Moncler Group revenues rise 16 percent in the first quarter

Moncler headquarters Credits: Moncler Group



In the first three months of 2024 Moncler Group revenues of 818 million euros, increased 16 percent including Moncler brand revenues of 705 million euros and Stone Island brand revenues of 113 million euros.


Moncler brand revenues increased by 20 percent cFX, driven by strong growth in the DTC channel across all regions, while Stone Island brand revenues declined 5 percent cFX, with strong double-digit growth in the DTC channel partially offsetting the decline in the wholesale channel.


Commenting on the first quarter results, Remo Ruffini, chairman and chief executive officer of Moncler S.p.A. said in a statement: "While I am very pleased with the results achieved during the first quarter and very confident in the strong potential of our brands, I am also conscious of the still volatile macroeconomic environment and of the normalisation trends in our sector, which require us to remain prudent and reactive in light of these ongoing uncertainties."


Moncler brand posts revenue growth across geographies




In the first quarter, Moncler brand revenues in Asia including APAC, Japan and Korea grew by 26 percent, driven by strong growth in the Chinese mainland and the increase in Chinese consumption abroad. Japan and Korea continued to deliver strong performance, due to positive contributions from both tourists and locals.


In EMEA, the company said, revenues grew by 15 percent cFX due to the strength of the DTC channel, supported by a further improvement in tourist purchases as well as solid local consumption.


Revenues in the Americas were up 14 percent cFX with the strong performance in the DTC channel more than offsetting the decline in the wholesale channel.


The DTC channel recorded revenues of 608.5 million euros, up 26 percent, while the wholesale channel recorded revenues of 96.5 million euros, a decline of 5 percent.


At March 31, 2024, the network of Moncler mono-brand boutiques comprised 275 directly operated stores (DOS), an increase of three stores compared to last year. The Moncler brand also operated 56 wholesale shop-in-shops (SiS), a decrease of one unit.


Wholesale performance impacts Stone Island results




In the first three months, Stone Island revenues in EMEA recorded revenues of 77.7 million euros, a decline of 12 percent cFX due to the drop in the wholesale channel. Asia including APAC, Japan and Korea reached 27.4 million euros revenues, up 27 percent cFX mainly driven by the very strong performance of Japan.
The Americas region was down 25 percent cFX with the positive performance of the DTC channel getting offset by the decline in the wholesale channel, which continued to be impacted by challenging trends mostly among department stores, as well as by the ongoing efforts to upgrade the quality of this channel.


In the first three months of 2024 the wholesale channel recorded revenues of 63.6 million euros, down 23 percent cFX impacted by challenging market trends and the strict volume control adopted to continuously improve the quality of the network. DTC channel revenues reached 49.4 million euros and grew by 31 percent cFX.


As of March 31, 2024, the network of Stone Island mono-brand stores comprised 83 directly operated stores (DOS), a net increase of two units and 13 mono-brand wholesale stores, a net decrease of two units.


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24-year-old opens retail store: Seize the opportunity when big players stumble

The entrance to the Würzburg fashion retailer Neverlnd is still covered. Image: Neverlnd



Jannis Thein has taken the plunge and opened his own retail store in Würzburg, Germany, in March. Until now, the young entrepreneur has worked for Nuremberg-based luxury retailer Emerson Renaldi, most recently as senior operations manager. Now he has swapped employment for self-employment.


Under the name 'Neverlnd', he has opened a retail space of around 80 square metres at Marktplatz 10 in his Bavarian hometown. His family not only helped him with the start-up capital but is also actively helping out, said Thein in an interview with FashionUnited. His partner is responsible for marketing and social media for now and, together with her sister, is also helping with the opening. External employees will be hired later on. The plan is to employ one full-time employee and up to two student trainees to help out.


Selected brands such as Marni define the range. Credits: Neverlnd



Owning his own store in only eight months




Thein took the first steps towards his own store only eight months ago, when he developed a business plan and started looking for investors. Instead of high interest rates from banks and investors who wanted to have a say, he received two personal loans from “close relatives”. A month later, he contacted the first brands and received a first commitments from well-known labels such as Marni “relatively early on”.


He then used the Italian luxury brand and others as a basis for expanding his portfolio with other brands from the upmarket streetwear sector such as Misbhv and Daily Paper, as well as high-priced brands such as Fiorucci, Kenzo and JW Anderson. He also tried to make as many new contacts as possible in the current order round. Thein was out and about in Düsseldorf, Munich and Paris during Men's Fashion Week in January.


Jannis Thein in Paris. Credits: Neverlnd



Staying young like Peter Pan




There are also a few smaller brands such as Perplex from Frankfurt, Reternity from Oldenburg and LC23 from Italy. At 70 percent in the first season, the retailer has a strong focus on menswear, which is of course also available to people who do not consider themselves as male.


In his selection, Thein tries to have a mixture of personal favourites that may not appeal to the masses, but still have something for everyone, explains the young store owner. In addition to clothing, he plans to stock other product groups such as home and living as well as accessories. For the latter, Thein once again received support from his family. This time from his father, who is a self-employed jeweller and also enabled him to offer his own 'Neverlnd' products. The range is rounded off by books from publisher Assouline, which once again builds a bridge to the retailer's fashion range with works such as series on the French fashion houses Dior and Louis Vuitton.


Selected pieces alongside books and accessories at Neverlnd. Credits: Neverlnd



The product range was put together by the 24-year-old to appeal to a target group aged between 16 and 35. His customers want to “stay forever young,” which also goes hand in hand with the store name 'Neverlnd' - based on the fictional home of Peter Pan, who does not want to grow up. The aim is not only to give his target group a store in a city that, according to Thein, has no comparable retailers, but also a location where they can network and take part in “cool events,” which the student city also lacks. The opening on 2nd March kicked off with DJs, a small capsule collection and other events. Similar concepts and pop-ups with brands will build on this later.


The store itself has less to do with Peter Pan's enchanted dream island and focuses more on the essentials. The interior design is clean, with brushed stainless steel and just a few colour accents in beige, green and grey. The storefront itself is a real eye-catcher, not because of its size, but because of its visualisation. The two display cases that make up the exterior are fitted with LED panels and are intended to play video installations that arouse customers' curiosity.


Changing rooms in the Neverlnd store Credits: Neverlnd



Nevertheless, at a time when fashion retail is not doing so well in many places, a new opening of this kind remains as exciting as a duel between Pan and his adversary Captain Hook. Thein remains calm and sees embarking on this new adventure more as an opportunity to stand out from the crowd.


“I see an opportunity to start at a time when many people are doing badly and to act anti-cyclically. When everyone is on a high anyway, you get swept away more quickly by the really big players,” says Thein, explaining his move toward self-employment. “But if they are also in trouble, there is an opportunity for a fresh concept. This situation forms the basis for the starting point and I also take it into account for orders and budget planning.”


Neverlnd open since 2nd March at Marktplatz 10 in Würzburg Credits: Neverlnd



This article was originally published on
http://FashionUnited.de . Edited and translated by Simone Preuss.


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Zegna's Q1 revenues improve, while Thom Browne declines

Zegna store in Milan Credits: Zegna



Ermenegildo Zegna Group announced unaudited revenues of 463.2 million euros for the first quarter, up 8.1 percent or 10.7 percent at constant currency and down 5.3 percent on an organic growth basis.


Revenues for the Zegna segment amounted to 324.9 million euros, up 1.7 percent and 4.3 percent on an organic growth basis, while revenues for the Thom Browne segment amounted to 79.1 million euros, down 30.2 percent and 35 percent and revenues for the Tom Ford Fashion segment amounted to 65 million euros.


Commenting on the first quarter update, Ermenegildo “Gildo” Zegna, chairman and CEO of the Ermenegildo Zegna Group, said: “Closing the first quarter of 2024 with double-digit revenue growth on a constant currency basis is reassuring given the challenges that the sector is facing. I am confident that we are taking the right actions to make our brands even stronger and to deliver on our medium-term ambitions.”


Zegna Group’s Q1 results across brand segments




In the first quarter, revenues for the Zegna brand were 282.9 million euros, up 4 percent or 6.8 percent on an organic growth basis driven by growth in key categories and, in particular, footwear and leisurewear. While EMEA, the Americas and Japan saw solid double-digit growth, the Greater China region recorded single digit negative growth in the quarter.


Revenues for Thom Browne were 79.2 million euros, down 29.6 percent or down 34.4 percent on an organic growth basis. The brand recorded strong results in Japan while EMEA and the Greater China Region underperformed.


The company added that revenues for textile were 33.2 million euros, down 1.7 percent or down 0.8 percent on an organic growth basis, as a result of lower textile demand from the luxury goods sector. Other revenues, which mainly includes revenues for third-party brands, were 2.8 million euros, down 72 percent or 43.6 percent on an organic growth basis, reflecting the end of the Tom Ford International distribution licence following the acquisition of Tom Ford International on April 28, 2023.


Zegna Group’s retail performance in Q1




First quarter DTC revenues were 328 million euros, up 20.4 percent and 3.2 percent on an organic growth basis. The integration of the Tom Ford Fashion business contributed 43.7 million euros in DTC revenues for the quarter. At the end of March, Zegna had 277 directly operated stores (DOS), including 16 stores in Korea and an additional four in the United States converted to DOS.


Thom Browne DTC revenues rose by 4.4 percent. Excluding the effect of the acquisition of the Thom Browne business in Korea, DTC revenues declined by 13.9 percent on an organic growth basis. At the end of March, Thom Browne counted 86 DOS, and Tom Ford Fashion operated 54 DOS.


Wholesale branded revenues were 99.1 million euros, down 11.5 percent or 25.9 percent on an organic growth basis. Zegna brand wholesale revenues were 43.3 million euros, up 2.3 percent or 9.3 percent on an organic growth basis. Thom Browne wholesale revenues declined to 34.5 million euros negatively impacted by early deliveries, a demanding comparison base, and the decision to streamline the brand’s wholesale business. Tom Ford Fashion wholesale revenues were 21.3 million euros, representing 33 percent of total Tom Ford Fashion revenues.


Zegna Group posts growth in all geographies except China




The group’s revenues were boosted by a strong double-digit growth in the Americas, where revenues amounted to 114.2 million euros, up 57.7 percent and 10.3 percent on an organic growth basis, accounting for 25 percent of the Group’s revenues. EMEA recorded revenues of 156.6 million euros, up 4.3 percent or down 6.5 percent on an organic growth basis, reflecting a negative performance for Thom Browne and accounted for 34 percent of the Group’s revenues.


The Greater China region recorded revenues of 139.4 million euros, down 15.3 percent and 13.1 percent on an organic growth basis, equal to 30 percent of the Group’s revenues. Revenues in the rest of APAC rose by 28.7 percent and 4.9 percent on an organic growth basis to 52.4 million euros, mainly driven by strong performance in the Japanese market and the aforementioned conversion of the Thom Browne and Zegna Korean mono-brand stores from wholesale to retail.


On April 5, 2024, the Group announced a dividend distribution to the holders of ordinary shares of 0.12 euros per share, corresponding to a total of approximately 30 million euros.


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Kering forecasts sharp decline in H1 operating profit

Gucci store in Milan Credits: Gucci.

Kering Group’s first quarter revenue of 4.5 billion euros, declined 11 percent as reported and 10 percent on a comparable basis.


The company said in a statement that revenue from the directly operated retail network fell 11 percent on a comparable basis, as a result of lower store traffic. Revenue in the wholesale and other segments was also down 7 percent on a comparable basis.


“Kering’s performance worsened considerably in the first quarter. While we had anticipated a challenging start to the year, sluggish market conditions, notably in China, and the strategic repositioning of certain of our Houses, starting with Gucci, exacerbated downward pressures on our topline,” said François-Henri Pinault, Kering’s chairman and chief executive officer.


Kering forecasts considerable drop in H1 operating income




The company further said that in 2024, in a context of ongoing normalisation of the sector’s growth, the impact of Kering’s investment strategy will weigh on the group’s recurring operating income , which should post a decline compared to the level reported in 2023, particularly in the first half of the year.


Taking into account the deterioration of its revenue trends, the group now anticipates a decline of 40 to 45 percent in first-half recurring operating income compared to the first half of 2023.


Commenting on the outlook, Pinault said: “In view of this revenue decline, together with our firm determination to continue investing selectively in the long-term appeal and distinctiveness of our brands, we now expect to deliver sharply lower operating profit in the first half of this year.”


Kering posts drop in Q1 revenues at Gucci and other houses




In the first quarter of 2024, Gucci’s revenue amounted to 2.1 billion euros, down 21 percent as reported and down 18 percent on a comparable basis. Revenue from the directly operated retail network fell by 19 percent on a comparable basis in the first quarter, and was particularly impacted by a sharp decline in Asia-Pacific.


The brand’s wholesale revenue fell 7 percent on a comparable basis.


Yves Saint Laurent’s revenue amounted to 740 million euros, down 8 percent as reported and down 6 percent on a comparable basis. Revenue from the directly operated retail network was down 4 percent on a comparable basis driven by growth in Japan, a sequential improvement in North America, and relatively stable revenue in Western Europe. In Asia-Pacific, business levels were affected by tough market conditions.


The company added that Yves Saint Laurent’s wholesale revenue was down 25 percent on a comparable basis, while royalties and other revenue rose 27 percent on a comparable basis, with dynamic performance across eyewear, perfumes and cosmetics.


Bottega Veneta’s revenue totaled 388 million euros, down 2 percent as reported and up 2 percent on a comparable basis with revenue from the directly operated retail network up 9 percent on a comparable basis, driven by double-digit growth in North America, Western Europe and the Middle East. Revenue in Asia-Pacific fell slightly. Wholesale revenue was down 25 percent on a comparable basis.


Revenue from the group’s other houses totaled 824 million euros in the first quarter, down 7 percent as reported and 6 percent on a comparable basis. In the directly operated retail network, revenue was up 3 percent on a comparable basis. Balenciaga saw trends improve in Western Europe and Japan, achieved double-digit growth in North America and remained resilient in Asia-Pacific. Brioni, the company said, posted double-digit growth. Wholesale revenue was down 25 percent on a comparable basis.


Kering Eyewear’s revenue amounted to 463 million euros, up 8 percent on a comparable basis. Overall, revenue from the Kering Eyewear and corporate segment amounted to 536 million euros, up 24 percent as reported and 9 percent on a comparable basis.


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Eleven years after Rana Plaza, where is the fashion industry in terms of transparency?

Interview


The Rana Plaza building in 2012, one year before its collapse. Clearly visible are the two illegal floors on top, which housed garment factories. Credits: Sean Robertson via Wikipedia



Eleven years ago today, on 24th April 2013, the Rana Plaza building in Savar, Bangladesh collapsed, killing more than 1,100 garment workers and injuring more than 2,500, many of them severely. All of those deaths and injuries could have been prevented had the five garment factories housed in the building evacuated on time like the other businesses in the building - among them a bank and shops.


Upon seeing cracks in the building façade and other businesses evacuating, one may ask what made garment workers go back into a building that was clearly not safe? The answer is simple - fear and desperation. Fear of not having a job if refusing to go back into the building and desperation of holding onto that job, which was needed to survive, to pay for basic necessities like food and rent mainly, and children’s eduction and medicines if any money was left.


FashionUnited wanted to know what has changed since then and what still needs to change for the industry to make sure this situation never happens again. We spoke to Liv Simpliciano, policy and research manager, and Lauren Rees, digital communications assistant, both at Fashion Revolution. The non-profit was founded in 2014 in response to the Rana Plaza collapse and has grown into the world’s largest fashion activism movement that mobilises citizens, brands and policymakers through research, education and advocacy with the aim to create “a global fashion industry that conserves and restores the environment and values people over growth and profit”.


Lauren Rees (left) and Liv Simpliciano, Fashion Revolution.   Credits: Fashion Revolution



One important area to tackle is transparency, which, ten years ago, when Fashion Revolution was founded, was not really seen as a must-have by brands and retailers. In fact, many were against disclosing their suppliers as they did not want to lose a competitive edge, especially among luxury brands.


Would you say that since then, the industry has come a long way?




Yes and no. The last decade has seen transparency in fashion’s supply chains become a mainstream concern, and we have seen some of the world's biggest brands make encouraging progress since the launch of the Fashion Transparency Index (FTI) in 2017. However, looking at the wider picture, there are still too many brands that just aren’t disclosing anything year after year, overall industry progress is incredibly slow with an collective score if just 26 percent.


What do you think are the major achievements in terms of transparency?




Our FTI 2023 report had 61percent engagement from the 250 brands we analyse in the Index, which demonstrates a huge shift in brand engagement since the launch in 2017. In this period, we have seen 86 percent of major fashion brands that have been analysed continuously increase their levels of disclosure with an average of 15 percentage points, with some of these brands increasing their transparency by up to 54 percent. It was also unimaginable that luxury brands would ever disclose their tier 1 suppliers when we first launched the FTI in 2017 but in 2023, the five biggest movers were all luxury brands, with Gucci scoring an overall 80 percent.


Where do you think the industry is lacking in terms of transparency?




While transparency has entered the mainstream, the industry is reluctant to make progress on the issues that matter most, such as living wages, overproduction and decarbonisation. Despite brands promising fair pay to the workers who make their clothes, they have little to show on progress over the last decade. Living wages are the most important issue to the people who make our clothes and yet still, 99 percent of the brands in the Index do not disclose the number of workers in their supply chain paid a living wage.


Street stitching at Mend in Public Day London 2024. Credits: Fashion Revolution



Meanwhile, brands across all market segments continue churning out enormous volumes of clothes each year and promoting a culture of overconsumption which is antithetical to sustainability and climate justice. Only 12 percent of the brands we review disclosed their annual production volumes, highlighting a clear lack of transparency on information any viable brand intentionally tracks.


Against the backdrop of a worsening climate crisis, it is alarming that little more than a third of the world’s largest brands discloses a time-bound and measurable near-term target for decarbonisation verified by the Science-based Targets Initiative, with just 9 percent of brands disclosing their annual investment in decarbonisation. The lack of disclosure on these key issues is concerning and leaves us questioning whether brands are addressing them at all.


Would you say that brands and retailers are warming up to the idea that transparency should be a must-have?




With incoming legislation, soon transparency won't be an option, it will be mandatory. Brands should engage with the process as soon as possible to ensure they are prepared for the regulatory reckoning facing the industry.


The truth of the matter is that whilst more than half (52 percent) of the 250 brands we review disclose their first tier supplier list, this also means that almost half of the industry still doesn’t do this. Disclosing your supplier list is really the beginning point of accountability.


Fashion Revolution team at Mend in Public Day London 2024. Credits: Fashion Revolution



Some brands that we have reviewed in the Index continuously since 2017 still score 0 percent. These are the brands that will hopefully be moved by legislation because it is clear voluntary transparency has not been their interest. Amidst a deepening climate crisis, a lack of transparency at this stage signals an interest in maintaining the status quo. A lack of transparency prohibits collective action and progress on key human rights and environmental issues. Any brand that is serious about redressing and preventing harm must place transparency at the foundation of their strategies.


Are brands realising that transparency also makes economic sense?




Transparency and traceability is the underlying requirement of the huge majority of incoming legislation from both the EU and the US; brands that do not adhere to these requirements will be subject to economic penalties. From a business perspective, it is wise to start preparing for incoming legislation, ensuring you are doing the work to trace and measure the social and environmental impact of your supply chain now is a vital step to preparing for the evolving operating landscape that is, and will continue to impact fashion businesses over the coming decade.


However, the environment, communities and the people who make our clothes have long paid the price for a lack of proper due diligence. Transparency and traceability should not be adopted solely for its financial benefits - it should be embraced in the name of justice.The costs of due diligence should be absorbed by brands, who are in positions of immense power. Importantly, these strategies must be strong enough to reach the most vulnerable stakeholders in the supply chain. All in all, it is far cheaper to remediate risks before they end in tragedy than to pay huge retrospective costs and fines. Brands are responsible for preventing tragedy and must be held accountable when they fail.


Do you think the pandemic has given transparency efforts a boost?




Pre-pandemic, sustainability and transparency were seen as a ‘nice to have’. Once the pandemic happened, the first teams to be furloughed or cut were sustainability teams at fashion brands. The pandemic had a huge impact on retail. The industry massively backslid on human rights and environmental issues and exhibited deplorable behaviour - for example order cancellations at scale and workers’ wage theft.


In the UK, for example, we saw a pause on brands’ Modern Slavery Statement reporting as the government made a concession to pause on disclosure - unfortunately at a time when modern slavery risk was at an extreme high. We saw a dip in disclosure of brands we review in the Fashion Transparency Index in response - which again underlines why mandatory legislation is so sorely needed as when given a chance to disclose voluntarily, some brands may choose to withhold information without mandatory pressures.


Mend in Public Day London 2024. Credits: Fashion Revolution



We also saw a lag in updates on brands’ factory lists. There was a real lull in the industry when it came to transparency. However, post-pandemic, there was a ‘build back better’ mindset. When the economy started to recover post-pandemic, sustainability was more at the forefront of citizens’ minds. Now, businesses that don’t embed transparency won’t survive in the long-term.


In an ideal world, what should transparency in the supply chains of the textile and garment industry entail?




Anyone, anywhere should be able to find out who, where and in what conditions your clothes were made from the final stage, all the way upstream to where the fibres were grown. It is the transparency of the warehouse/logistics worker, the garment worker, the spinning technician and the farmer. Transparency beyond merely who made the clothes - but how much they were paid. Complete visibility from beginning to end. At its most basic, transparency is a matter of honesty and an openness to scrutiny.


If we are thinking about clothing labels, ideal transparency includes:



* Labour cost per product and the time needed to make the product (e.g. the time in minutes/hours to make the product at CMT unit level)

* Fibre breakdown, source and certifications

* Transparency on any hazardous chemicals present in the textile and chemicals used during the whole manufacturing process and the potential harmful impacts of each chemical used.






The most important plea is that when it comes to transparency in the fashion industry, transparency is not merely for transparency’s sake. The industry needs transparency of actionable data to enable citizens, civil society and affected stakeholders to hold the industry to account.


We have to move beyond factory lists - which can be seen as a key to help unlock further information. Disclosure cannot stop at the lists, we need visibility of annual production volumes, working conditions, wages, primary data on environmental management.


Importantly, this information should be disclosed in alignment with the Open Data Standard for the Apparel Sector - in an excel or csv format to enable machine readability.
Even now, some brands are failing to disclose their supplier lists and some that do, are still doing so in PDF format, which is prohibitive to the standard we are pushing the industry toward.


We are looking for greater transparency on what brands are doing in terms of just transition, renewable energy advocacy, progress on and financing of decarbonisation. How are they supporting suppliers to transition to clean energy? How are they supporting mitigation and adaptation of the climate crisis?


We are asking for a lot but we feel the information we seek is crucial to unlock justice for the people who make our clothes and the environment. Ultimately, the planet is on the bargaining table. There is no sustainable fashion without fair pay and in the end, no fashion on a dead planet.


Also read:




* Fashion Revolution on achievements in the last ten years and future needs

* Why Earth Day has become largely a marketing gimmick

* The hidden costs of our purchases: True Pricing and the road to fairer price

* What is the upcoming Corporate Sustainability Due Diligence Directive (CSDDD) legislation? What does it mean for the fashion industry, and what can you do to prepare?

* Bangladesh: "Our garment industry is one of the safest in the world today"

* How to convince friends to quit fast fashion for good






This interview was conducted in written format.


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Student’s prizewinning idea begs question: Why doesn’t this exist already?

Olivia Meyer at Fashion Scholarship Fund Gala. Credits: Matteo Prandoni/BFA.com



A Kent State University fashion merchandising senior has come up with an idea that is so blindingly obvious, one might wonder how it doesn’t already exist. Olivia Meyer is currently basking in the glory of awards and accolades, even a mention in the New York Times for her concept: The single leg tights.


“It’s mind boggling, but it's a great place to find myself,” said Meyer via Zoom from campus where she is just three weeks away from graduation. “It’s been really overwhelming in the best way possible with all the positive feedback I've received.”


The brief for this year’s Fashion Scholarship Fund was to improve the ESG initiatives of a company of the applicant’s choice, so serial thrifter and second hand shopper Meyer immediately returned to her childhood passion of being a dancer. “Tights have always been a staple part of my wardrobe,” she told us. “But anybody who has worn tights knows why they're essentially the plastic water bottle of the apparel industry.” With just one imperfection a pair of tights typically becomes a waste item and, as a lifelong tights wearer, Meyer hated its devastating environmental impact. A steadfast fan of the brand Sheertex whose tights come with a 90-day no rip guarantee Meyer decided her response to the brief would be to pitch an idea for Sheertex that would evolve their offering in a way that was both inclusive and reduced their environmental footprint.


Olivia Meyer's proposal for Fashion Scholarship Fund. Credits: Olivia Meyer



In her work Meyer favored a problem solving approach, asking questions like “Why has it taken so long for this to come into existence? Why are we doing things this way ? Is this still serving our future?” She credited her mother, also a dancer, with inspiring the concept because she would buy tights in packs of two and when a run appeared in one leg, she’d cut it off underneath the waistband and save the good leg. When the same happened in the second pair, she’d have two single legs to wear together, the unfinished edges and makeshift aspect known only to her.


From among hundreds of other applicants from across the country, Meyer was selected winner of the Chairman’s Award at this month’s Fashion Scholarship Fund Gala by by a panel of industry members. The award was presented by Linda Fargo, Senior Vice President of Women’s Fashion at Bergdorf Goodman. The panel was impressed not only with Meyer’s solution for a more sustainably sound product but her presentation detailing how the single leg tight allows for better ventilation of intimate areas and opens up the hosiery market to a new demographic of individuals with one leg who were previously excluded.


Merchandising student wins 25,000 dollars for game changing design




“When you're applying to these scholarships, and you're working on your submission for so long, you tend to just get siloed in your own thoughts,” said Meyer. “But then to actually hear these important people cheer you on, and then to think about the type of change that it could bring for the industry, for the future of hosiery, for the people who are wearing tights, for less landfill, you begin to wonder, could this become a reality?”


Her prize of 25,000 dollars has already been earmarked for the next stage of her career which involves moving from Ohio to New York, or maybe even to Montreal, where the headquarters of Sheertex are located. Meyer has been in correspondence with the company and invited the CEO of Sheertex to the FSF live pitch event to which anyone could tune in remotely but she doesn’t know if representatives from the company were watching. “When I was completing the case study, I heard that Sheertex became B Corp certified which really spurred me on,” Meyer told us. “So they really are doing the right things in so many ways, and I really respect that.”


Sheertex tights are made out of polymers traditionally used in bulletproof vests.“They have fundamentally transformed hosiery forever,” said Meyer. Perhaps the same will be said of her when her single leg tight gets picked up and becomes available on the market.


Said Meyer, “I really just hope to continue being in rooms with people who are keeping the future of fashion and our planet and the people on it and all of the living things in mind.”


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Indigenous fashion center stage in Mexico presidential election

Credits: Alfredo Estrella/AFP



After years of fighting for
greater recognition, Mexico's Indigenous weavers have seen their creations
thrust into the spotlight by the two women leading the country's presidential
race.


The brightly colored, elaborately embroidered garments handcrafted by
generations of artisans have long enchanted visitors to Mexico -- including
international designers whose use of the motifs have sparked accusations of
plagiarism.


Now an aficionado of the Indigenous designs is almost certain to become
Mexico's first woman president, although the prominence of the traditional
garments on the campaign trail has generated mixed feelings among their
creators.


"It's important that they don't just wear them as a costume or to attract
attention," said Trinidad Gonzalez, 55, a weaver in the community of El Mejay
in Hidalgo state in central Mexico.


Opposition candidate Xochitl Galvez, an outspoken businesswoman and senator
of Indigenous origin, has worn the traditional garments since entering
politics more than two decades ago.


Claudia Sheinbaum, the former Mexico City mayor who is representing the
ruling party and is leading the election race, has also worn Indigenous
designs during her campaign, including at its launch.


"It's very positive that Mexican textiles are center stage in the political
arena," said anthropologist Marta Turok.


But according to Andres Vidal, a doctor in social anthropology at the
National Autonomous University of Mexico, the choice of clothing is also part
of the "electoral game."


From racism to prestige




Martina Cruz -- Gonzalez's mother -- is 83 years old, but she still weaves
using techniques passed down through generations.


She is happy to see traditional clothing worn by the presidential
candidates, especially Galvez, who also hails from Hidalgo.


"I like it a lot," Cruz said, while weaving a garment that can take up to
eight months to make and is sold for the equivalent of $1,000.


The painter Frida Kahlo was the first internationally prominent Mexican
personality to wear Indigenous clothing, said Turok, an expert in popular art.
In politics, the pioneer was Maria Esther Zuno, wife of Luis Echeverria,
who was president from 1970 to 1976.


"Mexican politics is a reflection of society," Turok said.


At one time, politicians "were ashamed" to wear Indigenous clothing, a
reluctance that mirrored the wider problem of "discrimination and racism," she
recalled.


But gradually Indigenous designs gained popularity and prestige. Now they
can be worth thousands of dollars.


Cultural appropriation?




As a senator, Galvez promoted the adoption of the Day of the Huipil, held
on March 7 in recognition of the traditional embroidered blouse.


"Never haggle over the price of a huipil with an Indigenous woman," the
politician said in one of her videos, in which she showed her traditional
blouses, some made of silk that according to Turok would cost up to $5,000.


Sheinbaum, the granddaughter of Bulgarian and Lithuanian Jewish migrants,
also has a collection of Indigenous clothing given to her on tour, according
to a source from her campaign.


While several major foreign clothing brands have been accused by Mexico of
cultural appropriation for their Indigenous-inspired designs, Turok said she
did not view the candidates' use of the huipil in the same way.


"Improper cultural appropriation is taking a textile to another country to
reproduce it," she said.


"If we're going to start saying who can and can't wear them, it's going to
be a never-ending story," Turok added.


Vidal sees the use of Indigenous clothing as a way for politicians to
connect with voters.


"One way to reach them is by creating symbiosis through the use of a
certain type of clothing," he said.


The election fashion parade has brought new customers into Alfonso Giron's
store in Mexico City.


"They say, 'Hey, I'm looking for the garment I saw the candidate wearing on
television,'" he said.


But in reality, every huipil is unique, Giron added.(AFP)


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Why Earth Day has become largely a marketing gimmick

KI-generiertes Bild zur Illustration. Bild: FashionUnited



OPINION


What do Mother's Day, Valentine's Day and Earth Day have in common? They are all days that highlight something/someone that should go without saying and be celebrated every day of the year - mothers (parents in general), love and our earth.


The very existence of such days of remembrance shows that something is amiss - why do mothers need to be honoured on one day in particular; does that mean we forget about them on the other 364 days? And our romantic partners, do we really need Valentine's Day to shower them with flowers, chocolates and tacky stuffed animals? Shouldn't we show the special people in our lives our love, affection and respect every day?


And our planet - shouldn't we think every day about using resources sparingly and preserving them for generations to come? To use as little new stuff as possible and to mend, repair and reuse our old stuff?


Enough clothes for six generations




If one looks at the fashion industry, there are still too many brands and retailers whose business model is based on overconsumption and who cleverly use events such as Earth Day for greenwashing - for example by drawing attention to new collections that are supposedly sustainable but encourage consumption; take-back programmes of used garments based on store credit valid for new products only that serve the same purpose; new labels that want to be different but also contribute to consumption.


Reduce, reuse, recover, recycle poster at Made in Bangladesh Week. Credits: Sumit Suryawanshi for FashionUnited



Given that the existing garments in circulation today will last for six generations, according to Patrick Grant of Great British Sewing Bee, the most environmentally friendly thing to do would be to stop production immediately. But of course that is not possible - jobs are connected with the sector and many other industries.


The key is therefore to retrain and rethink, as traditional businesses such as leather manufacturers could do - instead of relying on leather, they could focus on plastic-free alternatives, as Germany's first vegan bag maker has shown.


Seamstresses should be trained in mending and extending the life of garments, not in producing new ones at an ever-increasing pace at the expense of their health. Creativity should be rewarded and emphasised, as is the case with “sashiko”, the Japanese technique for repairing denim. Days like the "Mend in Public Day" introduced at this year's Fashion Revolution Week, which aims to encourage people to mend their clothes as a community activity, should become regular events.


Staff in retail stores should be given the day off and encourage people to go out into nature on this day, as The North Face did a few years ago with its “Explore Mode” campaign on Earth Day, which is more relevant today than ever.

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Every product manufactured should be linked to the restoration of nature, such as reforestation projects, preferably local ones, not halfway around the globe. The Wortmann Group has been doing this since 2021: the shoe manufacturer known for brands such as Tamaris, Marco Tozzi, S.Oliver Shoes and Caprice, has provided 25,000 euros each year for the purchase of young trees and their planting in a local project, totalling 125,000 euros to date. So far, 22.2 hectares have been reforested in order to replace damaged and clear-cut areas with new forest generations.


Reduce, reuse, recycle




So if you want to do something meaningful this Earth Day, stop consuming and instead follow the sustainability mantra “reduce, reuse, recycle", preferably in that order. As an industry, the fashion industry also needs to consider how it can change its business models and switch to slow fashion - with the associated changes to professional fields.


If this seems naïve and impossible, it is worth remembering the alternative - dwindling resources, more plastic in the world's oceans than fish and ever-growing mountains of clothes. Only when we no longer need a “Remembrance Day” can the earth (and therefore humankind) really breathe a sigh of relief.


Also read:




* A closer look at the upcoming EU’s Right to Repair legislation and its impact on fashion

* Upcycling, a solution for companies' carbon and financial footprints

* Circle Economy study: How to combat the steadily falling global circularity rate

* New “Sustainable Style Guide for Everyone” provides comprehensive starting point for more conscious fashion consumption

* Sustainability in fashion: highlights from January to March 2024


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Nike to axe over 700 jobs from its Oregon headquarters

Nike USA Credits: Nike Inc.



Nike's Oregon headquarters is set to eliminate approximately 740 jobs by late June as part of its multiyear cost-cutting plan.


Michele Adams, Nike’s vice president of people solutions, disclosed this intention in a filing with the state of Oregon on Friday, describing it as a “second phase of impacts” as the world’s largest sportswear company trims its workforce, reported Bloomberg.


The reduction at its Beaverton, Oregon headquarters was communicated to state and local officials in a notice mandated by the Worker Adjustment and Retraining Notification Act, said the Des Moines Register.


In December, Chief Executive Officer John Donahoe announced that Beaverton-based Nike would slash its global headcount by 2 percent as management seeks as much as 2 billion dollars in cost savings over the next three years. “Nike’s always at our best when we’re on the offense. The actions that we’re taking put us in the position to right-size our organization to get after our biggest growth opportunities as interest in sport, health, and wellness have never been stronger," the company stated in a statement to USA Today. "While these changes will impact approximately 2% of our total workforce, we are grateful for the contributions made by all Nike teammates.”


According to an internal memo reviewed by Bloomberg News, initial layoffs at Nike began in February, and the company expects to conclude the process by the end of its fiscal year. "To compete, we must edit, shift and divest less critical work to create greater focus and capacity for what matters most,” Donahoe said in the memo.


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Gucci to show Cruise collection at Tate Modern in London

Millennium Bridge leading to front exterior of Tate Modern, Bankside, London 2003 Credits: © Tate



Gucci has announced that its Cruise 2025 show will be held at London's Tate Modern on May 13. Creative director Sabato De Sarno, who took over the luxury brand's helm in January last year, will present his first cruise collection in this iconic venue.


London follows in the footsteps of Seoul, where Gucci showed it previous Cruise collection at the Gyeongbokgung Palace last May.


Gucci's ties to London run deep, as the brand's origins are closely linked with its founder, Guccio Gucci. In 1897, Gucci worked as a luggage porter and lift boy at The Savoy hotel in London. During this period, he directly observed the preferences and requirements of travelers, assisting them from one floor to another. Witnessing the opulent luggage and stylish attire of the guests was a significant motivation for him to establish his own leather goods company shortly after returning to Italy from London.


Since its opening in May 2000, Tate Modern has received more than 40 million visitors and is one of the UK’s top three tourist attractions, generating an estimated 100 million pounds in economic benefits to London annually.


In line with Gucci’s commitment to champion culturally significant locations and communities, the luxury brand will support the “Electric Dreams” exhibition at Tate Modern, which opens this fall, in addition to a three-year partnership fostering the museum’s work with young creatives, reported WWD. Gucci has previously shown in London at Westminster Abbey’s cloisters.


Among other cruise shows, Chanel plans to present its 2025 line in the port city of Marseille on May 2nd. Louis Vuitton has scheduled its cruise show in Barcelona on May 23, and Dior has revealed its show in Scotland will take place on June 3.


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Burberry sponsors British Pavilion at 60th Venice Biennale

British Pavilion at Venice Biennale Credits: British Pavilion via Burberry website



Burberry is the headline sponsor of the British Pavilion at this year's 60th International Art Exhibition, La Biennale di Venezia. The Pavilion, which opened on Saturday and will remain open until November 24th at the Giardini do Castello, marks Burberry's second consecutive year sponsoring British arts and culture.


Commissioned by the British Council, this year's British Pavilion presents a new exhibition titled "Listening All Night to the Rain" by Ghana-born artist John Akomfrah. Recently honoured with a knighthood in the 2023 UK Honours list, Akomfrah is recognized for his art films and multi-screen video installations, exploring a range of social issues, including racial injustice, diasporic identities, migration, and climate change.


Burberry, with its longstanding legacy and commitment to supporting arts and culture at home and abroad, closely collaborates with art institutions and contemporary British artists. To celebrate, Burberry hosted two events during the opening week, including a private conversation for the podcast, Talk Art. The discussion featured Akomfrah, Curator Tarini Malik, Associate Curator for the British Pavilion Shane Akeroyd, and Talk Art founders, Russell Tovey and Robert Diament.


Burberry also organised an evening at the iconic Harry's Bar to bring together friends and family of the British luxury brand, alongside Burberry Chief Creative Officer Daniel Lee and John Akomfrah.


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WHP-led consortium initiates sales deal with Express

Express store Credits: Express Inc via Business Wire



Express, Inc. announced that announced that it has received a non-binding letter of intent from a consortium led by WHP Global, a wholly owned subsidiary of Simon Property Group and Brookfield Properties for the potential purchase of the company’s retail stores and operations.


Express also announced that it has named Mark Still as senior vice president and chief financial officer, effective immediately.


“WHP has been a strong partner to the company since 2023, and the proposed transaction will provide us additional financial resources, better position the business for profitable growth and maximise value for our stakeholders,” said Stewart Glendinning, the company’s chief executive officer.


Express to close 95 stores




The company said in a statement that to facilitate the sale process, the company has filed voluntary Chapter 11 petitions in the U.S. Bankruptcy Court for the district of Delaware.


Express has received a commitment for 35 million dollars in new financing from its existing lenders. Additionally, on April 15, 2024, the company received 49 million dollars in cash from the Internal Revenue Service related to the Cares Act.


As part of this process, the company intends to close approximately 95 Express retail stores and all UpWest stores. Express continues to serve customers in stores and online across the Express, Bonobos and UpWest Brands.


Express names Mark Still as new CFO




The company’s new CFO Mark Still has served as the company’s interim CFO since November 2023 and as senior vice president, brand finance and planning & allocation since January 2023. He has held finance roles of increasing responsibility at Express since 2005.


“I congratulate Mark on his appointment as our go-forward CFO, underscoring the significant contributions he has made to Express throughout his career. We look forward to continuing to benefit from his extensive leadership experience and financial expertise as we move ahead,” added Glendinning.


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