‘Footfall down, quality up’: Pure London x JATC settles into merger, prepares for future plans

Pure London x JATC, July 2024. Credits: Pure London x JATC.



Still finding its footing as a newly merged entity, meaning wider plans are just falling into place, Pure London x JATC returned to Olympia London for the trade fair’s second joint edition. Once again spanning three days, this season was mostly about evolving and settling into the show’s new form, while taking the initial steps into what is to eventually come for later dates.


It was the first time, for example, that the event had established an official partnership with Trendhub by BDA London, a forecasting platform that hosts trend seminars at various intervals during the fair that cater to both retailers and exhibitors. “It is really a step forward towards the direction we want to embrace for 2025,” Gloria Sandrucci, event organiser for Pure London, said in an interview with FashionUnited.


She elaborated: “[BDA London] have provided support for everything we need as a show that wants to represent the future of the industry. We’ve got a very experienced sales team that goes out to other shows and really researches the brands. But having BDA means that we can establish an understanding of what kind of brands could be successful if they were at the show and who could provide a cutting edge collection that responds to the traffic.”


Graduate Fashion Week runway show at Pure London x JATC, July 2024. Credits: Pure London x JATC.



Along the same lines of newness, this edition also offered what could be seen as a foreshadowing of the next, when Pure London x JATC will officially launch its ‘Curate/Create’ project. While Pure London and its sister fair Source, both Hyve Group-owned, had initially been held simultaneously to one another prior to Pure’s February edition –timings once again overlapping for this latest show– the two are to officially come together under the overarching proposition, ‘Create/Curate’, starting next year.


The idea behind the initiative is to encourage attendees to create their collections at Source and then curate at Pure. “We want to, essentially, have the two shows complement one another,” Sandrucci noted. “They represent the entire supply chain in the fashion industry. It’s about making it easy for the community and providing one place where they can source anything they need to produce a collection. Then buyers will come to select the collections they want to sell in their shop. It makes sense for us to come together with a strong proposition and that is how we are going to present ourselves in 2025.”


Menswear begins phase out in response to visitor demand




For now, and when it comes to Pure specifically, Sandrucci is all about focusing on the fair’s core offering and therefore its strongest category, womenswear, which took centre stage at the July show. Prior to the merger, JATC had placed emphasis on a more balanced ratio between womenswear and menswear brands among exhibitors –a one that sometimes left menswear labels feeling a little left behind due to their shorter buying season that typically concluded slightly ahead of the show.


A stand at Pure London x JATC July 2024. Credits: Pure London x JATC.



While for the February 2024 edition, Pure x JATC did continue (only slightly) incorporating both, it appeared this time round a distinct decision had been made in favour of womenswear, with the trade floor seemingly lacking in the way of mens’ collections. There were some dotted around the setup, but the category itself had been removed, instead finding such brands placed under the ‘Sustainable’ or ‘Pop’ categories. The shift was a response to the demand seen among visitors, Sandrucci said, confirming the smaller number of menswear brands, and thus, without entirely excluding them, it was a reality that the organiser’s faced head on.


“It’s important to remind ourselves that Pure London is known mostly for being a womenswear show, so we really want to go with that message,” Sandrucci said. “The other categories [like accessories] are there to support womenswear, because we know that fashion boutiques no longer just sell womenswear clothing but everything that makes a customer experience and makes them stay in the shop a bit longer. It’s nice to be able to cater for that kind of need.”


Pure London x JATC July 2024. Credits: Pure London x JATC.



Such a move didn’t seem to have much impact on womenswear exhibitors that were taking part, and seemingly didn’t deter long-time attendees of both fairs from returning. This was true for Level One Showroom director David Smith, who brought eight brands to the show, a few making their initial launch into the UK wholesale market, while others were already event regulars. For Smith, attendance is less about upkeep on relations with existing clients, and more about securing new partnerships, a mission that seemed to have been largely achieved this season in that every stand had opened new accounts by the end of the second day, coming on par with previous editions.


‘Footfall is down, but quality is up…’




“I think footfall is down, but quality is up,” Smith said when reflecting on the event, before noting that during this difficult time for businesses –the UK market being recently defined by its cost-of-living crisis, among other things– much of the industry is about survival of the fittest. Level One, for example, adapted to Brexit by being upfront about related costs, ensuring flexibility on minimum order quantities catering to the differing needs of retailers, and carrying out organic and cautious growth on brands to avoid overstocking. The showroom has also not been widely impacted by the closure of stores on the high street, something Smith is understandably thankful for.


Elsewhere, other womenswear brands had also expressed a positive experience at the fair. For Another Sunday, one of the winners of Pure London x JATC’s first awards show where it was recognised with ‘Best in Womenswear’, said that the show, and the resulting accolade, offered good exposure for the brand. Existing clients were also able to provide direct feedback and express what they want to see more of, giving points to help the brand adapt. Despite this, a representative of the four-time attendee did note that compared to previous years there had been a slower footfall, most of which had been made up of independents and boutiques.


Pure London x JATC July 2024. Credits: Pure London x JATC.



Footfall was indeed noticeably low on the fair’s opening day, July 14, likely influenced by the varying degrees of sporting events taking place in London. It picked up on Monday and Tuesday, however, leaving exhibitors feeling much more optimistic about their experiences. Many exhibitors could agree with this, as did Love Rocks founder, Michael Waterman.


Having attended Pure London for around 20 years and later becoming a regular fixture of JATC, Waterman praised the duo for their open layout and stand organisation, yet expressed sentimentality towards what he felt was a lack of presence from JATC, the concept for which seems to have fallen a little flat since the merger. Next to the more equal span of categories, JATC was known for its casual yet professional atmosphere and its selection of “quirky” brands, many of which were based up North and as such frequented the fair’s Manchester show, which provided a more accessible option for many brands and retailers alike.


One thing that does stand out at Pure London x JATC, however, is its inclusion of smaller, often newly launched brands, many of whom take up small-scale stands consisting of a table, chair and short clothing rack. Speaking to a few of these exhibitors, it’s clear that their collective mission was to secure more brand awareness, yet for some performance of the fair even went beyond that as retailers set about establishing stronger ties.


Pure London x JATC July 2024. Credits: Pure London x JATC.



This was the case for nine-month-old, Indian start-up Fouroz, the stand for which was located in the central row of the fair leading up to the stage. Here, CEO Pallavi Gunawant sat posed for enquiries about the brand, which was displaying its One World collection of adaptable garments. Gunawant –who had been invited to attend by Pure– reported a lot of interest from passing visitors but said her attendance was mostly centred around networking and building a presence in the UK, Fouroz’s second biggest market after India.


Source and Pure London x JATC to come under one proposition




Evidence of the brand’s plans were already made evident by Gunawant, who said she was expanding her team and bringing in more designers to support such growth. “We manufacture in India, so we want to make sure that we just smooth out the production throughout the entire process. From there, we are going to try and take it to the next level of reaching other places in the world,” Gunawant said. Currently, Fouroz’s 100 unit per piece capacity is carried out by producers in India, for which Gunawant is highly supportive of, stating that they are hard-working and readily available, particularly for a small brand like Fouroz.


Pure London x JATC July 2024. Credits: Pure London x JATC.



Connecting exhibitors, brands and retailers with a more global production and supply chain community is part of the next steps for Pure x JATC. In the upcoming edition, and with the aforementioned Create/Curate plans in mind, Pure London x JATC is preparing to switch halls with Source, taking on the new, smaller home of Olympia National. This shift is part of organiser Gloria Sandrucci’s wider plans to curate a more consistent and concise show that is increasingly reflective of the demands of exhibitors and retailers.


“Going back to the concept of curating, next season we will very much be pushing that, and to be able to do that we are going to swap halls,” Sandrucci said. “By doing that, we will have the opportunity to curate the experience at a higher standard for our exhibitors and our audience, and that is by focusing on what we know we are doing best in: womenswear and accessories. These two are going to be our key sectors moving forward and having a show in the National will mean it will become really cohesive.”


In a more general sense, Sandrucci envisions an upscaling and elevation, transforming from “just being a trade show” to instead taking on a “3D dimension that I think is very important to respond to the pain points for our audience and our exhibitors”. “Both mentioned the networking, education and the seminar content, while exhibitors expressed a need for insights, so we planned to hold special sessions for them before the show opens each day,” Sandrucci added, a concept that will continue into 2025, when it seems the dual format of Pure London x JATC will finally settle into place.


Pure London x JATC July 2024. Credits: Pure London x JATC.


http://dlvr.it/T9qyfh

Cultural Olympics: The fashion events surrounding the sporting spectacle

Nike reserves the facade of the Centre Pompidou for the Olympics in Paris. Credits: Nike



The Summer Olympics begin next week in Paris. However, preparations for the sporting spectacle have caused a stir in the fashion capital's calendar – runway shows have been cancelled or relocated, and some brands and buyers have stayed away this season in the face of logistical difficulties and higher costs. Despite all the challenges, the fashion world is not letting the opportunity pass to position itself in a sporting and cultural context.


Home game for LVMH




The luxury conglomerate LVMH is prominently showcasing itself as a partner of the Paris Olympic and Paralympic Games. The suitcase that housed the Olympic torch on its journey from Athens was crafted in the workshops of Louis Vuitton. More than 200 employees of the group, from the stores and workshops of its brands, will pass on the Olympic flame during the torch relay throughout France. Fashion brands such as Berluti, Dior, and the luxury department store La Samaritaine are also involved in events blending art, sport, and Olympic values.


Berluti unveils the outfit of the French team for the opening ceremony of the 2024 Olympic GamesCredits: Berluti



Parcours at Berluti




Berluti will not only dress the French national team for the opening ceremony. The menswear label also collaborated with artist Mathieu Forget. The dancer, choreographer, acrobat, and photographer put together an immersive display from a series of photographs that connect movement, sport, and fashion. The artist embarked on a journey to the Olympic and Paralympic sports, capturing the associated movements while dressed in Berluti or sportswear. The imagery is on on display until 9 September 2024 at the store at 9 Rue Faubourg Saint-Honoré.


Dior




The Galerie Dior presents a series of photographs showcasing the house's sporting ambassadors in an exhibition that is on display from 19 June to 9 September 2024 at 11 Rue François Premier. The house's couture collection celebrated the Olympic sporting spirit with bodysuits, knee-high sandals, and pleated dresses borrowed from the wardrobe of ancient Greece. The intertwining of sport and fashion is currently undeniable – as is the men's collection, which Formula One driver Lewis Hamilton is set to design as brand ambassador and guest designer for Dior.


Dior's Haute Couture collection Autumn/Winter 2024/2025.Credits: Dior.



Louis Vuitton




The LV Dream destination invites you on an immersive journey at the Pont Neuf bridge. On display, from 18 June to 31 December 2024, Quai de la Mégisserie, Paris, is a selection of archival documents, photographs, and emblematic and previously unpublished objects related to the Olympic disciplines.


The house of the Louis Vuitton family in Asnières, France, has also opened its doors to visitors for the first time with an exhibition entitled 'La Malle Courrier'. On display are suitcases and trunks from the Asnières workshops, which also crafted the trunk for the Olympic torch, in an exhibition running until 31 December 2024, 18, rue Louis Vuitton, Asnières.


The Fondation Louis Vuitton is showcasing works by five French and international artists in connection with the Paris Olympic torch relay: Abraham Poincheval, Andreas Gursky, Roman Signer, Omar Victor Diop, and Jean-Michel Basquiat. The exhibition will take place until 9 September 2024, Avenue du Mahatma Gandhi.


Nike x Jacquemus Credits: Nike



Nike




Nike is collaborating with the Centre Pompidou during the Olympic Games in Paris. From 24 July to 11 August, the 'The Art of Victory' exhibition opens at the renowned museum, highlighting the development of its most successful sneaker, the Nike Air. The sports giant has also secured the facade and will be using it to display animations.


Nike is also launching its third capsule collection with French designer Simon Porte Jacquemus in time for the Olympics. The accompanying short film 'J’aime Paris' brings together personalities from culture and sport, such as French actress Juliette Binoche and tennis player Serena Williams.


Décathlon at the Parc de la Villette in Paris for the Olympic Games. Credits: Decathlon



Decathlon




As an official partner of the Olympic Games, Decathlon is offering sporting events from 27 July to 11 August at the Parc de la Villette. The Decathlon Playground presents itself as an experience that blends sport, art, and culture. Spectators can follow the various competitions through broadcasts on large screens. Sports clubs will also be present to share their passion and commitment. The public will have the further opportunity to interact with the athletes of the Decathlon x Paris 2024 team sponsored by Decathlon. Live concerts, artistic performances, and immersive installations are also planned.


'Fashion in Motion' exhibition at the Palais Galliera




Echoing the Olympic and Paralympic Games, the 'Fashion en mouvement' exhibition has been on display at the Palais Galliera since June last year and will run until 7 September 2025.


The exhibition examines clothing designed for both physical activities and sports, as well as everyday wear. This dual perspective raises questions about the "specialisation of sportswear", the "adaptation of women's clothing to physical activity at the end of the 19th century", the "masculinisation of women's clothing", and the "entry of sportswear into everyday wardrobes".
For this occasion, the Palais Galliera is showcasing loans from the Émile Hermès collection, as well as from the fashion houses Chanel, Sonia Rykiel, and Yohji Yamamoto. The exhibition will be presented in three consecutive parts for conservation reasons, and its content will be updated accordingly.


From left to right: Outfit by Comme des Garçons, Spring/Summer 1990, © Palais Galliera / Paris Musées // Football jersey of the French national team, N° 10, dedicated to Kylian Mbappé, Nike / FIFA World Cup 2018, © Palais Galliera / Paris Musées



Havaianas




Havaianas is also coming to the Olympics in Paris. A 149-square-metre pop-up store invites Parisians and tourists to immerse themselves in the sunny world of the brand from 25 June to 31 August. A rainbow wall showcases flip-flops in various shades, while an imposing sun sculpture made of 478 flip-flops sits in the centre of the store. Screens display idyllic images of Copacabana Beach, instantly transporting visitors to the heart of the Brazilian summer.


Maje




Just a few days before the Olympics, French ready-to-wear brand Maje opened a very short-lived pop-up at the Galeries Lafayette department store, dedicated to its latest sports collection. The "Club Saint Honoré" capsule will be available here until 30 July. It was inspired by French athlete Elodie Clouvel, who specialises in modern pentathlon.


Ethical Fashion Triathlon




The Ethical Fashion Triathlon, taking place from 15 July to 15 August 2024, is a competition. The challenge is to create a wearable work of art or piece of jewellery from used clothing and objects related to the practice of a sport. The aim of the competition is to raise awareness of material recycling in connection with sport, as well as to highlight the know-how and innovations in this field on the occasion of the 2024 Olympic and Paralympic Games in Paris.


Spot24




Fashion and luxury are also part of Spot24, an Olympic exhibition at the foot of the Eiffel Tower dedicated to the connection between sport and urban culture, with a particular emphasis on new Olympic sports such as sport climbing, BMX, freestyle, skateboarding, surfing, basketball 3x3, and break dancing. Numerous works and archival pieces from the exhibition, organised by the Paris Tourist Office, come from the collection of the Olympic Museum in Lausanne.


This article was created with the help of Florence Julienne, Julia Garel, Sharon Camara, and Weixin Zha.


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


http://dlvr.it/T9qyT7

Denmark-based Gabba eyes UK market for expansion

Interview


Kiosk Gabba at Pitti Uomo Image: Ole Spötter / FashionUnited



Gabba is aiming for growth after a dip in sales last year and is looking to reach new markets. The Danish denim specialist is making a big international push, as recently demonstrated with its “Kiosk” at Pitti Uomo.


Germany is the strongest market for the brand, accounting for 30 percent of total sales. This is due to the brand’s focus on success in Germany and its offering of what the market demands, said Caspar Grundahl, head of sales at Gabba. The strong ‘Never out of Stock’ programme and close collaboration with the local sales agency also contribute to this success.


Caspar Grundahl Image: Gabba



In 2023, the company experienced a 7 percent decline in sales compared to the previous year. However, e-commerce sales grew by seven percent, resulting in a profit of around 500,000 euros for the company last year. Gabba expects 5 percent growth in 2024.


Expansion in Europe




Following the German market, Norway and Greece are also key revenue drivers. The domestic market, however, is only in fourth place with constant sales, followed by the Netherlands.


The brand is now looking to reach new European markets such as Italy, France and the UK, where it is not yet active. Existing global markets such as Israel and Canada are also set to be further strengthened.


Gabba SS25 collection Image: Gabba



Gabba SS25 Image: Gabba



To achieve this, the brand is active at international fashion trade shows, such as the most recent edition of Pitti Uomo. This was not Gabba’s first appearance at the Italian men’s fashion trade show. However, unlike the previous edition, the brand presented itself with a significantly larger stand, where it had previously been somewhat lost in the crowd, explained Grundahl.


At the 106th edition of the trade show, the company built its own kiosk – complete with a DJ booth, its own newspaper and its own beer. The concept of the kiosk, which also exists in Danish cities, was intended to invite visitors to linger at Pitti Uomo. The spectacle came with apparent success, as there was a lot going on at the stand.


Gabba aims to maintain prices through new production facilities




In addition to denim pieces and trousers, Gabba now also offers a wider range of products, with the brand expanding its offering beyond loose summer shirts to include casual blazers. However, denim is still set to be the brand’s flagship product.


Casual summer shirts complement Gabba’s denim product range Image: Ole Spötter / FashionUnited



Like many other clothing suppliers, Gabba is struggling with rising production costs. However, to continue offering its customers the same prices – T-shirts from 39 euros, shirts from 89 euros, jeans from 119 euros and blazers from 159 euros – the company has been looking for new producers for about a year. Gabba has recently produced mainly in Turkey, where “prices have risen drastically”, according to Grundahl. The company is now also looking at Tunisia and Greece.


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


http://dlvr.it/T9nztM

New book details how to become a fashion educator

Interview


Author Frederica Brooksworth Credits: Frederica Brooksworth



When you’re an educator standing in front of a class of expectant upturned faces for the first time, it’s often a nerve-wracking case of sink or swim. Being a fashion educator has only become more challenging post-pandemic and despite the importance of the work, there exists minimal guidance material for anyone considering a transition from industry to academia and few systems or tools to support academics and researchers already working in the field.


FashionUnited spoke to Frederica Brooksworth, lecturer at London College of Fashion and program leader of Fashion Management at Hult International Business School, who in response to the absence she noticed on the market of pertinent resource material, authored her own book “How to Become a Fashion Academic,” published in April.


When did you first realize there was a need for a book such as “How to Become a Fashion Academic”?




It was born out of frustration, really. I’m someone who is quite methodical and I really like systems. But for me, becoming a fashion academic, which I always knew I wanted to do, was a struggle. I searched for books, blog posts, articles online on how to do it the right way, and there was nothing. There were articles on how to become a professor or academic, but I think what people fail to recognize is that the discipline of fashion academia works very differently than teaching business or management or marketing or law. I made many mistakes, but I was quite fortunate to have had people who helped me and provided guidance, and over time, I began to think I have to share this information.


Also, 10 years ago, I was one of the very few black fashion academics in the UK. I think it's very different in the States, but there are very few in Europe, and when I got started, most people of color were on part time contracts, adjunct professors, technicians and so forth. People would ask me how to get contracts, or if they needed to do a masters. Eventually I knew I needed to write something.


Book cover "How to Become a Fashion Academic" Credits: Frederica Brooksworth



Schools have traditionally welcomed educators who continue to work in an industry position, but those educators don't usually have qualifications to teach, and the skills needed in the classroom are different than those required in industry. Does your book help fill that gap?




That's actually one of the chapters in the book. Let's say you’re someone who has been a marketer for luxury brands, and have worked for the likes of Chanel and Dior. You can have your experience hat on, but you need to be able to understand how your experience translates into a language that students will understand. You have to think about how to break down your experience across different year groups and over different semesters, or into a syllabus for a 12 week program. How do the logistics work? You have to start thinking about frameworks. You're not going in and immediately speaking about the BCG Matrix, or PESTLE analysis. In a classroom setting, you need to bring theoretical frameworks to support your knowledge and even know what books would back up that knowledge.


Do you tackle the issue of grading, which can be an academic minefield and is far removed from industry day-to-day practices?




It’s a tricky thing for many people in industry who will have a standard that will be very different to the standard you will see within a classroom setting. Having an interest in fashion is completely different to knowing fashion, and everyone sees fashion differently and experiences it in a unique way. So as someone who's from industry, you need to be able to translate your experience into a language that not only students understand but that also works for the institution you're working in, breaking it down for a beginner, from year one to year two, and then final year, and then post- grad.


Do you think there'll ever be a time when grading will be banished?




We just need to change the way we essentially validate people's work, especially now with AI. Should we still be writing reports in this day and age? For me, there would be an element of written work, but you need to have students present in front of you. Because then they have to ensure that they've actually done the research and can come across as convincing. And that also applies to design.


There’s a cap on how many people you can give an A to in a program, which I think is just wrong, because these things have an impact on people's lives. However when students receive a low grade, many of those students will still be convinced their work merited a higher grade. In that case, it's more about changing the way we give feedback and maybe the rubric too. Feedback needs to be very constructive, and given from a viewpoint where we are training students to be able to design for consumers and industry, for the store or for the runway, but not from a classroom perspective.


Do you address social justice which, post-pandemic and after the murder of George Floyd, has entered the classroom in a way that it never did before?




The one thing to avoid is getting involved in politics because it can be quite sensitive. But you need to be mindful, even understand, the different backgrounds of students when it comes to your curriculum and how you're delivering it. You need to also ensure a diverse perspective when teaching and focus on decentralizing the curriculum. But it's not enough to talk about it in just a paragraph, because people won't truly understand the context, which is why I don’t feature it in the book.


It's really important to be able to take people through the entire chain of it, as opposed to just touching upon it. Fellow academic, Ben Barry, [dean of Fashion at Parsons School of Design] really breaks it down in a very important way, and he doesn't look at it from a perspective of just race, but also disability, gender and so forth. One area I think doesn’t get enough attention is dyslexia, and a large number of creatives are dyslexic, so why have we still not catered our curriculum to make it easier for people dealing with this unseen disability?


Does your work teaching in London College of Fashion or as the executive director of the Council for International African Fashion Education feed its way into the book?




My experience being a lecturer has been the reason for the book. I’ve been fortunate to have taught at many prominent universities and pretty much everything happens the same way, when it comes to grading, the classroom process, even just how to conduct yourself in front of students. But I think if you've had 20 years of experience teaching at one institution, you can be a bit biased, because you only have that one perspective. I've also taught at American universities in the UK that follow the American standard and have American students, so I understand the curriculum and structure of education in North America, which is different to that of Europe and the UK. I speak about that in my book. For instance, people don't necessarily really understand that “adjunct” professor is in line with a visiting lecturer in the UK; or what it means if you’re getting paid 1,000 dollars per 100 credits.


I also saw a gap when talking about education and research around Africa, how the continent has always been left out. And the reason is because there aren't systems in place, nothing that's formalized when it comes to education. Now people are aware of what's happening on the continent because, for three years, we’ve been running programs, collaborated with Bloomsbury, and been focused on getting African fashion into the curriculum in schools in North America and Europe. So it's essentially creating these new systems and tools to really support academics decentralizing the curriculum.


With rising tuition and decreasing enrollment, some compare fashion education to a bubble about to burst, but what are your thoughts on the future of fashion education?




Number one, we need to stop this mass influx of applications every year. I don't understand why a course has 200 students on it. You have to understand that’s not sustainable. If we are doing this across 10s of 1000s of programs around the world, we are the ones contributing to the problem. It's us. We have too many students going into the system, and we’re producing too many graduates each year. When they come out they can't find jobs and people start to recognize that there's no value in working in this space, the pay isn't great, and we have this whole system of using free labor, internships and so forth. The system is really broken. Fashion education is to blame for it because we are allowing students to go into companies, to work for free.


I have a friend who's currently at NYU Stern, did her law degree, now doing her MBA, and she has been paid for all her work experience. Another friend based in the States who went to Clarkson was paid for her year out. What's happening in fashion is that we're not truly valuing people's skills and it's become a money grab where schools are telling young people about alumni who have become designers this way, but we're not really thinking about how we can help them have successful careers.


We need to be more selective. How many people get admitted to medical school each year? There is a cap on it, and you see how hard people work to be accepted onto these programs. And because they've worked so hard to be accepted, they also work hard to make something of themselves when they leave. Decades ago, getting admitted into fashion school was a huge thing, and when people left, they would do everything in their power to figure out a career in the space. But now it's almost as if studying fashion promises you a career as an influencer or designer, but it’s just selling people false dreams. It needs to change.


http://dlvr.it/T9nzXk

SS25: Provisional LFW schedule revealed, Harris Reed joins line up

Harris Reed AW24. Credits: Jason Lloyd Evans / Harris Reed.



The provisional schedule for the next London Fashion Week (LFW) presented by 1664 Blanc has been released, and on it are a number of notable new faces as well as prestigious returns.


Set to take place from September 12 to 17, this edition will come as a continuation of the event’s 40th anniversary celebration, with which organiser, the British Fashion Council (BFC), has pivoted towards a cultural concept to spotlight creative and independent communities.


This is reflected in the provisional line up for the spring/summer 2025 edition, for which young designer Harris Reed, creative director for Nina Ricci, will join the schedule under his namesake brand after showing off-schedule for past seasons.


In a post on Instagram, Reed said: “After a lot of thought and six shows off schedule, I am extremely honoured to bring my Harris Reed show to the official LFW calendar.


“Now, more than ever in the fashion industry, the UK needs to celebrate creativity, innovation, sustainability and its power in showmanship and the arts. Coming together to support, champion and celebrate the art of fashion is more crucial than ever.”


Patrick McDowell, Edeline Lee and Standing Ground awarded runway slots




Reed joins the likes of Partrick McDowell, Michael Stewart’s Standing Ground, Completedworks and Edeline Lee, which have each been awarded catwalk slots, while Demon Zhang’s Mithridate will join the schedule in a presentation format.


Designers that will be returning to LFW for this season include Kent & Curwen, Nensi Dojaka and Toga, while notable regulars Burberry, 16Arlington, Ahluwalia, David Koma, Knwls and Richard Quinn are also among those set to show.


As always, the BFC Newgen initiative is scheduled to reappear, returning to its former home of 180 The Strand where Chet Lo, Aaron Esh, Harri and Masha Popova will be participating, among many others.


The official physical and digital schedule of LFW SS25 will come August 2024, in which further updates, timings and details of this season’s LFW City Wide Celebration will be made known.


http://dlvr.it/T9nzBL

Luxury's hefty markup and the price of prestige

Opinion


Dior SS25 menswear presentation Credits: Dior



Recent reports revealing that Dior suppliers in Italy paid a mere 53 euros to assemble a men’s accessory retailing more than 2,500 euros have cast a stark light on the economics of luxury goods. This staggering disparity between production costs and retail prices is not an anomaly in the world of high-end fashion, but rather an integral part of the industry's business model.


Now under investigation by Italian authorities, Dior on Wednesday condemned the supplier that had outsourced its production, stating: “The house of Dior firmly condemns these unworthy acts, which contradict its values and the code of conduct signed by these suppliers. They do not reflect the reality of the work of its artisans and the long-lasting links which exist with Italy.”


WWD, which published details of the supply chain probe which also impacts Armani, reported Dior’s response that “certain articles mention entirely false facts, firstly in indicating that the suppliers in question produced women’s handbags when they were solely participating in the partial assembly of men’s leather goods; and secondly that the production costs of these bags are ridiculously low. It should be noted that the profit margin of the house of Dior is entirely in line with that of the luxury industry and nothing of the order indicated by these erroneous comments."


Price of exclusivity




Yet the luxury sector has long thrived on the perception of exclusivity and craftsmanship. Brands like Dior, Armani, Louis Vuitton, and Hermès have built empires on the promise of superior quality and timeless elegance. However, the revelation of such extreme margins raises questions about the true value proposition of these coveted items.


At first glance, a markup of nearly 3,000 percent may seem unconscionable. Yet, industry insiders argue that the price tag reflects more than just the cost of materials and labour. It encompasses the substantial investments in marketing, retail experiences, and brand positioning that luxury houses undertake to maintain their allure.


Moreover, these inflated margins serve as a buffer against the volatile nature of fashion trends and economic fluctuations. They allow companies to weather downturns and continue to invest in innovation and expansion.


However, as consumers become increasingly savvy and socially conscious, luxury brands may find themselves under pressure to justify their pricing strategies. This has become obvious at companies facing a downturn, like at Burberry, where consumers are eschewing elevated prices when the perceived luxury factor is low.


In an era of heightened transparency, luxury houses must navigate a delicate balance. They must preserve the mystique that underpins their premium pricing while demonstrating tangible value to discerning customers.


The future of luxury may well hinge on the industry's ability to align its margins with evolving consumer expectations. As the veil is lifted on the economics of high-end fashion, brands will need to craft narratives that go beyond mere exclusivity to justify their hefty price tags.


In the end, the true luxury may lie in finding equilibrium between profitability and perceived value.


http://dlvr.it/T9ndz8

The Body Shop secures ‘exclusivity’ agreement with investor consortium

The Body Shop Bond Street store Credits: The Body Shop



Good news may be on the horizon for The Body Shop. The cosmetics retailer has reportedly signed an exclusivity agreement with a consortium led by investment platform Auréa Group, in a deal described by administrators to be representative of “the best outcome for creditors”.


Following a “competitive” bidding process led by appointed administrator and advisory firm FRP, Auréa Group, led by former Molton Brown CEO Charles Denton, is now believed to be in the process of acquiring the struggling retailer, according to multiple media outlets.


In a statement to the press, the joint administrators said: "While the deal is not yet complete, we believe the combined experience of the consortium, together with the existing management team, represents the best outcome for creditors and will ultimately ensure the long-term success of The Body Shop.


"A period of due diligence will now take place, with the intention to complete the transaction in the coming weeks."


It would bring to an end a long-winded strategic review process for The Body Shop, which had entered into administration in the UK during February this year before ultimately following through with similar processes in other regions.


If Auréa Group was to snap up the retailer, it would have beat out other alleged potential suitors, of which Marks & Spencer and Next were believed to have been among.


http://dlvr.it/T9ndhc

Nike files 60 million dollar lawsuit against the Shoe Surgeon

Dominic Ciambrone pour Surgeon. Sneaker Curb Lanvin x Surgeon Credits: Lanvin



Sportswear giant Nike is accusing American shoemaker Dominic Ciambrone, better known as The Shoe Surgeon, of unauthorized use of trademarks and counterfeiting of his designs. This was reported by Instagram account Sneaker Legal based on a court document from the US court, published on July 15, 2024.


Ciambrone, founder and CEO of The Shoe Surgeon, is no stranger to the fashion industry. He makes custom sneakers for stars like Justin Bieber. In the past, he collaborated with Gucci to design the limited edition Gucci Basket sneakers. He also regularly gives sneaker personalization workshops in America, where anyone can learn to design sneakers themselves. Sportswear giant Nike sees a problem with these workshops.


A court document states that Nike repeatedly asked The Shoe Surgeon not to use Nike sneakers in both workshops and sales. Ciambrone did not comply with the sportswear giant. As a result, Nike is filing a 60 million dollar (55.04 million euro) lawsuit against The Shoe Surgeon, as compensation for the alleged damages.


Nike Files Multiple Lawsuits




Nike is often the subject of lawsuits. Last year, the company filed a lawsuit against New Balance and Skechers. The two shoe manufacturers are accused of infringing on patented technology.


Sportswear brands Adidas and Puma were sued by Nike with similar claims, both of which eventually settled their lawsuits. In early 2023, Canadian sportswear brand Lululemon was also faced with a lawsuit brought by Nike. This case is still ongoing.


http://dlvr.it/T9j2jn

Pacsun unveils first dedicated men’s activewear line

In Pictures


Pacsun A.R.C. Collection campaign Credits: Pacsun



US fashion retailer Pacsun has launched its first dedicated men’s activewear line tailored to the “dynamic lifestyles of Gen Z males”.


Entitled ‘A.R.C.’ (Active. Recreation. Comfort.), the line aims to merge active, recreational, and comfort-focused elements to offer multifunctional, wearable pieces that seamlessly transition from the gym to recovery and relaxation with an emphasis on accessibility and high-quality fabrications.


Pacsun A.R.C. Collection campaign Credits: Pacsun



The debut 28-piece men’s activewear collection builds on the success of Pacsun’s Women's Active and PAC1980 activewear lines and features activewear with a “youthful, stylish edge,” including short sleeve and cut-off tees, run and flight shorts, colour-blocked vests, crewnecks, hoodies, pants, and joggers in a range of fabrications from brushed heavyweight fleece, stretch nylons and moisture wicking poly blends.


The A.R.C. assortment features apparel under the three different categories within the name - Active, Recreation, and Comfort.


'Active' has been designed for high-performance activities with nylon tops and shorts boasting perforated details at side panels for added breathability and mobility; 'Recreation' is made for everyday use, featuring nylon cargo pants, a lightly padded vest and casual closet staples; and 'Comfort' showcases premium loungewear, such as pigment dye fleece tops and heavyweight jersey tees are brushed for extreme softness.


All styles sport HD reflective branding and are available in an array of neutral tones like grey, olive, black, brown, off-white, yellow, and navy.


Pacsun A.R.C. Collection campaign Credits: Pacsun



Pacsun targets Gen Z males with new activewear collection




Richard Cox, vice president of men’s merchandising and design at Pacsun, said in a statement: “The A.R.C. Collection marks a significant milestone for Pacsun as we introduce our first dedicated men’s activewear line and look to fill a gap in the market.


“The three unique style categories within the collection are designed to reflect the diverse lifestyles of our consumers. Our goal was to create high-quality, versatile pieces that resonate with their evolving lives while remaining accessible to everyone.”


Pacsun A.R.C. Collection campaign Credits: Pacsun



The A.R.C. Collection is available online exclusively at Pacsun, online and in-stores, in S-XL sizing and priced between 29.95 to 74.95 US dollars.


The collection launches with a campaign featuring NIL athletes, including NCAA quarterbacks Shedeur Sanders and Carson Beck, basketball player Shareef O'Neal, and USA national gymnast Khoi Young.


A.R.C. is the debut collection in Pacsun’s curated men’s active category, which will house a portfolio of outside brands. Following this initial release, activewear brand Y.I.W.O will add to the assortment with a launch on July 16.


Pacsun A.R.C. Collection campaign Credits: Pacsun



Pacsun A.R.C. Collection campaign Credits: Pacsun


http://dlvr.it/T9hjHj

Mulberry launches capsule collection with Eleventy

Mulberry x Eleventy capsule collection Credits: Mulberry



In Pictures


British heritage brand Mulberry has teamed up with luxury label Eleventy to create a timeless summer capsule collection of ready-to-wear, bags and accessories.


The collaboration, which spans men’s and women’s, aims to blend the best of British and Italian style and features signature garments from the Milanese brand reimagined alongside a reworked selection of Mulberry accessories, with a focus on responsible craft, quality, and timeless design.


Described as “understated,” the collection fuses recognisable design details from both brands and consists of casual pieces such as relaxed blazers, gilets, sweatshirts and jogging bottoms elevated with leather accents in a nod to Mulberry’s heritage and core expertise.


Mulberry x Eleventy capsule collection Credits: Mulberry



While Mulberry pieces, such as its Piccadilly, Chiltern backpack and Belgrave messenger, have been adorned with panels of Eleventy’s signature grey flannel, alongside leather accessories, including a notebook cover.


As part of Mulberry’s Made to Last project and approach to responsible leather sourcing, the leather used in the collaboration is carbon-neutral, achieved through offsetting with the World Land Trust, and has been sourced from an environmentally accredited tannery, which Mulberry has partnered with for more than ten years, rated Gold by the Leather Working Group.


Mulberry x Eleventy capsule collection Credits: Mulberry



In addition, all of the leather goods have been made at Mulberry’s UK-based carbon-neutral factories in Somerset. While Eleventy said it has worked with GOTS-certified cotton and GRS-certified flannel, and responsibly sourced wool.


The Mulberry x Eleventy collaboration is available globally in both brand’s stores, and at their Harrods concessions, as well as online. Prices range from 125 to 1,750 pounds.


Mulberry x Eleventy capsule collection Credits: Mulberry



Mulberry x Eleventy capsule collection Credits: Mulberry


http://dlvr.it/T9fXfY

Winnie Harlow’s sun care brand debuts on QVC

Beauty


Winnie Harlow pictured with Cay Skin Isle Glow Face Moisturizer. Credits: Cay Skin



Supermodel Winnie Harlow has launched her new suncare line, Cay Skin designed to keep “skin glowing and protected throughout the year,” on QVC.


Cay Skin’s inclusive beauty line features a range of sunscreens and skincare products, which are silicone-free, vegan, cruelty-free, reef-friendly, dermatologist-tested and formulated for all skin tones.


Harlow states the line puts “skin first,” and sets a new standard of daily suncare with a range of lightweight, formulas featuring gentle island-based ingredients and high-performance skincare actives, such as aloe vera leaf juice and seaweed extract, paying homage to the supermodel’s Jamaican heritage.


Highlights include the Isle Glow Face Moisturizer, which is silicone-free, non-comedogenic, dermatologist-tested, a SPF face lotion and lip balm, a nourishing lip mask, body mist, oil and lotion, as well as a mineral suncream SPF.


"Cay Skin was created for diverse skin tones," said Harlow in a statement. "The line is inspired by the Jamaican beaches with a nod to my Jamaican heritage. I am excited to bring this line to the QVC customer and inspire them to look gorgeous and feel confident while protecting their skin."


Anna Baker, vice president of beauty and general merchandise manager of QVC, added: "Our beauty customers are women, over the age of 50, who value the importance of suncare and skincare. They want protective, skin-nourishing products that are easy to incorporate into their daily skin routines.


"Cay Skin proves that suncare does not need to be an extra step in your routine. Their products deliver daily suncare while protecting, nourishing and illuminating a wide range of skin tones, types and conditions. Winnie saw a need for these products and created them based on her own skin journey and we are excited to bring her innovation and story to our customers."


http://dlvr.it/T9fXLJ

G-III and JS to develop BCBG family of brands

BCBGMaxazria Credits: Facebook/BCBGMaxazria



Marquee Brands, the parent company of global fashion house, BCBG, has announced new strategic partnerships with G-III Apparel Group to propel growth at its iconic brands – BCBG and BCBG Generation and JS International (JS) to reinvigorate BCBGMaxazria.


The company said in a release that these partnerships will commence with each brand’s 2025 collections, fueling the expansion of the BCBG family of brands and further elevating the fashion house.


“We are delighted to partner with G-III Apparel Group and Group JS International. These partnerships will elevate our collections with unparalleled creativity and sophistication, aligning with our overall vision of celebrating the dynamic woman,” said Rachel Terrace, chief brand officer of Marquee Brands.


G-III Apparel Group as the core partner for BCBG and BCBG Generations in the United States and Canada, will encompass women’s apparel and swimwear products, focusing on dresses, ready-to-wear separates and comprehensive sportswear collections.


Group JS International will further elevate BCBGMaxazria’s collections with luxury designs at contemporary prices. The focus will be on ready-to-wear and occasion wear.


The company added that the next phase is poised to significantly broaden the reach and accessibility of BCBG’s fashion lines, unleashing innovative and contemporary designs, solidifying BCBG’s leadership as the ultimate destination for occasion, career, and day-to-night dressing.


http://dlvr.it/T9fWzR

18 percent sales decline in Asia Pacific impacts Richemont's Q1

Richemont headquarters Credits: Richemont



At constant exchange rates, Richemont’s sales in the first quarter rose by 1 percent to 5.3 billion euros, after growing by 19 percent in the prior-year period.


The company said that the results demonstrated the group’s resilience in a continuing uncertain macroeconomic and geopolitical environment.


Richemont reports sales growth in all regions except Asia Pacific




The company added that all regions delivered growth except for Asia Pacific where sales contracted by 18 percent to 1,809 million euros, as higher sales in South Korea and Malaysia only partially mitigated a 27 percent decline in China, Hong Kong and Macau combined.


The decline reflected both the low level of consumer confidence and the strong comparatives ranging from double-digit growth in the mainland to triple digits in Hong Kong and Macau over the prior-year period.


In Europe, sales increased by 5 percent to 1,171 million euros, driven by resilient local demand and stronger tourist purchases. In the Americas, the 10 percent sales progression to 1,215 million euros reflected sustained domestic demand across all distribution channels.


The strongest regional sales growth was once again generated in Japan, at 59 percent to 603 million euros fuelled by domestic demand and tourist spending from Chinese, South Korean, South-East Asian and American clients, favoured by a weakened yen. Sales in the Middle East & Africa rose by 8 percent to 470 million euros, benefitting from growing domestic and tourist spending in the UAE and Saudi Arabia.


Decline in wholesale at Richemont offset by retail and online growth




The company further said that sales growth in the retail and online retail channels offset a sales decline in the wholesale channel. Retail sales, which accounted for 69 percent of group sales, increased by 2 percent to 3,631 million euros, driven largely by mid-single digit growth at the jewellery maisons.


Online retail sales rose by 6 percent to 315 million euros, sustained by growth at Watchfinder as well as the jewellery and fashion & accessories maisons. The 5 percent sales decline to 1,322 million euros in the wholesale channel primarily reflected weaker performance in Asia Pacific.


The group’s three jewellery maisons – Buccellati, Cartier and Van Cleef & Arpels – delivered a 4 percent sales growth supported by both jewellery and watches. Sales at the Specialist Watchmakers declined by 13 percent as Japan’s noteworthy performance only partially offset lower sales in Europe and Asia Pacific, particularly in China, Hong Kong and Macau combined. The group’s other business area generated a 6 percent sales increase, underpinned by a double-digit progression at Watchfinder and a 4 percent growth at the fashion & accessories maisons, which included Gianvito Rossi, consolidated since 1 February 2024.


Yoox Net-A-Porter (YNAP), presented as ‘discontinued operations’, posted a 15 percent sales reduction, both at constant and actual exchange rates.


http://dlvr.it/T9fWWb

London College of Fashion Showcases Next Generation of Design Talent

Sarah Rigby | BA (Hons) Fashion Photography Credits: London College of Fashion | UAL Showcase



The London College of Fashion (LCF), part of the University of the Arts London (UAL), has launched its annual celebration of undergraduate talent with a series of events highlighting the Class of 2024. The programme commenced with an exclusive runway show featuring designs from 128 students in the BA (Hons) Fashion Design Technology: Menswear and Womenswear courses.


The event, which took place last week, drew a notable crowd of industry insiders and influencers, underscoring LCF's position as a global leader in fashion education. The audience included sustainability advocates, performers, and key figures from the fashion media landscape.


Andrew Teverson, Pro Vice-Chancellor and Head of LCF, emphasized the institution's commitment to shaping the future of fashion through innovative design and a focus on sustainability and inclusivity. These themes were prominently featured throughout the show, reflecting LCF's dedication to addressing the evolving needs of the industry and society at large.


The celebrations continued with live presentations showcasing work from various specialized courses, including the UK's only BA (Hons) Bespoke Tailoring programme. These events, held at Protein Studios in east London, highlighted LCF's diverse range of technical design pathways and paid homage to the college's roots as a collection of London trade schools.


From July 17-24, LCF will host an exhibition at its new East Bank campus in Stratford, offering the public and industry professionals an opportunity to engage with a broader spectrum of the college's creative disciplines. This move to east London marks a significant milestone in LCF's history and reflects the ongoing regeneration of the area.


The LCF Undergraduate Class of 2024 programme, which is free and open to the public, represents a significant moment in the fashion calendar, offering a glimpse into the future of design and the next generation of creative talent. As the fashion industry continues to grapple with challenges around sustainability and inclusivity, the work of these graduates may provide valuable insights into potential solutions and new directions for the sector.


http://dlvr.it/T9fB3x

Forever chemicals on the EU agenda: Key insights for the fashion industry on upcoming PFAS restrictions

AI illustrating image - PFAS use in the fashion industry, focusing on the water-repellent effect on fabrics. Credits: created by FashionUnited with an AI tool.

Brussels - According to a 2024 study by Dr. Harrad, professor of environmental chemistry at University of Birmingham, PFAS can enter the skin’s fluids (like sweat and oils) by environmental media transmission (such as indoor dust), where they can then be absorbed via the skin and enter the bloodstream.
With its upcoming legislative initiatives, the European Union aims to limit the risks associated with the hazardous chemicals by prohibiting their manufacture, distribution, and use.

Written by


Annea Bunjaku (Paralegal) and Lucas Falco (Counsel), EDSON LEGAL



What PFAS are and the problems they represent for EU citizens




1. What are PFAS?




Per-or poly-fluoroalkyl substances (“PFAS”) are a large group of industrial chemicals characterised by strong carbon-fluorine bonds, which make them resistant to breaking down. Their properties give PFAS the ability to withstand high temperatures while offering significant resistance to both oil and water. Therefore, PFAS are often used in practice as water repellent chemicals. They are used in carpets to prevent stains, and also to make firefighting foam more efficient.

They are used in a variety of consumer products, including clothing. In the fashion sector, PFAS are used in items like raincoats, hiking pants, shirts, yoga pants, and sports bras. A 2022 report by Toxic-Free Future found that nearly three-quarters of products labelled as water or strain-resistant contained PFAS.
Given their properties, PFAS are often referred to as “forever chemicals” as they do not break down and remain in the environment.


2. PFAS generate health issues




PFAS are identified as environmental pollutants and due to their resistance to degradation PFAS pose hazardous effects on human and animal health. As noted by the UN Environment Programme, the negative effects of PFAS have been identified since the 1990s and were widely recognized as a global concern by the OECD in 2013.
Exposure to PFAS has been linked to several health issues. An association between PFAS exposure and cancer and thyroid disease is noted in a study by van Gerwen et al. (2023). Li et al. (2023) found that PFAS can disrupt hormones, while Rickard et al. (2021) reported reproductive harm. Granum et al. (2013) observed a weakened immune system in children and a reduced response to routine vaccinations. Kinkade et al. (2023) linked PFAS exposure to weight gain, and a 2024 study published in the Journal of Occupational and Environmental Medicine reported an association with high cholesterol levels.


3. Upcoming EU Ban on PFAS and timeline:




The EU has been proactive in its legislative efforts to ban PFAS and other harmful chemicals. In the first of its kind worldwide, the European Chemicals Agency (“ECHA”) published a proposal for a European ban on PFAS on February 7, 2023, submitted by the Netherlands, Denmark, Germany, Norway and Sweden.
The ban aims to restrict the production, placing on the market, and the use of substances that are harmful to human health and the environment, and limit their extended risks.
The open consultation has taken place between March 22 and September 25, 2023 to obtain the views and input of any interested stakeholders (including industry representatives) on the contemplated ban, and the ECHA’s scientific committees (i.e., the Committee for Risk Assessment “RAC”, and the Committee for Socio-Economic Analysis, “SEAC”) are currently evaluating the potential impact of the ban, as required under Regulation (EU) No 1907/2006 (“REACH Regulation”).
Once the RAC and SEAC’s opinions are adopted, ECHA will submit a draft proposal for a ban on PFAS to the European Commission.
Then, the European Commission together with the REACH Committee (including EU Member States’ representatives) will decide on the potential restriction and publish a draft proposal. The decision is then transferred for comment and approval to the EU Parliament and the Council of the EU.
Once approved, the ban will enter into force and be published in the EU Official Journal. Note that as this ban will be part of, it will automatically apply across all EU Member States upon its entry into force.
The EU ban is expected to be finalised between 2026 and 2027, however, companies are most likely to be granted a transitional period to find alternatives for over 10,000 PFAS impacted applications. Therefore, the fashion industry must start to actively act and eliminate PFAS from their products and support policies regulating this field.


4. What are the opportunities and challenges for the fashion industry in the fight against forever chemicals?




On the one hand, a major consumer and industry pressure is underway for the elimination of these chemicals from textiles. In an international context, no company is safe from a class action litigation concerning PFAS. As outlined in the cases concerning underwear manufacturers Thinx, Inc. and Knix Wear, the companies are targeted for presenting their products as “safe and effective” or “safe, comfortable, and sustainable” while in reality they intentionally use widely reputable hazardous chemicals. Therefore, it is crucial that the fashion industry act according to the safest methods in their production. Developing safer and sustainable products could be achieved by innovation in textile manufacturing.
On the other hand, the elimination of PFAS from supply chains and the adoption of alternative materials can be costly and may require significant investment in research and development. Implementing a prohibition on PFAS in the EU may cause a global supply chain disruption, by requiring adjustments and coordination across international markets. It may be difficult for companies to find substitutes to achieve the same results as with PFAS.


5. What alternatives are out there for the fashion industry (innovations, sustainable options from front runners/pioneers in the sector)?




Some of the emerging PFAS alternatives across various industries are bio-based materials, fluorine-free compounds, tightly woven fabrics, electrospun nanofibers and silica-based coatings. Fashion brands including Levi’s, H&M, and Marks & Spencer, are cutting their use of PFAS, opting for safer alternatives, as the industry actively seeks sustainable and innovative solutions to harmful practices of the PFAS use. For instance, the company Patagonia has redesigned its products and supply chain to eliminate toxic chemicals. This company has been transparent with its efforts and it frequently communicates its progress to the public. Patagonia publicly encourages customers to support the transition and enhance conscious purchasing behaviors. Another company, Rain, publicly claims that its products are free of PFAS. Whereas companies like Adidas, Nike, Lululemon, and Canada Goose are still working towards PFAS-free processes.
There is an increasing emphasis on re-evaluating supply chains to prioritize non-toxic, sustainable practices. This entails taking a comprehensive approach to identifying and eliminating hazardous substances from manufacturing processes. In the quest of finding alternatives to PFAS, it is crucial for companies to not automatically assume that substitutes are safe and free of hazards.
Therefore, as suggested by a 2022 study of RISE, in order for the companies to address various chemical risks they could create a systematic chemicals management approach. In addition to avoiding the risk of contamination, fashion brands could get an overview of the production facilities for their materials and understand what other production takes place at the same facility. Companies are recommended to conduct life cycle assessments, and to work with the suppliers who share the same sustainable goals. This transition represents a broader commitment to safe fashion while attributing to long-term environmental protection.

Related reads:



* What to Expect from the EU’s efforts to Revise the Textile Labelling Regulation

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

* Why should the fashion industry pay attention to climate change litigation and upcoming legislative proposals on environmental claims

* What the fashion industry has to do with microplastics pollution (and everything you need to know about EU initiatives to tackle microplastics)

* What exactly is greenwashing?







Done in Brussels, 3 July 2024


Source list (in alphabetical order):

- CBS News, 'Raincoats, undies, school uniforms: Are your clothes dripping in "forever chemicals"?', By Hannah Norman, March 30 2023.

- European Chemicals Agency, ‘ANNEX XV RESTRICTION REPORT PROPOSAL FOR A RESTRICTION’, 22 March 2023.

- Granum et al., ‘Pre-natal exposure to perfluoroalkyl substances may be associated with altered vaccine antibody levels and immune-related health outcomes in early childhood’, Journal of Immunotoxicology. 10 (4): 373-379. Doi: 10.3109/1547691X.2012.755580, 25 January 2013.

- Health and Environment Alliance (“HEAL”), ‘The real-life impact of PFAS pollution on communities – examples from Veneto, Antwerp, Dordrecht, Ronneby and Korsør and how to take action’, 10 May 2023.

- Kinkade at al., ‘Per- and polyfluoroalkyl substances, gestational weight gain, postpartum weight retention and body composition in the UPSIDE cohort’, Environ Health., 2 September 2023.

- Lisam, ‘Breaking Free from PFAS: Exploring Promising Alternatives on the Horizon’, 21 August 2023.

- Li et al., ‘Association between exposure to per- and perfluoroalkyl substances (PFAS) and reproductive hormones in human: A systematic review and meta-analysis’, Environmental Research, Volumen 241, 4 November 2023.

- M. Russel, ‘Fashion brands back comprehensive EU ban on PFAS’, Just Style, March 23 2023.

- NRD.org factsheet TOXIC FASHION: REMOVE “FOREVER” PFAS CHEMICALS FROM OUR APPAREL, January 2022

- O. Ragnarsdottir, M. Abou-Elwafa Abdallah, S. Harrad, ‘Dermal bioavailability of perfluoroalkyl substances using in vitro 3D human skin equivalent models’ , Environment International, Volume 188, June 2024.

- OECD, ‘Risk management, risk reduction and sustainable chemistry’

- Patagonia, ‘Public statement: made without PFCs/PFAS’.

- Phys Org, ‘New study confirms forever chemicals are absorbed through human skin’ by University of Birmingham, June 24 2024.

- Rise Research Institutes of Sweden, ‘PFAS substitution guide for textile supply chains’, Version 2, August 2022.

- Rickard et al., ‘Per- and Poly-fluoroalkyl Substances (PFAS) and Female Reproductive Outcomes: PFAS Elimination, Endocrine-Mediated Effects, and Disease’, Toxicology, 15 January 2023.

- The public statement of ECHA.europa.eu news ‘Highlights from June RAC and SEAC meetings’, 13 June 2024.

- Time Magazine,‘Inside the Race to Get Forever Chemicals Out of Raincoats’, 2 February 2023.

- Toxic Free Future, ‘The hidden costs of forever chemicals in stain- and water-resistant products’, January 26 2022.

- UN Environmental Programme, ‘Per- and Polyfluoroalkyl Substances (PFASs)’.

- van Gerwen et al., ‘Per- and polyfluoroalkyl substances (PFAS) exposure and thyroid cancer risk’, EBioMedicine, 24 October 2023.

- Fidra, ‘EU to ban all non-essential uses of PFAS: Will the UK be equally ambitious?’, 15 October 2021.

- Xing, Weilong PhD et al., ‘Exposure to Perfluoroalkyl Substances and Hyperlipidemia Among Adults: Data From NHANES 2017–2018’, Journal of Occupational and Environmental Medicine 66(2):p 105-110, February 2024.


http://dlvr.it/T9c1Rl

Burberry ropes in Joshua Schulman as CEO after disappointing Q1

Burberry flagship in Milan Credits: Burberry



Luxury conglomerate Burberry reported first quarter retail revenues of 458 million pounds, down 22 percent at reported rates and 20 percent CER.


The company also separately announced the appointment of Joshua Schulman as new chief executive officer and executive director, replacing Jonathan Akeroyd who is stepping down and leaving the company with immediate effect by mutual agreement with the board.


"Our Q1 FY25 performance is disappointing. We moved quickly with our creative transition in a luxury market that is proving more challenging than expected," said Gerry Murphy, chair of Burberry.


Burberry projects first half operating loss




The company said that the slowdown in trading experienced in the first quarter continued into July. And if this trend continues through the current quarter, Burberry expects to report a first half operating loss and FY25 operating profit to be below current consensus.


The company has also decided to suspend dividend payments in respect of FY25 in order to maintain a strong balance sheet and the company’s capacity to invest in Burberry's long term growth.


“The weakness we highlighted coming into FY25 has deepened and if the current trend persists through our Q2, we expect to report an operating loss for our first half. In light of current trading, we have decided to suspend dividend payments in respect of FY25,” added Murphy.


In FY25, the company expects retail space to be broadly stable, wholesale revenue to decline by around 25 percent in the first half period and decline by around 30 percent for the full year.


Burberry’s key markets impacted by luxury slowdown




The company added that, operating against a backdrop of slowing luxury demand, all key regions were impacted by macroeconomic uncertainty contributing to the sector’s slowdown.


In this context, first quarter comparable store sales fell 21 percent and all regions declined outside of Japan. Asia Pacific decreased 23 percent with Mainland China down 21 percent, South Asia Pacific down 38 percent, South Korea down 26 percent, while Japan increased 6 percent.


Americas decreased 23 percent, driven by declining locals, while EMEIA fell 16 percent with local spend deteriorating versus last quarter.


By product, outerwear and scarves continued to outperform globally. The contribution from space was 1 percent, leading to a 20 percent decline in retail sales at constant exchange rates.


Burberry appoints Joshua Schulman as CEO




The company said in a statement that an American national, Schulman, 52, joins Burberry with a track record of driving transformative growth and value creation as CEO of global luxury, fashion, and retail businesses.


Schulman was previously CEO of American fashion brands Michael Kors from 2021 to 2022 and Coach, where he also served as brand president from 2017 to 2020.


Prior to this, at Neiman Marcus Group, he was president of Bergdorf Goodman for five years. From 2007 to 2012, Schulman was CEO of Jimmy Choo in London. Earlier, he was executive vice president/ worldwide merchandising and sales at Yves Saint Laurent and worldwide director/ women's ready to wear at Gucci.


He will join Burberry on July 17, 2024 and be based at the company's headquarters in London. He will lead the executive committee and report to Murphy and the board of directors.


“Josh has a strong understanding of our brand and shares our ambition to build on Burberry's unique creative heritage. His extensive experience in luxury and fashion will be key to realising Burberry's full potential," said Murphy.


http://dlvr.it/T9c19r

David Beckham partners with Prenetics to launch heath and wellness brand IM8

David Beckham and Danny Yeung Credits: Prenetics



Health sciences company Prenetics has announced that former international footballer, entrepreneur and philanthropist David Beckham has become a strategic investor in the business.


The company said in a statement that Prenetics and Beckham will become co-founding partners of a new health and wellness brand, IM8, which will focus on cutting-edge consumer health products, with details to be announced at a later date.


Commenting on the development, Beckham said: "Throughout my life and career, I've been fortunate to have access to the best medical professionals, nutrition experts and fitness coaches. Their guidance has been crucial to my health and well-being. That’s why I am excited to be working with Prenetics - a company that is dedicated to innovative, world-leading scientific advancements in health - as a co-founding partner and ambassador for IM8.”


The company added that Beckham has also spent time with Prenetics shareholder, Professor Dennis Lo, during which he has been impressed to learn about Lo’s pioneering discovery of non-invasive prenatal testing in 1997 and current focus on early cancer detection. These conversations have highlighted the significant potential of Prenetics’ innovations to impact global health and longevity.


“This partnership with David marks a transformative era for Prenetics in global health innovation and wellness. Working closely with David these past months, I've been consistently inspired by his vision for accessible health for all. With IM8, we have a unique opportunity to contribute meaningfully to the consumer health and wellness industry,” added Danny Yeung, CEO and co-founder of Prenetics.


http://dlvr.it/T9c0sn

Canada Goose names Alfredo Tan as chief digital & information officer

Canada Goose store in Tokyo Credits: Canada Goose/Business Wire



Canada Goose has appointed Alfredo Tan as the new chief digital & information officer, effective August 7, 2024. He takes over for Matt Blonder who will be departing Canada Goose.


The company said in a release that Tan will drive the brand’s digital capabilities and lead the teams responsible for developing the company’s digital roadmap across digital sales channels, as well as the company’s IT, digital media & marketing, and consumer insights. Tan and his team will also be responsible for Canada Goose’s future data and AI strategy to enhance commercial and enterprise performance.


“Alfredo brings significant global experience and a proven track-record harnessing the power of technology to transform consumer experiences and deliver results,” said Dani Reiss, chairman and CEO, Canada Goose.


Tan joins Canada Goose from Loblaw Companies Ltd where he was the senior vice-president & managing director of the retail media division. The company added that he was a pioneering leader at Meta Platforms, joining as one of the first 1000 employees globally and helping to transform it into a global media and technology leader.


Previously, he was the senior vice-president of strategy, data & digital products at Rogers Sports & Media. Tan was also the first chief digital officer & chief innovation officer at WestJet Airlines.


“I believe there is tremendous opportunity ahead for Canada Goose as we leverage technology to deliver world class experiences and contribute to the growth of Canada Goose globally,” added Tan.


http://dlvr.it/T9c0Ws