‘The Witness’: IM Firenze final show reimagines traditional fashion show concept

In Pictures


IM Firenze graduation show 2024- A look by Angela Huang. Credits: image courtesy of Istituto Marangoni Firenze



Istituto Marangoni Firenze has presented the top students of its graduating class of 2024 in its annual end-of-year fashion show. This year’s show was entitled ‘The Witness’ and aimed to reinterpret the concept of the traditional fashion show.


Held at Palazzo Ximènes Panciatichi in Florence, the event showcased the results of the three-year creative journey of the bachelor students in fashion design.


In ‘The Witness’, the traditional fashion show concept was deconstructed to create a fusion of performance and exhibition, offering two complementary experiences. It transformed the audience from spectators to active participants in the creative process behind the collections of the institute’s ten best fashion designers.


A look by Yanni Malhotra, IM Firenze graduation show, June 2024. Credits: image courtesy of Istituto Marangoni Firenze.



Each graduation collection was presented with unique styling, grooming, and performance styles, which highlighted the identity of each designer and which created the idea of 'ten distinct worlds', as per the press release sent out by the school.


The event opened with a tableau vivant, inspired by painting and figurative arts, where guests engaged in observing the ten collections as a unified element. The show ended with the disintegration of the tableau vivant, symbolising the end of one creative chapter and the beginning of new horizons.


IM Firenze presents graduating class, deconstructing the traditional fashion show




The ten worlds presented showcased the evolution of fashion shows, from their origins to modern digital performances. Advanced technologies and digital innovations were used to explore the concept of each collection, focusing on knitwear, menswear, innovative materials, technological innovation, and sustainability.


For the first time, students from various courses and disciplines were involved in creating content and organising the event and exhibition.


Commenting on the show in a release, Lorenzo Tellini, director of Istituto Marangoni Firenze said: “We chose Palazzo Ximènes Panciatichi as the venue for our Fashion Show, because it represents a harmony between the styles of the craftsmen who have worked there over the centuries, bearing witness to the evolution of Florence."


He continued: “The frescoes and stuccoes become theatrical backdrops, allowing the ten collections to express themselves in a polyphony of voices, inviting the public to be a witness – hence the title of the event, The Witness – to ten different worlds, to be contemplated and experienced as a tableau vivant between craftsmanship and new technologies.”


The following designers showcased their collections:


Greta Peccia, Matilde Tasselli Anna Gervasi, Sophia Cuomo, Yanni Malhotra, Angela Huang , Nora Bagdasaroglu, Max Putrin, Tara Pitoni, and Sergio Catania.


View some of graduates' looks below.


A look by Tara Pitoni, Istituto Marangoni Firenze graduation show, June 2024. Credits: image courtesy of Istituto Marangoni Firenze



A look by Sergio Catania, IM Firenze graduation show, June 2024. Credits: image courtesy of Istituto Marangoni Firenze



A look by Angela Huang, IM Firenze graduation show, June 2024. Credits: image courtesy of Istituto Marangoni Firenze



A look by Sophia Cuomo, IM Firenze graduation show, June 2024. Credits: image courtesy of Istituto Marangoni Firenze


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Video: Amiri SS25

Amiri SS25 Menswear, Paris Fashion Week Credits: ©Launchmetrics/spotlight



Watch Amiri’s runway show at Paris Fashion Week showcasing their SS25 collection.


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Aid by Trade Foundation expands to India through Regenerative Cotton Standard

Indian farmers analyse soil conditions. Credits: Aid by Trade Foundation



The Aid by Trade Foundation (AbTF), known for its cotton standards Cotton made in Africa (CmiA) and Cotton made in Africa Organic, expanded its range last year with the Regenerative Cotton Standard (RCS), the first of its kind to explicitly prioritise the knowledge and interests of small-scale farmers. The voluntary standard targets the entire production system rather than only the cotton itself. The AbTF is expanding RCS’s scope beyond Africa for the first time by promoting sustainable cotton cultivation India.


As one of the world’s largest cotton producers, expanding the RCS to India makes sense, giving that AbTF’s objective is to provide sustainable cotton for global textile companies to purchase and to ensure socially and environmentally sustainable production conditions in cotton-growing countries. By holding its annual cotton conference in Mumbai earlier this year, the organisation indicated that the country would play a key role. The pilot project has been launched in collaboration with 5,000 small-scale farmers in the Indian state of Maharashtra.


“We are happy to now be working in India as well and to use both our expertise in sustainable cotton cultivation and our global network for the benefit of Indian small-scale farmers. The first RCS pilot project is the result of productive collaboration between many partners who have set themselves ambitious and forward-looking goals in the field of sustainable cotton cultivation,” commented AbTF’s managing director Tina Stridde in a press release.


To implement the RCS in India, AbTF will work with its new Indian partner, Vijay Cotton & Fibre Co. LLP. based in Mumbai, a family-run business with more than 75 years of experience in the cotton sector and significant expertise in the cultivation and worldwide trade of Indian cotton.


“In a uniquely innovative and respectful way, the Regenerative Cotton Standard supports cotton farmers in India with applying climate-friendly agricultural practices. The standard also has great potential to increase transparency within our supply chain so that we can trace the origin of our cotton and ensure that it is produced in accordance with environmentally and ethically verifiable standards,” stated the company’s partner Vijay Shah.


The standard supports cotton farmers with practical and innovative approaches to building resilience against the effects of climate change and offers textile companies regenerative cotton from another cotton-growing region of key importance.


To ensure transparency in the textile chain, AbTF has made RCS-verified fibres traceable by integrating its successful Hard Identity Preserved (HIP) tracking system.


Also read:




* H&M presents first mini collection made from regenerative cotton

* Tomorrow's textiles: Why the fashion industry must invest in regenerative agriculture


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Video: Rick Owens SS25

Rick Owens SS25 MEnswear, Paris Fashion Week Credits: ©Launchmetrics/spotlight



Watch Rick Owens' runway show at Paris Fashion Week showcasing their SS25 collection.


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London's V&A celebrates Naomi Campbell, 'fashion legend'

Naomi Campbell press launch image for 'Naomi. In Fashion' exhibition Credits: Dave Benett / Getty Images for the Victoria & Albert Museum



London - In 1987, Naomi Campbell became the first
black model to grace the cover of UK Vogue in 20 years, and her trailblazing
career is now being recognised by London's Victoria and Albert Museum.


Campbell was such a fixture on catwalks in the 1990s that she was referred
to by her first name only, just like fellow supermodels Claudia Schiffer,
Cindy Crawford, Christy Turlington and Linda Evangelista.


She remains a highly influential figure in the industry and is the first
supermodel to have a V&A exhibition dedicated to her.


The "NAOMI In Fashion" show, which opens on Saturday, explores the dozens
of looks that have marked the history of fashion during Campbell's 40-year
career.


Born in 1970, Campbell saw herself as a dancer, like her mother, when she
was a child.


Aged 15, an agent spotted her in London's Covent Garden and two years later
she had already appeared on several fashion magazine covers and in shows in
New York, Milan and Paris.


'Peerless'




Some have questioned the choice of the V&A, a revered art and design
museum, to dedicate an exhibition to a model.


But curator Sonnet Stanfill said: "The best fashion models are not simply
models. They serve as creative inspiration and they are creative collaborators.


"Naomi Campbell's peerless walk and her alchemy in front of the camera are
the stuff of fashion legend," she added.


Stanfill interviewed the model for hours as part of her preparation for the
exhibition.


"She has an incredible memory. She remembers where she was when she was
wearing something, who she was with, where she went out that night," she added.


She was also allowed to dig through Campbell's personal collection,
including accessories, photos, clothes and even Concorde tickets between
London and New York.


A section is dedicated to the great fashion designer Azzedine Alaia, who
died in 2017, with whom she lived from the age of 16 when she was in Paris and
whom she called "papa".


He found a muse in what he called her "perfect body".


Campbell also praises designer Yves Saint Laurent in the show, whom she
said "really helped women of colour and changed the course of my career".


"God bless Yves," she added in quotes that appear on the label describing
the feather dress the London-born model wore for a 1987 autumn/winter show --
her first for the French designer.


Saint Laurent famously threatened to withdraw his advertising from Vogue if
it did not place Campbell on the front of its French magazine in 1988. As a
result, she became its first black cover star.


The show also features magazine front-pages projected onto the wall and
video broadcasts of her best-known shows for the biggest fashion houses.


Designer Vivienne Westwood's 1993-era look, which required Campbell to wear
15-centimetre (six-inch) platform shoes, is also on display.


The shoes infamously led to her taking a tumble on the catwalk, with the
picture of her laughing after her fall from grace going around the world,
helping to soften her icy image.


Pioneering




Campbell did have a reputation for her temper. In 2007, she was sentenced
to five days of community service in New York after having thrown her phone at
an assistant.


The paparazzi were waiting every morning she turned up for her community
service, and a symbol of her defiance is featured in the exhibition.


"When the last day came, I decided I wanted to walk out and leave with my
head held up high. I chose to wear this," she said, pointing to a Dolce &
Gabanna evening dress.


But it is her pioneering work in opening up the industry to black models,
which began in 1988 when she campaigned for equal pay, that underpins the
exhibition.


While this is a retrospective, Campbell, now 54, continues to model,
recently appearing on the catwalk for Burberry.


The exhibition ends with tips on how to "walk like Naomi", with a podium
set up for budding supermodels to practice on.


"Shoulders back... move with the music" and "focus your gaze on the
camera," she advises.(AFP)


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Vogue World: Paris mega-party mixes fashion and sport

Paris' Place Vendome, illustrative image. Credits: Leo SERRAT, Unsplash.



Paris - Vogue World, one of the major fashion events
of the year, hits Paris on Sunday, bringing together top French designers for
a rare joint show themed around the Olympics.


The event, to be attended by 500 hand-picked guests in the glitzy Place
Vendome, comes midway through Paris Fashion Week's menswear and haute couture
shows.


Here's what we know about the event in this summer's Olympic host city:


The concept




Vogue editor-in-chief Anna Wintour told AFP back in February that the
outdoor show will be "a mixture of fashion show, entertainment and
performances... and a few surprises."


The date was not chosen at random, June 23 being International Olympic Day. The idea is to match different sports -- such as cycling, gymnastics,
tennis, taekwondo and breakdancing -- with eras of French fashion since 1924,
the last time the Games were held in Paris.


There have been two Vogue World events in the past -- a New York street
fair in 2022, and a homage to London's theatre scene in 2023.


With Vogue's magazine business struggling to stay relevant in the online
world, Wintour is looking to entertainment spectacles to keep the brand alive.


Front row tickets for the New York event cost $3,000. Prices have not been
revealed for this week's show.


The guests




The guest list is also a secret, but the promotional video features top
models Gigi Hadid and Kendall Jenner, and actress Isabelle Huppert, trying
their hands at several sports.


Most of the 500 seats are reserved for A-listers, with the proceedings
hosted by British model and actor Cara Delevingne, and directed by Sam Wrench,
who has overseen Taylor Swift's Eras Tour.


It is a rare move for labels to present fashion shows alongside each other,
but the event will see almost all the big names of French fashion at once:
Balenciaga, Balmain, Chanel, Courreges, Dior, Fursac, Givenchy, Hermes,
Jacquemus, Jean Paul Gaultier, Lacoste, Lanvin, Louis Vuitton, Marine Serre,
Rabanne and Saint Laurent.


Pharrell Williams, hip-hop mogul and creative director for Louis Vuitton,
told the press conference in February: "Taking over the Place Vendome I have
to say is pretty legendary."


He added that the show would spotlight "true French style -- what we see on
the podium, what we see in the boulevards -- in an inclusive spirit."


Congestion




Place Vendome, home to the French justice ministry, was an ideal location
for the organisers since it is also known as the heart of high-end jewellery
in Paris.


But police were reportedly less keen given that central Paris is already
facing considerable congestion as a result of preparations for next month's
Games.


Vogue World hopes to ease the burden by offering a one-million-euro
donation to a charity, French Popular Relief, which tackles poverty and
discrimination.(AFP)


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Space NK sells U.S. wholesale arm to beauty distribution giant

Space NK Westfield London store Credits: Space NK



Space NK, the trailblazing British beauty retailer renowned for popularising niche brand curation through its pioneering gallery-style stores, has divested its American wholesale operations to The PCA Companies, a major player in global beauty distribution.


The deal, finalized on June 18th according to Cosmetics Business, transfers Space NK's entire U.S. wholesale division including systems, store concepts, and employees to The PCA Companies. Financial terms were not disclosed.


"Three years ago, we pivoted to focus solely on high-service wholesale in the U.S, with a vision of providing brands the ideal structure and support to thrive in the American retail landscape," said Andy Lightfoot, Space NK's CEO. "Now backed by PCA's scale and robust systems, we have total confidence this partnership will benefit all our retail and brand partners."


Space NK's U.S. wholesale footprint encompasses over 600 distribution points across major retailers. This includes a presence in 28 Bloomingdale's locations, 93 Nordstrom full-line stores, 200 Nordstrom Rack outlets, nine Hudson's Bay sites, and 265 in-store 'Beauty SpaceNK' installations within Walmart supercenters throughout North America.


For PCA, a vertically-integrated omnichannel player specialized in beauty brand licensing, investing, marketing and logistics, the acquisition bolsters its dominant position in U.S. beauty distribution. The company, valued at 850 million dollars in 2024, has built a tech-enabled global distribution network.


"Space NK has brilliantly curated an apothecary retail concept showcasing brands in various store environments that resonate with consumers," stated Piyush Golia, PCA's CEO. "We look forward to leveraging these capabilities to further elevate our brand partners' presence across channels."


Pioneering the tightly-curated beauty 'editorialization' model in the 1990s, Space NK was an early champion of now cult-favorite indie brands like Eve Lom and By Terry. Its immersive, open-sell store format allowing product trial redefined the beauty shopping experience, becoming widely emulated by other retailers in subsequent decades.


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Video: Kenzo SS25

Kenzo SS25 Menswear, Paris Fashion Week Credits: ©Launchmetrics/spotlight



Watch Kenzo’s runway show at Paris Fashion Week showcasing their SS25 collection.


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PFW menswear SS25: IFM bachelor students present collections

In Pictures


A group picture taken at the IFM bachelor graduation show, June 2024. Credits: image courtesy of Institut Français de la Mode.



The final-year students of the bachelor programme in fashion design at French fashion school Institut Français de la Mode (IFM) kicked off the latest edition of Paris Fashion Week (PFW) menswear on Tuesday, June 18.


IFM presented its graduating bachelor class in a show featuring collections that consisted of six accessorised looks each. A ‘jury of professionals’ helped select the final looks from a total of 70 undergraduate fashion collections, a news article on the school website reads.


View some of the graduates' looks below.


A look by Victoria Yujin Kwon, IFM bachelor graduation show, June 2024. Credits: image courtesy of Institut Français de la Mode



A look by Nicolas Chaulet, IFM bachelor graduation show, June 2024 Credits: image courtesy of Institut Français de la Mode



A look by Yujia Sun, IFM bachelor graduation show, June 2024. Credits: image courtesy of Institut Français de la Mode



A look by Carla Mignonano, IFM bachelor graduation show, June 2024. Credits: image courtesy of Institut Français de la Mode



A look by Noah Almonte, IFM bachelor graduation show, June 2024. Credits: image courtesy of Institut Français de la Mode



In addition to the fashion graduation show, held at IFM’s campus in Paris, an exhibition was on display at the entrance to the school campus. It featured the work of first-year bachelor students at the institute, more specifically a project entitled ‘Xxxtreme shirt’. The exhibition was produced in partnership with Supima and Albini 1876.


A look by Tony Kayumba, IFM bachelor graduation show, June 2024. Credits: image courtesy of Institut Français de la Mode



A look by Nika Močnik, IFM bachelor graduation show, June 2024. Credits: image courtesy of Institut Français de la Mode


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No relaunch for European retail branch Scotch & Soda

Breaking


Scotch & Soda store in London's Covent Garden. Credits: Scotch & Soda



Scotch & Soda's northern European retail branch, S&S Europe B.V., will not be restarting its operations, as per Dutch online news platform nu.nl who spoke to the receivers. The physical shops are reportedly closing 'immediately'. The website will be taken forward by 'another company'.


The northern European retail branch was declared bankrupt on June 12 due to logistical problems and ongoing losses. It is worth noting that the company's wholesale activities are not included in the bankruptcy.


After the bankruptcy was declared, they considered keeping the shops open to sell the clothing stock. However, the trustees and key stakeholders did not reach a consensus, Scotch & Soda said in the press release. The shops are therefore closing their doors.


European retail branch Scotch & Soda to not undertake restart, possible relaunch in Germany and Austria




The bankruptcy had an effect on Scotch & Soda retail activities in the Netherlands, Germany, Belgium, Luxembourg and Austria. A total of 92 shops and 721 employees have been affected. Of these, 28 shops and 320 employees are in the Netherlands.


According to the receivers, several interested parties applied for a relaunch. However, they dropped out or were unable to buy the brand, nu.nl reported. This does not mean that Scotch & Soda will disappear in all affected markets. For instance, the receivers are looking at a possible relaunch in Germany and Austria.


The receivers say they are in talks about a possible relaunch in Austria. In Germany, a party has come forward to take over 'a number of shops', according to Nu.nl.


In the press release about the bankruptcy, Scotch & Soda announced that it was working on a possible relaunch and that sales activities would be continued by another party within two weeks. It is not yet known what will happen now.


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


Editor's Note: This article was updated after publication at 3.51 pm CEST with the latest information from the company.

Read more:



* Scotch & Soda: Expert sees more than just logistics problems at the brand






* The full story: Scotch & Soda one year after the Bluestar takeover






* Scotch & Soda North European retail organisation declared bankrupt


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Between heritage and rupture, how the young generation is redefining luxury

Valentini Spose - Bridal fashion made in Italy. Crédits: Valentini Spose

In a world dominated by social networks and immediacy, how is the notion of luxury transmitted to younger generations? What values do they cherish and how do they differ from their parents in their approach to luxury?


To answer these questions, a study was carried out by Sociovision and Brain Value (subsidiaries of the IFOP group), at the request of the Comité Colbert and Media Figaro, among 400 young people aged 20 to 35 in France, the United States. United States and China, all belonging to the richest 7 percent of each country. In France, the study was supplemented by a survey of a representative sample of 400 people aged 50 to 75 belonging to the same wealth bracket. The study is full of results that deserve attention.


From family heritage




First of all, she emphasizes that, even in the age of social networks, parents continue to play a crucial role in introducing young people to luxury. In the three countries analyzed in this study, at least half of the young people interviewed admit to having inherited their taste for luxury from their parents. This is reflected in statements such as: "My taste for luxury comes from my parents, I like what they passed on to me" and "My taste for luxury is a mixture of what my parents gave me and new tastes that I developed. "


To the influence of brands: a changing transmission




If family heritage remains a key factor, the younger generation is also strongly influenced by brand communication. In the era of social networks and multiple points of contact, brand communication and the celebrities who represent it remain powerful levers for introducing young people to luxury. Indeed, when asked about the different sources of influence that introduced them to luxury, young people first cite advertising from luxury brands (47 percent), luxury brand websites (44 percent) and celebrities ( 44 percent). In comparison, family inheritance stands at 39 percent.


The younger generation has a new look at luxury




In this “age of possibilities”, as psychologists call it and the study takes up, the perception of luxury is constantly evolving, influenced by technological advances and socio-cultural changes. In the vision of luxury held by young people, we observe significant age effects. Young people are more attracted to novelty, valuing the symbols of a new and promising world. While their parents' generation favors brands highlighting know-how, product quality, and a rich historical past, younger generations aspire to more. They ask for more. They are looking for “innovative brands”, “new brands” and “brands that break the codes, not respecting the classic rules”.


Unlike their parents who prefer discreet brands, young people appreciate powerful brands that stand out. Active on social networks and often in search of social validation, they need brands that promote them. In addition, luxury brands represent for them a guarantee of good taste and informed choice, with 63 percent of young people admitting that luxury brands “give them confidence” (63 percent of young French people, 83 percent of young Americans and 94 percent of young Chinese).


For this generation, luxury is no longer a “luxury”




Younger generations tend to reinvent luxury values by integrating the idea of luxury more anchored in everyday life. For 63 percent of young French people, 75 percent of young Americans and 92 percent of young Chinese, “luxury is part of my daily life”. In comparison, only 32 percent of their parents share this opinion. What was and remains an exceptional and rare experience for parents has become a daily experience for young people. Aspiring to a refined and stylish lifestyle, young people believe that luxury cannot be satisfied with its rarity and must invent the rarity of everyday life, thus making each day exceptional.


Another notable marker of this generation is their attachment to the eco-responsible dimension of brands. 83 percent of young people say that when it comes to luxury, they “favor ecological and responsible products” (74 percent of young French people, 81 percent of young Americans and 95 percent of young Chinese), sending a strong signal for the future of luxury.


The timeless values of luxury across generations




However, a certain idea of luxury persists across generations. By comparing the responses of young people to those of their parents' generation, a certain number of values associated with luxury emerge as the majority. These are the timeless values of luxury, those that endure across generations. First of all, young people recognize luxury for its values of quality and creativity. 82 percent of 20-35 year olds and 93 percent of 50-75 year olds agree that “luxury is above all quality products that we keep for a long time”. Likewise, 81% of young people and 88 percent of 50-75 year olds consider luxury to be “a very creative sector”.


They also associate major brands with exceptional experiences: there is thus a generational consensus around the idea that luxury is an exceptional experience delivered by major brands. Thus, 82 percent of 20-35 year olds and 83 percent of 50-75 year olds define luxury above all as “an exceptional experience”. Likewise, 81 percent (compared to 83 perent) consider that luxury “is above all owning rare things, which few people can afford” and 79 percent (compared to 85 percent) that luxury “is is above all big brands.”


Just as they perceive luxury as a way to stand out with an exclusive lifestyle. Some of the perceived benefits of luxury are the same from one generation to the next, in particular the idea that luxury allows you to “differentiate yourself, stand out from others”. This is the case for 73 percent of 15-35 year olds and 74 percent of 50-75 year olds. Furthermore, 79 percent consider that “luxury is above all the expression of social status”; it is the same proportion among 50-75 year olds.


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


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Survey finds consumers want fashion from sustainably managed forests but find brands lacking

Forest. Credits: Pexels



The PEFC or Programme for the Endorsement of Forest Certification has revealed the results of a new consumer survey today that explored consumer awareness, attitudes and expectations towards forest fibre use in fashion collections such as viscose and lyocell.


“Fashion from Sustainable Forests” was conducted in four key markets across Europe — France, Italy, Spain and the UK — and revealed significant gaps between consumer expectations and perceived brand progress.


Though there is an urgent need for the fashion industry to move away from virgin fossil-based synthetics such as polyester, the latter continues to make up around 54 percent of produced fibre worldwide. While man-made cellulosic fibres (MMCFs) are gaining popularity and the MMCF market is predicted to grow from 6 billion
to 10 billion tonnes over the next 15 years, the industry needs to ensure that they are sourced from sustainably managed forests.


In view of the EU's deforestation regulation (EUDR), which will be enforced from early next year onwards, recent research reveals that only 12 percent of brands currently publish time-bound measurable commitments to deforestation. The survey revealed three key areas that brands should consider adopting when sourcing MMCF for their collections.


Sustainability 




Almost three fourth (74 percent) of consumers believe that it is crucial for brands to ensure that their garments come from sustainably managed forests and about the same amount (76 percent) would be concerned if forest-derived fibres in their clothes had a negative environmental impact such as deforestation, biodiversity loss and climate change.


The same amount (76 percent) of those surveyed believe it is important that brands know
the origin of forest-derived fibres used in their collections, with Italian consumers ranking this point highest with 90 percent stating that it is important that brands know the origin of forest fibres in their collections.


Brand transparency




Only one fourth (25 percent) of respondents believe that fashion brands are effectively addressing their concerns about the environmental impact of clothing made from forest-derived fibres. Over three quarters (78 percent) also believe that they need to increase their sustainability efforts and responsible sourcing of forest-derived fibres for their collections.


Furthermore, only 13 percent of those surveyed felt that brands give enough sustainability information regarding forest-derived fibres such as viscose or lyocell on clothing labels in store and only 18 percent believe that there is sufficient information online. Consumers in the UK showed the lowest satisfaction here (16 percent) while French consumers showed the highest (38 percent).


Certifications




Over half of the surveyed consumers (59 percent) said they would be willing to pay a premium for clothing made from certified sustainable materials with 43 percent stating being willing to pay 10 percent or more.


While shopping for clothes, 59 percent of consumers stated that they seek out
sustainability labels (always or sometimes) and 71 percent said that they would
like to see certifications confirming that forest fibres had been sourced from sustainably managed forests. Almost two thirds (64 percent) also stated that they would be likely to purchase clothing with certification labels and over 60 percent confirmed that the presence of a sustainability label on clothing positively influenced their purchasing decisions.


How brands can address consumer expectations




In closing, the PEFC listed steps that brands can take to increase their transparency and credible communication with consumers and to strengthen their sustainability targets and progress:




*
Review their current sourcing policies for MMCF materials and make sure to commit to sourcing only from sustainably managed forests and set a roadmap to get there.
* Communicate these sourcing and sustainability requirements to the supply chain and signal the priority on implementing third-party verification, such as through PEFC, which would enable credible and verified progress tracking and communication to consumers.

* Start providing information to consumers on their website about collections containing MMCF fibres, highlighting transparency about aspirational targets on MMCF sourcing, and current progress.

* Work towards having substantiated claims at the garment level (on labels or online) to demonstrate that MMCFs originate from certified sustainably managed forests.


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Ba&sh achieves B Corp certification

Ba&sh B Corp certified Credits: Ba&sh



Parisian womenswear brand Ba&sh has become a B Corp-certified company after obtaining an “outstanding” score of 98 points for its social and environmental standards.


Pierre-Arnaud Grenade, chief executive of Ba&sh, said in a statement: “Ba&sh is a staunchly optimistic brand with an eye on the future. As we all know, obtaining this B Corp certification is an important step in the right direction, but it’s by no means the end of the journey, it commits us for years to come.


“More than anything, we are proud to join the international B Corp movement and stand alongside the many other businesses. I would like to congratulate all of our employees for their hard work and unwavering commitment. Together, we believe in the optimism of action.”


For the B Corp Certification, Ba&sh's operations were assessed across five key impact areas: governance, workers, community, environment, and customers, and the French brand was awarded an impact assessment score of 98 points, ahead of the industry standard of 80.9.


French brand Ba&sh commits to social and environmental responsibility with B Corp




Ba&sh B Corp certified Credits: Ba&sh



This follows on from the womenswear brand creating a sustainable development strategy, placing environmental action (climate, biodiversity, water), social compliance and traceability, certified and innovative materials, circularity, and a diverse and inclusive community at the heart of the company.


Key commitments include increasing the circularity of its products so they have more than one life cycle. In 2023, the brand took back 20,000 pre-loved items and is aiming for 50,000 in 2026, pledging 100 percent traceability on its products right back to the manufacturing of the thread used, as opposed to 60 percent in 2023, as well as obtain 30 percent of its wool through financing three regenerative agriculture farms.


Ba&sh is also looking to reduce its carbon footprint and help to preserve ecosystems and water resources. It reduced its CO2 emissions by 15 percent between 2021 and 2022 across all of its operations. It is now aiming to relocate 60 percent of its production to nearby countries by 2025, as well as power 100 percent of its points of sale with renewable energy and reduce its use of flights for business trips by 25 percent.


Other priorities include expanding its efforts to support women through entrepreneurship, health and education and choosing materials that have less impact on people, nature and animals. By summer 2024, 80 percent of the materials used in Ba&sh’s collections will be certified, as opposed to 66 percent in 2023, with the ultimate aim to be 100 percent by 2025.


Barbara Boccara and Sharon Krief, co-founders of Ba&sh, added: “We founded Ba&sh in 2003 when our children were still little. The brand has grown and so have our teams, but we have never lost sight of our vision to create clothing with a positive mindset and a desire to do better.


“Getting Ba&sh officially B Corp certified is one way of living up to the promise we made to ourselves.”


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University of the Arts London names winner of LCF Enterprise Challenge 2024

The Enterprise Challenge awards 2024. Credits: photo by Eilwen Jones via London College of Fashion, UAL.



Paulina Swigart, a current master student in fashion entrepreneurship and innovation at London College of Fashion (LCF), University of the Arts London (UAL) has won the first prize in the LCF Enterprise Challenge 2024.


Swigart presented Shifted, a size-adjustable clothing brand with the aim of ‘empowering women to feel confident in their bodies as they change over the course of their lifetime,’ as per the press release sent out by the school.
She won a share of a cash prize worth 10,000 euros to support her business concept.


A second and third prize was also awarded as well as highly commended prizes.
Dendi Alrashid, another master student of the same programme, took home the second-place prize for his pitch on Teman Merakit.


Teman Merakit is a resource-sharing platform that aims to highlight the work of Indonesian creatives and to provide global market recognition for Indonesia’s local fashion heritage.


There was also one bachelor student among this year’s winners. Daisy Royle of the fashion design and development programme was awarded the third prize for her pitch around Yanet, a fashion brand aiming to solve the lack of curvy models on the runway, disrupt the current sizing system and redefine the shopping experience for plus-sized people.


LCF Enterprise Challenge announces 2024 winners




Finally, entrepreneurship and innovation master student Mariana Muhle who pitched Millbot AI, and creative agency Ampico, made up of five master students, both won a highly commended prize.


The jury for this year’s LCF Enterprise Challenge consisted of industry representatives such as head judge Gavin Clark, director of enterprise and commercialisation at UAL, as well as Andrew Bravin, partner at Sheridans, Kat Deem, senior portfolio editor at WME Fashion,
Joe Kearins, principal at Gate One (Havas Group), and Gianluca Priori, general manager at Jumeirah Carlton Tower, a sponsor of the Enterprise Challenge 2024.


The LCF Enterprise Challenge launches a call for submissions among LCF students across all year groups annually. Students can take part and must develop ‘an innovative product or service that they feel could make a real difference to a community, client or consumer group,’ as per the release. The Challenge culminates with an award ceremony in June.


Editor’s Note: this article was updated after publication at 10.55 am CEST following a request from London College of Fashion. The original text read that first prize winner Paulina Swigart received 10,000 euros in prize money, while she in fact won a share of this amount. Additionally, the text has been amended to clarify that there were two winners who both won a highly commended prize instead of just one highly commended winner.


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Milan Fashion Week extends September womenswear schedule with an extra day

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



In a move to accommodate the growing demands of the fashion industry, Milan Fashion Week (MFW) has announced an extension to its schedule for the September 2024 edition. The event, which takes place between the fashion weeks in London and Paris, will now run from 17 to 23 September, adding an extra day to its previous schedule.


The decision came after a year of negotiations between the Italian fashion body Camera Nazionale della Moda Italiana (CNMI) and its counterparts in the UK, US, and France. The British Fashion Council (BFC), the Council of Fashion Designers of America (CFDA), and the Fédération de la Haute Couture et de la Mode (FHCM) collaborated with CNMI to revise the calendar and set the dates for the 2024 and 2025 fashion weeks in the four main fashion capitals: New York, London, Milan, and Paris.


The aim of this coordination is to avoid overlaps and create synchrony in the international fashion calendar, making it easier for the specialised public who travel between the cities and brands on the schedule. Carlo Capasa, president of CNMI, expressed his satisfaction with the synergy between the four main fashion players, stating that the agreement allows Milan to have an extra day for fashion shows, in line with the needs of their brands and the fashion community.


The September 2024 edition of MFW will kick off with a show by Fendi on Tuesday, 17 September. Mr Capasa had previously emphasised the need for the Milanese event to gain another day at the beginning of the week to cope with its bustling calendar, which typically includes over 200 scheduled appointments.


The extension of MFW comes at a time when the fashion industry is witnessing a shift in the global landscape. With London facing uncertainty in the post-Brexit era, many British designers have opted to showcase their collections in Milan and Paris, where they are more likely to attract a broader range of international retailers and buyers. The recent menswear season in Milan saw an influx of British talent, including J.W. Anderson, Martine Rose, Dunhill, and David Koma.


As the fashion world continues to evolve, the collaboration between the major fashion capitals demonstrates a commitment to adapting to the changing needs of the industry and ensuring that each event remains relevant and attractive to its global audience.


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Adidas investigating bribery claims in China

Adidas Flagship in Shanghai Credits: Adidas AG



Sportswear giant Adidas is believed to have launched an investigation into allegations of bribery among its Chinese staff.


The inquiry is understood to have been initiated after the company received an anonymous whistleblower complaint, according to the Financial Times (FT), which initially reported the news.


In a letter seen by the media outlet, the writer, who claims to be an employee of Adidas China, alleged that several of the company’s employees in the region, including a manager handling marketing budgets, received kickbacks from external service providers commissioned by Adidas.


In addition to this, it was further alleged that another senior manager from a different division had received “millions in cash from suppliers and physical items such as real estate”


According to insiders for FT, none of the accused individuals had been named and while the author of the letter “did not provide hard evidence for their corruption allegations” they appeared to be “well-informed about highly sensitive and confidential internal issues”.


Adidas has since acknowledged the letter’s existence and the “potential compliance violations in China”. The sportswear brand confirmed to FT that it was “committed to complying with legal and internal regulations”, noting that it was “intensively investigating this matter together with external legal counsel”.


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Global fashion week dates announced for September and 2025

Coach autumn/winter 2024 Credits: ©Launchmetrics/spotlight



The British Fashion Council (BFC), Camera Nazionale della Moda Italiana (CNMI), the Council of Fashion Designers of America (CFDA) and Federation de la Haute Couture et de la Mode (FHCM) have set the dates for September and the 2025 seasons for New York, London, Milan and Paris.


For spring/summer 2025, the New York shows will be held September 6 to 11, followed by London from September 12 (from 5pm) to 17 (at 12pm), Milan will run from September 17 (from 3pm) to 23, and conclude with Paris shows from September 23 to October 1.


In a joint statement, the BFC, CNMI, CFDA and FHCM said the dates had been agreed “unanimously” to avoid overlaps and create synchrony for the fashion calendar to ensure that designers “receive maximum exposure to the travelling trade audience”.


For the autumn/winter 2025 season, New York Fashion Week will run from February 13 to 18; London Fashion Week from February 20 to 24; Milan Fashion Week from February 25 to March 3; and Paris Fashion Week from March 3 to March 11.


Menswear in January for autumn/winter 2025 will see Milan shows taking place from January 17 to 21, followed by Paris from January 21 to 26. While in June the schedule for spring/summer 2026 will see London Fashion Week taking place first from June 12 to 15, followed by Milan from June 20 to 24, and Paris from June 24 to 29.


Haute Couture in Paris will take place from January 27 to 30 for spring/summer 2025, and July 7 to 10 for autumn/winter 2025.


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LIM College to introduce paid internship policy

Credits: LIM College Facebook



In a bid to dismantle workforce barriers for students, New York’s LIM College has introduced a new policy that would require compensation for internships and co-operative work experiences at minimum wage or above.


The rule applies to companies offering in-person, remote and hybrid internships and experiences, with the policy to be phased in over three years, beginning this autumn. By the academic year of 2026 to 2027, the college is planning for the requirement to cover all students.


After highlighting the importance of such experiences in the development of students’ professional skills, LIM College president, Ron Marshall, said in a release: “Unpaid internships can create significant barriers for many students, particularly those from underrepresented, first-generation or low-income backgrounds who can be locked out of coveted pre-career experiences if they lack the financial resources to accommodate unpaid experiences.”


Marshall added that through the new policy, the college is hoping to create “a more equitable and supportive environment” for students and, for employers, “more diverse talent pipelines”.


The college’s provost Scott Carnz further noted that the institution was committed to working with employers to prepare for the transition, including information sessions dedicated to helping them move towards a paid internship model.


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In Pictures: University of Westminster bachelor students showcase final collections

University of Westminster bachelor fashion show 2024- A look by Polly Chen. Credits: The University of Westminster



UK institution The University of Westminster has presented the graduating class 2024 of its bachelor programme in fashion design. 22 young designer showcased their collections in the university’s annual end-of-year bachelor fashion show.


The fashion degree at University of Westminster was the first undergraduate programme to be invited to participate in London Fashion Week in 2018, as per a release shared with FashionUnited by the school.


The stand-out collections of the bachelor fashion show 2024 included Isabel Ealand’s collection, Polly Chen’s looks and Olivia Stewart’s collection.


A look by Isabel Ealand, University of Westminster bachelor fashion show 2024. Credits: University of Westminster



Designer Isabel Ealand’s presented ‘Subverting the spectacle’, a collection inspired by the ‘drama and jeopardy of Victorian circus performers,’ the show notes read. Her 21st-century womenswear featured dynamic movement and the exploration of weight and resistance. Highlights included a long ivory jersey dress with circular cut-outs and Perspex mirror circles, as well as a coat with swinging mirror hoops that created futuristic shapes.


Polly Chen's collection, entitled ‘The lover’s eye’, was inspired by the radical changes of the 1920s and a forbidden love. Concealing silhouettes symbolised women hiding their feelings. Hand-painted, printed, and hand-cut fabrics fashioned into eclectic and extravagant looks referenced the Lover’s Eye emblem, the curves of the New York Chrysler Building, and painter Fatima Ronquillo's works.


University of Westminster bachelor fashion show 2024- A look by Polly Chen Credits: University of Westminster



Reece Sheik showcased ‘Armoured damsel’, drawing from the historic concept of the 'Damsel in Distress' to create her collection. Inspired by Romantic era paintings and John Keats' poem ‘La Belle Dame sans Merci’, Sheikh created complex looks in soft, shadowy neutrals. Her designs featured silhouettes that played with restriction and release, using strapping, padding, and layered textures. Hand-crafted details, including metallic glazes and leatherwork, evoked a dark, dreamlike quality.


University of Westminster presents student collections in undergraduate fashion show




Scottish designer Olivia Stewart brought a playful perspective with 'It’s just clothes,' rediscovering the childhood joy of choosing outfits. She subverted recognisable garments and fabrics like UGG boots, the Michael Kors’ Voyager tote and a Primark camo parka, creating ‘a nostalgic yet oddly familiar feel,’ as per the show notes. She used a variety of sequins including oversized ones to reinvigorate everyday clothing by adding a touch of sparkle.


A look by Olivia Stewart, University of Westminster bachelor fashion show 2024. Credits: University of Westminster



Commenting on the show in a release, Rosie Wallin, course director of the fashion design programme at the University of Westminster said: “The BA (Hons) Fashion Design Course at the University of Westminster has an international reputation for producing world class graduates who populate global design teams at every level of the market.”


She continued: “Our graduates are highly sought after due to the combination of creative and technical skills that the course is known for. Quality of construction and finish has always been key to the course DNA. Recent course developments include a focus on sustainability, diversity and digital skills including cutting edge software CLO3D.”


A look by Mila Nikcevic, University of Westminster bachelor fashion show 2024. Credits: University of Westminster



“This year's graduates show an impressive range of concepts and competencies from working with 3D printing and embroidery to exquisite tailoring and innovative print,” the course director said. “The variety and breadth of the collections shown today is testament to the calibre and dedication of the students and the staff team who support them,” she concluded.


Well-known fashion alumni of the UK university include Ashley Williams, Claire Barrow, Stuart Vevers, Liam Hodges, Markus Lupfer and Katie Hillier.


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Senegalese eye elegance for Eid at half the price

Women pose in clothes during a photoshoot for a second-hand shop in Rufisque, on the outskirts of Dakar on June 6, 2024. Credits: Photo by CARMEN ABD ALI / AFP



In a second-hand shop in the suburbs of Senegal's capital, Seynabou Sarr is inundated with orders days before West Africa's largest Muslim festival of Tabaski.


Sarr, 30, constantly answers calls while showing customers second-hand boubous -- a traditional robe worn by both men and women at religious or ceremonial occasions.


Tabaski -- marked by most Senegalese on Monday -- is celebrated with great pomp but can put families under pressure over the need to spend on food and new clothes.


Wearing the same outfit two years running is frowned upon.


"People used to be ashamed to wear second-hand clothes for fear of being mocked or denigrated," Sarr, who is also known as Nabou, said.


"But increasingly, many are becoming aware of their benefits."


For Tabaski -- the West African name for Eid -- customers want boubous made from luxury fabrics, adorned with pearls and embroidery -- but not with a luxury price tag.


When new, some boubous can cost up to 250,000 CFA francs ($405), a small fortune in a country where the median salary is 54,000 CFA francs ($88) a month.


But at the boutique, it is possible to find one for as little as 90,000 CFA francs or less.


Second-hand success




Nabou launched her business online in 2018 before opening the shop in 2022.


She now has more than 80,000 followers on TikTok.


Abdou Fall has this year opted for a second-hand tunic -- an elegant three-piece with beautiful embroidery around the neck.


He bought it for 60,000 CFA francs but it would have cost 130,000 CFA francs new.


"It wasn't in my plans to buy a boubou this year as I already had a lot to do with other expenses," he said.


"But the price was so affordable that I thought I'll not deprive myself."


Another customer Matar Sarr says that with a little bit of money, "you can look as good as everyone else".


"Who can tell that it is not new? Nobody," Sarr said.


In Senegal, the success of second-hand often has less to do with environmental concerns and more to do with financial motives.


Khady Djiba is looking for a wedding dress for her sister.


She examines the quality of the fabrics, runs her hand over the seams, lingers over the beading and finally choses a tunic with a long train adorned with glittering pearls.


New, the dress would be out of reach, but for 75,000 CFA francs, Djiba can buy it from Nabou.


It has a few flaws but with a couple of alterations and dry-cleaning, it will be as good as new.


"It's a good deal," she said smiling.(AFP)


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Fashion Week brings another layer of chaos to Paris

Louis Vuitton FW24. Credits: ©Launchmetrics/spotlight



Paris Fashion Week returns on Tuesday, bringing some much-needed light relief to a country in the throes of political chaos.


Menswear week runs until next Sunday, followed immediately by the haute couture shows until June 27.


France has been in turmoil since President Emmanuel Macron called surprise legislative elections after a surge by the far-right in European polls.


But for fashionistas, the biggest issue might be getting around Paris, which is also finalising preparations to host next month's Olympic Games, with a tenfold increase in traffic congestion due to road and site closures.


The Olympics have brought the menswear and couture weeks forward from July (womenswear takes place in September).


With fashion already working at a punishing pace, that has forced some houses to abandon this season, including Olivier Rousteing's Balmain, which told AFP it had pulled out at the last minute.


Valentino and Givenchy are also skipping this week's shows.


As for the big names who are appearing, hip-hop mogul Pharrell Williams will continue his high-profile leadership at Louis Vuitton, marking a year since his ultra-lavish debut show when he took over the Pont Neuf bridge and painted its paving stones gold.


But the highlight will be a mega-party organised by Vogue on Sunday bringing together the doubly lucrative worlds of sports and fashion.


It is the third edition of Vogue World -- a sort of traveling Met Gala that has already seen events in New York and London -- and comes as the brand seeks new ways to stay relevant in a world of dwindling magazine sales.


Several top brands will display collections, including Dior, Jacquemus, Hermes and Balenciaga, each paired with an Olympic discipline from athletics to breakdancing.


Chanel shock




There have been some big movements at the heads of fashion houses.


The biggest shock was the announcement last week that Chanel has dropped Virginie Viard, who worked for 20 years alongside her predecessor Karl Lagerfeld and took over after his death in 2019.


It appears the split was less than amicable, since Viard will not be present for Chanel's couture show on June 25, despite overseeing record sales for the brand last year.


"It will be a studio collection and Virginie Viard will not be present," a Chanel spokesperson told AFP.


The end of the Lagerfeld era has set off fashionistas' favourite pastime: speculating on who comes next.


Among the names circulating: France's Marine Serre, Hedi Slimane of Celine, Pierpaolo Piccioli (who recently left Valentino) and Simon Porte Jacquemus, whose eponymous label has been one of the big independent success stories of recent years.


While Valentino awaits the debut of its high-profile new creative director Alessandro Michele (formerly of Gucci), Givenchy is still looking for a lead designer since the departure of Matthew Williams last year.


This week will also see the final show by Belgian designer Dries Van Noten on Saturday.


Though not a household name, the 66-year-old is retiring as a favourite among serious fashion fans for his avant-garde styles and expert tailoring.(AFP)


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A grand tour of international exhibitions to visit this summer 2024

OVERVIEW


Naomi Campbell at the V&A. Credits: V&A Museum, photo by Marco Bahler.



With the opening of several fashion exhibitions taking place throughout the month of June, the calendar for the summer is brimming with potential visits, offering plenty to do in the way of fashion-related travel throughout the season. FashionUnited has put together a list of several exhibitions across Europe, the UK and the US that are a must on the hit list.


The exhibitions are listed in order of descending date, so that you don't miss any exhibition.


Dal cuore alle mani - Dolce & Gabbana




A stopover in Milan is the first on the agenda. ‘Dal cuore alle mani’, which loosely translates to ‘from the heart to the hands’, can be seen in the city’s Palazzo Reale. The exhibition showcases various one-of-a-kind items from Dolce & Gabbana. The references to Italian culture are extensively discussed, alongside art, architecture, craftsmanship, traditions and of course ‘la dolce vita’.


This exhibition can be seen until July 31, 2024 at Palazzo Reale, Milan.


Willy Vanderperre - Prints, films a rave and more




Daan, Dust #16, 2020, Daan Duez Credits: Willy Vanderperre



Belgian photographer Willy Vanderperre and his fascination with youth are central to the exhibition at the Modemuseum Antwerpen, Belgium. Vanderperre worked on assignments for various magazines and fashion brands, including Maison Margiela, Dior, Prada, Vogue, i-D and W Magazine.


This exhibition can be seen until August 4, 2024 at the ModeMuseum Antwerpen, Belgium.


Statement Sleeves




They come in many forms: the statement sleeve. Whether it is lavishly decorated, ingeniously constructed or enlarged - there is a statement sleeve for everyone. Or at least that is the approach of the exhibition at the Museum at Fit in New York.


This exhibition can be seen until August 25, 2024 at Museum at FIT, New York.


Lee Alexander McQueen & Ann Ray




The late famed designer Alexander McQueen is at the heart of an ongoing exhibition at Nashville’s Frist Art Museum, where his work and life come under the microscope of his trusted friend and French photographer Ann Ray. The photography exhibit offers an “intimate glimpse into the life and mind of McQueen” through a curation of photographs taken over the course of 13 years by Ray.


This exhibition can be seen until August 25, 2024, at The Frist Art Museum in Nashville, Tennessee.


The Lore of Loverboy




The Lore of Loverboy exhibition at Somerset House. Credits: Charles Jeffrey Loverboy.



Designer Charles Jeffrey Loverboy is the subject of the exhibition at Somerset House in London. The exhibition looks at the ten years in which the designer went from "the club to the catwalk". It is a behind-the-scenes look at the establishment of a fashion house and the craftsmanship of all the collections. Somerset House states that there is a “maximalist, immersive show through a series of sensorially led spaces”.


This exhibition can be seen until September 1, 2024 at Somerset House, London.


Sleeping Beauties: Reawakening Fashion




What use is an archive if it cannot be exhibited? The Metropolitan Museum of Art has many "sleeping beauties" that cannot be easily exhibited and certainly not worn because of the fragile state of an item. By means of new techniques, the museum kisses the pieces back to life.


This exhibition can be seen until September 2, 2024 at the Metropolitan Museum of Art, New York.


Beyond Fashion




Beyond Fashion exhibition at the Saatchi Gallery. Credits: Courtesy of the Saatchi Gallery / Noah Goodrich.



At the Saatchi Gallery, the work of top fashion photographers is at the forefront of the institute’s current exhibition ‘Beyond Fashion’, with imagery from the likes of Nick Knight, Miles Aldridge and Ellen von Unwerth among just some of those displayed. The exhibition travels through the varying aesthetics of fashion photography, from studio shoots to street style with an array of designer brands also put into the spotlight.


This exhibition can be seen until September 8, 2024 at the Saatchi Gallery, London.


Richard Avedon: Relationships




While perhaps not the most famous name among the general public, Richard Avedon has been a great influence to the fashion world. The American fashion and portrait photographer is the subject of the exhibition at Kunsthal in Rotterdam, the Netherlands. More than 130 works by Avedon can be seen in the retrospective exhibition. He worked for Harper's Bazaar and Vogue, among others, and introduced a new kind of fashion photography. Where until then static poses were the norm, Avedon lets his models move in realistic and dynamic settings.


This exhibition can be seen until October 6, 2024 at Kunsthal, Rotterdam.


Viktor&Rolf 'Fashion Statements'




Watch: The special Viktor&Rolf exhibition in Munich Credits: BrauerPhotos / S.Brauer for Kunsthalle München



This latest Viktor&Rolf exhibition is a first for the brand in Germany. As such, the Viktor&Rolf Fashion Statements exhibition focuses on the intersection of haute couture and art. More than 100 designs by the Dutch fashion house can be seen in Kunsthalle München.


This exhibition can be seen until October 6 at Kunsthalle München, Germany.


Sari / Statement: Fashion from India




The sari is enjoying renewed popularity outside its home turf of South Asia. The traditional garment has already undergone many evolutions and is still being cast in new forms by contemporary designers. Wereldmuseum Amsterdam explores the transformation of the garment in the exhibition ‘Sar / Statement: Fashion from India’.


This exhibition can be seen until November 3, 2024 at Wereldmuseum Amsterdam, the Netherlands.


Jules François Crahay, Back in the spotlight




Exhibition overview Jules François Crahay. Credits: Mode & Kant Museum Brussels



Designer Jules François Crahay is often referred to as ‘the forgotten Dior’. While his name may have been forgotten, the Mode & Kant Museum in Brussels is doing its best to put the designer back in the spotlight. Crahay worked for fashion houses Nina Ricci and Lanvin, and his name was mentioned as a possible successor to Christian Dior, after his death in 1957.


This exhibition can be seen until November 10, 2024 at the Mode & Kant Museum, Brussels.


M/Others - Fashion and motherhood




In ‘M/Others - Fashion and motherhood’ the exhibition explores the relationship between clothing and motherhood. Not only how clothing is used for support during pregnancy and breastfeeding, but also how mothers were seen as muses by various designers.


This exhibition can be seen until January 5, 2025 at Modemuseum Hasselt, Belgium.


Yuima Nakazato Beyond Couture




Some 50 designs combined with accessories, sketches, technical drawings, fabric samples, photos and videos provide a glimpse behind the scenes of the process of Japanese designer Yuima Nakazato. Nakazato is known for the avant-garde style of his couture collections.


This exhibition can be seen until January 5, 2025 at the Museum of Lace and Fashion in Calais, France.


Naomi: In Fashion




One of the most famous faces in the fashion industry is model Naomi Campbell. Campbell’s modelling career spans over 40 years, during which time she was the first black model on the cover of French Vogue at just 18. Campbell is not only a famous model, but has also become a cultural icon. The exhibition therefore focuses on Campbell's journey from the moment she was scouted at the age of 15 to where she is now.


This exhibition can be seen from June 22, 2024 to April 6, 2025 at the Victoria and Albert Museum, London.


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


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H&M presents first mini collection made from regenerative cotton

Maxi dress as part of the H&M Studio mini summer capsule made from regenerative cotton. Credits: H&M



Fashion brand H&M presented the first garments made from regenerative cotton yesterday. The six-piece H&M Studio mini summer capsule collection channels the holiday mood and includes two maxi dresses, two kaftans, and a bralette with matching flared skirt.


“Each piece has been made using Regenerative Organic Certified cotton,” assures H&M in a press release. However, the brand does not disclose the percentage of certified organic cotton from regenerative cultivation per garment.


Bralette and matching flared skirt as part of the H&M Studio mini summer capsule made from regenerative cotton. Credits: H&M



Regenerative organic certified cotton is cotton grown without the use of artificial pesticides or fertilisers and contains no genetically modified organisms (GMOs). Regenerative organic certified agriculture focuses on animal welfare, restoring the soil and the lives of farmers. 


Just over two years ago, in May 2022, the H&M Group joined the Regenerative Production Landscape Collaborative (RPL Collaborative), which comprises a total of 140,000 Indian smallholder farmers, as part of a public-private partnership. The RPL Collaborative was jointly founded by the Laudes Foundation, IDH The Sustainable Trade Initiative and WWF India. It brings together brands such as H&M, Inditex, Ikea, PepsiCo India and others with governments, farmers and civil society to promote regenerative agriculture and sustainable sourcing.


Kaftan as part of the H&M Studio mini summer capsule made from regenerative cotton. Credits: H&M



In the Indian state of Madhya Pradesh, H&M is working with smallholder farmers as part of the partnership to help them switch to regenerative practices. “The project aims to move farmers to a multi-commodity supply chain and build community resilience through systemic change driven by local ownership and governance,“ states the H&M Group on its website.


In collaboration with the WWF, the H&M Group is also working with cotton farmers to introduce regenerative farming methods, secure livelihoods and protect a corridor for tigers and other wildlife in Satpura Pench in Madhya Pradesh. “The first harvest season brought lower pest populations and lower costs compared to conventional farming,“ is the preliminary conclusion.


Maxi dress as part of the H&M Studio mini summer capsule made from regenerative cotton. Credits: H&M



The company also joined a project of the Better Cotton Growth & Innovation Fund and WWF India, which aims to develop a regenerative agricultural model for smallholder farms that can also be replicated in other areas.


“It prioritises easy-to-adopt practices that have an immediate effect on soil health such as using organic compost and biological alternatives to synthetic fungicides,“ says H&M.


Kaftan as part of the H&M Studio mini summer capsule made from regenerative cotton. Credits: H&M



“With this capsule we wanted to create an edit of throw-on-and-go holiday looks that can take you from the beach to drinks on the terrace to dinner al fresco. Versatility and durability are key concerns for our design team, and they were determined to create the ultimate summer dress our customers will be reaching for year after year, in a high-quality cotton that conforms to Regenerative Organic Certified standards,“, comments H&M’s head of design womenswear and creative advisor Ann-Sofie Johansson in the press release.


The mini capsule will be available from 4th July via the H&M website.


Also read:




* Tomorrow's textiles: Why the fashion industry must invest in regenerative agriculture


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LPP records Q1 sales growth, reveals positive outlook

LPP recycling scheme Credits: LPP



Polish apparel maker LPP Group, owner of brands Sinsay, Reserved, Cropp, House and Mohito achieved revenues of 4.3 billion Polish zloty, up 18.3 percent or 25.5 percent in constant currencies.


The company said in a statement that a higher revenue was generated due to the growth of sales in both online and traditional channels. The company also achieved 23.3 percent higher online revenue due to the development of mobile apps and a broader product offer dedicated to online stores.


The group’s traditional stores recorded a 21.5 percent growth due to the floorspace growth with 112 new store openings and positive LFLs among almost all brands and 7.5 percent total for the group. The Sinsay brand revenue of 2.1 billion Polish zloty, increased 54.1 percent.


The group recorded a 23.9 percent revenue growth in Poland and 19.4 percent abroad due to successful collections, improved consumer sentiment and the dynamic development of the network. Outside Poland, LPP achieved the highest sales growth in Romania and Czech Republic.


The group generated gross profit of 52.1 percent, 2.5 pp higher than a year earlier and net profit of 277 million Polish zloty compared to 112 million Polish zloty in the previous year, with net profitability of 6.4 percent versus 3.1 percent in the previous year.


Considering the risks and opportunities, LPP expects revenue for the financial year 2024 to reach 21 billion Polish zloty, with a year-on-year growth in the traditional sales segment and the online channel. The company anticipates a 25 percent increase in floorspace, prioritising the development of Sinsay brand stores.


While implementing its plans for 2024, the company forecasts positive outlook for the second quarter, resulting from the positive response to the summer collection by customers and sales growth of 19 percent in constant currency, from May 1, 2024 to June 10, 2024, as well as the implementation of the planned store openings in the second quarter.


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