhanced discovery.


Its conversational, AI-enhanced search, inspired by platforms like ChatGPT, provides a more natural and contextually aware search experience. Launched last October, this technology has already led to a 45 percent increase in revenue per searcher.


In addition, Fy! adds that its AI-powered recommendations have nearly doubled interactions with related product grids, significantly boosting customer engagement and satisfaction while its AI-driven product tagging system allows for the rapid and accurate tagging of millions of products.


Hussein Kanji, founding partner of Hoxton Ventures, added: "The acquisition of Trouva by Fy! significantly expands its business and capitalises on its status as a frontrunner in AI-enhanced marketplace experiences. This reinforces our belief in Fy!'s growth trajectory and its commitment to innovation in building AI-powered consumer marketplaces."


http://dlvr.it/T5cMhk

Digital Brands Group manages to reduce full year loss

Sundry Credits: Digital Brands Group



Full year revenues at Digital Brands Group increased 6.8 percent to 14.9 million dollars excluding revenue from Harper & Jones.


Gross margin increased 10.2 percent to 6.5 million dollars and gross profit margins increased to 43.9 percent. Net loss per share reduced to 10.2 million dollars or 20.46 dollars per share.


"Despite lower revenue contribution from Sundry in the fourth quarter, we almost achieved break-even net income due to our cost savings. Based on first quarter wholesale shipments and second quarter wholesale bookings, we are excited to see revenue growth meaningfully re-accelerate," said Hil Davis, CEO of Digital Brands Group.


For the fourth quarter, net revenues decreased to 2.8 million dollars, gross profit decreased to 0.5 million dollars, while gross profit margins decreased to 18.3 percent.


Net loss per diluted share reduced to 3.7 million dollars or 8.76 dollars per share, compared to 15.8 million dollars or a loss of 511.54 dollars per share, a year ago.


http://dlvr.it/T5ZCKR

Thai fashion group acquires German landmark store KaDeWe

KaDeWe in Berlin, 2022 Credits: Kristen Pelou / Dior / KaDeWe



Berlin's renowned KaDeWe department store has changed hands, with Thai conglomerate Central Group, also the owner of Selfridges, taking over ownership from the insolvent Austrian company Signa.


Central Group, which has been actively acquiring European luxury stores, including Italy's Rinascente, Ireland's Brown Thomas, and Denmark's Illum, expressed optimism about acquiring the entire KaDeWe Group, encompassing Alsterhaus in Hamburg and Oberpollinger in Munich, reported Reuters.


Currently holding a 50.1 percent majority stake in the group, the Thai retailer sees the acquisition of the KaDeWe building as a pivotal step towards restoring and restructuring the KaDeWe Group towards financial sustainability, according to Vittorio Radice, board member of Central Group Europe.


“The acquisition of the KaDeWe building is the first important milestone for us in the attempt to restore and restructure the KaDeWe Group operating company towards a sustainable, financially viable business,” said Mr Radice in a statement.


“We are pleased to add KaDeWe Berlin to our portfolio of luxury properties. The additional capital investment demonstrates our family's commitment to the KaDeWe Group and our customers, employees and business partners in Europe," said CEO Tos Chirathivat.


"We will continue our efforts to find the best possible solution with all parties involved," he continued, "so that our department stores can resume normal operations better and stronger than before and as quickly as possible," Chirithivat added.


http://dlvr.it/T5YtmX

Louis Vuitton ventures into the world of audio with inaugural podcast series

Louis Vuitton debuts podcast Credits: © ARR via Louis Vuitton website



Louis Vuitton has ventured into the world of audio with its inaugural podcast series, "Louis Vuitton [Extended]," hosted by journalist and fashion filmmaker Loïc Prigent.


Releasing two episodes monthly, each lasting between 20 to 40 minutes, the podcast delves into the Maison's cultural landmarks and creative endeavors.


In a media release the company said through intimate conversations with diverse talents spanning art, design, sports, and more, listeners gain exclusive insights into Louis Vuitton's iconic events and bold collaborations.


The inaugural episode features Pharrell Williams discussing his debut as Men's Creative Director. Subsequent episodes explore the House's heritage with Pierre-Louis Vuitton, conversations with luminaries like architect Frank Gehry, and interviews with influential figures like curator Sarah Andelman and fencer Enzo Lefort.


Fashion brands are increasingly look to engage with their audience in new and immersive ways, creating deeper connections and fostering brand loyalty. At the upcoming Cannes Film Festival Saint Laurent will showcase three films it recently produced. Additionally, at this week’s Milan Design Week a plethora of fashion houses, from Gucci and Bottega Veneta to Loro Piana and Armani Casa, are showcasing links to the design world, showcasing their creativity via new storytelling initiatives.


http://dlvr.it/T5YtV4

Fashion meets furniture: Milan's Design Week extravaganza

Gucci Design Ancora Credits: Gucci.



Milan Design Week may have the spotlight directed at all things furniture, interiors, lighting and design, but fashion brands have increasingly joined the fray, showcasing their collaborative collections alongside other design icons.


Demonstrating this trend is the Milano Moda Design calendar curated by the National Chamber of Italian Fashion, showcasing luxury fashion houses' foray into the Fuorisalone with bespoke initiatives, events and collaborations.


Selecting prestigious venues rarely accessible to the public, brands like Armani/Casa and Versace Home offer glimpses into historically significant palaces hosting their latest collections, reports Italian news outlet Pambianco. Other brands presenting ranges including Loewe’s collection of lamps developed by 24 artists at Palazzo Citterio; Fratelli Rossetti exhibiting 'Invisible Visitors' at the Achille Castiglioni Foundation and Bottega Veneta unveiling 'On the rocks' at its new headquarters in Palazzo San Fedele, collaborating with furniture maker Cassina and Fondation Le Corbusier.


Other initiatives included Loro Piana Interiors paying tribute to Cini Boeri and Ralph Lauren Home opening its doors to visitors at its headquarters in the Tribunal area.


Gucci's flagship in via Montenapoleone is hosting 'Design Ancora,' a project interpreting five iconic Italian design furnishings in collaboration with renowned companies. You can also catch Issey Miyake hosting installations by the Dutch collective We Make Carpets.


http://dlvr.it/T5YtGN

Textile Exchange urges industry to find alternatives for existing synthetics

Textile Exchange's 'Future of Synthetics' report. Credits: Textile Exchange.



In its latest report, ‘The Future of Synthetics’, non-profit Textile Exchange has issued a call on the industry to reevaluate its relationship with synthetic fibres and textiles, while cautioning suppliers on a potentially overbearing reliance on raw materials.


While the organisation is urging fashion to eliminate the use of new virgin, fossil fuel-derived synthetic materials in order to cut greenhouse gas emissions, it noted that a total shift towards land-based materials could lead to a depletion of natural resources.


As such, Textile Exchange said that the industry “must find ways to repurpose existing synthetic textile waste” that both identifies and invests in alternative methods that can further reduce the production volume of new materials overall.


The report particularly emphasised the importance of scaling textile-to-textile recycling technologies for synthetics that it said could contribute to a “truly closed-loop system” rather than relying on supplies from other industries.


Speaking on the report, Beth Jensen, senior director of climate and nature impact at Textile Exchange, said: “The industry must take responsibility for the textile waste it has created and do its part to build a truly circular system for the future.


“To do this, it will need to reduce the overall volume of new materials being extracted and produced, and where synthetic materials are used, ensure that new fossil fuel-derived feedstocks are not entering the supply chain.”


http://dlvr.it/T5YspG

Lenzing appoints Walter Bickel as chief transformation officer

Dr. Walter Bickel Credits: Lenzing AG



Lenzing has appointed Dr. Walter Bickel as a member of the managing board and chief transformation officer with effect from April 15, 2024 until December 31, 2025.


The company said in a statement that Bickel will be responsible for the further development and implementation of the performance program. Lenzing’s performance program initiated in autumn 2023 focuses on positive free cash flow, strengthened sales and margin growth, and sustainable cost excellence.


Commenting on Bickel’s appointment, Lenzing chairman Cord Prinzhorn said: “In Walter Bickel we have gained a great and experienced manager and I am very much looking forward to working with him. Together with the strong team around Stephan Sielaff, Walter Bickel will help Lenzing come out of this difficult phase stronger.”


Bickel,the company added, is a proven expert in implementing yield increase programs. He has decades of leadership experience in management consulting and in leading positions in industrial companies. As a member of top management, he has successfully supported comprehensive performance programs at companies such as KUKA, Treofan and Syntegon.


“I am pleased to be able to contribute my experience to Lenzing AG and am convinced that together – the managing board and the company’s employees – we will achieve a significant improvement in performance,” added Bickel.


http://dlvr.it/T5WZfz