Converse All Stars Programme expanded to embrace change

Converse has been growing, engaging and building with a group of more than 3,000 individuals from more than 27 countries to shape the future of Converse on its social and digital platforms. The Converse All Stars Programme has expanded to facilitate a community focused ecosystem of mentorship, commission and funding, according to the Nike website. A film was created by the All Star Community to represent the pursuit of progress, it was written by Ifeoma “Ify” White-Thorpe under the mentorship of Issa Rae with original music by James and Phillip Mathew under the mentorship of Tyler, the creator, and directed by first-generation, Mexican-American writer and director Leo Aguirre. Source: Converse via YouTube Photo credit: Nike website
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LFW: What a catwalk show looks like during a pandemic

Fashion week during a global pandemic is a little surreal. In an instant, a five-day London Fashion Week schedule, usually packed with back-to-back catwalk shows and presentations, is literally just a handful life events to accommodate social-distancing and ensuring Covid-19 safety. While most have opted for a digital viewing of their spring/summer 2020 collections, there are a few designers who are putting on a traditional catwalk show, the first of which was Bora Aksu, who opened day two of London Fashion Week with his signature ethereal silk tulles and frills. A catwalk show during a global pandemic is a little different. First off, there were less than 30 guests invited to see the collection. Each editor was led through the doors of St Paul’s Church, in the heart of London’s Covent Garden, to the beautiful courtyard gardens where we were shown to our quintessentially English park bench. Mine was in memory of Eva Harbert, described as a “remarkable and respected lady,” which felt fitting as Bora Aksu’s collection was a celebration of women. While in past seasons, there probably would have been four or five editors crammed onto one bench, it felt very luxurious, each editor had their own bench and told to sit in the centre to assure maximum social distance from their neighbours. It felt strange, waiting for the show to start and looking down the catwalk at just a handful of an audience. There was none of the usual catwalk mingling, the rush of people trying to find their seats or the usual celeb spotting. Instead, editors were seen waving at one another, smiles hidden behind masks, waiting for the music to start. On each bench, Bora Aksu also provided his guests with a Covid-19 ready goodie bag, with a neon-infused face mask, hand sanitiser, and a vitamin drink to boost your immune system. When I asked Bora Aksu why it was important to do a physical showcase under these extreme circumstances, he stated: “I think after being isolated for so long and not being able to interact with each other, it was very important for me to do a physical show during LFW in a totally new way. "The old ways of operating and communicating in fashion seems so far away that we are now discovering more intimate ways to communicate and be more inclusive. Being creative is something that I feel we shouldn't compromise as creativity is a way to bring light into our world.” Bora Aksu takes inspiration from nurses treating the 1918 flu pandemic for SS21 The designer was also keen to express that while creativity is important, he also made sure that practical measures were put in place to ensure the catwalk event was Covid-19 secure, from showcasing outdoors with social distancing measures to working with the British Fashion Council on risk assessments backstage to keep staff and models safe. If there was any pressure on the Turkish designer on hosting London’s first catwalk show since lockdown you wouldn’t know it, as model after model floated through the churchyard in their nostalgic ruffle-edged tulle dresses. The spring/summer 2021 collection was an ode to nurses, not the current key workers dealing with coronavirus, but those from 1918, who faced the Spanish flu pandemic following World War I. A time the designer describes as “a time of contrast, conflict, and tension, followed by victory and prosperity”. The opening looks were starched whites, a reinvention of the white nurse uniform with tiered skirts and frilled sleeves, with embroidered hearts and doves displayed as armbands, on the front of apron-style layers, and on the collars. This was followed by a flurry of ethereal silk tulles and transparent silk organza dresses in frosted pink and blue pastels inspired by the 1920s flapper dress, which were offset by prints, lace, and embroideries specially designed for the collection. Alongside tailored suits and trench coats. Each model also wore a sheer organza face masks, a nod to this year’s biggest accessory. While the thin gauze wouldn’t offer much protection against Covid, this is fashion week, instead, it highlighted the bold lipstick underneath, from hot pink to blue to represent the rebellious trends of the 1920s. While for some digital prospects offer innovation and a different point of view to showcase their creativity, the traditional catwalk still remains the focal point of any fashion week. For Bora Aksu, the catwalk is still a special experience, with the designer adding: “I think it's important for designers to be able to bring hope and creativity into these challenging times. I always worked with emotions and even my design process is always based on emotions. "The last couple of months were one of the most challenging times for me as we all have to communicate with each other through screens/zoom meetings. I feel that having this exclusive show brings that intimacy we have been so longing for. This show was a way for me to show that we can dream and we can imagine.” Images: courtesy of Bora Aksu by Chris Yates
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Covid-19 pandemic further hits Superdry’s revenue and profit

Group revenue at Superdry fell by 19.2 percent year-on-year to 704.4 million pounds (904.3 million dollars), which the company said, was driven by a decline in both divisions, with retail declining 18.2 percent and wholesale declining by 20.7 percent. The group’s statutory loss after tax for the year was 143.4 million pounds compared to a 101.7 million pounds loss in 2019, while pretax loss reached 166.9 million pounds (215.6 million dollars) for the year ended April 25 compared with a loss of 89.3 million pounds in fiscal 2019. Commenting on the company’s annual results, Julian Dunkerton, the company’s Founder and Chief Executive Officer, said in a statement: “As with all retailers, we have experienced significant disruption to our operations, and this has inevitably had an impact on our FY20 results. While our underlying profit has been impacted by trading performance during the year, including Covid-19 related store closures, I am particularly pleased by how strongly ecommerce has performed, with FY21 first quarter revenues nearly doubling year-on-year.” Review of Superdry’s annual performance The company further said that in the second half, trading declined 26.6 percent year-on-year, largely due to Covid-19 forced store closures, where the entire estate was closed for five weeks, reducing demand given the general uncertainty in the global economy, affecting all the markets. Prior to the impact of Covid-19 in Week 46, which is when Superdry first saw store closures in Italy, group revenue was down 12.7 percent, declining 71 percent in the remaining six weeks of the year as the pandemic disrupted all areas of the business. Revenues in the company-owned store declined by 22.7 percent and ecommerce declined 8 percent, which resulted in the retail division delivering revenue of 438.8 million pounds, down 18.2 percent year-on-year. The company said, retail store performance was affected by 0.6 percent space decline in the year, closing seven unprofitable stores to finish the year with 241 owned stores across the UK, Europe and the USA. Like-for-like (LFL) store sales saw a decline of 14.4 percent, following a decline of 9.6 percent in FY19. Superdry added that performance in the company’s largest market, the UK and ROI, saw revenues decline 18.3 percent, predominantly due to the return to a full price trading stance impacting the first 10 months of the year, followed by the unprecedented impact of Covid-19, impacting both store and online trading. Wholesale revenue of 265.6 million pounds was down 20.7 percent. Wholesale partners with store operations faced the same closures as company-owned retail stores, with a greater proportion of revenues coming from Europe contributing to the adverse impact of Covid-19. Superdry updates on current trading and outlook The company said that trading continues to be disrupted, but has improved from the end of FY20 as social distancing measures are relaxed and consumer demand gradually returns. In the balance of the year, Superdry anticipates an improvement in store trading from current levels, though expect LFLs to remain negative on a FY basis, given the pressure on consumer demand and uncertainty relating to any disruption from Covid-19, even considering the comparable trading in March and April when stores were temporarily shut, wholesale sales to see some improvement from current trading levels through in-season sales, with franchise store LFLs in Europe recovering strongly, and normalisation of Spring/Summer forward order shipment timing. The company expects gross margin impacted by a number of dynamics, with a heavily discounted promotional stance to clear excess stock and generate cash, negatively impacting full price mix year to date, but partially offset by the unwind of FY20 non-trading headwinds. Picture:Facebook/Superdry
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Instagram dog Boobie Billie launches luxury brand

With over 250,000 followers on Instagram, this six pound Italian greyhound-chihuahua mix has just launched her own fashion collection, for people. Boobie Billie the fashionable dog, or known to her followers as BB, first started her Instagram page in 2019. There were two items released in the launch, the Boobie bags and the Boobushka in four prints: boobie’s tooth (lilac and white gingham design), butter (red lettered ‘butter’ on a pale yellow backing), cow cow, and pickled zebra. The vegan leather mini bags (90 percent PVC, 5 percent polly and 5 percent cotton), created in Canada (Toronto), are priced at 270 dollars and the silk scarves are 100 percent silk, screen-printed in China and are 80 dollars, according to the Boobie World website. They are available now on the Boobie World website. Photo Credit: Boobie World website
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Fall Beauty Routines Around the World

A photo posted by Wellington New Zealand (@wellington_newzealand) on Aug 17, 2016 at 7:17pm PDT Here in Canada, we often associate fall with stunning colours as the leaves turn; pumpkin-flavoured everything and, the return of layers (and more layers) as temperatures begin to drop. For us Canadians this can mean anything from frosty gusts of wind... Read more »
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Fashion East to showcase films for SS21

Fashion East is marking its 20th anniversary this weekend at London Fashion Week. The talent incubator will be celebrating its four designers through virtual film premieres in lieu of a physical catwalk show. This season will see designers Saul Nash, Nensi Dojaka, and Goomheo joined by newcomer Maximilian Davis, a womenswear designer who has gained experience with Wales Bonner and ASAI. Taking place on September 20 at 6.30pm GMT, Fashion East’s designer line-up will each present their spring/summer 2021 collections with a film. Commenting on the past two decades of Fashion East, founder Lulu Kennedy, said in a statement: “Looking back over twenty years of helping London’s best designers is wild! I’m incredibly grateful I’ve been able to do what I love doing best. I wouldn’t change a thing." “It is an honour to get to work with and present these four fabulous talents this season. I am in awe of their visions, creativity, optimism, and the resilience they have shown throughout these difficult circumstances.” September 2020 marks twenty years since Kennedy staged her first multi-designer talent showcase. Since then, Fashion East has launched the careers of 144 designers and brands, including Art School, Ashley Williams, Bobby Abley, Charles Jeffrey Loverboy, Craig Green, Holly Fulton, James Long, Kit Neale, Matty Bovan, Richard Nicoll, and Simone Rocha. Image: courtesy of Fashion East
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Eco-responsibility fashion trend confirmed by consumers in recent study

Despite the global Covid-19 crisis, fashion remains a consumption driver for shoppers in Europe, with a focus on eco-responsibility and local production. But, ‘revenge shopping’ remains high among the public which may threaten this sustainable objective. Here are the main findings of a study conducted by the IFM-Première Vision Chair, led by Gildas Minvielle, head of the IFM (Institut Français de la Mode) Economic Observatory, on post-Covid fashion markets in Europe, presented as part of the "Digital Talks of Première Vision". Nearly half of all European respondents ranked ecological matters as the most important factor in choosing and purchasing a product, while 58.5 percent prefer local production. ‘Revenge shopping’ phenomenon With global uncertainty ongoing, 42 percent of women and 30.4 percent of men expect a reduction in their spending. While 13.7 percent of women and 17.1 percent of men anticipate an increase in their fashion buying. 88.9 percent of consumers questioned for the survey indicate being driven by ‘revenge shopping’, to make up for time lost during corona restrictions. Europeans are interested in purchasing timeless products (83.7 percent) and nearly half of them (47.3 percent) want more expensive, but quality items. This desire could align with the trend of more thoughtful consumption, according to the research. Following eco-responsibility, material is the driving force Eco-responsible products are experiencing a huge increase in popularity among consumers polled for this particular research, 64.1 percent of Europeans (66.1 percent of the French and 76.2 percent of Italians) want to buy items from eco-responsible materials, and 30.1 percent are willing to spend more for them. Among 18-34 year-olds, the percentage is even higher with 73.1 percent of Europeans wanting to buy from sustainable materials. 41.8 percent of Europeans refer to eco-responsible materials (new fibres, organic or recycled) as the driving force behind eco-friendly purchases, especially UK (43.8 percent) and Germany (45.6 percent) consumers. This interest is shared by all young people in various European countries, and it could suggest that materials are linked to global health concerns, according to this study. Among the 18-34 year-olds who do not plan to buy eco- friendly fashion, pricing remains a significant obstacle as 61.8 percent say they are waiting for more affordable prices and sales. The second-hand market has increased in popularity in recent times, with 30.8 percent of Europeans and 43.3 percent of young people wanting to do so. Traceability and ‘made in’ matters to consumers European consumers are highly in favour of making production location labels mandatory, this would require the adoption of a European directive for all member countries. In Italy, 73.5 percent of respondents pay attention to the manufacturing label and in France 63.5 percent of people do so. This makes sense as they are both countries with a long manufacturing tradition. However, this is less important for people in Germany and the UK, as they are major clothing importers. ’Green’ shopping trend confirmed Consumers favour a more thoughtful consumption, but they still remain attached to purchasing fashion items. Whether this is due to Covid-19, the outlook may continue to turn out positive once confidence is restored among the public. Material is the driving force in the purchasing of eco-friendly fashion products, and the call for transparency opens up opportunities for many countries. 18-34 year-olds are the most willing to defend more thoughtful consumption. Photo Credit: Première Vision
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BFC announces Diversity and Inclusion Steering Committee

The British Fashion Council has announced the launch of its Diversity and Inclusion Steering Committee as part of its “long-term plan to fight prejudice and discrimination and galvanise the industry into action”. The committee is made up of industry and British Fashion Council representatives and its role will be to address "key challenges facing minority communities in gaining fair representation” in fashion. The priority work of the committee will be to “stamp out racism,” explained the British Fashion Council in a statement, as well as address the "specific challenges each minority community faces within the fashion industry”. The committee will work as part of the Institute of Positive Fashion (IPF) to ensure accountability and best practice for all fashion businesses and will operate alongside the wider British Fashion Council team to address existing programmes. Ahead of London Fashion Week, which kicks off today, September 17, the committee issued its mission statement: “The Diversity and Inclusion Steering Committee aspires for the fashion industry to be open for all and reflect the diverse, global communities it inspires and serves. “The Committee aims to reach this ambition by bringing together leaders in business, culture and education to create a framework which will build better, broader engagement and access for all under-represented groups; creating more opportunities and driving greater diversity throughout the industry. “Its ambition is to create true equity, increase diversity and inclusion and provide a platform to role models who will inspire future generations.” British Fashion Council to fight prejudice and discriminations with new steering committee In year one, the committee has set itself three tasks, including the creation of a diversity and inclusion framework for fashion businesses of all sizes to implement to reach global leading standards. The British Fashion Council added that it will support businesses by providing practical advice and toolkits to ensure organisations can create change and measure their successes. In addition, it will ensure development programmes “are fair and equitable for all”. With the British Fashion Council stating that they will review all its current programmes, from scholarships to fashion weeks, as well as look at Talent ID programmes and networks to ensure that “diverse perspectives and voices are heard during selection processes”. The final task is to create inclusive cultures. The committee explained that the need for inclusive representation has never been higher and the British Fashion Council will challenge and address racism, prejudice and biases. The fashion organisation will also promote allyship by providing toolkits that will support both businesses and individuals and address barriers to entry and career progression for underrepresented groups and, specifically, support the development of resources to recognise the influence of black culture on the fashion industry. The Diversity and Inclusion Steering Committee is made up of industry and BFC representatives including Andrew Ibi, designer/artist/educator; Barbara Kennedy-Brown, founder, The Fashion Minority Alliance; Burberry; British Fashion Council; Chinazo Ufodiama, brand and communications consultant; Dal Chodha, editor and writer; Daniel Comrie, senior creative agent, Elite; Daniel Peters, founder, The Fashion Minority; Jaye Thompson, senior director global PR, Tiffany and Co.; June Sarpong, director of creative diversity, BBC; Karen Binns, stylist; Kenya Hunt, fashion director, Grazia; Lynda Petherick, head of retail, Accenture; Nina Goswami, creative diversity lead, BBC; Osman Yousefzada, creative director, Osman London; Priya Ahluwalia, creative director, Ahluwalia; Sheena Sauvaire, chief marketing officer, Net-A-Porter; Sinead Burke, activist; Toni-Blaze Ibekwe, editor-in-chief, Wonderland; Zadrian Smith, international fashion director. This is the latest move from the British Fashion Council to fight prejudice and discrimination, as part of its pledge in June to “double” its effort to tackle systemic racism within the fashion industry, following the Black Lives Matter protests. Since June, the British Fashion Council notes that it has appointed three new non-executive directors to its executive board, including June Sarpong, director of creative diversity at the BBC, as well as introduce diversity monitoring of initiatives and business support programmes, and host fortnightly calls with the Black, Asian and Minority Ethnic fashion community while developing its Diversity and Inclusion Steering Committee. Image: courtesy of British Fashion Council - London Fashion Week
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Salvatore Ferragamo posts sharp decline in turnover and profit

As of June 30, 2020, the Salvatore Ferragamo Group reported revenues of 377 million euros down 46.6 percent at current exchange and 46.9 percent at constant exchange rate. Revenues in the second quarter registered a 60.1 percent decrease at current exchange and 59.4 percent at constant exchange rates. The company said in a statement that the drop in revenues has been determined by the rapid diffusion of the pandemic caused by Covid-19. In the first half, the company’s gross profit decreased by 50.5 percent to 226 million euros. Its incidence on revenues was down 480 basis points, moving to 60.0 percent, from 64.8 percent of 1H 2019. The gross operating profit (EBITDA) decreased by 83.9 percent over the period to 30 million euros, while operating profit (EBIT) was negative at 74 million euros vs. 94 million euros positive in 1H 2019. The company said that pre-tax profit was negative for 93 million euros vs. 79 million euros positive last year, net profit was negative 86 million euros vs. 60 million euros positive in 1H 2019, while the group net profit was negative 82 million euros against 58 million euros positive in 1H 2019. Salvatore Ferragamo’s retail and wholesale channels posts sharp sales decline At the first half period, the group’s retail network counted on 643 points of sales, including 389 directly operated stores and 254 third party operated stores in the wholesale and travel retail channel, as well as the presence in department stores and high-level multi-brand specialty stores. In the first half, the retail distribution channel posted consolidated revenues down 41 percent or 41.1 percent at constant exchange rates, with a decrease of 41 percent at constant exchange rates and like-for-like. In the second quarter, retail revenues decreased 51.2 percent or 50.7 percent at constant exchange, with a 51 percent like-for-like performance. The wholesale channel registered a decrease in revenues of 56.4 percent or 56.8 percent at constant exchange rates penalized by the performance of the travel retail channel and of fragrances. In the second quarter, wholesale revenues were down 75.7 percent or 74.4 percent at constant exchange rates. Salvatore Ferragamo’s performance across geographies The company added that Asia Pacific area confirmed as the group’s top market, reaching over 44 percent of total revenues, decreased by 39.9 percent or 39.1 percent at constant exchange rates. The second quarter performance in the area showing 35.3 percent drop at constant exchange, recovered vs. the previous quarter, benefitted from the positive performance of the retail channel in China, which recorded a revenue growth of 11.6 percent at constant exchange rates. The company further said that a similar growth trend has been registered, in the second quarter, in the retail channel in South Korea, that reported a positive performance in 1H 2020. Ferragamo said, the Japanese market registered a 37.4 percent decrease in revenues or 39.3 percent at constant exchange in the first half, with second quarter sales down 56.1 percent or 58.4 percent at constant exchange rates penalized by the stores closures in the period. EMEA posted, in 1H 2020, a decrease in revenues of 51.7 percent or 51.2 percent at constant exchange, with second quarter sales down 71.9 percent at constant exchange strongly impacted by the stores closures and the lack of tourists’ flows in the period. North America recorded a revenue decrease of 54.4 percent or 57.8 percent at constant exchange in the first half, with second quarter revenues down 81.1 percent or 83.2 percent at constant exchange rates, while revenues in the Central and South America in 1H 2020 were down 54.6 percent or 50.1 percent at constant exchange, with second quarter down 89.2 percent or 83.1 percent at constant exchange. All product categories, at constant exchange rates, reported a decrease in 1H 2020 vs. the same period of last year with the fragrances division registering a decrease in Revenues of 66.6 percent. Picture:Facebook/Salvatore Ferragamo
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Salvatore Ferragamo posts sharp decline in turnover and profit

As of June 30, 2020, the Salvatore Ferragamo Group reported revenues of 377 million euros down 46.6 percent at current exchange and 46.9 percent at constant exchange rate. Revenues in the second quarter registered a 60.1 percent decrease at current exchange and 59.4 percent at constant exchange rates. The company said in a statement that the drop in revenues has been determined by the rapid diffusion of the pandemic caused by Covid-19. In the first half, the company’s gross profit decreased by 50.5 percent to 226 million euros. Its incidence on revenues was down 480 basis points, moving to 60.0 percent, from 64.8 percent of 1H 2019. The gross operating profit (EBITDA) decreased by 83.9 percent over the period to 30 million euros, while operating profit (EBIT) was negative at 74 million euros vs. 94 million euros positive in 1H 2019. The company said that pre-tax profit was negative for 93 million euros vs. 79 million euros positive last year, net profit was negative 86 million euros vs. 60 million euros positive in 1H 2019, while the group net profit was negative 82 million euros against 58 million euros positive in 1H 2019. Salvatore Ferragamo’s retail and wholesale channels posts sharp sales decline At the first half period, the group’s retail network counted on 643 points of sales, including 389 directly operated stores and 254 third party operated stores in the wholesale and travel retail channel, as well as the presence in department stores and high-level multi-brand specialty stores. In the first half, the retail distribution channel posted consolidated revenues down 41 percent or 41.1 percent at constant exchange rates, with a decrease of 41 percent at constant exchange rates and like-for-like. In the second quarter, retail revenues decreased 51.2 percent or 50.7 percent at constant exchange, with a 51 percent like-for-like performance. The wholesale channel registered a decrease in revenues of 56.4 percent or 56.8 percent at constant exchange rates penalized by the performance of the travel retail channel and of fragrances. In the second quarter, wholesale revenues were down 75.7 percent or 74.4 percent at constant exchange rates. Salvatore Ferragamo’s performance across geographies The company added that Asia Pacific area confirmed as the group’s top market, reaching over 44 percent of total revenues, decreased by 39.9 percent or 39.1 percent at constant exchange rates. The second quarter performance in the area showing 35.3 percent drop at constant exchange, recovered vs. the previous quarter, benefitted from the positive performance of the retail channel in China, which recorded a revenue growth of 11.6 percent at constant exchange rates. The company further said that a similar growth trend has been registered, in the second quarter, in the retail channel in South Korea, that reported a positive performance in 1H 2020. Ferragamo said, the Japanese market registered a 37.4 percent decrease in revenues or 39.3 percent at constant exchange in the first half, with second quarter sales down 56.1 percent or 58.4 percent at constant exchange rates penalized by the stores closures in the period. EMEA posted, in 1H 2020, a decrease in revenues of 51.7 percent or 51.2 percent at constant exchange, with second quarter sales down 71.9 percent at constant exchange strongly impacted by the stores closures and the lack of tourists’ flows in the period. North America recorded a revenue decrease of 54.4 percent or 57.8 percent at constant exchange in the first half, with second quarter revenues down 81.1 percent or 83.2 percent at constant exchange rates, while revenues in the Central and South America in 1H 2020 were down 54.6 percent or 50.1 percent at constant exchange, with second quarter down 89.2 percent or 83.1 percent at constant exchange. All product categories, at constant exchange rates, reported a decrease in 1H 2020 vs. the same period of last year with the fragrances division registering a decrease in Revenues of 66.6 percent. Picture:Facebook/Salvatore Ferragamo
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Apex Global Brands reports 22 percent drop in Q2 sales

Apex Global Brands’ revenues for the second quarter were 4.4 million dollars, a decrease of 22 percent. The decline in revenues, the company said in a statement, reflects the non-renewal of certain Cherokee brand licenses and the decrease in sales of licensees’ products related to Covid-19 shelter-in-place orders. For the first six months, revenues totalled 8.4 million dollars, a decrease of 21 percent from 10.7 million dollars in the first six months of fiscal 2020. “The Covid-19 pandemic has brought tremendous uncertainty to the retail sector, including a profound impact on our licensees domestically and abroad,” said Henry Stupp, Chief Executive Officer of Apex Global Brands, adding, “Ultimately, while we cannot predict the long-term impact the pandemic will have on our licensees’ abilities to meet their royalty agreements, we have adapted and positioned our company to manage the new realities of the retail market.” The company’s operating income in the second quarter reached 2 million dollars compared with 1.6 million dollars in the second quarter of the prior year, while operating loss during the first six months was 7 million dollars. Net loss for the quarter was 1.3 million dollars or a loss of 2.38 dollars per diluted share compared to net loss of 1.3 million dollars or a loss of 2.34 dollars per diluted share in the second quarter of the prior year. The company added that net loss for the first six months was 3.2 million dollars or a loss of 5.69 dollars per diluted share compared to a net loss of 3.5 million dollars or a loss of 6.69 dollars per diluted share in the prior year. The company’s adjusted EBITDA totalled 2.3 million dollars in the second quarter, while adjusted EBITDA in the first six months decreased to 3.4 million dollars. Picture:Facebook/Everyday California
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A new platform aims to bring European apparel sourcing online

As the fashion industry shifts to operating online, a new opportunity has arisen for a platform to connect suppliers and brands. The production of clothing and accessories is by far the most challenging and complicated process of the fashion cycle, and one that requires a unique set of skills. Sourcing is one of those skills, a necessity for small brands to find affordable producers, and for manufacturers to secure new business. With the cancelation of trade shows and global travel embargoes, sourcing has become equally challenging for fashion businesses and producers alike. Fashion producers are rarely digital natives The search for suppliers online has often brought mixed results. Many localized factories do not have websites, or are vague in the services they offer and even less transparent when it comes to pricing. The cost of producing clothing is based on a multitude of complicated factors, not least the number of units to be made, and the quality and finish required. Manufy, a Dutch start-up, aims to be a “European Alibaba” with its new marketplace that links buyers and manufacturers in the quest of sustainable fashion sourcing. “Sustainable and local sourcing has become increasingly important the last few years,” said Manufy co-founder and CEO Rob ten Hoove. “Covid-19 hit European clothing manufacturers hard: closure of factories, brands stalling production and shipments put on hold made it difficult for manufacturers to remain profitable. We hope we can help them reach new customers.” The platform is open to European manufacturers only, which, seeing the challenges in finding localized experts in garment production to build a comprehensive database, is no easy task. FashionUnited spoke to Michiel Dickers, Manufy co-founder and head of sales and press, on how Manufy aims to forge the links between suppliers and brands. How do you source suppliers and local manufacturers when many small companies operate outside the wider international fashion industry? “As of now we use multiple ways to reach manufacturers; email, Linkedin and direct contact with companies that have more affinity and experience with operating online. Currently we are working to collaborate with existing offline tradeshows to become a digital partner and hope we can reach harder to find manufacturers via this channel.” Believing in the value of word-of-mouth “we hope ‘happy brands’ will tell us more about their manufacturers so we can offer a platform for even the smallest of suppliers.” Supply chain transparency is only a recent outcome of the sustainability movement. Many brands, however, are not keen on sharing supplier info and at the same time many suppliers are out of reach for emerging designers as they require high quantities and minimums. How does Manufy reconcile this in its database? “Brands on our platform have private conversations with the manufacturers of their liking. The way they communicate about their sources on their own channels is their own choice. We hope we can stimulate a fashion industry that will be more open and transparent about its choices, but simultaneously understand that we still have a long road ahead.” “For manufacturers we offer an interesting database, that can help brands of any size find the right production partner. Minimum order quantities don’t always have to be high and sometimes young manufacturers can grow together with their clients.” Currently in beta mode, Manufy could be precisely what the fashion industry needs: transparency and access to allow for win-win situations for both brand and supplier. Founded in 2019, the company launched when a group of Dutch entrepreneurs recognised a lack of representation of European manufacturers on online marketplaces. The platform aims to connect European buyers, manufacturers and freelancers by supporting local sourcing and helping businesses find sustainable solutions to production. For further information visit www.manufy.com. Image via Manufy.com
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5 Steps For Perfect Eyelashes That Will Last All Day

Today I’m talking all things lashes! Everyone is trading in lash extensions for the long, natural looking lashes. Lash tints… The post 5 Steps For Perfect Eyelashes That Will Last All Day appeared first on Hello Fashion.
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B4U Global Company how to deposit cash Tutorial

Levi’s launches recycled puffer jackets

Levi’s has just launched its sustainable puffer jackets made from recycled plastic bottles and waste. The creation of the puffer jacket The jacket is made from recycled plastic bottles and waste, with the use of recycled materials the resources required to grow cotton and make polyester are removed. The production includes post-consumer waste (PCW) being broken down with discarded polyester and then being blended into a new synthetic fibre, this is used to insulate the jacket. This is less impactful on the environment as recycled polyester requires less energy to produce than the initial polyester, and it reduces landfill overflow and the dependence on fossil fuels. Levi’s sustainable journey Levi’s recently launched its most sustainable jeans to date. Each pair of jeans is made of 20 percent recycled denim, 20 percent sustainably sourced viscose, and 60 percent organic cotton, in addition, the denim also reduces the water, chemical and CO2 footprint during manufacturing. The American heritage retailer also has a 2025 sustainability pledge. The goals are to achieve a 90 percent reduction in its greenhouse gas emissions, use 100 percent renewable throughout its facilities and reduce its greenhouse gas emissions by 40 percent through its global supply chain. The importance of the puffer jacket FashionUnited and Fashion Snoops previously reported that brands and retailers who are re-thinking their assortment strategies for post-pandemic life must ensure four consumer needs: touchless, resilience, sanitation, and immune boosting technologies. Puffer jackets are one of the items of clothing that are being regarded as quintessential protective safeguards in womenswear, as they are resilient and accessible at all market levels. Which is why even in today’s retail climate, the puffer will continue to perform. Photo credit: Levi's
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