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Friday, February 9, 2024
UK lifestyle brand Crew Clothing open East Grinstead store
British lifestyle brand Crew Clothing has opened a new store in East Grinstead, bringing a bit of coastal style to West Sussex. The 1600sqft space opened its doors on February 1st, launching with its Spring Summer 2024 collection.
Crew Clothing Company was found in the back of a Salcombe windsurfing shop in 1993 and currently operates 100 stores around the UK. The latest opening created five new local jobs, the company said in a statement. In addition to its expansive portfolio of high street stores, the brand continues to be influenced by the coast and maintains its affiliation to British sport, having fostered partnerships with the LTA, Williams Racing, Henley Royal Regatta, the PCA and Exeter Chiefs.
Crew Clothing’s Head of Marketing, Naomi Parry commented “Opening the East Grinstead store ahead of our SS24 collection marks an exciting time for the Crew Clothing brand, highlighting our distinctive style and connection to the south of England. We are so pleased to become a part of the retail community in East Grinstead.’
West Sussex has grown into a bonafide shopping destination offering a diverse retail landscape, with mix of urban and rural areas, where towns like Chichester, Horsham, and Crawley are considered key commercial hubs. The region has a relatively affluent population, which can be advantageous for fashion retailers targeting consumers with higher disposable incomes.
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Berlin Fashion Week FW24: avant-garde and diversity
Lou de Bètoly FW24, Berlin Fashion Week. Credits: Alicia Reyes Sarmiento//FashionUnited
From February 5 to February 8, Berlin Fashion Week brought the European fashion scene to the German capital. Over four days, both up-and-coming and established brands presented their creations at a total of 32 events, from intimate presentations to exuberant catwalk shows that characterised the Berlin scene.
Avant-garde was key, reflected in unique proposals such as sweaters made with dog hair and a diverse casting aimed at reflecting Berlin's diversity as a city, while also showing the German consumer that this clothing—dominated by black—was also made for them.
FashionUnited gives an overview of the most notable presentations at Berlin Fashion Week FW24/25.
Craftsmanship and extravagance, with Kanye West in the front row
William Fan FW24, Berlin Fashion Week. Credits: Alicia Reyes Sarmiento // FashionUnited
The first day was characterised by William Fan's show, who chose the imposing Berlin Olympic Stadium as the backdrop to present his collection ‘Off Duty,’ in which he tried to go “beyond any attire” by presenting simple yet structured designs, suitable for everyone. This idea was underscored by the designer's choice of many models who looked like they came "directly from the streets of Berlin."
Marke FW24, Berlin Fashion Week Credits: James Cochrane, courtesy of Berlin Fashion Week
Marke then wowed the crowd with a collection made using circular textiles, partially manufactured in Germany just an hour from its atelier. This allowed the designer himself to personally supervise the process. The cost of this attention to detail is reflected, for instance, in outerwear pieces that go up to 990 euros.
The FW24 collection is the brand's second collection and its first foray into the wholesale market, so the designer has undertaken a profound exercise of introspection to define the label’s identity. This is reflected in the new collection through the incorporation of distinctive elements from folk fashion, French baroque, and Renaissance paintings or Bavarian shepherds. The ultimate goal is to reinterpret these elements, valorizing craftsmanship and applying it to streetwear, with an eye on the future.
Anonymous Club FW24. Credits: Ioannis Papadaki, courtesy of Berlin Fashion Week
The brand Anonymous Club closed the first day with much talk, not only because of the extravagance of its proposal but also because the controversial Kanye West was seated in the front row, which, despite the rapper’s efforts, did not go unnoticed.
Ukrainian brands, French elegance, and queer provocation
Dzhus FW24 at Berlin Fashion Week. Credits: ©Launchmetrics/spotlight
Ukrainian brands maintained a strong presence at the event. Designer Dzhus took advantage of the runway to tell her personal story, presenting a collection shaped by her traumas. Her runway show portrayed her personal experiences and how these evolved. Garments transformed under her hands, symbolised the exploration and overcoming of difficult emotions. The models showed impeccable performance, and in terms of beauty, her proposal was one of the most elaborate. It was clear that a lot of effort had gone into the performance and beauty looks of the models.
Handerlump FW24 Credits: Moritz, courtesy of Berlin Fashion Week
The collection of the young Berlin-based brand Handerlump left the fashion crowd wanting more, with the fun touch of its collaboration with the courier company DHL. As the models moved across the runway, they shook off water with each step they took, presenting garments with interesting silhouettes and made with high-quality dead-stock materials.
Lou de Bètoly FW24 at Berlin Fashion Week Credits: Alicia Reyes Sarmiento // FashionUnited
French designer Odely Teboul presented the collection for her brand Lou de Bètoly in the empty rooms of the former Habitat furniture store at Berlin’s Potsdamer Platz. Inspired by classic elegance and the intrinsic seduction of lingerie, the collection predominantly combined vintage materials such as leather and mohair with recovered nylon fabrics and wool spun from recycled dog hair waste, which could dress none other than Beyoncé herself. Beyoncé has previously been spotted wearing garments from the French designer’s other collections.
The Lou de Bètoly label is distinguished by its artisanal approach, transforming second-hand materials into exceptional luxury pieces, some of which can reach 2000 euros, such as the exclusive dog hair sweater from her newest collection.
Lou de Bètoly FW24 at Berlin Fashion Week Credits: Alicia Reyes Sarmiento // FashionUnited
The designer acknowledges the lack of body diversity in her casting and commits to addressing it in future collections. She only works custom-made because the nature of the techniques she uses embraces the uniqueness of each body, adapting her design to the measurements of each individual. This would imply casting almost a year in advance, when the collection begins to be created, which is not easy considering the industry's accelerated pace.
Lou de Bètoly FW24 at Berlin Fashion Week Credits: Alicia Reyes Sarmiento // FashionUnited
And the question is, why not present in Paris, her hometown and the cradle of fashion? In addition to being settled in Berlin for many years, where she landed thanks to another fashion project, she has found great support in the German Fashion Council which boosts her work.
Namilia FW24 Berlin Fashion Week Credits: ©Launchmetrics/spotlight
Namilia FW24 Berlin Fashion Week Credits: Alicia Reyes Sarmiento // FashionUnited
’Pfoten Weg’ is the name of Namilia's collection, which was revealed to the brand's eager army of fans on Tuesday night. Drawing inspiration from mediaeval armour, military looks, and glamorous trash, Emilia Pfohl and Nan Li showcased looks that provocatively addressed the hate against queer people who are unapologetically themselves.
Back to school, one size fits all, and recycled fashion
SF1OG FW24 Credits: James Cochrane, courtesy of Berlin Fashion Week
SF1OG FW24 Credits: James Cochrane, courtesy of Berlin Fashion Week
SF1OG stood out as the clear favourite on the third day. The brand presented a nostalgic collection that transported attendees to another era, recreating a school gym filled with references. Sitting on school chairs, they watched as the models paraded through an improvised classroom, wearing backpacks, and carrying iPods, and even a Bravo magazine.
Lueder FW24 Credits: James Cochrane, courtesy of Berlin Fashion Week
The Lueder FW24 collection was the second most interesting on Wednesday. The brand wanted to explore the idea that we are all everyday heroes. Influenced by her past as a tailor in the world of tailoring, the designer managed to translate her acquired knowledge into streetwear, creating one-size-fits-all elastic garments that embrace the body they dress, regardless of size.
Germany is not the primary market for this designer, a consumer who wants to see more continuity over the years, while her brand is still going through an introspective process that resonates better with buyers in Korea and Japan. According to the designer, the buyers in these countries are more likely to make a purchase when they like something and moreover "nobody else" wears it.
Marie Lueder, designer at the showroom of Hotel Château Royal Credits: Alicia Reyes Sarmiento // FashionUnited
In her casting, she wanted to focus on showcasing the diversity of Berlin as a city, to show the German customer that this clothing is also for them.
It is a collection of garments of up to one and a half kilos of mohair that would cost 1,100 euros, with around 30 reproductions per piece, based on the volume of pre-orders, some of which consists of 50 pieces.
The shoes from her collection were some of the most talked-about pieces of the week, fitting "like a glove."
Shoes from Lueder's FW24 collection at the showroom of Hotel Château Royal Credits: Alicia Reyes Sarmiento // FashionUnited
Ukrainian designer PLNGNS also earned a spot in this selection by presenting a proposal of looks designed exclusively using recycled and upcycled materials featuring hundreds of sneakers.
Plngns FW24 at Berlin Fashion Week Credits: ©Launchmetrics/spotlight
Second-hand fashion has always been part of the culture of his country, not so much for sustainability reasons, but due to the difficult economic reality Ukraine was facing even before the current conflict. This has always pushed him to explore these stores and see them as an ideal resource to satisfy his creative thirst.
Four days filled with fashion
Avenir FW24 at Berlin Fashion Week Credits: ©Launchmetrics/spotlight
Avenir FW24 Berlin Fashion Week Credits: ©Launchmetrics/spotlight
The brand Avenir gracefully presented its collection on the last day. It cleverly played with the interaction of heat and cold, with garments designed for temperature changes evident in knit looks, patchwork jackets, and denim designs. There are also decorations that mimic burns.
This article was originally published on FashionUnited.ES. Translation and edit from Spanish into English by Veerle Versteeg.
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Puma names Julie Legrand as senior director global brand strategy
Puma has appointed Julie Legrand, 43, as senior director global brand strategy.
Reporting to Puma’s vice president brand & marketing Richard Teyssier, Legrand will oversee an important part of the company’s strategic priority to elevate the brand.
“With Julie, we have found an experienced leader to head up Puma’s global brand strategy. She will define and execute our strategy to drive higher brand visibility and strengthen the Puma brand and its perception around the world,” said Richard Teyssier.
Legrand, the company said in a release, has 20 years of experience in marketing and brand management. Most recently, she worked as H&M’s global brand director. She also held senior positions in marketing and brand at Procter & Gamble.
“I am very proud to be in charge of further sharpening the brand’s positioning and preference with consumers,” added Legrand.
The company added that Legrand’s appointment follows the company’s decision taken in June to reorganise its global brand management and marketing operations and relocate them from Boston to Puma’s headquarters in Herzogenaurach, Germany.
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L'Oréal achieves 2023 like-for-like sales growth of 11 percent
L'Oréal sales of 41.18 billion euros in the financial year 2023, increased by 7.6 percent reported and 11 percent like-for-like.
The company’s operating margin improved to 19.8 percent, up 30bps; while operating profit reached 8,143.3 million euros. Earnings per share of 12.08 euros, rose by 7.3 percent.
L'Oréal’s board of directors has announced a dividend of 6.60 euros, an increase of 10 percent.
Commenting on the annual figures, Nicolas Hieronimus, CEO of L'Oréal, said in a statement: “2023 was a very successful year for the group. In a challenging environment of geopolitical tensions, inflationary pressures, and a stagnating beauty market in China, we delivered our best like-for-like growth in more than 20 years (excluding 2021).”
Highlights of L'Oréal’s full year results
The company’s professional products division reported growth of 7.6 percent like-for-like and 4 percent reported.
The consumer products division increased 12.6 percent like-for-like and 8.2 percent reported.
L'Oréal Luxe grew 4.5 percent like-for-like, 2 percent reported and the dermatological beauty division increased sales by 28.4 percent like-for-like and 25.5 percent reported.
Across geographies, sales in Europe were up 16 percent like-for-like and 13.7 percent reported, sales in North America advanced 11.8 percent like-for-like and 9.7 percent reported, while sales in North Asia contracted 0.9 percent like-for-like and 5.8 percent reported.
L'Oréal’s sales in the SAPMENA-SSA region witnessed growth of 23.2 percent like-for-like and 16.4 percent reported, and sales in Latin America achieved sales rise of 24.4 percent like-for-like and 22.8 percent reported.
L'Oréal announces new board nominations
At a meeting on February 8, 2024, the company’s board of directors chose to propose Jacques Ripoll as a new independent director at the annual general meeting. Ripoll is a partner at Eren Groupe, which harnesses technological innovation to save natural resources.
The company added that beyond the financial acumen he has honed over the course of a career with leading banks including Société Générale, Banco Santander and Crédit Agricole, Ripoll will bring strategic vision on innovation, expertise in new climate-related technologies, and a commitment to sustainable development. He is set to join the audit committee after the annual general meeting on April 23, 2024.
The board also plans to recommend renewing the tenures of Béatrice Guillaume-Grabisch, Ilham Kadri, Jean-Victor Meyers and Nicolas Meyers and also acknowledged Belén Garijo's decision to step down as director due to professional commitments, effective after the AGM, two years before the end of her current term.
If the AGM approves the proposed resolutions, the company’s board will continue to comprise 16 directors.
In February, L'Oréal announced the appointment of Ezgi Barcenas as chief corporate responsibility officer to continue the group’s environmental and societal transformation. She succeeds Alexandra Palt who will be leaving her responsibilities on April 1, 2024, having established, and anchored the foundations of this transformation during her 12 years with the group. Palt, the company said, remains CEO and administrator of the L’Oreal Foundation.
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Soft luxury demand impacts Capri Holdings Q3
Capri Holdings’ third quarter revenue of 1.43 billion dollars decreased 5.6 percent compared to last year. On a constant currency basis, total revenue decreased 6.6 percent.
The company said in a statement that retail sales declined in the mid-single-digits with trends being impacted by softening luxury consumer demand primarily in the Americas as well as by the Michael Kors Americas ecommerce implementation issues. In wholesale, revenue decreased in the low-teens driven by softer demand in the Americas and EMEA.
Commenting on the third quarter results, John D. Idol, the company's chairman and CEO, said: "Overall, our performance in the third quarter continued to be impacted by softening demand for fashion luxury goods. However, sales trends improved sequentially in the third quarter, driven by better results in our own retail channel while sales in our wholesale channel remained challenged.”
Highlights of Capri Holdings’ Q3 operating results
Gross profit and adjusted gross profit for the third quarter declined to 928 million dollars and gross margin was 65 percent.
Net income decreased to 105 million dollars or 88 cents per diluted share, while adjusted net income dropped to 142 million dollars or 1.20 dollars per diluted share.
Review of Capri Holdings results across core brands
Versace revenue of 227 million decreased 8.8 percent on a reported basis and 10.8 percent on a constant currency basis driven by softening consumer demand in the Americas and EMEA partially offset by increased revenue in Asia. Retail sales declined in the low-single-digits while wholesale revenue decreased double-digits.
Revenue in the Americas declined 14 percent, while revenue in EMEA decreased 13 percent and revenue in Asia increased 10 percent.
Jimmy Choo revenue of 166 million dollars decreased 1.2 percent on a reported basis and 3 percent. Retail sales were approximately flat while wholesale revenue decreased mid-single-digits. Revenue in the Americas declined 11 percent, while revenue in EMEA was flat and revenue in Asia increased 9 percent.
Michael Kors revenue of 1.03 billion dollars decreased 5.6 percent on a reported basis and 6.2 percent on a constant currency basis. Retail sales declined in the mid-single-digits while wholesale revenue decreased low-double-digits. Revenue in the Americas declined 7 percent, while revenue in EMEA decreased 2 percent and revenue in Asia declined 2 percent.
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Thursday, February 8, 2024
SCAD Museum of Fashion opens exhibition about Cristóbal Balenciaga
The Fash Museum of Fashion and Film at the Savannah College of Art and Design (SCAD) recently opened an exhibition featuring the work of Spanish couturier Cristóbal Balenciaga Eizaguirre, the founder of luxury fashion house Balenciaga.
The exhibition, entitled ‘Cristóbal Balenciaga: Master of Tailoring’ features more than 30 of the designer’s garments, illustrations and photographs that have been rarely seen by the public, especially in the US.
It features pieces from the Balenciaga Archives from the late 1940s to 1968 and has been curated exclusively for SCAD Fash and is organised by Rafael Gomes, creative director of SCAD FASH museums.
Some of the pieces on display at the museum were pulled from the archive of the late designer Azzedine Alaïa which featured over 500 preserved Balenciaga looks. The exhibition also includes illustrations and photographs from the Balenciaga archives selected by Gaspard Demasse, head of Balenciaga Heritage, and one-of-a-kind sketches and original atelier communications from Parodi Costume Collection.
The garments showcased range from daywear to evening gown silhouettes worn by celebrities of the era such as Elizabeth Taylor and Delores del Rio, illustrating Balenciaga’s experimentation with form and highlighting “his mastery of tailoring and inventive approach to fashion design,” the release sent out by SCAD reads.
In the exhibition, the US institution portrays a breadth of haute couture designs, from the perspectives of both the couturier and the client. It examines the designer’s experimentation with
Gaël Mamine, head of collections of Fondation Azzedine Alaïa, in collaboration with Gaspard de Massé, head of archives at Balenciaga, and Gonzalo Parodi, director of Parodi Costume Collection have curated the exhibition.
Cristóbal Balenciaga: Master of Tailoring runs until June 2, 2024 at the SCAD Fash Fashion and Film Museum in Atlanta, Georgia.
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Sea Beyond: Prada Group and Unesco introduce educational programme in 56 countries
Recently, Unesco and the Prada Group announced the third edition of their ‘Sea Beyond’ educational programme for secondary school students. The two partners have expanded the programme this year so it reaches 34,000 students in 56 different countries.
The aim of the Sea Beyond programme is the dissemination of knowledge on the oceans and their preservation. This year’s training focuses on “the interrelation between the ocean and climate, and the associated environmental challenges”, the press release reads.
The 2024 programme will offer students and teachers literacy training sessions, including in-person lessons with ocean and climate experts at Unesco. In addition, Unesco and Prada Group are launching a contest for which they have invited schools to create an awareness campaign with text, graphics and interactive content.
The goal of the contest is for participants to explain to their peers how to adopt more conscious behaviours that will help preserve the ocean.
The jury who will evaluate the students’ campaigns consists of “people who have placed a love for the ocean at the centre of their personal and professional lives”, also known as Sea Beyonders, as per the release.
Libraries without Borders: Prada Group and Unesco partner with new organisation
A new addition this year is the partnership with Bibliothèques Sans Frontières (Libraries without Borders), an international non-profit organisation that aims to facilitate access to education, culture and information for people in vulnerable situations.
The aim of the new partnership is to provide children and young citizens in vulnerable communities with access to education about the oceans.
This access will be facilitated through the multimedia centre the ‘Ideas Box’ which spans over 100 square metres and features internet connection, tablets, and laptops. It also boasts over 250 books and games as well as hundreds of training materials.
From June 2024, the partnership with Libraries without Borders will allow the development of an Ideas Box dedicated to the Sea Beyond programme. The Sea Beyond Ideas Box will be presented in Venice on International Ocean Day and based in Naples. Afterwards, it will travel across Italy.
In France, Burundi and the Ivory Coast, multimedia contents relating to the oceans prepared by Unesco experts, will be integrated into Ideas Boxes that already exist in these countries.
One percent of the proceeds of the sales of Prada’s Re-Nylon Collection go directly towards the Sea Beyond programme.
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Primark to invest 75 million pounds into UK store network
Budget retailer Primark is preparing to make a large-scale investment into its UK retail network, with a slew of new store openings and further expansions expected to take place this year.
A new 75 million pound investment is to go into its British store estate over the course of 2024, the company revealed on Thursday, building on past funding and bringing its total investment in the region to 100 million pounds for the year.
Among the new store openings will be a location in Bury St. Edmunds, which is due to open March 6, as well as Teesside Park and Glasgow Fort, both scheduled for later in the year.
New locations will also be open from 2025 in Epsom, Surrey, and Newbury, Berkshire, bringing its network to 195 stores.
Primark to bring UK retail network to 195 stores
A series of store expansions are also on the agenda, with its Westfield Stratford location to almost double in size to over 81,000 square feet and its Metrocentre store in Gateshead set to grow to almost 80,000 square feet following its reopening later in the year.
A further 15 existing stores will also be refurbished this year as part of the company’s ongoing refit programme, through which upgraded interiors and fixtures will be introduced.
In a release, Kari Rodgers, UK retail director for Primark, said: “We’ve changed a lot in the fifty years since we opened the doors on our first store in Great Britain in Derby back in 1974, but at our heart, we are still the same.
“We’re as committed as ever to offering the very best value on the high street and making great fashion more affordable and accessible for everyone. This latest investment will mean bigger and better stores, hundreds of new jobs across the country and shows our ongoing commitment to the UK high street.”
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Pandora plans wide scale retail expansion following ‘strong’ Q4
Jewellery specialist Pandora has unveiled a major retail expansion for the coming year after it reported a strong “growth” period throughout Q4 of 2023.
Over 2024, the retailer is planning to open between 75 and 125 concept stores, as well as 25 to 50 owned and operated other points of sale.
As such, it forecasted its capital expenditure (CAPEX) to end at 6 to 7 percent share of revenue, as it continues to scale investments into the store network with the roll-out of Evoke 2.0, a refreshed store format which will be integrated into all new stores from this year onwards.
This latest news confirms plans Pandora revealed last year to target the opening of 225 to 275 concept stores and 175 to 225 owned ‘shop-in-shop’ openings by 2026.
Here, the company said that it expected around 3 percent CAGR organic revenue contribution annually over the course of 2023 to 2026.
It also comes as Pandora reported “strong” trading for the holiday season, with sales in Q4 rising 12 percent to 10.82 billion Danish kroner.
Growth in Europe remained solid at 5 percent, while in the US sales increased by 10 percent, and the rest of Pandora continued double-digit growth at 16 percent.
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Wednesday, February 7, 2024
The State of Mergers and Acquisitions in the Fashion Industry

Introduction
In recent years, the fashion industry has witnessed a wave of mergers and acquisitions that have reshaped the landscape of luxury brands. Companies like Jimmy Choo, Versace, and Stuart Weitzman, which were once seen as independent entities, are now part of a larger conglomerate known as Tapestry, Inc. This consolidation trend has sparked curiosity about the driving factors behind these mergers and the implications for the luxury market.
The Growth Strategy
One of the key motivations behind these mergers is the pursuit of future growth rates. By acquiring established brands, companies can capitalize on their existing customer base and enhance their own stature in the industry. This win-win scenario allows both the acquired brand and the acquiring company to benefit from increased market share and profitability.
Size has become a crucial factor in the fashion industry's quest for success. Historically, luxury brands prided themselves on exclusivity and a sense of being small and special. However, the rise of conglomerates like LVMH, Richemont, and Kering, which own multiple brands, has demonstrated that being big is now essential for survival. These conglomerates have mastered the art of creating the illusion of small-scale luxury while operating on a large scale.
The Influence of Macroeconomic Factors
Macroeconomic factors, such as high interest rates, sticky inflation, and increased student loan payments, have presented challenges for businesses across various sectors. In the retail world, mergers and acquisitions have become a strategy to navigate these headwinds and sustain growth. By diversifying their offerings and expanding into new markets, companies can tap into different customer segments and offset any decline in consumer spending.
For example, a fashion brand that traditionally focused on apparel may decide to enter the cosmetics industry through an acquisition. This move not only extends the brand's customer base but also allows it to cater to different age groups and geographical markets. Despite the impact of the pandemic, many luxury brands have seen significant growth compared to 2019. However, the growth rate has started to moderate, raising questions about the future of the luxury industry.
The Future of Luxury
One of the key concerns in the luxury industry is whether the era of rapid growth is coming to an end. With China, a major market for luxury, possibly dropping out, the industry may experience a shift from double-digit growth to more conservative figures of around 5 to 6%. This potential slowdown in growth could lead to further consolidation in the industry, resulting in fewer companies, reduced profits, and a potentially smaller pool of luxury consumers.
American Brands in the Luxury Market
While European brands have traditionally dominated the luxury market, there is still room for American-born brands to establish themselves. Companies like Capri Holdings, which owns brands like Michael Kors and Versace, have a global presence and appeal to consumers across different income levels. However, American brands may face challenges in capturing the attention and loyalty of luxury consumers outside the United States.
Mergers in the Budget and High-End Segments
The trend of mergers and acquisitions is not limited to high-end luxury brands. Budget brands are also exploring consolidation opportunities to expand their reach and compete in both physical and digital markets. A recent example is the alliance between Chinese e-commerce giant Shein and U.S. retailer Forever 21, which aims to leverage the strengths of both companies in their respective markets.
The Role of Data and Marketing
The modern fashion industry relies heavily on data and marketing strategies to drive sales and enhance the customer experience. Companies analyze data to determine the optimal locations for physical stores and curate their product assortments accordingly. The integration of online and offline channels allows brands to extend their reach, capture new customers, and provide a seamless shopping experience.
The Power of Celebrity
Celebrities play a significant role in shaping consumer preferences and driving luxury sales. As a result, many independent brands that were once content with operating small boutiques are now expanding globally to cater to the demands of a celebrity-driven market. This shift has led to further discussions about the future of these independent brands and the possibility of merging with larger entities.
Conclusion
The fashion industry's current landscape is characterized by a wave of mergers and acquisitions driven by the pursuit of growth, macroeconomic factors, and the changing dynamics of the luxury market. While there are concerns about the industry's future growth rate and the dominance of European brands, American brands and budget-conscious companies are also looking for opportunities to thrive. As the industry continues to evolve, data-driven strategies, marketing innovations, and celebrity endorsements will play a crucial role in shaping the success of fashion brands.
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Monday, January 22, 2024
Bows: 2024’s most important trim, according to Pinterest and Ebay
Liang/Launchmetrics Spotlight/Courtesy, ebay
Pinterest predicts that the bow trend will continue during 2024
According to Pinterest, one of the major 2024
micro trends will be trimming garments and accessories with a variety of
bows. The company has reported a 180 to 190 percent uptick in searches like
“Bow outfit” and “Bow necklace.”
New York designer Sandy Liang is renowned for using bows to embellish all
manner of looks and styles. Here are two from her SS24 runway show.
Sandy Liang SS24/ look 12 Credits: Sandy Liang
ss24/Launchmetrics Spotlight
Look 12: A black tank dress with a 3D embellishment: a pink rose on a green
stem with two bows in blue.
Sandy Liang SS24/ look 10 Credits: Sandy Liang
ss24/Launchmetrics Spotlight
Look 10: A yellow cardigan set with heart and floral-shaped mother-of-pearl
buttons, the arms tied in a bow, shown with brown low-rise shorts with a
bow embellishment.
Liang also sells ribbon bows specifically for the purpose of wearing as
hair accessories. It’s a look made popular by the ‘blokette’ trend
.
Sandy Liang Palermo ribbon Credits: Palermo
ribbon/courtesy Sandy Liang
The Palermo bow in white satin
Ebay’s desirable auction items with bow embellishments
According to Ebay: “Nostalgia-fueled fashion trends have been redefined
this year. From barbiecore to balletcore, these trends have dominated the
runway, TikTok and streetstyle more than ever — and now bows are having
their moment.”
Gucci Jacket on ebay Credits: Gucci Jacket/Courtesy
ebay
Gucci ‘Guccify yourself’ bow-applique track jacket
Louis Vuitton x Takashi Murakami bag on ebay Credits:
Louis Vuitton x Takashi Murakami bag/Courtesy ebay
Louis Vuitton x Takashi Murakami 2003 Cherry Blossom Monogram Shoulder Bag
Puma x Fenty sneakers on ebay Credits: Puma x Fenty
sneakers/ Courtesy ebay
Puma x Fenty pink satin sneakers
Chopard watch on ebay Credits: Chopard watch/courtesy
ebay
Chopard happy diamonds gold women's watch
The pre-fall 2024 season is almost complete and has proven that bows of all
kinds will continue to trend throughout next year. At Valentino, Pierpaolo
Piccioli used feminine details including bows, in contrast with a more
masculine approach to tailoring.
Valentino Pre-Fall 24/ look 30 Credits: Valentino PreFall
24/Launchmetrics Spotlight
Look 30: A yellow wool duffle coat with bow fasteners
Valentino PreFall 24/ look 8 Credits: Valentino PreFall
24/Launchmetrics Spotlight
Look 8: A black satin shirt with a white scalloped placket and black dickie
bow and a matching black satin mini skirt.
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The fashion system: The fashion seasons explained
spring/summer clothing). Credits: Tropical Concept
Fashion expert José Teunissen was once quoted stating
: "What characterises fashion is its
urge to innovate. Every six months, fashion presents itself as a moment
where the spirit of time is captured in a moment of absolute beauty."
*Source: José Teunissen's chapter 'The universe of fashion' in Artez
Press' book 'Fashion and imagination on clothing and art' published in
September 2009.
In this background article, FashionUnited has outlined the general
information needed to understand the fashion seasons and the fashion
calendar of ready-to-wear clothing.
Contents
* Why are there seasons in the fashion
industry?
* What are the seasons that the
industry follows?
* When do the fashion seasons take place?
(The fashion calendar)
* Problems with the fashion
calendar
1. Why are there seasons in the fashion
industry? What is the point?
Seasons set the pace of the fashion industry
Each season, new fashion collections on the catwalk and new clothes appear on the store
shelves. After all, the fashion industry exists through the process of
people buying new clothes with some regularity.
The fashion seasons could be thought of as the industry’s
trading cycle, with the industry itself only remaining relevant
and dynamic as seasons allow for the continuous introduction of new styles
and trends.
Fashion designers usually create at least two collections per calendar
year: spring/summer and autumn/winter. A fashion season thus lasts a
maximum of six months.
2. What are the seasons in the fashion
industry? How many fashion seasons are there per calendar year?
Spring/summer and autumn/winter
Spring/summer and autumn/winter have been the most
common seasons in fashion for years. Clothing brands almost always offer
collections for these periods. These
are called the primary seasons and main collections for this
reason.
Not all fashion brands work with seasonal collections. There are also
clothing brands that deliberately do not design according to seasons. Often
their clothes are less fashion-sensitive or even timeless, and the
collection can be bought all year round, or even year in and year out.
These fashion brands fall under the so-called ‘slow fashion’ label. Slow
fashion has emerged as a reaction to ‘fast fashion’, which is all about
fast trends and fashion brands that launch many/continuously new
collections.
Spring/summer: This season brings new styles for warm(er)
weather. Clothing for spring/summer is often airy and made of breathable,
moisture-wicking and/or lightweight fabrics. Casual cotton fabrics and
typical linen summer materials are widely used. The collections feature
blouses, skirts, summer dresses, shorts and swimwear. The season is often
more colourful than fashion for autumn/winter and usually includes more
prints. In the fashion industry, spring/summer is also referred to by the
abbreviation S/S or SS.
Autumn/winter: This season is all about clothing for colder
temperatures and wearing layers. Autumn/winter clothes are usually made of
thicker [clothing] fabrics and warmer raw materials, such as wool and a
more luxurious cashmere, for example. The collections typically include
jumpers and cardigans, blazers, coats and jackets, scarves and boots.
Autumn/winter clothing is often darker in colour than summer collections
and usually also higher priced. The American industry also uses the term
fall/winter, or the abbreviations F/W, FW or – in the UK – AW (short for
autumn/winter).
Resort and pre-fall
Nowadays, most clothing brands make at least two to four collections per year. Other
collections are launched between spring/summer and autumn/winter. These
will therefore be the ‘intermediate collections’. Often these include the 'pre-spring' and
'pre-fall' collections.
Other common names in the fashion industry are pre-collections,
off-season collections or secondary seasons.
But, note, the intermediate collections vary from one clothing brand to
another. Some brands do not offer a 'pre-spring' collection, but do offer a
'high summer' collection.
For luxury brands such as Chanel, Dior and Jil Sander, the intermediate
collections 'resort/cruise' and 'pre-fall' are common.
Resort/Cruise: What is a resort collection?
Resort and cruise collections are synonyms. Cruise and resort collections were once intended
exclusively to dress the elite who holidayed in tropical
destinations at the end of the year. At department stores during this time
of year, parkas and winter gear were mainly hung on the shelves, and no
summer or swimwear was available. Yet, resort collections have now evolved
into full-fledged collections, as sunny getaways are made possible
for a wider crowd thanks to affordable, commercial air travel. So for
fashion houses, this means that resort/cruise collections could just be money down the drain.
Pre-fall:
This intermediate collection focuses on the transition period from
summer to autumn/winter. The pre-fall collection often includes both
spring/summer and autumn/winter items and 'elements'.
3. What about the timing? When are the fashion
collections actually shown and sold? In other words, what is the fashion
calendar?
3.1 Spring/summer and autumn/winter
Fashion houses such as Chanel, Dior, Jil Sander, Gucci
and Prada, for example, usually present their new 'spring/summer' and
'fall/winter' collections during major fashion weeks. They appear on the
official calendar of New York Fashion Week, London Fashion Week, Milan
Fashion Week and Paris Fashion Week or organise independent events (almost)
simultaneously. Here, they show their new designs for the first time,
gauging the interest of buyers and press and create enthusiasm for their
collections for next season.
You can read more about it here: ‘Fashion: From catwalk to closet’
Fashion weeks are organised well before the start of a season:
Spring/summer collections are presented at fashion weeks in
September and October for the following summer. Autumn/winter collections,
meanwhile, are shown on the catwalk in February and March for next
winter.
NB: We are talking about the ready-to-wear womenswear fashion weeks. Most eyes
in the industry are on the 'womenswear catwalk season', because womenswear is typically considered the most important
segment in the industry (accounting for 58 percent of fashion
retail spending worldwide). In this article, we will leave aside other
important fashion weeks such as menswear and haute couture and 'their'
calendar for a moment.
When did that calendar actually come into being?
"We've been stuck with the ready-to-wear calendar for
decades now," fashion expert Ninke Bloemberg said, a sentiment that was also confirmed by the
Fédération de la Haute Couture et de la Mode (FCHM) to FashionUnited. We
asked the organisation, which regulates and promotes the French fashion
industry and organises Paris Fashion Week, when the ready-to-wear show
calendar originated. "Sources and voices are a bit contradictory on this
subject. But generally we can agree that 1973 was the beginning of women's
ready-to-wear calendars," said an FCHM spokesperson.
Ninke Bloemberg is an art historian and curator of fashion and costumes
at Centraal Museum Utrecht. As curator, she is responsible for the museum's
fashion collection, which comprises about ten thousand garments and
accessories.
Bloemberg is also co-founder of platform Modemuze.nl and a member of Europeana Fashion, as well as the ICOM
International Committee for Museums and Collections of Costume, Fashion and
Textiles.
Spring/summer collections are delivered to stores between
January and March.
The SS collections are then on sale for a few months. Summer sales are
often from mid-June to mid-July or August.
The fall/winter collections are delivered to retailers between July and
September and are then on sale for a few months. Winter sales are often
from Christmas to January - February.
Background: What happens between the catwalk presentations and
when the collection goes on sale in stores?
After the presentations fashion brands sell their designs to retailers (the retailers who will be selling the
clothes to consumers, ed.). Once the retailers have placed their orders
(for the most part), the [sold] clothing designs are actually put into production.
Most clothing brands present their latest collections not on the
catwalk, as the more upscale brands do, but at fashion trade fairs. There, labels such as a Marc
O'Polo, Expresso, Gaastra, Nikkie, Tramontana and Xandres, for example,
show their new clothing collections to retailers and buyers. The fairs -
like the fashion weeks - take place every six months. During January and
February, they present the latest fall/winter collections, and in July and
August they present the latest summer collections.
You can read more about this entire process, the time it takes and the
work involved, in the background article: ‘This is how a fashion brand’s collection is created’
3.2 Intermediate collections
Resort/cruise collections are shown on the catwalk in
May. There is no fashion week for it, but luxury brands typically host their own bigger fashion shows. The "holiday"
collections go on sale in winter, often starting in mid-November.
Resort/cruise collections are also sometimes called pre-spring, because
the timing of deliveries matches that of pre-spring collections (which
arrive at stores in October and November).
There is no pre-fall fashion week, nor are there grand fashion shows
organised for this fashion season as in "resort/cruise. Pre-fall
collections are often presented before the fall/winter shows in February by
fashion designers, with or without a modest catwalk presentation. Pre-fall
collections are delivered to stores before the summer collection, often in
May.
SUMMARY: The timing/or schedule of the four seasons in fashion at a
glance
Fashion shows
Autumn/winter: February/March
Spring/summer: September/October
Resort, Cruise: May
In the shop
Autumn/winter: July-September (the entire collection will be on the
shelves in September)
Spring/summer: January-March (the full collection will be on the shelves
in March)
Resort, Cruise: November
Pre-fall: May
Belgian fashion designer Dries van Noten said in an interview with
American newspaper The New York Times: "It is impossible to explain how the fashion
industry works to people who don't work in fashion”,
referring to the fashion calendar.
4. The biggest problem with the fashion
calendar is that fashion seasons do not coincide with meteorological
seasons, or weather
Fashion seasons do not run concurrently with the "real" seasons. They
run ahead of them. "But, who buys an item just to put it in the closet to
wait for the right season?" said Italian fashion designer Giorgio Armani , criticising the fashion seasons
(or rather the entire fashion system) in an open letter to the American
fashion trade magazine WWD in 2020.
Meanwhile, store owner John Mulder of fashion store Mulder Mode said
last November that it was only then that his customers began to feel like
trying on and buying the warm winter clothes he had been stocking since
August. "In September it was still 25 degrees, in October it was 18
degrees. This is the first week that it gets a little colder," he told FashionUnited at the time.
So, in other words, weather affects clothing sales. Warm weather reduces
demand for fall and winter clothing, and when it's freezing outside, spring
items are less attractive.
When you and I purchase an item of clothing, by the time we can wear it
it is usually already discounted because of clearance sales. Summer sales,
for example, start around mid-June, while summer doesn't start until June
21. The same goes for winter. According to the astronomical calendar,
winter starts on December 21, and that's also when the sale starts.
And discounted items simply mean less profit for retailers and/or
fashion brands.
That is why there is dissatisfaction in the industry with the calendar.
Armani called the "non-alignment" between the weather and the commercial
season "criminal". The fashion designer finds it "bizarre that in winter
only linen dresses can be found in stores, and in summer coats made of
alpaca wool”.
Reset the fashion calendar?
During the corona pandemic, calls for a [fundamental] change in the
fashion calendar grew louder. Led by fashion designer Dries van Noten, an
‘Open letter to the Fashion Industry’ was
published, which proposed that the fall and winter collection selling
season take place in the fall and the spring-summer collection in the
summer period.
Big names in the industry, including, for example, the department stores
Selfridges, Harvey Nichols and KaDeWe, signed the open letter. "Despite
these very stores asking for earlier deliveries (pre-fall in April,
pre-spring in November) and a constant stream of 'novelties' there is a
unanimous need to serve customers in season and align the fashion calendar
with the real life calendar," FashionUnited wrote at the time.
In addition to a "realistic" fashion calendar, it
advocated discounting only at the end of the season (i.e. winter in
January, and summer in July). That way, more clothes would be available for
their full price.
As you now know, the summer and winter sales of fashion collections
begin even before summer and winter have officially begun. Moreover, in the
fashion industry, discounts are already given during the season. Think, for
example, of the mid-season sale where low-demand items are discounted, as
well as well-known shopping days such as Black Friday and Cyber Monday
where stores stunt with discounts.
Also read:
* Is full price fashion over?
Yet today, more than three years after the call from
the industry itself, fashion is still essentially operating according to
the old/traditional scheme, Bloemberg noted.
Bloemberg: "There have been interesting experiments of course, but in
essence I don't think a whole lot has changed."
It is not proving to be easy, to change the course of a supply chain
with so many links, spread all over the world, and companies that have been
operating traditionally for a long time. Certainly not because a
fundamental change in the fashion calendar actually requires a turnaround
from all players in the fashion industry. The fact that a short-term change
will also have an impact on the financial results of fashion companies
(many of which run on growth and profits) undoubtedly also plays into the
equation.
"We just can't seem to get it together in the fashion
industry to move everything along," Mulder stated. "During the pandemic, we
thought we got it through. Deliveries were very spread out, especially
later in the season. [We were operating on] more real time. And that
resulted in good profitability.”
Profitability is a way of measuring how well a fashion company manages
to make a profit with the resources it has (invested). The higher the
profitability, the more efficiently a company uses its resources to make a
profit.
Read more here: ‘From margins to sell-through: Important figures used in
the fashion industry’
Image illustrating the fact that fashion seasons do not
coincide with seasons. On the street, you see a passerby with a coat and
scarf. Summer items are already hanging in the window of the Stradivarius
store in Madrid. Credit: The Stradivarius flagship store Plaza de España.
Property: Inditex, archival photography.
"On a small scale, of course, you see [change]," Bloemberg added. "There
are designers who create their own moments. Some brands/designers have no latest collection but a
collection that is constantly evolving, not sticking to seasons. And you
have, for example, the Dutch fashion designer Ronald van der Kemp trying to make statements
from within."
Did you know that…
In today's fashion industry, clothing is usually
designed and displayed with the specific climatic season in mind, as
described earlier (see Section 2). However, this has not always been the
case throughout history. Sometimes clothing was and is instead displayed
with an eye on the activities or occasions typical of that season.
"Starting in the 19th century, for example, you saw ball gowns being
presented in the winter. That was because the ball season (balls and
dinners) took place in January and February," explained art historian Els
De Baan.
Els de Baan is an art historian, a specialist in the field of Textiles,
Fashion and Costume. She is a teacher, appraiser and perhaps best known for
the fashion contributions she writes for Dutch outlet Trouw.
Related from the archives on this topic:
* Breaking the pattern: The apparel brands ditching trends
and seasons (June 2023)
* Alexander Shumsky: “Dissatisfaction with the current
fashion system is long overdue” (May 2020)
* Fashion's emergency: Designers and retail executives sign
open letter to transform industry practices (May 2020)
* Giorgio Armani postposes collection one season: “The
fashion industry must slow down” (April 2020)
* The curse of the fashion calendar (July 2015)
* Is the end of the seasonal fashion cycle in
sight? (March 2015)
Sources:
- Book 'Fashion and imagination about clothing and art ' by Artez Press,
September 2009
- Interview Ninke Bloemberg, art historian and fashion curator at Centraal
Museum, July 12, 2023.
- Interview art historian, teacher and fashion journalist Els de Baan, 6
April 2023.
- Input Fédération de la Haute Couture et de la Mode (FCHM), July 17, 2023.
- Interview with John and Marion Mulder, owners of women's and men's
fashion store Mulder Mode, November 30, 2022.
- The New York Times article 'Designers Revolt Against the Shopping Cycle',
by leading fashion journalist and critic Vanessa Friedman, May 12, 2020.
- WWD article 'Giorgio Armani Writes Open Letter to WWD' by Luisa Zargani,
April 3, 2020.
- Articles from the FashionUnited archive by Don-Alvin Adegeest and Nora
Veerman (linked in the article text).
- Parts of this article text were generated using an artificial
intelligence (AI) tool, and then edited.
Images to illustrate the many 'fashion seasons' or
collections. We take women's fashion from Jil Sander as an example. The
latest collections are (at time of publication) 2024: Women's Resort. 2023:
Men's and Women's Fall/Winter. Women's Pre-fall, Men's and Women's
Spring/Summer, Women's Resort (in order of last published, newest first:)
Jil Sander Women's Resort collection 2024, image from June 2023. Credits: Launchmetrics Spotlight
Jil Sander Men's and Women’s Fall/Winter 2023. Credits: Launchmetrics Spotlight
Jil Sander Pre-Fall Women Off Season 2023.Credits: Launchmetrics Spotlight
Jil Sander Ready to Wear Spring Summer 2023 Credits: Launchmetrics Spotlight
Jil Sander Women’s Resort 2023 Credits: Launchmetrics Spotlight
http://dlvr.it/T1hxFN
Revolve Group reappoints Jennifer Baxter Moser to its board of directors
Revolve Group has announced the reappointment of Jennifer (Jenny) Baxter Moser to its board of directors, effective immediately. Baxter Moser will also serve as a member of the audit committee and compensation committee.
The company said in a release that Baxter Moser previously served on Revolve’s board of directors during a period of significant growth and value creation from December 2012 through July 2020.
“Jenny made pivotal contributions to our success in her initial tenure as a board member, including playing a key role in developing our owned brand strategy and in the launch of Revolve Beauty, our fastest growing product category," said co-founder and co-CEO Mike Karanikolas.
In 2012, Baxter Moser led a strategic investment in Revolve by TSG Consumer Partners, a firm she joined in 2007 and served as partner from 2013 through 2023. During her 16-year tenure at TSG, Baxter Moser led investments in and served on the board of several high-growth consumer companies, including e.l.f. Cosmetics, Paige Denim, Smashbox Cosmetics, Backcountry and Scopely.
"Jenny's extensive industry knowledge and deep insights into the Revolve core customer demographic will add significant value to our boardroom discussions," added co-founder and co-CEO Michael Mente.
Prior to TSG Consumer Partners, Baxter Moser was a consultant at Bain & Company where she worked in several industries, including consumer products and retail, and across multiple practice areas including brand strategy, merger integration, organisational design and private equity due diligence.
"One of the highlights of my career was leading TSG's incredibly successful investment in Revolve, a partnership that further increased my passion for the brand and appreciation for its innovative business model," said Baxter Moser.
http://dlvr.it/T1hwzG
Macy’s rejects 5.8 billion dollars takeover bid from investors
Macy’s has rejected a 5.8 billion dollars takeover bid from investors Arkhouse Management and its partner Brigade Capital Management, citing concerns over financing.
“Following careful consideration and efforts to gather additional information from Arkhouse and Brigade, the board determined that Arkhouse and Brigade’s proposal is not actionable and that it fails to provide compelling value to Macy’s, Inc. shareholders,” said Jeff Gennette, chairman and CEO of Macy’s, Inc.
Despite Jefferies Group, financial advisor to the investor, providing a highly confident letter supporting the ability to raise the necessary funds for the transaction, Macy’s added that the investor group failed to address the board’s concerns regarding Arkhouse and Brigade’s ability to finance their proposed transaction.
Arkhouse, which owns a significant stake in Macy's, had asked the company to respond this week without further delaying substantive discussions.
“We believe Macy’s investors support a privatisation given the stock’s largest single-day gain in more than two years following media reports of our interest in acquiring the company. In the absence of further updates, Macy’s shares have fallen — including after the company’s announcement last Thursday of a broad-based restructuring,” Arkhouse said in a statement.
As a part of the restructuring process, Macy’s is said to be laying off about 3.5 percent of its total headcount, which amounts to roughly 2,350 employees, and also closing five Macy’s locations.
http://dlvr.it/T1hwfQ
Sunday, January 21, 2024
Rick Owens embraces the bleak and austerity of the times at PFW
For his Fall 2024 presentation Rick Owens reflected that the world is grim and intolerant, emphasising that his latest catwalk collection should not be viewed in a festival spirit. Instead, it was showcased to a select audience in his Paris home at the Place de Palais Bourbon.
Consistent with his approach, Mr. Owens has always resonated with and embraced the spirit of the times, preferring more intimate and sincere presentations over grand spectacles common in other major fashion houses. Reflecting a commitment to restraint, Owens' collections do not masquerade as decoys or themes to adopt but rather stand as authentic and brutalist expressions of its founder.
Behind the scenes, Owens mentioned that the inflatable stretch rubber boots were a collaboration with Straytukay and produced by London Garden Latex, with shoe design by Leo Prothman. Other rubber garments were developed in partnership with Matisse De Maggio.
In a post-show interview with System, Owens described the Fall 2024 clothes as barbaric and inhumane, challenging conventional beauty standards and commenting on the current global situation. Owens criticized the notion of generic 'airport beauty,' characterizing it as a narrow and intolerant standard promoted in beauty advertising. Instead, he aims to offer more diverse options and promote tolerance.
The Fall 2024 collection was named 'Porterville' after Owens' hometown in California's Sierra Nevada mountain range, a place he refers to as bleak. Owens explained in a pre-show letter that the collection is a reflection of his memories of the small hardships of a sensitive childhood in a judgmental country.
Rick Owens Fall 2024 Look 3 Credits: ©Launchmetrics/spotlight
Rick Owens Fall 2024 Credits: ©Launchmetrics/spotlight
Rick Owens Fall 2024 Look 32 Credits: ©Launchmetrics/spotlight
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