Roots chief product officer Karuna Scheinfeld to step down

Roots boutique Credits: Roots



Karuna Scheinfeld, chief product officer of Roots Corporation will be stepping down at the end of 2024.


The company said in a release that it does not intend to replace Scheinfeld; however, it has commenced a search for senior-level design talent with international experience in the outdoor and active sectors to support these fast growing areas of the business.


"Since joining us in 2020, Karuna has been an exceptional partner, establishing a go-to-market process and products in line with our brand vision and direction," said Meghan Roach, president & CEO, Roots Corporation.


Established in 1973, Roots is a global lifestyle brand. Starting from a small cabin in northern Canada, Roots has become a global brand with over 100 corporate retail stores in Canada, two stores in the United States, and an ecommerce platform and over 100 partner-operated stores in Asia, and a dedicated Roots-branded storefront on Tmall.com in China.


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JD.com and BFC expand partnership, aim to elevate British and Asian designers

(Left) Sherrin Kong, president of Jingdong Fashion, and (right) Caroline Rush, CEO of the BFC. Credits: JD.com.



Chinese e-tailer JD.com has announced a new partnership with the British Fashion Council (BFC) that will see it become the official Asia online retail partner of London Fashion Week (LFW) September 2024, which kicked off September 12. Through the deal, the duo hope to enhance both the presence of British designers in the Chinese market while uplifting Chinese and Asian designers on a more global level.


The announcement comes just ahead of JD.com’s participation in LFW SS25, with the retailer currently preparing to host a show on September 15 where it will showcase emerging talent on the Jingdong Fashion ‘Red Journey’ catwalk. Among those presenting, with the show to be held at Somerset House, are that of Hazzys, Ellassay, Marisfrolg and Pure Tea.


In addition to this, JD.com will also continue to feature a dedicated LFW page on its app, which will run until October 3. In a release, the company emphasised its “sophisticated in-house supply chain and logistics network”, which it said delivers 90 percent of retail orders within 24 hours. The platform also already counts “over 90 percent of the world’s most recognised luxury brands” among its stock, with it adding that its “advanced e-commerce infrastructure and extensive consumer reach” could help British and global fashion brands navigate the “complexities of the Chinese market”.


BFC hopes to facilitate smooth cross-border collaborations and exposure to Chinese market




It is exactly this that drove Caroline Rush, CEO of the BFC, to secure such a deal, as she noted in a statement reading: “This partnership provides our emerging designers and brands with a platform that facilitates smoother collaborations across borders but also amplifies their exposure in the crucial Chinese market. We look forward to seeing what the partnership has in store and to working together to encourage continued collaboration between the UK and Chinese markets.”


In her own comment, president of Jingdong Fashion, Sherrin Kong, reaffirmed JD.com’s stance, adding: “By leveraging our robust supply chain capabilities, we are excited to deepen our partnerships and continue our role as a gateway connecting the global fashion community with Chinese consumers. This partnership with the BFC exemplifies our commitment to bringing a diverse array of global fashion perspectives to China and, in doing so, supporting the dynamic exchange of culture and innovation in fashion.”


In August, JD.com set out to expand its apparel business through an investment of one billion RMB (over 107 million pounds) with the goal of broadening and enhancing its range of fashion offerings, as well as boosting the presence of domestic and international brands. The move came as the retailer welcomed a 60 percent year-on-year increase in apparel and footwear brands since the beginning of 2024, with a further 200 percent uptick in third-party apparel merchants over the period.


This latest news further expands on the already long-running relationship between JD.com and BFC, which has been in motion and taken various forms over the years. Back in 2019, for example, the duo came together for a three-year strategic partnership through which JD.com supported LFW designers and events, already building on an existing partnership with which the Chinese giant backed the BFC/Vogue Designer Fashion Fund and BFC/GQ Menswear Designer Fund.


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J.Lindeberg appoints chief product officer

Sofia Bothelius, chief product officer at J.Lindeberg Credits: J.Lindeberg



Swedish fashion and golfwear brand J Lindeberg has appointed Sofia Bothelius as its new chief product officer, on a consultancy basis, effective immediately, to drive product development and strategic sourcing.


The newly created leadership role aims to elevate the brand’s product offerings and streamline product development processes to drive clarity and efficiency across product development, pattern, procurement and strategic sourcing, “ensuring the successful execution of the brand’s new collection setup”.


Bothelius has more than 20 years of experience in C-suite roles, having held roles at Gant, Boomerang, and Åhléns, and is the founder of her own consultancy agency.


Commenting on the new role, Hans-Christian Meyer, chief executive at J.Lindeberg, said in a statement: “We’re super excited to have Sofia join our team in this newly created and crucial role. Her broad expertise and strategic leadership will be instrumental in optimising our product development processes and ensuring that we continue to deliver exceptional quality and innovation to our customers. I’m confident that Sofia’s impact will be felt across the entire organisation.”


Bothelius added: “I’m beyond excited to join the J.Lindeberg world and the next chapter in their growth journey. The brand is a true match with my passion for both sports and fashion.


“Strong Brand DNA and growth journey manifested through a constant drive for progress and innovation. Together with the team, I have my mind set to develop world-class lifestyle products in terms of performance, innovation, quality and sustainability.”


Earlier this month, J.Lindeberg appointed former Levi's, Under Armour and Toms executive Alexander Diedrich as its head of e-commerce to accelerate the brand’s digital growth and enhance its e-commerce strategy.


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Macy’s launches new private menswear brand Mode of One

Mode of One, Macy's new menswear brand. Credits: Macy's.



US department store Macy’s has launched a new contemporary menswear brand, Mode of One, as part of ongoing efforts to reimagine its private brand portfolio.


The line, which is available on Macy’s e-commerce site, its mobile app and in nationwide stores, was created over a two year span of concepting and designing, reflecting what the company said was “extensive research conducted on men’s trends and style preferences”.


The collection draws inspiration from street style, art, sports, music, technology and entertainment, and includes collaborations with graphic designer Tyrell Waiters, who created original artwork, and The Brooklyn Circus founder Ouigi Theodore, who served as a stylist.


Set to continue through monthly drops from October onwards, Mode of One largely incorporates a range of “elevated” essentials in multiple fits and different silhouettes, with looks catering for an array of occasions. Pieces include hoodies, graphic tees, cargo pants and suiting, each prioritising “low-maintenance comfort and performance”, Macy’s said.


In a release, Emily Erusha-Hilleque, SVP, head of Private Brands, said: “We are strengthening our fashion leadership in our brand portfolio, designing brands rooted in the customer’s voice and anchored in elevated trend, quality and cultural relevance. We are excited to introduce Mode of One to our customers and look forward to seeing how they make it their own.”


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LCF to open free exhibition exploring wellbeing through fashion

LCF Collective Care exhibition visual. Credits: Image courtesy of London College of Fashion/UAL



The London College of Fashion (LCF) at the University of the Arts London (UAL) has announced a new exhibition entitled ‘Collective Care’ at its new East Bank campus in London.


The exhibition will open its doors on September 24 and will run until December 14 and invites the public to reconsider the relationship between fashion and community wellbeing .


Visitors do not have to pay admission or book their tickets in advance, as per the press release sent out by LCF.


Collective Care challenges individuals to see care in its different forms such as ‘our shared responsibility to the world around us’ by showcasing the work of researchers, designers and artists affiliated with LCF, the release reads.


The exhibition and associated event programme are brought to life by LCF’s Cultural Programming Team, with the help of established and emerging names from the worlds of fashion, art and social sustainability.


It featured interactive inflatable garments (‘Inflatable Wearable Heterotopia’) designed by Yunpei Li who explores challenging conventional notions of personal space and emphasises people’s resilience in a changing world in the work in question.


‘Collective Care’: new LCF exhibition examines relationship between fashion and wellbeing




Dr. Mila Burcikova’s botanically dyed garments serve to examine the intersection of fashion and nature are presented in ‘Life in Clothes’, a project that explores how this connection can be employed to create sustainable fashion as an act of care for planet earth.


In addition, ‘A Mother’s Guide to Love’ by Eve Lin seeks to reimagine Taiwanese cultural traditions through a virtual fashion film that touches on ‘the unspoken language of care’ that is maternal love, the release reads.


Also featured in the exhibition is Katelyn Toth-Fejel’s project ‘Clothing Cartographies’ for which she has mapped out the relationship between residents of East London and the clothes they wear, an illustration of how fashion can serve as a ‘powerful medium of collective care’ within people’s social and emotional environments.


Finally, ‘Conversations en Plein Air’ by Charlotte Rhodes aims to showcase the decorative arts and how they relate to the female experience, individual autonomy and collective action, and ‘The Presence of Care’ is a collaborative work by Amy Goodwin, Leah Gouget-Levy and Susan Zheng in which the artists investigate the role of archives in preserving and obscuring history.


Commenting on the new exhibition Dr. Leila Nassereldein, curator of Collective Care said: “Collective Care is a vital exploration of how care extends beyond the personal to touch the social, environmental, and political spheres.”


She continued: “This exhibition brings together artists who are not only rethinking fashion and art but also reimagining how we care for each other and our planet.”


“By challenging the boundaries of fashion, we aim to inspire a deeper, more holistic understanding of well-being that is grounded in empathy, compassion, and collective action,” she said.


A number of associated events fit within the Collective Care exhibition concept. These include fashion illustration workshops taught by well-known fashion illustrators, an immersive evening tailored to the exhibition as part of LCF’s ‘After Dark’ event programme that features a communal ‘knit-in’, dance and sound activations and the late openings of other LCF exhibitions. Jeff Horseley will also present the Exhibiting Fashion Toolkit for non-specialist curators.


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Despite sales increase, Mytheresa reports higher annual loss

Credits: Mytheresa



Munich-based fashion retailer Mytheresa closed the 2023/24 financial year with a solid increase in sales. However, its loss was significantly higher than in the previous year. This is evident from the current annual report, which the listed holding company MYT Netherlands Parent BV published on Thursday.


In the financial year to the end of June, sales reached 840.9 million euros, which corresponded to an increase of 9.8 percent compared to the previous year. The gross merchandise value (GMV) increased by 7.1 percent to 913.6 million euros.


However, a decline in the gross margin contributed to EBITDA, shrinking by 32.8 percent to 25.8 million euros. The reported net loss grew by 46.4 percent from 17.0 to 24.9 million euros.


For the current 2024/25 financial year, management is forecasting growth in sales and GMV in the range of 7 to 13 percent. The target corridor for the EBITDA margin adjusted for special items, which was 3.1 percent last year, is between 3 and 5 percent.


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From headbangers to delicate elves: Highlights of Seoul Fashion Week

In Pictures


Cokie SS25 Credits: ©Launchmetrics/spotlight



Delicate fairies fluttering around butterflies, dark magic and grunge rockers: a clash that is strongly reminiscent of a medieval market, and yet also describes some of the looks at Seoul Fashion Week. For the SS25 collections, some designers seem to have been inspired by fairy tales other adventures. But there are still a few highlights hidden in the magic pot of the fashion week in the South Korean capital...


Buckle up for the latest trends from Seoul.


Buckled up!?




Designers are, quite literally, focusing on buckles. They agree that the belt doesn't always have to be a conventional item that holds up a pair of trousers. Brands such as Doucan and Youser, for example, kept the belt loose, and pushed it up the figure to use it as a casual accessory for crop tops, shirts and even sweaters, most of which had loops to attach the belt akin to a pair of trousers. Ul:Kin designer Lee Seongdong, meanwhile, took a more rock'n'roll approach for a denim skirt with a double grommet belt. Even though some of the pieces by the designers in Seoul were rather wide set, they could largely be styled differently with the respective belts, thus distorting the silhouette.


SS25 collections (from left to right): Ul:Kin, Doucan, (2x) Youser Credits: ©Launchmetrics/spotlight



No purpose!




Brands like Youser proved with their belted pieces that fashion doesn't always have to be practical. Mooyeol Lee, the designer behind the brand, presented other ways for a styling-focused approach. And he was not alone. Lee joined other designers who repurposed individual pieces and entire garments, rendering their original use obsolete. At Kumann Yoo Hye Jin and Ajobyajo, additional sleeves appeared, while Youser rolled up the jeans legs to create a skirt and Arts De Base turned a top into a kind of collar.


SS25 collections (from left to right): Youser, Arts De Base, Kumann Yoo Hye Jin, Ajobyajo Credits: ©Launchmetrics/spotlight



Fast dresses




Another use can also lead to a new benefit, as the sporty SS25 dresses from Seoul showed. Various materials from sportswear and outerwear were used for sleek yet casual dresses. Details such as the cords of a raincoat and patterns from a sports jersey were thus skilfully showcased in a completely new form.


SS25 collections (from left to right): Duckdive, Kwak Hyun Joo Collection, Kumann Yoo Hye Jin Credits: ©Launchmetrics/spotlight



Modern Middle Ages




Two completely different worlds met in designs that brought a long-gone era into the present. The mystical touch of the Middle Ages made its way onto the catwalk in characters such as monks, witches and other beings. As in a classic fantasy novel, there seemed to be the advocates of dark magic on the one hand, with their concealing robes and pompous silhouettes - mostly in black, of course.


SS25 collections (from left to right): Cokie, Duckdive, Ceeann, Ajobyajo Credits: ©Launchmetrics/spotlight



They were contrasted by colourful, fairy-like beings who were connected to nature and surrounded by butterflies. Modern sporty alongside more elegant cuts and a mix of streetwear and sportswear ensured the right balance that didn't turn the wearers into court jesters.


SS25 collections (from left to right): Kwak Hyun Joo Collection, L'Eau Et, Kwak Hyun Joo Collection, Maison Nica Credits: ©Launchmetrics/spotlight



Rock on!




Instead of going back to the Middle Ages, other brands looked back at the history of rock music over the past 50 years. From a modern interpretation of the style of Australian rockers AC/DC to an alternative grunge look with a lumberjack shirt to skate punk and emocore, hard guitar riffs, mosh pits and rocking styles seemed to dominate Seoul this season.


SS25 collections (from left to right): Phenomenon Seeper, Man.G Stu:dio, Cokie Credits: ©Launchmetrics/spotlight



SS25 collections (from left to right): Ul:Kin, Youser, Duckdive Credits: ©Launchmetrics/spotlight


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NYFW SS25 street style: Fancy denim, modern preppy, baggy shorts and more

In Pictures


NYFW SS25 STREET STYLE Credits: NYFW SS25/©Launchmetrics/spotlight



Labor Day in early September marks the end of the summer season, and for many New Yorkers can be fraught with a sense of melancholy. However, for others, it means the beginning of a month-long foray into the future of fashion. Nowhere is that excitement more palpable than on the streets outside the various runway shows and presentations.


Fashion editors, buyers, influencers, celebrities and other fashionistas showed off their style chops at NYFW for SS25 and here are some of the trend highlights.

Jean genies



Founded in New York in 2014 by designers Piotrek Panszczyk and Beckett Fogg. Area has garnered a cult following. More than one attendee wore denim jeans with heart-shaped cutouts from the label’s pre-fall 24 collection.
The duo’s blue high-rise jeans with crystal embellished cutouts were also on display. Another cult label, Bershka, was created in 1998 as part of the Spanish megabrand Inditex. One attendee wore their baggy jeans with printed bow embellishments and a black cropped top and blazer.


NYFW SS25 street style Credits: NYFW SS25 street style©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight


Get shorty



From chic to sporty, a variety of oversized shorts were on display. This included pleated front tailored shorts, with an off-the-shoulder knit top and chic accessories; brown denim jorts with a brown leather moto jacket; brown faux pressed leather shorts under a long striped shirt and cream denim jorts teamed to an oversized sweat jacket and white tank.


NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight


Preppie on top



With veteran designers Ralph Lauren and Tommy Hilfiger both enjoying something of a renaissance, attendees showed how to wear preppy looking cricket sweaters, baseball jackets and striped shirts in an updated way, often eschewing pants in favor of hosiery or bare legs.


NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight


Highs and lows



There is something infinitely stylish about an asymmetric design. An attendee wore a pair of blue denim jeans from the Coperni Resort 25 collection that was fashioned into an asymmetric skirt and worn over a plaid blazer. Another show-goer wore Tibi’s camel hair knit cape over a matching sweater and baggy shorts. A silk mix asymmetric top was teamed to black pants and a black jersey knit dress with an asymmetric hem was worn off-the-shoulder on one side.


NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight


Bubble up



Interest in the fashions of the ‘80’s, ‘90’s and ‘naughties continues, with micro short lengths and bubble hems. Appropriately, Susie Lau aka ‘Susie Bubble’ stepped out in one such look; an orange taffeta dress by Molly Goddard.
Another attendee looked flawless in a short purple dress with mille feuille layers from the Alaïa FW 24 collection. On her way to see the Tory Burch show, Paige Lorenze was pictured in a stone-colored windbreaker over a micro mini with a bubble hem. Going to the same show, a fashionista wore an ensemble from the designer’s SS24 collection.


NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight


Jumbled up



Several attendees adopted a collage style of dress, mixing a variety of shapes and textures. In one case that meant a striped baggy sweatshirt over a two layered skirt, accessorized with slouchy purple suede boots, a bandana headscarf and a brown suede shoulder bag with a blue feather boa. A pink plaid split skirt trimmed with a flounce was worn with a white and pink tee and short Ugg boots with a floral design. As seen in Brooklyn, a show attendee wore three gauze and lace layers over a pink taffeta skirt and carried a plaid crossbody bag. Meanwhile, Susie Lau was spotted in pink sheer and lace layers by Simone Rocha.


NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight



NYFW SS25 street style Credits: NYFW SS25 street style ©Launchmetrics/spotlight


Read more:



* Trends on the streets of Copenhagen







* The Brat Aesthetic







* Paris street style trends for SS24


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What awaits Givenchy under the creative direction of Sarah Burton?

Sarah Burton, Alexander McQueen SS24 Credits: ©Launchmetrics/spotlight



With the appointment of Sarah Burton as creative director of Givenchy, one of the fashion world's latest mysteries has been solved. Burton's appointment, which was announced on Monday, makes her the eighth person to take the helm of the French fashion house. Her appointment comes at a time when both LVMH and Kering have been criticised for their lack of female creative directors at the helm of major luxury fashion houses. From this perspective, her announcement may be considered a step forward, but there are several signs that her future vision may be rooted in the fashion house's past.


As her debut for the brand is not lined until March next year, FashionUnited has taken the time to speculate on what Givenchy's future might look like and why Burton is right for the job.


Parallels, brand DNA and dark romance




For nostalgics, Burton's move to Givenchy is a final ode to her mentor, Alexander McQueen. The late designer himself was the creative director at Givenchy from 1996 to 2001. In many ways, Burton's move seems to be the only conceivable path for the designer, who has spent most of her career firmly linked to the man who hired her as an intern in 1996. In fact, Burton was originally employed full-time at the McQueen label, while the founder split his time between the two houses.


Her appointment decades after McQueen is far less controversial than that of her mentor in his day, when he took on the prestigious position of artistic director at only 27 and pushed the boundaries of what a couture house could be. The reception at the time was lukewarm at best, and yet McQueen and his 18 collections have since shaped not only the history of Givenchy, but also that of fashion – and some of Burton's collections.


Alexander McQueen SS20 references Givenchy SS99 Credits: ©Launchmetrics/spotlight



Alexander McQueen FW22 references FW97 Credits: ©Launchmetrics/spotlight



One of the most significant differences between Burton and her mentor, who once told French newspaper Le Figaro that he had ‘no respect’ for Givenchy founder Hubert de Givenchy and only took the job because he loved fashion, is that Burton has both the respect needed to honour a house and its history and the talent to lead it into the future.


In the statement accompanying her announcement, the designer said she was thrilled to be able to write the next chapter in the history of this iconic house and bring her own vision, sensibility and conviction to Givenchy, before describing the French house as a ‘jewel’.


However, in purely chronological terms, Burton does not succeed Alexander McQueen, but Matthew Williams, who headed the house for three years before leaving last January. The appointment of Williams and his subsequent revamp of Givenchy was strongly orientated towards a younger audience, mainly Gen Z, which he had previously attracted with his brand Alyx 9S.


His appointment was in some ways reminiscent of perhaps the most famous period in the brand's history, when Riccardo Tisci brought the brand into the age of social media, streetwear, and hype, from 2005 to 2017. Even if Williams vision didn't ultimately catch on like Tisci did.


When Tisci joined Givenchy back in the day, the brand struggled after being helmed by a series of creative directors in a very short space of time — a situation very similar to the current one. In 2011, a few years after Tisici took over, Marco Gobbetti, then Givenchy's chief executive, said in an interview with the Financial Times that the brand was ‘a mess without an identity’. Tisici succeeded in sorting out the ‘mess’ and injected the brand with a new lease of life. A task that will now fall to Burton.


Givenchy Couture Spring 2017 Credits: ©Launchmetrics/spotlight



However, the parallels between Tisci and Burton are not only to be found in the shape of the house at the time of their appointments. Their artistic parallels may not be immediately obvious, at least not if you look at the Rottweiler-printed hoodies and sweatpants that the Italian introduced to Givenchy in his day.


However, if one focuses on his couture performances, it is noticeable that their sensibilities, a dark romanticism that sometimes draws on religious iconography and a subversion of traditional beauty, overlap.


The women at the helm of Givenchy




Burton and her sole female predecessor, Clare Waight Keller, also share not only a gender but a talent for creating a dialogue between the traditionally feminine and masculine on the catwalk. Waight Keller may have steered the brand back to a more mature audience that Givenchy was not yet ready for at the time, but she also gave the brand a sense of magical realism — although much of her inspiration came from the Hubert de Givenchy archive.


Alexander McQueen FW20 Credits: ©Launchmetrics/spotlight



Givenchy FW20 Credits: ©Launchmetrics/spotlight



This is also true of Burton's McQueen, where over the years she has both developed the symbols once dictated by Alexander McQueen and made them her own. She is by no means a realist, a dreamlike quality has always haunted her creations and yet over the years, with a growing focus on wearable fashion, she has also gradually moved away from the once central theme of storytelling.


However, it will be interesting to see where the focus will lie when the designer unveils her vision for Givenchy, although it will most likely combine tradition and avant-garde in one way or another.


Ultimately, Sarah Burton is no stranger to the weight of a legacy, of which there is plenty at Givenchy. While it remains to be seen how exactly she will embrace it, one thing is already abundantly clear: the brand has opted for tailoring, craftsmanship and vision rather than another attempt to hop on the hype-train.


This article originally appeared on FashionUnited.de


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Michael Kors brings Italian air to New York Fashion Week

Michael Kors SS25 presentation at New York fashion week Credits: Launchmetrics



Fashion designer Michael Kors brought an
Italian air to New York Fashion Week, presenting his Spring/Summer 2025
collection Tuesday as the brand remains embroiled in a legal battle with
competition authorities.


The show at a Manhattan cultural space followed the start of hearings in
New York this week over the US antitrust agency seeking to block a merger
between Michael Kors' parent company, Capri, and Tapestry, whose brands
include Kate Spade.


Well away from the US Federal Trade Commission case, Michael Kors sought to
celebrate 35 years collaborating with Italian artisans through a setting of
volcanic rocks reminiscent of the country's southern islands.


Flowers dominated the catwalk, whether printed or more often hand
embroidered, adorning a denim blue skirt, a short-sleeve sweater, or a
crinkled dress with a belt hanging to one side.


A trench coat was also worn crumpled, paired with white shorts and a
wide-brimmed hat.


The US designer boasted a "rustic" collection with "glamour", using
"artisanal textures" such as raffia or lace on leather.


Michael Kors said he drew inspiration from the "dark romanticism" of the
Netflix series "Ripley", which is based on the celebrated novel by Patricia
Highsmith -- "The Talented Mr. Ripley" -- to design low-cut shirts worn in a
feminine way.


He also said he was inspired by the "warmth and sensuality" of fashion and
celebrity photographer Herb Ritts, who was known for his shots of Madonna
including the cover of her "True Blue" album.(AFP)


Michael Kors SS25 presentation at New York fashion week Credits: Launchmetrics



Michael Kors SS25 presentation at New York fashion week Credits: Launchmetrics



Michael Kors SS25 presentation at New York fashion week Credits: Launchmetrics



Michael Kors SS25 presentation at New York fashion week Credits: Launchmetrics


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George at Asda collaborating with Roksanda for LFW

In Pictures


George at Asda x Roksanda collection Credits: George at Asda



London Fashion Week designer Roksanda is collaborating with supermarket clothing brand George at Asda as part of LFW’s continued 40th-anniversary celebrations.


The collaborative collection will offer Roksanda’s signature style to an accessible audience while raising funds for the BFC Foundation programme, a charity supporting the future growth and success of the British fashion industry with a focus on education, grant-giving, and business mentoring.


George at Asda states its donation to the BFC Foundation is part of its ongoing commitment to British Fashion. The amount of the donation has not been disclosed.


George at Asda x Roksanda collection Credits: George at Asda



Commenting on the collaboration, Roksanda said in a statement: ‘‘As an alumnus of the BFC NewGen, this collaboration has allowed me to give back to the community, which helped start my creative career. Incredibly fortunate to be a previous winner, I understand the importance of support and how without it, brands might not be able to grow and develop to their full potential.


“In celebration of London Fashion Week’s 40th anniversary, I am delighted to collaborate with George and the British Fashion Council on a collection that not only honours but also spotlights the extraordinary work of NewGen. Together, we aim to generate funds that will inspire and empower the next wave of innovative designers, ensuring their voices are heard and celebrated beyond the fashion landscape.”


Roksanda launches accessible collection with George at Asda for BFC Foundation




The 30-piece collection, launching on September 17, showcases Roksanda’s signature use of colour, femininity and sculptural shapes. Highlights include a burgundy trench coat, a sweat dress reinvented, two-tone oversized puffer scarves, graphic T-shirts and sweatshirts, colour-pop borg fleeces, and popper-side track pants, as well as compact-knit flare trousers and skirts with coordinating jumpers.


George at Asda x Roksanda collection Credits: George at Asda



Liz Evans, chief commercial officer at George, said: “As the first supermarket fashion retailer in the UK, we felt this was the perfect opportunity to bring to life our brand mission of democratising great style and quality at a compelling price.


“We’ve always recognised the importance and value in supporting new talent through initiatives like Graduate Fashion Week however we’re really excited to partner with the BFC in celebrating 40 years of London Fashion Week. Working with NewGen alumni Roksanda to truly make designer fashion accessible to all has been a brilliantly collaborative project and one we are proud to be a part of. We will continue to support the BFC foundation and help to give the next generation a platform to be seen.”


George at Asda x Roksanda collection Credits: George at Asda



Caroline Rush, chief executive of the British Fashion Council, added: “Congratulations to Roksanda and the George team on this brilliant collection. It has been such a pleasure to watch Roksanda’s brand develop over the last two decades from a BFC NewGen recipient to the industry force that it is now. The brand is a true testament to the work that the BFC Foundation does in supporting the best of British creativity and as part of our network, we are delighted to continue to work together alongside George.


“We are extremely grateful to George for supporting the future pipeline of design talent through their donation of the BFC Foundation and for their ongoing dedication to championing creative talent across the year.”
The collection will be available in selected Asda stores nationwide and online at George.com. Prices range from 14 to 60 pounds.


Roksanda has previously collaborated with premium British fashion brand Jigsaw, footwear brand FitFlop, British heritage brand Barbour, and sportswear brand Fila.


George at Asda x Roksanda collection Credits: George at Asda


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Are luxury brands returning to designer expertise?

Opinion


Givenchy SS24 Credits: Spotlight Launchmetrics



In a not surprising announcement within the luxury fashion landscape, Givenchy, the storied French maison under the LVMH umbrella, has finally confirmed its new creative director after an uncharacteristically protracted search. The appointment of Sarah Burton, following the departure of Michael Williams, signals a potentially transformative moment not just for the brand, but for the industry at large.


The prolonged vacancy at Givenchy's helm, lasting nearly a year, was a subject of intense speculation within fashion circles. Mr Williams' exit, confirmed in December of the previous year, had been presaged by months of rumours, fuelled by the brand's perceived struggle to maintain its cultural cachet. The fashion world, ever attuned to the slightest tremors of change, had long anticipated his exit.


When the announcement finally came that Ms Burton would assume the mantle, with her inaugural collection slated for 2025, it became clear that this was no hasty decision. Sources close to the matter suggest that LVMH conducted an exhaustive search, interviewing multiple candidates before settling on Burton. The process was further elongated by a management restructuring within LVMH and the appointment of Alessandro Valenti as Givenchy's new CEO in July. Additionally, contractual negotiations with Ms Burton and discussions surrounding the potential revival of Givenchy's haute couture line are believed to have contributed to the delay.


However, Ms Burton's appointment is noteworthy beyond the circumstances of its timing. It represents a broader industry trend: a return to "proper" designers at the helm of major fashion houses. This shift follows a period where celebrity stylists and social media influencers were often favoured for their ability to generate buzz and engagement. The pendulum appears to be swinging back towards individuals with formal training in design and garment construction, as evidenced by recent appointments such as Pieter Mulier at Alaïa and Chemena Kamali at Chloé.


Demand for experienced, formally trained designers




This trend extends beyond the realm of haute couture. Even fast fashion behemoth Uniqlo has recognised the value of cohesive creative direction, appointing Clare Waight Keller as its first creative director. This move underscores the growing understanding that a unified vision, guided by an experienced designer, can benefit an entire organisation across its myriad collections.


The industry's pivot towards design expertise comes at a crucial juncture. The Chinese market, long a reliable engine of growth for luxury brands, has shown signs of cooling. The era when European luxury houses could rely on logo-centric designs to drive sales in China appears to be waning. Chinese consumers, grappling with their own economic challenges, have become increasingly discerning in their luxury purchases. This evolving landscape demands a more nuanced approach to design and branding.


As the dust settles on this latest round of creative musical chairs, two distinct strategies are emerging in the fashion world. On one side are the "fashiontainment" brands, exemplified by Louis Vuitton's menswear line and Tommy Hilfiger, which prioritise spectacle and social media engagement. On the other are houses like Chloé and The Row, which have doubled down on craftsmanship and wearability.


Fashiontainment versus craftsmanship




In this context, Givenchy's choice of Sarah Burton – a designer renowned for her technical prowess and artistic vision – seems particularly telling. It suggests a bet on substance over spectacle, on the enduring appeal of expertly crafted garments rather than fleeting trends. As the industry navigates an increasingly complex global market, such a strategy may prove prescient.


The coming years will reveal whether this return to design fundamentals can reinvigorate brands like Givenchy and reignite consumer passion in key markets. What is clear, however, is that the luxury fashion industry is at an inflection point. The outcome of this shift towards "proper" designers could reshape the landscape for years to come.


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Amsterdam Fashion Week 2024: The highlights

Max Zara Sterck SS25 AFW 2024. Credits: Peter Stigter @teampeterstigter



The first week of September is over and with it Amsterdam Fashion Week 2024. In addition to numerous presentations, which often focused on the topic of upcycling, the program also offered many events open to the public. Some events were particularly memorable. We have summarized them for you here.


Martan's opening show despite stormy weather
The Amsterdam fashion label Martan opened the fashion week with the show "Tempest Tides" and presented a skilfully executed SS25 ready-to-wear collection. This included jackets, tops, trousers and accessories, all made from recycled materials. Particularly striking was the use of spinnaker sails, which were incorporated into both the set and the accessories.


Martan demonstrated his ability to innovate without consuming new resources. The show highlighted the upcycling expertise of designers Douwe Boer, Diek Pothoven and Eugénie Mulier and conveyed a strong message: "Why produce new material when we can dress another six generations with what already exists? Sustainability is no longer an option, but a necessity. This is the core of our company and I believe that every fashion brand should follow this path," said designer De Boer in an interview with FashionUnited after the show.


Studio Hagel opens its doors to AFW visitors




Studio Hagel, which celebrates its tenth anniversary next year, opened its doors to the public for the first time. For this special occasion, the studio was transformed. Various blocks wrapped in blue foil broke up the white space and served as an exhibition space for creations such as Nike sneakers with old swimming caps, shoes given a new look by the outline of an old vacuum cleaner hose and, of course, the popular Adidas Sambas wrapped in old cotton cloths.


Studio Hagel has been using the studio as a playground for almost ten years to develop shoe designs that are unrivalled. And that is exactly the goal: to use shoe techniques that have never been used before. For this reason, the shoes are often unwearable. But through collaborations with brands such as Off-White, Valentino and Asics, their work is gaining a lot of attention. The most important market for Studio Hagel is the USA, followed by South Korea and the Netherlands. The experimental shoe design studio took part in the AFW this year to increase its visibility in the Netherlands.


Studio Hagel. Credits: FashionUnited / Sylvana Lijbaart



The shoe wall, Studio Hagel and resulting collaborations. Credits: FashionUnited / Sylvana Lijbaart



Tess van Zalinge: Menswear, double looks and a collaboration with Nortvi




Tess van Zalinge's couture collection was presented in the industrial setting of Studio 3000 in Amsterdam-Noord. The Dutch designer teamed up with Dutch luggage brand Nortvi for this special collection. All garments were made from recycled materials from Nortvi suitcases and transformed into extraordinary two-piece creations.


The audience entered the show through the backstage area, giving them a glimpse into the heart of Van Zalinge's creative world. The models, including Jazz Ben Khalifa, Elois van Oranje and Stijn de Vries, stood in front of their own racks of clothes and were prepared for the show. Each look was showcased during the show as the models walked in zigzag lines through the white space.


Max Zara Sterck delights in the costume studio of the National Opera and the State Ballet




Designer Max Zara Sterck's love of dance was more than evident during her show on Thursday evening. The location - the costume studio of the National Opera & State Ballet - was the perfect place, both mysterious and functional.


The show was divided into different sections. It began with a unique piece of music, to which the designer herself recited a poem. To this piece, various soloists from the National Opera and the State Ballet moved in a hypnotic manner between the cutting tables in the studio. After an initial dance sequence, the first designs appeared on the catwalk. The first series of looks was followed by a second round of dancing - this time on the cutting tables. As the intensity of the dance increased, so did the intensity of the designs shown.


Among the designs, recognizable elements of Sterck's signature were visible. Many pieces were draped, had cut-outs or exposed areas, and were decorated with woven ribbons. Although not every piece was equally strong technically, the second half of the show was a highlight with its various suits that drew an asymmetrical silhouette. The denim versions in particular appeared modern, but also commercially promising.


The show ended with a live lecture by the designer, which evoked strong emotions in many viewers. When it comes to the art of performance, Max Zara Sterck knows how to capture the audience's attention.


Max Zara Sterck shows her collection “To Kali” at the Amsterdam Fashion Week. Credits: Team Peter Stigter



Max Zara Sterck shows her collection “To Kali” at the Amsterdam Fashion Week. Credits: Team Peter Stigter



Max Zara Sterck shows her collection “To Kali” at the Amsterdam Fashion Week. Credits: Team Peter Stigter



Max Zara Sterck shows her collection “To Kali” at the Amsterdam Fashion Week. Credits: Team Peter Stigter



Max Zara Sterck shows her collection “To Kali” at the Amsterdam Fashion Week. Credits: Team Peter Stigter



Yousra Razine Mahrah provides insights into Moroccan culture




Friday evening began with a show by Yousra Razine Mahrah, winner of the Lichting Award 2023. The audience was invited to the De Hallen Studios, where an intimate atmosphere had been created. The lighting bathed the hall in red light, while spectators filled the tiers around the catwalk. The scenery gave the room a warm feel, with fans being waved here and there.


When Mahrah presented her collection "Kabouda - for the culture", the red lighting changed to white so that the audience didn't miss a single detail of the beautiful garments. The creations showed different facets of Moroccan culture. One of the most impressive outfits was a sand-colored dress decorated with pearls. At the back, the designer played with volume by giving the dress a wing-like shape. Another model walked the runway with a replica of a Moroccan vase on her head. It was obvious that Mahrah captivated the audience, as cheers and applause could be heard throughout the show.


Denzel Veerkamp: Live music, dancing models and a serious message




Denzel Veerkamp showed on the last day of Amsterdam Fashion Week that his style of upcycling is not only sustainable, but can also be thought-provoking and entertaining. The Dutch-Surinamese designer was inspired by his recent visit to Suriname for his collection "Abrasei" (Dutch for "overseas"). What was striking about the collection was the unique combination of Afro-Surinamese fashion with Western influences, which was made exclusively from upcycled materials, such as the waterproof and robust fabric of the legendary "Ghana Must Go" bag. With this collection, Veerkamp told the story of the Afro-Surinamese diaspora, which has always made the best of every situation despite the challenges posed by the greed of other countries.


His debut show, held at Studio Weiman in Amsterdam-Noord, attracted a large audience despite the overlap with the popular Lichting show. Veerkamp uses fashion as a means of storytelling and uses his designs to draw attention to political issues that are still relevant today. During the show, this was powerfully underlined by a Dutch radio recording that talked about the arrival of Surinamese people in the Netherlands and the view that the Netherlands is "too crowded".


Despite the serious message, the show was full of energy and joie de vivre. With live music and a finale where the models danced down the runway, the mood was exuberant. The show was a joyful recognition of the daily struggle people face to improve their lives. Veerkamp showed off his skills by transforming each piece of clothing, including fabrics printed with the name "Gucci" and boxer shorts, into colorful, upcycled designs with Afro-Surinamese influences. Following the show, the evening ended with music, dancing and Surinamese food.


AFW debutant Johnny Blood celebrates one last time at the closed nightclub De School
Photography and filming were forbidden for the invited guests. Johnny Blood, debutant at the AFW, had the honor of closing Amsterdam Fashion Week. He held his show in a former nightclub, where he celebrated the evening for himself and the audience. What happens in De School, stays in De School.


The audience got this message and showed up in daring outfits - leather combined with dramatic make-up; everyone was ready for a night of dancing. The show took place in the basement, where white light illuminated the room while creating an intimate atmosphere. Johnny Blood is known for his clubwear, which focuses on upcycling vintage clothing and embroidery. The "Ephemeral" collection was inspired by the "underground club scene" and reflected the mix of people in the nightlife.


"Ephemeral" had an edgy, yet elegant look. The play of lines created by long fabric panels on the garments represented bondage. This was complemented by latex, often in combination with piercings, rivets and chains. The models walked through the audience with intense looks and at a fast pace to the hard beats of the music. The white creations, which went hand in hand with embroidery and transparent silk, created a certain lightness. When the "White Horse" walked through the audience as the last model and disappeared behind the curtain, there was thunderous applause - Johnny Blood had let his fans celebrate one last time in De School.


Johnny Blood during AFW 2024. Credits: Lonneke van der Palen for Johnny Blood



Johnny Blood during AFW 2024. Credits: Lonneke van der Palen for Johnny Blood



Johnny Blood during AFW 2024. Credits: Lonneke van der Palen for Johnny Blood



Johnny Blood during AFW 2024. Credits: Lonneke van der Palen for Johnny Blood



This article was written in collaboration of FashionUnited editors Caitlyn Terra, Susan Zijp and Sylvana Lijbaart and appeared on FashionUnited.nl.


It was translated using an AI tool called Gemini 1.5. .




FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@fashionunited.com


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UK economy stalls, dealing blow to new government

Credits: Image: FashionUnited



Britain's economy stalled again in July,
official data showed Wednesday, dealing a blow to the new Labour government
that has put growth expansion at the top of its priority list.


Gross domestic product showed zero growth in the reported month compared
with June, when output also flattened, the Office for National Statistics
(ONS) said in a statement.


Analysts had predicted a slight uplift in growth for July, while previous
data showed the UK economy grew at a slightly slower pace in the second
quarter compared with the first.


Prime Minister Keir Starmer's Labour government won power at the start of
July, ending 14 years of Conservative rule.


"I am under no illusion about the scale of the challenge we face and I will
be honest with the British people that change will not happen overnight,"
finance minister Rachel Reeves said in response to Wednesday's data.


"Two quarters of positive economic growth does not make up for fourteen
years of stagnation.


"That is why we are taking the long-term decisions now to fix the
foundations of our economy," she added in a statement.


The new government was boosted overnight, however, by news that US tech
giant Amazon is to invest £8 billion (10.5 billion dollars) in Britain over the next
five years, creating thousands of jobs via its web services arm
"We are taking the long-term decisions now to fix the foundations of our
economy, including today's announcement... from Amazon Web Services, that will
help rebuild Britain and make every part of the country better off," Reeves
added.


The investment -- to build, operate and maintain data centres in the UK --
could contribute 14 billion pounds to the country's GDP and support more than 14,000
jobs annually across the supply chain, Amazon said.(AFP)


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French Connection plans store openings amid new Very deal

Credits: French Connection



French Connection is growing its reach both online and in the retail world. The British retailer has secured a new deal with e-commerce platform Very, on which it is set to launch as part of a continued UK expansion.


The company is also preparing to open “four to five” stores by the end of 2024, adding to its current 19-strong retail network in the UK, according to Drapers, which initially reported the news.


Through the Very partnership, French Connection’s autumn/winter 2024 womenswear collection will be introduced to the Very platform, while a wholesale collaboration will further expand into the inclusion of menswear, beginning in the spring/summer 2025 season.


In regards to the news of new store openings, the plan to open more stores was confirmed to Drapers by DTC managing director Simon Donoghue, who told the media platform that these openings exceeded initial plans to add five new locations to its physical retail portfolio this year. The impending openings will include both full-price and outlet stores.


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Eyewear player Inspecs reports revenue decline

Botaniq SS25 Credits: Facebook/Inspecs



Inspecs Group, a designer, manufacturer, and distributor of eyewear reported a revenue decline of 7.3 percent to 103 million pounds. On a constant exchange basis, revenue decreased by 5.2 percent to 105.4 million pounds.


Gross profit for the period improved by 100 basis points to 52.4 percent, while underlying EBITDA decreased to 10.1 million pounds and diluted underlying EPS to 2.72 pence.


Commenting on the first half financial update, Richard Peck, CEO of Inspecs, said in a statement: "The group has made steady progress during the period, with significantly improved gross profit margins delivered across all divisions and strong cash generation. We have achieved sustainable cost savings through the ongoing implementation of operational efficiencies, particularly in the US, and we will continue to undertake further initiatives during the second half.”


"Trading in the second half to date has exceeded the prior year and our order books are ahead of last year as of the end of August. Whilst we remain cautious in relation to market conditions and focused on the delivery of our cost saving initiatives and planned shipments in Q4, the board is confident in meeting market expectations for the full year," added Peck.


During the period under review, Inspecs launched an eyewear brand into all stores of a major global retailer. The company also added two retail chains in the US and an optical retailer in Canada as distributing partners.


Travel revenue increased by 45 percent during the first half driven by continued push into key global outlets, while lenses segment revenues rose by 25 percent.


The company also completed the construction of the new Vietnam manufacturing facility and integrated Inspecs USA.


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Umar Kanami announces return to PrettyLittleThing

PLT Label Credits: PrettyLittleThing



PrettyLittleThing founder and former chief executive Umar Kamani has announced his return to the e-tailer on social media, vowing to put the needs of its customers first.


Posting on Instagram and X, formerly known as Twitter, Kamani said: “I’m writing to you today with both excitement and heartfelt determination as I announce my return to PrettyLittleThing.


“Over the past few years, I’ve watched from the sidelines as the brand we built together has, at times, lost touch with what made it so special—you, our loyal customers. This has driven me to step back in and take on the responsibility of steering PrettyLittleThing forward, putting your needs and desires at the forefront of every decision we make."


Kamani, who stepped down as chief executive of the fast fashion chain in April 2023, went on to promise that his return to the business would mean the reintroduction of free returns for the e-tailer’s “royalty customers,” as he believes it is vital to make the shopping experience “more seamless and enjoyable”.


PrettyLittleThing started charging a 1.99-pound fee for returns in June, a policy that also applies to PLT's royalty scheme members, who pay 9.99 pounds a year for unlimited deliveries in the UK.


Kamani added: "I sincerely apologise for any negative experiences you may have encountered during my absence. I take full responsibility from this moment on, and I am committed to making sure your experiences with us are nothing short of exceptional moving forward.


“Thank you for your continued support and for giving me the opportunity to guide PrettyLittleThing into its next exciting chapter. I won’t let you down. We’ve always been one big PLT family and now we will be stronger than ever.”


Kamani didn’t reveal his official job title.


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Golden Goose achieves strong first half results

Haus in Marghera, Italy Credits: Golden Goose



First half net revenues at Golden Goose of 307 million euros, were up 12 percent, while DTC revenues increased by 18 percent, accounting for 73 percent of net revenues, delivering on the company’s DTC expansion strategy.


Adjusted EBITDA for the period increased by 12 percent to 109.2 million euros, while adjusted EBIT of 80.5 million euros, was up 9 percent versus the first half of 2023.


Commenting on the strong first half results, Silvio Campara, chief executive officer of Golden Goose Group, said in a statement: “As we continue to expand our direct-to-consumer channel, enhancing our product offerings, and to foster deeper connections with our young, passionate and engaged community, I am incredibly proud of our Golden Family for their dedication and passion, which drive our ongoing success.”


The company’s DTC growth was driven by a combination of new openings and positive like-for-like performance. The company’s DOS network consists of 200 stores including new openings in Mexico City, Bangkok, Kuala Lumpur and Rome.


The wholesale channel achieved net revenues of 74.6 million euros, accounting for 24 percent of total net revenues in the period. This represented a 5 percent decline year-on-year. In terms of geographies, EMEA accounted for 48 percent of net revenues in the period, Americas accounted for 38 percent, and APAC accounted for 14 percent.


Golden Goose launched a new handbag collection in Neiman Marcus, Dallas in April 2024 and extended the co-creation approach to the category. Handbags are currently available in more than 20 Golden Goose stores and on the Golden Goose website.


The company also launched a new Younique hybrid format, which combines a café and a retail store, marking the expansion of the brand’s co-creation experience. Younique cafés are currently located in Bangkok, Nanjing, Seoul, and Xiamen.


During the period under review, Golden Goose opened Haus in Marghera, Italy, housing an academy for the sneaker makers, a space dedicated to product innovation, an archive to protect the company’s history and an exhibit area combining multiple disciplines and backgrounds.


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Target to launch exclusive Cuddle Collab Pet Apparel

Credits: Target.



Monday, Target Corp. (TGT) announced the
launch of 'The Cuddle Collab,' its inaugural exclusive collection for
pets and their owners, set to debut on September 21, 2024.


This collection includes over 180 items inspired by six popular
social media pet influencers dubbed 'fur-fluencers,' with prices
beginning at 3 dollars.


The product range encompasses matching accessories for pets and
humans, home décor, toys, treats, clothing, and accessories.


To celebrate the launch, Target will host in-store events and
giveaways, introduce a reality-style social series titled 'The Pets
of Tarjay', and execute a national advertising campaign featuring
Bullseye and other pets at a Target store.


Customers can view the Cuddle Collab lookbook on Target.com or
through the Target app to browse and save items ahead of the
collection's availability in nearly 2,000 locations and online
starting on September 21.(DPA)


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Peter Wertmann wins Lichting 2024 with graduate collection ‘Lost Product of Society’

Peter Wertmann wins Lichting 2024. Credits: FashionUnited / Sylvana Lijbaart



Peter Wertmann is the winner of Lichting 2024, the design competition of the Netherlands’ up-and-coming fashion talent. The announcement was made on Friday evening after the annual Lichting show at Amsterdam Fashion Week (AFW), held in an intimate space at De Hallen Studio’s in Amsterdam.


During the show, ten emerging fashion designers presented their creations, including seven selected alumni from Dutch fashion academies and three alumni who participated through an open call.


Wertmann graduated from the Royal Academy of Art in The Hague. His collection, ‘Lost product of society’, transports the audience into the cold. The collection reflects the essence of Arctic and Antarctic exploration, fused with the freedom of growing up in the Swiss Alps and the structure of military experience. Garments with ice and rock-like forms are prominent. The disciplined, restricted life is depicted through ropes encircling the models.


The jury announced the winner immediately after the show. Wertmann takes home the Lichting Award, worth 10,000 euros.


This year's Dutch jury consists of Ahmad Larnes, Anke de Jong, Ronald van der Kemp, and Tess van Zalinge. The international jury comprises Meike van Lelyveld, Marlo Saalmink, Gert Jonkers, and Faye Mitchell.


Peter Wertmann wins Lichting 2024




Since 2022, Lichting has incorporated an open call. Graduates who are not selected by an academy or other institution can apply through this route. Three are then selected and, along with seven designers chosen by the academies, invited to showcase their work to the jury. A total of 25 graduates are selected by Lichting, ten of whom make it to the final.


Lichting is an initiative of Amsterdam Fashion Week and HTNK International and is supported by, among others, the Meester Koetsier Foundation. During Lichting, ten talented graduates from Dutch fashion academies present their work. The aim of Lichting is to provide promising designers with a springboard towards a viable career.

Previous winners of the Lichting competition:
* 2016: Danial Aitouganov

* 2019: Dylan Westerweel

* 2022: Ruben Jurriën

* 2023:Yousra Razine Mahrah


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Molly-Mae Hague teases new fashion brand

Screenshot from maebe.co.uk holding page Credits: Maebe



Love Island reality TV star and former PrettyLittleThing creative director Molly-Mae Hague has teased the launch of her new fashion venture ‘Maebe’ on social media.


Hague, who also has a fake tan brand Filter, launched a new social media account for ‘Maebe’ on Instagram, with one teaser video where the influencer is seen taking part in a photo shoot where she is asked “have you ever thought about launching a fashion brand,” to which Hague responds, “maybe”.


‘Maebe’ is described as a "contemporary womenswear brand,” which the influencer states has been a dream for the last two years.


The fashion brand will launch at 7pm on September 29 via its own online direct-to-consumer website at maebe.co.uk. Fans are being asked to sign up ahead of the launch so they can shop the collection as soon as it drops.


Further details about the brand and debut collection will be revealed in the coming weeks. The only information seen on the teaser and website is Hague wearing contemporary wide-leg trousers with a white top and an oversized blazer, alongside the tagline “elevate your everyday”.


Hague was previously PLT’s UK and EU creative director, appointed to the role in August 2021 after collaborating with the brand for several years. The TV personality and influencer designed collections for the online retailer, starring in campaigns, and helped them launch initiatives such as PLT Marketplace to sell pre-loved garments. She stepped down from the position in June 2023 to focus on raising her daughter Bambi, born January 2023.


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Instagram Top 100 Fashion brands Index

Creating the most effective and engaging social media strategy continues to be a complex challenge for fashion brands around the world. Amidst the rapid evolution of social media platforms, Instagram remains a central focus for many brands, retailers, and designers striving to expand their presence and cultivate a loyal following. Although TikTok has garnered significant attention for its explosive growth, especially among the younger Generation Z demographic, Instagram maintains a pivotal grip within the global fashion industry, serving as a well-established platform that drives trends and shapes consumer behavior with considerable influence.


Instagram’s focus on visual storytelling, curated content, and its diverse range of features, such as ‘stories’, ‘reels’ and shopping integrations, make it an indispensable tool for brands looking to connect with their audiences meaningfully. By leveraging Instagram’s vast reach and its ability to curate visually stunning content, brands can not only showcase their latest collections but also engage with consumers on a deeper level, reinforcing their identity and influence within the fashion landscape.


In order to shine a light on some of the most significant trends and developments in how brands are using social media, FashionUnited has introduced its own Fashion Popularity Index listing the top fashion brands on Instagram.


Nike tops the list with a staggering 304 million followers on Instagram and is an exception in the index. Appealing to a slightly older, affluent demographic that appreciates polished aesthetics and aspirational lifestyles, it should come as no surprise that the next most popular brand on Instagram is millennial favorite Victoria’s Secret. With 76 million followers on Instagram, Victoria’s Secret has witnessed a strong comeback in consumer popularity following a controversial period in 2018 when its annual fashion show was canceled. Maintaining a steady following on Instagram since 2015, this is in part due to its consistent strategy, which offers its social media followers exclusive updates, behind-the-scenes looks, and benefits. Creating a sense of personal engagement, followers feel as though Victoria’s Secret is directly inviting them to connect with the brand and its many celebrity influencers, significantly strengthening customer loyalty. The third most popular brand on Instagram is Spanish fast fashion giant Zara, with 62 million followers. Zara’s social media approach focuses on delivering high-quality visual content, providing timely announcements about new collections, and showcasing its latest cutting-edge fashion trends. Additionally, the brand strategically partners with influencers to broaden its reach and connect with a larger audience.


The forth most popular brand on Instagram is French luxury fashion house Chanel, with 59.9 million followers, closely followed by none other than Louis Vuitton in fifth place with 55.5 million followers, and Italian luxury brand Gucci, with 52 million followers in sixth. According to FashionUnited’s research, five of Instagram’s ten most popular brands are luxury brands, highlighting the platform’s growing significance within the high-end fashion market. Luxury brands are increasingly turning to Instagram as a leading channel to connect with diverse audiences and are implementing successful marketing campaigns through refined social media strategies. Leading fashion houses like Chanel, Louis Vuitton, and Gucci have solidified their presence on the platform through visually stunning campaigns and exclusive product launches. Leveraging varied content formats on the platform, like ‘stories’ and ‘reels’ with trending music, has further helped these brands facilitate real-time interaction with followers, fostering a sense of exclusivity and immediacy. Luxury brands are also increasingly utilizing Instagram’s shopping features to guide their followers from content discovery to purchase. Dior, for instance, the sixth most popular brand on Instagram with 46.4 million followers, diligently curates its Instagram page with visually captivating editorial campaigns that integrate direct shopping links, allowing followers to buy products straight from their feed. Enhancing its page visual appeal, this strategy also promotes a “see now, buy now” effect, encouraging immediate purchases and boosting the brand’s overall appeal. FashionUnited's Fashion Popularity Index measures online popularity and offers insights that partially reflect these companies; market value and revenue.


The Index is regularly updated, with FashionUnited consistently adding more fashion brands to create a comprehensive top 1000 list. Moreover, FashionUnited will closely monitor and report on the social media campaigns and other digital initiatives of the brands included in this Index.


Instagram Top Fashion brands Credits: FashionUnited


See the full list of top fashion brands on Instagram here >>


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Givenchy ropes in Sarah Burton as creative director

Sarah Burton, creative director, Givenchy Credits: Givenchy

LVMH-owned Givenchy has appointed British designer Sarah Burton as creative director, with immediate effect. She will present her first collection in March 2025.


Burton, the company said in a statement, will be responsible for the creative direction of all of the maison’s women's and men's collections.


Commenting on her new role at Givenchy, Burton said: “I am so excited to be able to write the next chapter in the story of this iconic house and to bring to Givenchy my own vision, sensibility and beliefs.”


The spring/summer 2024 collection was Burton’s last show for Alexander McQueen, where she spent over two decades of her career with 13 years as its creative director.


“Sarah Burton’s unique vision and approach to fashion will be invaluable to this iconic Maison, known for its audacity and haute couture. I am convinced that her creative leadership will contribute to the future success and international standing of the maison,” added Sidney Toledano, chairman of the Givenchy board.


Alessandro Valenti, CEO of Givenchy further said: "Her remarkable career path and creative vision have already won her a vast fan base, and we are certain that under her direction, Givenchy will continue to innovate and captivate an extensive audience across the world stage.”


Givenchy’s former creative director Matthew Williams stepped down in January 2024 after three years in the role.


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Zumiez cuts Q2 loss, comparable sales increase by 3.6 percent

Zumiez Credits: Zumiez/Facebook



Zumiez net sales for the second quarter increased 8.1 percent to 210.2 million dollars and comparable sales increased 3.6 percent. The company’s net loss for the quarter reduced to 0.8 million dollars or 4 cents per share.


Total net sales for the six months increased by 2.7 percent to 387.6 million dollars and comparable sales increased 0.8 percent. Net loss for the period contracted to 17.6 million dollars or 91 cents per share.


Commenting on the trading results, Rick Brooks, chief executive officer of Zumiez Inc., said in a release: “We experienced a noticeable acceleration in our sales trend as the second quarter unfolded, with July North America comparable sales increasing in the high-single digits. With back-to-school a good indicator for holiday demand in the past, we are encouraged about our prospects for growth over the remainder of fiscal 2024.”


The company’s third quarter-to-date net sales increased by 6.8 percent, while comparable were up 12.1 percent. Zumiez projects net sales to be in the range of 221 to 225 million dollars representing growth of between 2 percent and 4 percent from the third quarter in the prior year. Adjusting for the impact of the calendar shift, net sales are expected to grow between 7 percent and 9 percent compared to the same weeks in the prior year.


Consolidated operating margins are expected to be between 0.2 percent and 1.2 percent with earnings per share results between a loss of 4 cents and income of 6 cents.


The company currently intends to open approximately nine new stores in fiscal 2024, including up to three stores in North America, three stores in Europe and three stores in Australia and close approximately 25 stores by the end of the year.


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