In Pictures
Downtown Abbey group shot. Credits: Lightscamera.auction and Kerry Taylor Auctions.
Cosprop and Kerry Taylor Auctions have announced that they are preparing to host an auction of iconic film and television costumes running from February 22 to March 10, during which time a live auction will also take place on March 5 where pieces will also be available to bid on.
All of the 60 items – some costumes, some film memorabilia – derive from the archives of costume house Cosprop and had initially been donated to the organisation in support of The Bright Foundation, an arts education charity established by Cosprop founder and costume designer John Bright.
As such, 100 percent of the proceeds will be donated to the charity to provide free access to theatre shows, museum tours, visual and performing arts workshops for children and supporting creative career pathways for young people.
In a release, Bright said: “My life’s work has been committed to costume design for film, TV and theatre, and I feel incredibly fortunate to have been able to pursue this path. It is my firmly held belief that the arts and creativity can shape happier and healthier children and enable young people to reach their full potential.”
Among the pieces up for auction are that of a 1950’s Christian Dior taffeta ball gown worn by Madonna in ‘Evita’, Johnny Depp’s costume as Ichabod Crane in the film ‘Sleepy Hollow’, Colin Firth’s wet shirt from the BBC TV’s drama series ‘Pride & Prejudice’ and Heath Ledger’s masquerade ball costume from ‘Casanova’.
See more of the looks here…
Drew Barrymore EVER AFTER - A CINDERELLA STORY Credits: Kerry Taylor Auctions - © 1998 20th Century Studios, Inc. All rights reserved
"Ever After" Drew Barrymore dress. Credits: Kerry Taylor Auctions.
The costumes of Johnny Depp, Anya Taylor-Joy and Colin Firth in Sleepy Hollow. Credits: Lightcamera.auction/Kerry Taylor Auctions.
Dame Elizabeth Taylor close up Young Toscanini 1998 Credits: Lightcamera.auction/Kerry Taylor Auctions (c) Tom Rand.
Dame Elizabeth Taylor "The Young Toscanini" 1988 costume side view designed by Tom Rand Credits: Lightcamera.auction/Kerry Taylor Auctions
Carey Mulligan FAR FROM THE MADDING CROWD Credits: ©2015 20th Century Studios, Inc. All rights reserved
"Far From The Madding Crowd" 2015 Carey Mulligan's costume designed by Janet Patterson Credits: Lightscamera.auction/Kerry Taylor Auctions
"Peaky Blinders" 2017 Tom Hardy full costume designed by Alison McCosh Credits: Lightscamera.auction/Kerry Taylor Auctions
The Duchess 2008 Keira Knightley & Ralph Fiennes costumes designed by Michael O'Connor Credits: Lightscamera.auction/Kerry Taylor Auctions
http://dlvr.it/T32R9b
Women shirts & amp; Pajamas and versatile Fashion of Amazon and Alibaba., fashion, Facebook,youtube, instagram, tweeter and google
Wednesday, February 21, 2024
Tuesday, February 20, 2024
LFW AW24: Menswear brand Derrick makes catwalk debut
Derrick AW24 collection Credits: Derrick
In Pictures
London-based menswear brand Derrick from Central Saint Martins graduate Luke Derrick offered a sleek and elevated display of tailoring for his catwalk debut at London Fashion Week.
Entitled ‘Nightwalking,’ the autumn/winter 2024 collection took inspiration from Derrick’s 12-minute nightly walks from his studio in Bethnal Green back to his flat in Spitalfields, East London.
Derrick AW24 collection Credits: Derrick
In the show notes, the designer, who has trained with the likes of Brioni, Alexander McQueen, Dunhill, Rapha, and Savile Row, described the curated 18 looks as an “examination of the allure of restless nightcrawling,” offering up outerwear, luxe loungewear, and his elegant, modern take on traditional tailoring for a new, younger consumer.
Highlights included jackets in Hainsworth merino wool, elevated shawl-drape tops, cotton terry “near-velvet” joggers, tailored stirrup jodhpurs, knitted jumpers with cut-out detailing, and stylish long overcoats all geared towards a new-era in British elegance for men.
Derrick AW24 collection Credits: Derrick
Derrick AW24 collection Credits: Derrick
Derrick AW24 collection Credits: Derrick
Derrick AW24 collection Credits: Derrick
http://dlvr.it/T30LG5
In Pictures
London-based menswear brand Derrick from Central Saint Martins graduate Luke Derrick offered a sleek and elevated display of tailoring for his catwalk debut at London Fashion Week.
Entitled ‘Nightwalking,’ the autumn/winter 2024 collection took inspiration from Derrick’s 12-minute nightly walks from his studio in Bethnal Green back to his flat in Spitalfields, East London.
Derrick AW24 collection Credits: Derrick
In the show notes, the designer, who has trained with the likes of Brioni, Alexander McQueen, Dunhill, Rapha, and Savile Row, described the curated 18 looks as an “examination of the allure of restless nightcrawling,” offering up outerwear, luxe loungewear, and his elegant, modern take on traditional tailoring for a new, younger consumer.
Highlights included jackets in Hainsworth merino wool, elevated shawl-drape tops, cotton terry “near-velvet” joggers, tailored stirrup jodhpurs, knitted jumpers with cut-out detailing, and stylish long overcoats all geared towards a new-era in British elegance for men.
Derrick AW24 collection Credits: Derrick
Derrick AW24 collection Credits: Derrick
Derrick AW24 collection Credits: Derrick
Derrick AW24 collection Credits: Derrick
http://dlvr.it/T30LG5
Burberry closes out LFW AW24
Burberry AW24 collection Credits: Burberry
In Pictures
British heritage brand Burberry closed out the autumn/winter 2024 season of London Fashion Week with an outdoorsy catwalk showcase in a giant circus-like tent in Victoria Park, East London.
For AW24, creative director Daniel Lee continued to lean into Burberry’s outdoor and nature connections, as well as the landscapes and people of the UK and Ireland. The collection offered a more elegant sophistication, centred around protection and warmth with outerwear, with Burberry trenches appearing in moleskin, alongside duffle coats and field jackets.
Burberry AW24 collection Credits: Burberry
Lee also delved into the archives and used traditional craft and techniques from mills in Donegal and Lochcarron to inspire construction, fabric and detailing, with shearling, braided fringing and fleecy wool adding a cosy and tactile feel throughout.
On the inspiration, Lee said in the show notes: “I wanted this collection to feel warm and protective. There’s a sense of craft in this collection. We began in the Burberry archive and the mills of Lochcarron and Donegal. I wanted to take a traditional approach to the fabrics and how each piece is made. Craftsmanship has always been at the heart of design.
“The collection itself is inspired by British and Irish wool and fabric, centred around protection and warmth. Burberry trenches are designed with texture in mind. Coats are at the core, shoes and bags are functional. These pieces are made for the outdoors.”
Burberry AW24 collection Credits: Burberry
Daniel Lee places focus on outerwear for Burberry AW24
Highlights included duffle coats with shearling necklines, teddy-bear bomber jackets, leather field coats cut with oversized funnel necks, parkas with detachable plaid linings and knee-length woollen coats with military influences.
For the ready-to-wear, Lee offered pleated maxi kilts, rollneck knitted dresses with long, chunky fringed detailing, blanket-inspired wrap dresses, a draped gold velvet dress for women, and heavy stripe suits, textured luxe loungewear, silk shirts, and trousers with zips down the front and left open at the knees for the men.
Lee finished the looks with functional bags and shoes, including sturdy Wellingtons and biker boots with buckle detailing, alongside sculptural feather bracelets.
Burberry AW24 collection Credits: Burberry
Burberry AW24 collection Credits: Burberry
Burberry AW24 collection Credits: Burberry
Burberry AW24 collection Credits: Burberry
Burberry AW24 collection Credits: Burberry
Burberry AW24 collection Credits: Burberry
Burberry AW24 collection Credits: Burberry
Burberry AW24 collection Credits: Burberry
Burberry AW24 collection Credits: Burberry
http://dlvr.it/T30KxT
In Pictures
British heritage brand Burberry closed out the autumn/winter 2024 season of London Fashion Week with an outdoorsy catwalk showcase in a giant circus-like tent in Victoria Park, East London.
For AW24, creative director Daniel Lee continued to lean into Burberry’s outdoor and nature connections, as well as the landscapes and people of the UK and Ireland. The collection offered a more elegant sophistication, centred around protection and warmth with outerwear, with Burberry trenches appearing in moleskin, alongside duffle coats and field jackets.
Burberry AW24 collection Credits: Burberry
Lee also delved into the archives and used traditional craft and techniques from mills in Donegal and Lochcarron to inspire construction, fabric and detailing, with shearling, braided fringing and fleecy wool adding a cosy and tactile feel throughout.
On the inspiration, Lee said in the show notes: “I wanted this collection to feel warm and protective. There’s a sense of craft in this collection. We began in the Burberry archive and the mills of Lochcarron and Donegal. I wanted to take a traditional approach to the fabrics and how each piece is made. Craftsmanship has always been at the heart of design.
“The collection itself is inspired by British and Irish wool and fabric, centred around protection and warmth. Burberry trenches are designed with texture in mind. Coats are at the core, shoes and bags are functional. These pieces are made for the outdoors.”
Burberry AW24 collection Credits: Burberry
Daniel Lee places focus on outerwear for Burberry AW24
Highlights included duffle coats with shearling necklines, teddy-bear bomber jackets, leather field coats cut with oversized funnel necks, parkas with detachable plaid linings and knee-length woollen coats with military influences.
For the ready-to-wear, Lee offered pleated maxi kilts, rollneck knitted dresses with long, chunky fringed detailing, blanket-inspired wrap dresses, a draped gold velvet dress for women, and heavy stripe suits, textured luxe loungewear, silk shirts, and trousers with zips down the front and left open at the knees for the men.
Lee finished the looks with functional bags and shoes, including sturdy Wellingtons and biker boots with buckle detailing, alongside sculptural feather bracelets.
Burberry AW24 collection Credits: Burberry
Burberry AW24 collection Credits: Burberry
Burberry AW24 collection Credits: Burberry
Burberry AW24 collection Credits: Burberry
Burberry AW24 collection Credits: Burberry
Burberry AW24 collection Credits: Burberry
Burberry AW24 collection Credits: Burberry
Burberry AW24 collection Credits: Burberry
Burberry AW24 collection Credits: Burberry
http://dlvr.it/T30KxT
Coty and Etro sign new beauty and fragrance license
Etro spring/summer 2024, ready-to-wear Credits: ©Launchmetrics/spotlight
Beauty
Beauty and cosmetics giant Coty has inked a long-term beauty license with luxury Italian fashion house Etro to produce and distribute its signature fragrance lines and home scent collections beyond 2040.
In a statement, Coty said that the deal will actively drive the expansion of Etro’s fragrances, and it will also work with the fashion house to explore new categories and innovations “to grow the brand’s beauty portfolio”.
Sue Nabi, chief executive at Coty, said: “We are delighted to announce our new alliance with Etro, an Italian luxury fashion house that is renowned for its timeless designs and relentless focus on quality. Etro is an iconic brand with a long-standing heritage of excellence that is reflected across every facet of its business.
“This agreement further underscores Coty’s focus on fashion driven licenses with significant multi category potential which resonate with consumers in our key markets. We are excited to collaborate with Etro, building on the brand’s existing beauty offering and bringing its unique brand identity to life through new categories and launches.”
Coty and Etro logos Credits: Coty/Etro
This is the first beauty license for Etro as the brand’s fragrances, including ‘Shantung’ and ‘Paisley,’ have been developed in-house until now. Coty will now assume the development, production, and distribution of all Etro perfumes and fragrances.
Fabrizio Cardinali, chief executive at Etro, added: “This partnership with Coty marks another invigorating chapter for Etro as we continue to bolster the evolution of our beauty portfolio. The collaboration will enable us to leverage synergies between our companies while taking advantage of Coty’s expertise and industry-leading capabilities.
“We are looking forward to working with the Coty team to explore ways of developing our beauty presence in a way which is authentic to Etro, further strengthening our ability to meet the dynamic, and ever-evolving demands of our consumer across different markets.”
http://dlvr.it/T2zxpN
Beauty
Beauty and cosmetics giant Coty has inked a long-term beauty license with luxury Italian fashion house Etro to produce and distribute its signature fragrance lines and home scent collections beyond 2040.
In a statement, Coty said that the deal will actively drive the expansion of Etro’s fragrances, and it will also work with the fashion house to explore new categories and innovations “to grow the brand’s beauty portfolio”.
Sue Nabi, chief executive at Coty, said: “We are delighted to announce our new alliance with Etro, an Italian luxury fashion house that is renowned for its timeless designs and relentless focus on quality. Etro is an iconic brand with a long-standing heritage of excellence that is reflected across every facet of its business.
“This agreement further underscores Coty’s focus on fashion driven licenses with significant multi category potential which resonate with consumers in our key markets. We are excited to collaborate with Etro, building on the brand’s existing beauty offering and bringing its unique brand identity to life through new categories and launches.”
Coty and Etro logos Credits: Coty/Etro
This is the first beauty license for Etro as the brand’s fragrances, including ‘Shantung’ and ‘Paisley,’ have been developed in-house until now. Coty will now assume the development, production, and distribution of all Etro perfumes and fragrances.
Fabrizio Cardinali, chief executive at Etro, added: “This partnership with Coty marks another invigorating chapter for Etro as we continue to bolster the evolution of our beauty portfolio. The collaboration will enable us to leverage synergies between our companies while taking advantage of Coty’s expertise and industry-leading capabilities.
“We are looking forward to working with the Coty team to explore ways of developing our beauty presence in a way which is authentic to Etro, further strengthening our ability to meet the dynamic, and ever-evolving demands of our consumer across different markets.”
http://dlvr.it/T2zxpN
Revivals, mergers and London’s return: What went down at the first Pure London x JATC
Pure London x JATC, Feb 2024 edition. Credits: Pure London x JATC.
In the world of the UK’s trade show landscape, the merging of Pure London and Just Around the Corner (JATC) was a one that brought much attention to the industry. The duo, once rivals individually hosting their respective events in the UK’s capital, announced their decision to come together mid-2023, aligning with the promise of boosting reach and offer. It reaffirmed a trend for such unification among the wider trade show industry – with Copenhagen International Fashion Fair (CIFF) also recently absorbing its smaller rival Revolve, bringing exhibitors under one roof.
Spanning February 11 to 13, and running simultaneously to sister fair Scoop, also run by parent company Hyve Group, the first edition of Pure London x JATC took place, returning to Pure’s home of Olympia London, welcoming a “record number” of exhibitors to the venue. Over the course of the three days, the event played host to trend seminars, panel discussions and runways shows, where featured brands and overarching seasonal trends were put on display for all those passing through.
Merging markets and missions
Like CIFF, the challenge for Pure and JATC was to combine their missions, a learning curve for the shows’ respective organisers, Gloria Sandrucci and Juls Dawson. Next to the goal of making the trade show more accessible for buyers and exhibitors, elements of each show could be seen among the stands. For example, a new showroom package allowed exhibitors to have a more simple, and therefore cheaper format. Speaking to FashionUnited, Sandrucci added: “For us, we embraced the more simplistic way that Juls had at JATC. We’ve introduced other very simple packages to allow new brands, young talents to experience the show in an innovative way.”
This was evident in Pure x JATC’s expanded ‘Pop’ section where, alongside established Gen Z-targeted brands, were a number of upcoming labels led by Gen Z themselves. One-year-old Heretic Nine was among those, co-founded by Leyla Edwards, who draws on past eras to inform her highly otherworldly yet nostalgia-based collections. Akin to the concept of Pop as a whole, Edwards’ mission is to eventually de-gender fashion and while the brand itself stood out among some of the more household names, she said that being at the event has helped her to learn a lot in the way of business and how to operate.
Heretic Nine’s presence at Pure comes ahead of a soon-to-be-revealed collaboration with Asos, which has previously offered the brand’s collections through its e-commerce site, and on the back of a concept store opening in Shoreditch. And being at the event has only expanded the possibilities for Edwards, who said: “Quite a few developing streetwear boutiques and outlets have come by, a lot from Ireland and a few in the US and around Europe. I’m also looking for people to collaborate with. We’re around pretty like-minded people, so it’s been quite a community-feel here and I’ve done a lot of networking.”
Pure London x JATC, Feb 2024 edition. Credits: Pure London x JATC.
Such a mission to bolster newcomers has and will continue to be an important part of Pure x JATC, and for Sandrucci, who noted that it was also the second time the fair had partnered with the Graduate Fashion Foundation, participants of which showed their own lines at the show. She continued: “They’re the future. They are absolutely crucial to the landscape of fashion. We are very much championing young talent and offer a pared back solution for brands that are nearing the start of their journey, with pre-ordered furniture, so brands can turn up with their wares and it makes attending easier for them.”
Former JATC exhibitors become Pure returnees
This builds on JATC’s prior mission of backing those who have less accessibility to the industry overall. For Dawson in particular, there had previously been an emphasis on the Northern industry, bringing in a demographic from this area through biannual Manchester events, which were decidedly closer to home for Northern English, Northern Irish and Scottish retailers, for which a trip to London was likely too much of a financial burden.
It was a concept that drew some exhibitors towards JATC, pushing them to switch out Pure in favour of what they perceived as a more wide-reaching and accessible event. While the trade show’s parent company, Hyve Group, also hosts an event in Birmingham – a city that is on the cusp of the northern territory – the departure from this setup seemingly proved a little disappointing to some.
Among those was Byoung, a Danish brand under the DK Company umbrella that hosted one of the larger stands at this edition of the show. The label had been a long-time exhibitor at Pure before it opted to move to JATC. Now returning to the Olympia grounds, for the representatives of the brand, despite a buoyant footfall of independents, there was a distinct lack of Irish and Northern retailers. They had also seen a similar mentality among the buyers that were stopping by, who were expecting to see a much bigger iteration of past editions.
Pure London x JATC, Feb 2024 edition. Credits: Pure London x JATC.
Agent Mary Ryan said: “The problem is, when splitting the shows and now coming back, not enough brands have also come back. A lot of buyers have come back but the general feeling is there is not enough here. There needs to be more of the bigger brands. We are part of DK Company, so we’ve got this big area. I think as much as buyers have come back because they like the idea of the shows being together, there have been a few disappointed ones that expected it to be bigger.”
This contrasted the sentiment of Cara Melzack, CEO and founder of Cara & The Sky, who had similarly been a prior attendee of JATC, but for whom the latest shift had been a positive experience. She commented: "I like that they’ve kept the feel of JATC, just having the rails so we didn’t have to buy into giant production areas. It’s been a huge benefit because there’s just one show everyone’s coming to. You don’t have to divide your time. I’ve got lots of new customers. It’s a large venue, which can make it feel quiet, but I’m selling. It’s been a really positive experience. And the team has been so welcoming.”
Revival of menswear and eveningwear
As mentioned, a record number of exhibitors were present amid what Pure’s Sandrucci said was a “curve” that was only growing. Such expansion could be seen among the “destinations” of the event. While Pure had initially put its focus on womenswear, JATC was decidedly more diversified despite its smaller format, bringing together a much more equal mix of womenswear, menswear and accessories. As such, on the balcony of Olympia London overlooking the fair’s ground were a handful of menswear and accessory brands, representing the expanded categories for the season.
On the challenge of retaining relevance among the categories, Sandrucci said: “The level of people travelling is going to exceed pre-pandemic. That is a reflection of what we have to keep in mind for developing new areas. Clothing has definitely become very much versatile, you can dress up or dress down according to the accessories that you are utilising. That's why it's so important that we've got all these destination areas together and offer a retailer a department store experience.”
Menswear has arguably navigated the wave of economic uncertainty with more difficulty than womenswear. Yet with the upcoming surge in tailoring, one of the definitive trends among brands this season according to Sandrucci, the reintroduction of the menswear category was critical for this edition. In a talk alongside journalist Eric Musgrave, Dawson said: “A lot of brands and boutiques offer for men and women, specialising in both, and that means we can offer what they want. Womenswear is about 60 percent of our industry, but menswear is still key. When so much of the high street is working in competition and looking the same, independent boutiques make such a fantastic point of difference. They can really concentrate on what the people in their location want.”
Pure London x JATC, Feb 2024 edition. Credits: Pure London x JATC.
Another sector on the up following a pandemic-induced standstill is eveningwear, a category which had a growing, yet still notably small presence at Pure x JATC. For Manchester-based Portia & Scarlett, a brand that was recently acquired by Australian group Allure Bridals last year, this smaller presence meant that the typical prom-centric clients the team usually targets were lacking, albeit it allowed them to delve deeper into a more multicultural market that they had previously not considered. Used to the chaos of seasonal and specialised trade shows the brand usually frequents, the team at Pure said there was a much calmer atmosphere, however that allowed them to speak to a number of potential clients to onboard at a later date.
On the event and industry as a whole, agent Eleanor McKinnon said: “In bridal, we had a boom in 2022 when everyone went back to shopping, and that’s kind of plateaued. We’re hoping for a lot more growth this year. Eveningwear has been hit harder because this is not an essential item that is also available on other platforms at a lower price point. Prom girls were watching what they’re spending, but they’re coming back because they want the experience and choice. They don’t want to go online, they want to try it on. It’s been quiet [at Pure] for us, but I think that with our type of product, we’re probably more likely to have more footfall at a show directed towards this product. We’ve mostly seen small boutique owners that want high-priced items, so that hasn’t been a problem. I did approach this event from a more networking standpoint, so it has been really good to see that there are other stores that would be interested in this kind of product.”
Supply chain issues are not a factor but high street concern remains
In fact, a large part of the UK has become a lot more budget-conscious in the past year, as the cost-of-living crisis continues to clamp down on the wallets of end consumers. It is this factor that has also sowed a seed of doubt into the longevity of high streets across the country, a concern that could be seen even among the largest of exhibitors of Pure. Ryan of Byoung, for example, said that while parent company DK was not worried about the similarly ongoing supply chain issues – noting that Danish shipping company Maersk had been able to avoid any delays – she added that physical retailers, and especially independents, were feeling the squeeze.
Amid an ongoing strategy to secure a larger foothold in the bigger markets like the US, Ryan said of the current atmosphere among UK retailers: “They’re trudging along, doing their best, but online is affecting them. They all say that. But I think there’s been a lot of things in the last year, because we’ve had the cost-of-living crisis, the war in Ukraine, and all of those are feeding into it. It’s not just online.”
Sandrucci recognised the concern, yet had a more positive outlook on the future, commenting: “We saw a very strong attendance of buyers here and also at the previous show we had in Birmingham last week [Spring Fair]. We know that buyers are out there and they want to buy so that is actually quite encouraging and a really good sign for what the future will be. UK trade shows are super important because the budgets are tighter and there's not the same budgets for buyers to go sourcing abroad.”
Pure London x JATC, Feb 2024 edition. Credits: Pure London x JATC.
In relation to supply chain concerns – largely centred around the Red Sea, where there has been a hold up in distribution due to certain attacks – the overarching feeling is a less immediate worry. Spanish brand Vilagallo, another expansive exhibitor at the fair, said that with production in Europe the team had not experienced many difficulties, simply dealing occasionally with slightly late orders.
By now, however, with the turbulence of the supply chain having already been ongoing for a number of years, JATC’s Dawson hopes brands are well adjusted to the flexibility needed. He added: “There have long been problems with the supply chain and hopefully people build that into their critical path now, because there's always something at this point. I'm an agent as well and most of my brands are delivering spring on time despite there being a one or two week delay because they built it into their process. You have to make allowances nowadays.”
What’s to come
Both Dawson and Sandrucci have a positive perspective, in fact, with a lot of hope for the future of the UK industry. “Travelling is coming back. London has suffered from a lack of tourism, and people are scheduling big trips now just for buying. That is certainly something that I can see coming back,” Sandrucci said. When asked how as event organisers, they ensure the event stays relevant for those attending, she added: “We really embrace changes and in order to stay relevant. We reinvent ourselves constantly in how we do trade shows. This is an example of coming together, the resources that you can combine. We are bringing the breadth of branding, we are growing the brand mix, which then gives the retailers the freedom to spend their time here. What consumers' behaviours are, what they want; so really always being ahead of the curve and that's where our trend partners become helpful because we can understand where to focus our energies.”
When it comes down to what to expect for next season, the duo are tight-lipped, but their enthusiasm for what is to come already hints at big things. Dawson, who said the merging of events was a “dream come true”, said: “It's just what we wanted to make it easier for the buyers and the industry, to bring everything together. We've seen it happen in other capital cities around the world, like Copenhagen. And the reaction when we first announced this over six months ago was really positive. We saw the impact of that this time with the show growing so much, so we're expecting big growth given the reaction we've had the last few days.”
Read more:
* Brexit, budgets and a high street revival: Down the rabbit hole at Scoop International
* Child’s play and monster tailoring: AW24 Trends from Pure London x JATC
http://dlvr.it/T2zdJp
In the world of the UK’s trade show landscape, the merging of Pure London and Just Around the Corner (JATC) was a one that brought much attention to the industry. The duo, once rivals individually hosting their respective events in the UK’s capital, announced their decision to come together mid-2023, aligning with the promise of boosting reach and offer. It reaffirmed a trend for such unification among the wider trade show industry – with Copenhagen International Fashion Fair (CIFF) also recently absorbing its smaller rival Revolve, bringing exhibitors under one roof.
Spanning February 11 to 13, and running simultaneously to sister fair Scoop, also run by parent company Hyve Group, the first edition of Pure London x JATC took place, returning to Pure’s home of Olympia London, welcoming a “record number” of exhibitors to the venue. Over the course of the three days, the event played host to trend seminars, panel discussions and runways shows, where featured brands and overarching seasonal trends were put on display for all those passing through.
Merging markets and missions
Like CIFF, the challenge for Pure and JATC was to combine their missions, a learning curve for the shows’ respective organisers, Gloria Sandrucci and Juls Dawson. Next to the goal of making the trade show more accessible for buyers and exhibitors, elements of each show could be seen among the stands. For example, a new showroom package allowed exhibitors to have a more simple, and therefore cheaper format. Speaking to FashionUnited, Sandrucci added: “For us, we embraced the more simplistic way that Juls had at JATC. We’ve introduced other very simple packages to allow new brands, young talents to experience the show in an innovative way.”
This was evident in Pure x JATC’s expanded ‘Pop’ section where, alongside established Gen Z-targeted brands, were a number of upcoming labels led by Gen Z themselves. One-year-old Heretic Nine was among those, co-founded by Leyla Edwards, who draws on past eras to inform her highly otherworldly yet nostalgia-based collections. Akin to the concept of Pop as a whole, Edwards’ mission is to eventually de-gender fashion and while the brand itself stood out among some of the more household names, she said that being at the event has helped her to learn a lot in the way of business and how to operate.
Heretic Nine’s presence at Pure comes ahead of a soon-to-be-revealed collaboration with Asos, which has previously offered the brand’s collections through its e-commerce site, and on the back of a concept store opening in Shoreditch. And being at the event has only expanded the possibilities for Edwards, who said: “Quite a few developing streetwear boutiques and outlets have come by, a lot from Ireland and a few in the US and around Europe. I’m also looking for people to collaborate with. We’re around pretty like-minded people, so it’s been quite a community-feel here and I’ve done a lot of networking.”
Pure London x JATC, Feb 2024 edition. Credits: Pure London x JATC.
Such a mission to bolster newcomers has and will continue to be an important part of Pure x JATC, and for Sandrucci, who noted that it was also the second time the fair had partnered with the Graduate Fashion Foundation, participants of which showed their own lines at the show. She continued: “They’re the future. They are absolutely crucial to the landscape of fashion. We are very much championing young talent and offer a pared back solution for brands that are nearing the start of their journey, with pre-ordered furniture, so brands can turn up with their wares and it makes attending easier for them.”
Former JATC exhibitors become Pure returnees
This builds on JATC’s prior mission of backing those who have less accessibility to the industry overall. For Dawson in particular, there had previously been an emphasis on the Northern industry, bringing in a demographic from this area through biannual Manchester events, which were decidedly closer to home for Northern English, Northern Irish and Scottish retailers, for which a trip to London was likely too much of a financial burden.
It was a concept that drew some exhibitors towards JATC, pushing them to switch out Pure in favour of what they perceived as a more wide-reaching and accessible event. While the trade show’s parent company, Hyve Group, also hosts an event in Birmingham – a city that is on the cusp of the northern territory – the departure from this setup seemingly proved a little disappointing to some.
Among those was Byoung, a Danish brand under the DK Company umbrella that hosted one of the larger stands at this edition of the show. The label had been a long-time exhibitor at Pure before it opted to move to JATC. Now returning to the Olympia grounds, for the representatives of the brand, despite a buoyant footfall of independents, there was a distinct lack of Irish and Northern retailers. They had also seen a similar mentality among the buyers that were stopping by, who were expecting to see a much bigger iteration of past editions.
Pure London x JATC, Feb 2024 edition. Credits: Pure London x JATC.
Agent Mary Ryan said: “The problem is, when splitting the shows and now coming back, not enough brands have also come back. A lot of buyers have come back but the general feeling is there is not enough here. There needs to be more of the bigger brands. We are part of DK Company, so we’ve got this big area. I think as much as buyers have come back because they like the idea of the shows being together, there have been a few disappointed ones that expected it to be bigger.”
This contrasted the sentiment of Cara Melzack, CEO and founder of Cara & The Sky, who had similarly been a prior attendee of JATC, but for whom the latest shift had been a positive experience. She commented: "I like that they’ve kept the feel of JATC, just having the rails so we didn’t have to buy into giant production areas. It’s been a huge benefit because there’s just one show everyone’s coming to. You don’t have to divide your time. I’ve got lots of new customers. It’s a large venue, which can make it feel quiet, but I’m selling. It’s been a really positive experience. And the team has been so welcoming.”
Revival of menswear and eveningwear
As mentioned, a record number of exhibitors were present amid what Pure’s Sandrucci said was a “curve” that was only growing. Such expansion could be seen among the “destinations” of the event. While Pure had initially put its focus on womenswear, JATC was decidedly more diversified despite its smaller format, bringing together a much more equal mix of womenswear, menswear and accessories. As such, on the balcony of Olympia London overlooking the fair’s ground were a handful of menswear and accessory brands, representing the expanded categories for the season.
On the challenge of retaining relevance among the categories, Sandrucci said: “The level of people travelling is going to exceed pre-pandemic. That is a reflection of what we have to keep in mind for developing new areas. Clothing has definitely become very much versatile, you can dress up or dress down according to the accessories that you are utilising. That's why it's so important that we've got all these destination areas together and offer a retailer a department store experience.”
Menswear has arguably navigated the wave of economic uncertainty with more difficulty than womenswear. Yet with the upcoming surge in tailoring, one of the definitive trends among brands this season according to Sandrucci, the reintroduction of the menswear category was critical for this edition. In a talk alongside journalist Eric Musgrave, Dawson said: “A lot of brands and boutiques offer for men and women, specialising in both, and that means we can offer what they want. Womenswear is about 60 percent of our industry, but menswear is still key. When so much of the high street is working in competition and looking the same, independent boutiques make such a fantastic point of difference. They can really concentrate on what the people in their location want.”
Pure London x JATC, Feb 2024 edition. Credits: Pure London x JATC.
Another sector on the up following a pandemic-induced standstill is eveningwear, a category which had a growing, yet still notably small presence at Pure x JATC. For Manchester-based Portia & Scarlett, a brand that was recently acquired by Australian group Allure Bridals last year, this smaller presence meant that the typical prom-centric clients the team usually targets were lacking, albeit it allowed them to delve deeper into a more multicultural market that they had previously not considered. Used to the chaos of seasonal and specialised trade shows the brand usually frequents, the team at Pure said there was a much calmer atmosphere, however that allowed them to speak to a number of potential clients to onboard at a later date.
On the event and industry as a whole, agent Eleanor McKinnon said: “In bridal, we had a boom in 2022 when everyone went back to shopping, and that’s kind of plateaued. We’re hoping for a lot more growth this year. Eveningwear has been hit harder because this is not an essential item that is also available on other platforms at a lower price point. Prom girls were watching what they’re spending, but they’re coming back because they want the experience and choice. They don’t want to go online, they want to try it on. It’s been quiet [at Pure] for us, but I think that with our type of product, we’re probably more likely to have more footfall at a show directed towards this product. We’ve mostly seen small boutique owners that want high-priced items, so that hasn’t been a problem. I did approach this event from a more networking standpoint, so it has been really good to see that there are other stores that would be interested in this kind of product.”
Supply chain issues are not a factor but high street concern remains
In fact, a large part of the UK has become a lot more budget-conscious in the past year, as the cost-of-living crisis continues to clamp down on the wallets of end consumers. It is this factor that has also sowed a seed of doubt into the longevity of high streets across the country, a concern that could be seen even among the largest of exhibitors of Pure. Ryan of Byoung, for example, said that while parent company DK was not worried about the similarly ongoing supply chain issues – noting that Danish shipping company Maersk had been able to avoid any delays – she added that physical retailers, and especially independents, were feeling the squeeze.
Amid an ongoing strategy to secure a larger foothold in the bigger markets like the US, Ryan said of the current atmosphere among UK retailers: “They’re trudging along, doing their best, but online is affecting them. They all say that. But I think there’s been a lot of things in the last year, because we’ve had the cost-of-living crisis, the war in Ukraine, and all of those are feeding into it. It’s not just online.”
Sandrucci recognised the concern, yet had a more positive outlook on the future, commenting: “We saw a very strong attendance of buyers here and also at the previous show we had in Birmingham last week [Spring Fair]. We know that buyers are out there and they want to buy so that is actually quite encouraging and a really good sign for what the future will be. UK trade shows are super important because the budgets are tighter and there's not the same budgets for buyers to go sourcing abroad.”
Pure London x JATC, Feb 2024 edition. Credits: Pure London x JATC.
In relation to supply chain concerns – largely centred around the Red Sea, where there has been a hold up in distribution due to certain attacks – the overarching feeling is a less immediate worry. Spanish brand Vilagallo, another expansive exhibitor at the fair, said that with production in Europe the team had not experienced many difficulties, simply dealing occasionally with slightly late orders.
By now, however, with the turbulence of the supply chain having already been ongoing for a number of years, JATC’s Dawson hopes brands are well adjusted to the flexibility needed. He added: “There have long been problems with the supply chain and hopefully people build that into their critical path now, because there's always something at this point. I'm an agent as well and most of my brands are delivering spring on time despite there being a one or two week delay because they built it into their process. You have to make allowances nowadays.”
What’s to come
Both Dawson and Sandrucci have a positive perspective, in fact, with a lot of hope for the future of the UK industry. “Travelling is coming back. London has suffered from a lack of tourism, and people are scheduling big trips now just for buying. That is certainly something that I can see coming back,” Sandrucci said. When asked how as event organisers, they ensure the event stays relevant for those attending, she added: “We really embrace changes and in order to stay relevant. We reinvent ourselves constantly in how we do trade shows. This is an example of coming together, the resources that you can combine. We are bringing the breadth of branding, we are growing the brand mix, which then gives the retailers the freedom to spend their time here. What consumers' behaviours are, what they want; so really always being ahead of the curve and that's where our trend partners become helpful because we can understand where to focus our energies.”
When it comes down to what to expect for next season, the duo are tight-lipped, but their enthusiasm for what is to come already hints at big things. Dawson, who said the merging of events was a “dream come true”, said: “It's just what we wanted to make it easier for the buyers and the industry, to bring everything together. We've seen it happen in other capital cities around the world, like Copenhagen. And the reaction when we first announced this over six months ago was really positive. We saw the impact of that this time with the show growing so much, so we're expecting big growth given the reaction we've had the last few days.”
Read more:
* Brexit, budgets and a high street revival: Down the rabbit hole at Scoop International
* Child’s play and monster tailoring: AW24 Trends from Pure London x JATC
http://dlvr.it/T2zdJp
Monday, February 19, 2024
London Fashion Week blends tweed and Y2K amid economic gloom
JW Anderson AW24 collection shown at London fashion week. Credits: Launchmetrics
From tweed to the iconic low-rise jeans of the
early 2000s, London Fashion Week unveiled a spectrum of styles on Friday,
kicking off its 40th season which has been dimmed by the UK's gloomy economy.
Some 60 designers, ranging from rising talents to renowned brands like
Burberry, will show their new designs over five days, hoping to draw the
interest of buyers and fashion influencers.
Irish-American designer Paul Costelloe's show, titled "Once upon a Time" --
a reference to the iconic 1984 film "Once Upon a Time in America" -- showcased
wide-belted coats in ecru, anthracite and checkered tweed.
Costelloe, 78, who is bedridden with a virus, was absent from the event.
Gen Z favourite
In another early show, Ukrainian Masha Popova, a "Gen Z" favourite,
presented a collection inspired by early 2000s so-called Y2K era.
Performed against a backdrop of techno music and in front of a crowd of
influencers, it featured models in low-waisted pants, washed out denim -- and
heels topped with long gaiters.
Elsewhere, Turkish designer Bora Aksu delivered a gloomier mood, aimed at
finding and celebrating "the purest beauty amidst the most vivid of horrors".
Slender models wearing bodices paired with wide sleeves, lace gowns,
flowing skirts, blouses and masculine jackets paraded to slow-beating music,
with cream, grey, black and dark blue the predominant colours.
The designer, who was inspired by the work of sculptor Eva Hesse who fled
Nazi-Germany as a child in 1938, used tones of pink and blush to retain a
light, feminine energy, while making use of old stock and rejected rolls for
his garments.
On Friday night, British-Nigerian Tolu Coker was given rapturous applause
after her show, which featured a runway made to resemble a traditionally
African street, with yellow, blue and green umbrellas, stacks of tyres and a
"Give Way" street sign.
Beige, brown and black and white were the prominent colours, with the
models wearing coats, heels, boots and skirts.
The packed audience snapped photographs on their cellphones when one model
walked the runway wearing a multi-coloured calabash head decoration.
Another model drew applause as she paraded wearing a green jacket and beige
skirt.
At the end of the show the stern-faced models huddled on the catwalk before
breaking into smiles and waving their hands, drawing cheers from the audience.
Coker waved and smiled as she followed the models down the runway.
Tumultuous time
Despite the audience's excitement, the showcase comes at a tumultuous time
for Britain's fashion industry, amid post-Brexit trade barriers and the
country's inflation-fuelled cost-of-living crisis.
The situation has prompted some nascent designers to question the viability
of investing in British fashion events.
Rising star Dilara Findikoglu made headlines last September after she
cancelled her show days before the event for financial reasons.
The industry, which employs close to 900,000 people in the UK and
contributes £21 billion ($26 billion) to the British economy, is facing
"incredibly challenging times," LFW's director Caroline Rush told AFP.
But what can be garnered from 40 years, she said, "is that in the most
economically challenging times, you see the most incredible creativity".
"There's almost this visceral reaction to what's happening at home," Rush
added.
"I'm hoping that the creativity that we see over the next few days will be
incredibly uplifting, that it will talk about the role of culture and
creativity in society."
The first edition of British Fashion Week was held in 1984 in a tent set up
in the parking lot of the former Commonwealth Institute in West London.
Initially overlooked, the British capital earned its rebellious reputation
thanks to legends like Vivienne Westwood and John Galliano, who put the city
on the fashion map. Then there was the "Cool Britannia" era in the 1990s, a
cultural euphoria period when Stella McCartney or Matthew Williamson dressed
supermodels Kate Moss and Naomi Campbell.
Since then, London has lost some of its allure, with the departure of star
designers and houses preferring Paris, such as Alexander McQueen or Victoria
Beckham.
However, the BFC's NEWGEN sponsorship program, which supports young
designers, has affirmed London's position as a talent incubator.
And while it remains less prestigious than Paris or Milan, London Fashion
Week is celebrated for being freer, more radical, and less formulaic.
This anniversary edition also aims to highlight greater diversity and
inclusivity, in terms of body shapes, ages, or skin colours of the models, as
well as in the designers' collections, with identities or inspirations from
the Caribbean, Iran, India, or Ethiopia.
The weekend will feature more familiar names like JW Anderson, Richard
Quinn, Ahluwalia, and Simone Rocha, before Burberry's show scheduled for
Monday evening.(AFP)
http://dlvr.it/T2yG4S
From tweed to the iconic low-rise jeans of the
early 2000s, London Fashion Week unveiled a spectrum of styles on Friday,
kicking off its 40th season which has been dimmed by the UK's gloomy economy.
Some 60 designers, ranging from rising talents to renowned brands like
Burberry, will show their new designs over five days, hoping to draw the
interest of buyers and fashion influencers.
Irish-American designer Paul Costelloe's show, titled "Once upon a Time" --
a reference to the iconic 1984 film "Once Upon a Time in America" -- showcased
wide-belted coats in ecru, anthracite and checkered tweed.
Costelloe, 78, who is bedridden with a virus, was absent from the event.
Gen Z favourite
In another early show, Ukrainian Masha Popova, a "Gen Z" favourite,
presented a collection inspired by early 2000s so-called Y2K era.
Performed against a backdrop of techno music and in front of a crowd of
influencers, it featured models in low-waisted pants, washed out denim -- and
heels topped with long gaiters.
Elsewhere, Turkish designer Bora Aksu delivered a gloomier mood, aimed at
finding and celebrating "the purest beauty amidst the most vivid of horrors".
Slender models wearing bodices paired with wide sleeves, lace gowns,
flowing skirts, blouses and masculine jackets paraded to slow-beating music,
with cream, grey, black and dark blue the predominant colours.
The designer, who was inspired by the work of sculptor Eva Hesse who fled
Nazi-Germany as a child in 1938, used tones of pink and blush to retain a
light, feminine energy, while making use of old stock and rejected rolls for
his garments.
On Friday night, British-Nigerian Tolu Coker was given rapturous applause
after her show, which featured a runway made to resemble a traditionally
African street, with yellow, blue and green umbrellas, stacks of tyres and a
"Give Way" street sign.
Beige, brown and black and white were the prominent colours, with the
models wearing coats, heels, boots and skirts.
The packed audience snapped photographs on their cellphones when one model
walked the runway wearing a multi-coloured calabash head decoration.
Another model drew applause as she paraded wearing a green jacket and beige
skirt.
At the end of the show the stern-faced models huddled on the catwalk before
breaking into smiles and waving their hands, drawing cheers from the audience.
Coker waved and smiled as she followed the models down the runway.
Tumultuous time
Despite the audience's excitement, the showcase comes at a tumultuous time
for Britain's fashion industry, amid post-Brexit trade barriers and the
country's inflation-fuelled cost-of-living crisis.
The situation has prompted some nascent designers to question the viability
of investing in British fashion events.
Rising star Dilara Findikoglu made headlines last September after she
cancelled her show days before the event for financial reasons.
The industry, which employs close to 900,000 people in the UK and
contributes £21 billion ($26 billion) to the British economy, is facing
"incredibly challenging times," LFW's director Caroline Rush told AFP.
But what can be garnered from 40 years, she said, "is that in the most
economically challenging times, you see the most incredible creativity".
"There's almost this visceral reaction to what's happening at home," Rush
added.
"I'm hoping that the creativity that we see over the next few days will be
incredibly uplifting, that it will talk about the role of culture and
creativity in society."
The first edition of British Fashion Week was held in 1984 in a tent set up
in the parking lot of the former Commonwealth Institute in West London.
Initially overlooked, the British capital earned its rebellious reputation
thanks to legends like Vivienne Westwood and John Galliano, who put the city
on the fashion map. Then there was the "Cool Britannia" era in the 1990s, a
cultural euphoria period when Stella McCartney or Matthew Williamson dressed
supermodels Kate Moss and Naomi Campbell.
Since then, London has lost some of its allure, with the departure of star
designers and houses preferring Paris, such as Alexander McQueen or Victoria
Beckham.
However, the BFC's NEWGEN sponsorship program, which supports young
designers, has affirmed London's position as a talent incubator.
And while it remains less prestigious than Paris or Milan, London Fashion
Week is celebrated for being freer, more radical, and less formulaic.
This anniversary edition also aims to highlight greater diversity and
inclusivity, in terms of body shapes, ages, or skin colours of the models, as
well as in the designers' collections, with identities or inspirations from
the Caribbean, Iran, India, or Ethiopia.
The weekend will feature more familiar names like JW Anderson, Richard
Quinn, Ahluwalia, and Simone Rocha, before Burberry's show scheduled for
Monday evening.(AFP)
http://dlvr.it/T2yG4S
The Body Shop’s German business falls into administration, Belgium next
The Body Shop Bond Street store Credits: The Body Shop
Following the fall into administration of its UK business, The Body Shop’s German stores are now beginning to close down after also taking the plunge, a process that will reportedly soon follow in Belgium.
The closures are being carried out by restructuring specialist Aurelius, which snapped up the cosmetics retailer in an acquisition deal last year and later put the company’s main UK business into administration last week.
According to previous media reports, however, Aurelius had sold a portion of The Body Shop’s European operations to Alma24 last month, which was also reportedly behind the take over of the company’s Japanese and Irish businesses.
Meanwhile, in Germany, staff told the Guardian, which initially reported the news, that all 60 stores and the head office in the region were likely to close, with an insolvency specialist from law firm White & Case believed to have been appointed to handle the case.
In Belgium, where the chain employs around 50 people over 16 stores, workers were believed to have been told that administrators were also to be appointed.
Other sources for the media outlet further stated that in Ireland, Austria and Luxembourg, a similar process was also expected to unfold shortly.
http://dlvr.it/T2xsjf
Following the fall into administration of its UK business, The Body Shop’s German stores are now beginning to close down after also taking the plunge, a process that will reportedly soon follow in Belgium.
The closures are being carried out by restructuring specialist Aurelius, which snapped up the cosmetics retailer in an acquisition deal last year and later put the company’s main UK business into administration last week.
According to previous media reports, however, Aurelius had sold a portion of The Body Shop’s European operations to Alma24 last month, which was also reportedly behind the take over of the company’s Japanese and Irish businesses.
Meanwhile, in Germany, staff told the Guardian, which initially reported the news, that all 60 stores and the head office in the region were likely to close, with an insolvency specialist from law firm White & Case believed to have been appointed to handle the case.
In Belgium, where the chain employs around 50 people over 16 stores, workers were believed to have been told that administrators were also to be appointed.
Other sources for the media outlet further stated that in Ireland, Austria and Luxembourg, a similar process was also expected to unfold shortly.
http://dlvr.it/T2xsjf
UK modelling agency breaks catwalk taboos
Smashing the fashion world's rigid
conventions, UK modelling agency Zebedee has been filling catwalks with a
diverse array of models for seven years.
On the catwalks at London Fashion Week, which started on Friday, it is now
common to see models from all ethnic backgrounds, with minorities now making
up around half of shows, compared to 14 percent just 10 years ago, according
to a report published in January.
Zebedee also works to find greater exposure for models with visible
disabilities or who are transgender.
"It's still incredibly rare to see anybody with a disability feature.
London, Paris, Milan, New York, it's still very, very rare," Zebedee's
co-founder Laura Winson told AFP.
A former social worker who often worked with disabled people, Winson
founded the agency in 2017 with her sister-in-law Zoe Proctor, a former model.
"We launched it because we felt that there was a lack of representation and
fashion and media," she explained.
Zebedee works like any other agency, except that all of its models have a
"visible difference".
Some are in wheelchairs, have atrophy of limbs or albinism, while others
have Down syndrome.
Around 15 percent of the world's population, or one billion people, live
with some form of disability, according to UN figures.
"Yet figures show that maybe around one percent of people featured in
advertising have a disability", with catwalk representation even worse,
pointed out Winson.
Relentless campaign
Two Zebedee models will tread the catwalk at London Fashion Week: Vic, a
young woman in a wheelchair who will show for Gasanova, and Oscar, a
transgender model with autism, who will display for Helen Kirkum.
It is reward for Winson's years of relentless campaigning to convince
designers and brands of the advantages of employing a diverse roster of models.
"The first thing is, of course, it's morally the right thing to do,
everybody should be awarded the same equality of opportunity," she explained.
"Secondly, you can develop some amazing creative campaigns. We know that
our models can do the job."
"And then the third reason, and which is what interests most customers, is
the financial aspect," because people with disabilities represent an important
market, she added.
For Zebedee, success really began in 2020 when Gucci chose one of their
models, Ellie Goldstein, who has Down syndrome.
Goldstein has since graced the cover of British Vogue, and Zebedee has also
gone from strength to strength, representing more than a thousand models in
Europe, the United States and Australia.
'Genuine change happening'
Junior B, a Briton who uses the non-binary pronouns they/them, started
working with the agency in 2020. Suffering from Ehlers-Danlos syndrome, Junior
B often uses a wheelchair.
"Before modelling, I didn't think any job was possible for anyone in my
position," Junior B told AFP.
"I think there is definitely some genuine change happening," particularly
among small businesses "or those where younger people are in charge," added
the model.
"Some brands have really got the message".
Despite the wins, Winson complained that progress is still too slow.
"Everybody knows who we are, everybody knows we exist. They can book
disabled models if they want to... but for some reason, it's not happening,"
she complained.
"So I am getting to the point where somehow brands need to be held to
account," she added.
Caroline Rush, director of London Fashion Week organiser the British
Fashion Council, said that "in terms of size inclusivity, we've been the
number one fashion capital for a few seasons."
"The catwalks in London feel, I think, very different to quite a few of the
other fashion capitals. They feel that they are a real reflection of the
society in London," she added.
In London, a city known for its innovative young talent, designers like
Sinead O'Dwyer are known for holding inclusive shows.
However, Rush acknowledged that "there's still quite a lot of work to do
behind the scenes".(AFP)
http://dlvr.it/T2xsS0
conventions, UK modelling agency Zebedee has been filling catwalks with a
diverse array of models for seven years.
On the catwalks at London Fashion Week, which started on Friday, it is now
common to see models from all ethnic backgrounds, with minorities now making
up around half of shows, compared to 14 percent just 10 years ago, according
to a report published in January.
Zebedee also works to find greater exposure for models with visible
disabilities or who are transgender.
"It's still incredibly rare to see anybody with a disability feature.
London, Paris, Milan, New York, it's still very, very rare," Zebedee's
co-founder Laura Winson told AFP.
A former social worker who often worked with disabled people, Winson
founded the agency in 2017 with her sister-in-law Zoe Proctor, a former model.
"We launched it because we felt that there was a lack of representation and
fashion and media," she explained.
Zebedee works like any other agency, except that all of its models have a
"visible difference".
Some are in wheelchairs, have atrophy of limbs or albinism, while others
have Down syndrome.
Around 15 percent of the world's population, or one billion people, live
with some form of disability, according to UN figures.
"Yet figures show that maybe around one percent of people featured in
advertising have a disability", with catwalk representation even worse,
pointed out Winson.
Relentless campaign
Two Zebedee models will tread the catwalk at London Fashion Week: Vic, a
young woman in a wheelchair who will show for Gasanova, and Oscar, a
transgender model with autism, who will display for Helen Kirkum.
It is reward for Winson's years of relentless campaigning to convince
designers and brands of the advantages of employing a diverse roster of models.
"The first thing is, of course, it's morally the right thing to do,
everybody should be awarded the same equality of opportunity," she explained.
"Secondly, you can develop some amazing creative campaigns. We know that
our models can do the job."
"And then the third reason, and which is what interests most customers, is
the financial aspect," because people with disabilities represent an important
market, she added.
For Zebedee, success really began in 2020 when Gucci chose one of their
models, Ellie Goldstein, who has Down syndrome.
Goldstein has since graced the cover of British Vogue, and Zebedee has also
gone from strength to strength, representing more than a thousand models in
Europe, the United States and Australia.
'Genuine change happening'
Junior B, a Briton who uses the non-binary pronouns they/them, started
working with the agency in 2020. Suffering from Ehlers-Danlos syndrome, Junior
B often uses a wheelchair.
"Before modelling, I didn't think any job was possible for anyone in my
position," Junior B told AFP.
"I think there is definitely some genuine change happening," particularly
among small businesses "or those where younger people are in charge," added
the model.
"Some brands have really got the message".
Despite the wins, Winson complained that progress is still too slow.
"Everybody knows who we are, everybody knows we exist. They can book
disabled models if they want to... but for some reason, it's not happening,"
she complained.
"So I am getting to the point where somehow brands need to be held to
account," she added.
Caroline Rush, director of London Fashion Week organiser the British
Fashion Council, said that "in terms of size inclusivity, we've been the
number one fashion capital for a few seasons."
"The catwalks in London feel, I think, very different to quite a few of the
other fashion capitals. They feel that they are a real reflection of the
society in London," she added.
In London, a city known for its innovative young talent, designers like
Sinead O'Dwyer are known for holding inclusive shows.
However, Rush acknowledged that "there's still quite a lot of work to do
behind the scenes".(AFP)
http://dlvr.it/T2xsS0
Luckynelly changes business model from sales to rentals
February 2024 cover of the Serbian Elle - model Karen B. with handbag by Luckynelly. Credits: Christine Polz via Luckynelly
Vegan accessories label Luckynelly, which FashionUnited featured just a few weeks ago, has gone one step further in its sustainable efforts and changed its business model: From now on, it will only offer its vegan accessories on a rental basis.
“As one of the most successful labels for vegan designer handbags, we not only attach great importance to sustainable production, but also to conscious consumption. That is why our vegan luxury bags are no longer for sale as of this year. All of our unique pieces, which we have handmade since our foundation in 2012, are now exclusively available for rent. We will only produce customised bags as exceptions,” announced the label in a recent press release.
Although just twelve years old, Luckynelly creations have already appeared on international catwalks and in renowned fashion magazines: At fashion weeks in New York and Paris, for example, as well as on the cover of Elle and in features in Vogue, Harper's Bazaar and Cosmopolitan.
The handbags are available for exclusive fashion shoots, fashion shows, red carpet events and film productions. They are distributed to registered fashion and art professionals via PR agencies such as the Copper Room by Flying Solo in New York City or Gallery Malina in Berlin.
Will there be no new Luckynelly creations?
Despite the change in business model and a focus on more sustainable consumption, the label will continue to create new bag styles. “We will continue to develop exclusive designer models from innovative materials. This process is important for promoting the visibility of the brand and use of vegan materials, such as the Berriestex and Plantfur (vegan fur made from plants) materials we have developed, in the luxury fashion world. At the same time, it offers space for creative and innovative new, exclusive designs,” states Luckynelly.
Customised products are also still available on request. These are made to individual specifications, carefully handcrafted and made from sustainable materials, just like the Berlin label's other styles.
“This process is time-consuming and reflects the emotional connection we have with our bags. A production period of up to six months is not uncommon. Each bag is unique, made with passion, love and quality,” says Luckynelly proudly. The result are high-quality and innovative, unique pieces that are designed to last a lifetime.
With its latest move, the Berlin-based accessories label is following a trend: According to research by the Ellen MacArthur Foundation, circular business models, in sectors such as rental and resale, have the potential to grow from 3.5 percent of the global fashion market today to 23 percent by 2030, representing a 700 billion US dollar opportunity.
In an interview with FashionUnited at the beginning of December 2023 Luckynelly founder and designer Christine Rochlitz told more about the label’s PETA-certified vegan materials, the manufacturing process, winning the Green Product Award as the editors' favourite and the inspiration behind the brand.
http://dlvr.it/T2xTfy
Vegan accessories label Luckynelly, which FashionUnited featured just a few weeks ago, has gone one step further in its sustainable efforts and changed its business model: From now on, it will only offer its vegan accessories on a rental basis.
“As one of the most successful labels for vegan designer handbags, we not only attach great importance to sustainable production, but also to conscious consumption. That is why our vegan luxury bags are no longer for sale as of this year. All of our unique pieces, which we have handmade since our foundation in 2012, are now exclusively available for rent. We will only produce customised bags as exceptions,” announced the label in a recent press release.
Although just twelve years old, Luckynelly creations have already appeared on international catwalks and in renowned fashion magazines: At fashion weeks in New York and Paris, for example, as well as on the cover of Elle and in features in Vogue, Harper's Bazaar and Cosmopolitan.
The handbags are available for exclusive fashion shoots, fashion shows, red carpet events and film productions. They are distributed to registered fashion and art professionals via PR agencies such as the Copper Room by Flying Solo in New York City or Gallery Malina in Berlin.
Will there be no new Luckynelly creations?
Despite the change in business model and a focus on more sustainable consumption, the label will continue to create new bag styles. “We will continue to develop exclusive designer models from innovative materials. This process is important for promoting the visibility of the brand and use of vegan materials, such as the Berriestex and Plantfur (vegan fur made from plants) materials we have developed, in the luxury fashion world. At the same time, it offers space for creative and innovative new, exclusive designs,” states Luckynelly.
Customised products are also still available on request. These are made to individual specifications, carefully handcrafted and made from sustainable materials, just like the Berlin label's other styles.
“This process is time-consuming and reflects the emotional connection we have with our bags. A production period of up to six months is not uncommon. Each bag is unique, made with passion, love and quality,” says Luckynelly proudly. The result are high-quality and innovative, unique pieces that are designed to last a lifetime.
With its latest move, the Berlin-based accessories label is following a trend: According to research by the Ellen MacArthur Foundation, circular business models, in sectors such as rental and resale, have the potential to grow from 3.5 percent of the global fashion market today to 23 percent by 2030, representing a 700 billion US dollar opportunity.
In an interview with FashionUnited at the beginning of December 2023 Luckynelly founder and designer Christine Rochlitz told more about the label’s PETA-certified vegan materials, the manufacturing process, winning the Green Product Award as the editors' favourite and the inspiration behind the brand.
http://dlvr.it/T2xTfy
Truly Beauty announces senior executive appointments
Truly Beauty Credits: Truly Beauty
Truly Beauty has appointed Kamilla Khanbalinova as chief sales officer and Nick Bracken as chief operating officer.
"We are delighted to welcome Kamilla and Nick to our esteemed team. Kamilla's role in managing and growing Amorepacific's US portfolio and Nick's global operational leadership at Glow Recipe signifies a momentous stride in our commitment to strategic and unstoppable growth," said Truly's founder, Maxx Appelman.
The company known for its bath, body and skincare products, said in a release that Khanbalinova, after a 20-year tenure overseeing sales growth and strategies at Amorepacific US, brings unparalleled expertise to Truly. Leading Amorepacific, Innisfree, Laneige, and Sulwhasoo brands in North America's premier retailers, Khanbalinova assumes the role of chief sales officer, entrusted with driving revenue growth, expanding market share, and solidifying Truly's position as an industry leader.
Nick Bracken, the company added, has over a decade of global operations leadership for prominent beauty brands and joins Truly after propelling Glow Recipe to international acclaim. As chief operating officer, Bracken is expected to leverage his expertise in planning, logistics, and sourcing intricacies across diverse global regions.
"With Kamilla spearheading our sales team, we are poised for remarkable achievements and elevated prominence in the beauty industry. Nick's strategic vision equips Truly to fortify a global supply chain, supporting sustained exponential growth annually," added the company’s CEO Freddy Wolfe.
http://dlvr.it/T2x9NK
Truly Beauty has appointed Kamilla Khanbalinova as chief sales officer and Nick Bracken as chief operating officer.
"We are delighted to welcome Kamilla and Nick to our esteemed team. Kamilla's role in managing and growing Amorepacific's US portfolio and Nick's global operational leadership at Glow Recipe signifies a momentous stride in our commitment to strategic and unstoppable growth," said Truly's founder, Maxx Appelman.
The company known for its bath, body and skincare products, said in a release that Khanbalinova, after a 20-year tenure overseeing sales growth and strategies at Amorepacific US, brings unparalleled expertise to Truly. Leading Amorepacific, Innisfree, Laneige, and Sulwhasoo brands in North America's premier retailers, Khanbalinova assumes the role of chief sales officer, entrusted with driving revenue growth, expanding market share, and solidifying Truly's position as an industry leader.
Nick Bracken, the company added, has over a decade of global operations leadership for prominent beauty brands and joins Truly after propelling Glow Recipe to international acclaim. As chief operating officer, Bracken is expected to leverage his expertise in planning, logistics, and sourcing intricacies across diverse global regions.
"With Kamilla spearheading our sales team, we are poised for remarkable achievements and elevated prominence in the beauty industry. Nick's strategic vision equips Truly to fortify a global supply chain, supporting sustained exponential growth annually," added the company’s CEO Freddy Wolfe.
http://dlvr.it/T2x9NK
Saturday, February 17, 2024
UK retail sees uptick, but challenges remain for retailers
Oxford Circus Credits: New West End Company
In response to the latest ONS Retail Sales Index figures, which indicated a 5.2 percent increase in sales by value and a 0.7 percent increase by volume, Kris Hamer, Director of Insight at the British Retail Consortium, conveyed optimistic sentiments.
Sales volumes witnessed an uptick for the second time in three months, marking a positive shift from the preceding 19 months of decline. This upturn reflects growing consumer confidence and a seasonal boost from January sales, with notable performances in categories like computing, cosmetics, and toiletries.
Hamer acknowledged that while food sales continued to outpace non-food sales, primarily due to increased inflation on these products, shoppers maintained a cautious approach as they entered the third year of grappling with the high cost of living.
Emphasizing the pivotal role of the retail sector in driving household spending and contributing to economic growth across the UK, Hamer urged the future government to recognize the sector's significance. He highlighted the challenges posed by a cumulative cost burden resulting from various policies, including rises in business rates, inadequate recycling proposals, and new border control costs.
“It is vital that our future Government recognises the importance of retail considering the cumulative cost burden created by new and existing policies. Business rates’ rises, inadequate recycling proposals, new border control costs; only by addressing these issues can the next Government unlock further investment for the country and boost local and national economic growth,” Hamer said in a statement.
Earlier this month the Treasury said it will reassess the 'tourist tax' related to VAT-free shopping in anticipation of the spring Budget, hinting at the possibility of abandoning the policy, providing a potential uplift for the retail sector.
http://dlvr.it/T2shLg
In response to the latest ONS Retail Sales Index figures, which indicated a 5.2 percent increase in sales by value and a 0.7 percent increase by volume, Kris Hamer, Director of Insight at the British Retail Consortium, conveyed optimistic sentiments.
Sales volumes witnessed an uptick for the second time in three months, marking a positive shift from the preceding 19 months of decline. This upturn reflects growing consumer confidence and a seasonal boost from January sales, with notable performances in categories like computing, cosmetics, and toiletries.
Hamer acknowledged that while food sales continued to outpace non-food sales, primarily due to increased inflation on these products, shoppers maintained a cautious approach as they entered the third year of grappling with the high cost of living.
Emphasizing the pivotal role of the retail sector in driving household spending and contributing to economic growth across the UK, Hamer urged the future government to recognize the sector's significance. He highlighted the challenges posed by a cumulative cost burden resulting from various policies, including rises in business rates, inadequate recycling proposals, and new border control costs.
“It is vital that our future Government recognises the importance of retail considering the cumulative cost burden created by new and existing policies. Business rates’ rises, inadequate recycling proposals, new border control costs; only by addressing these issues can the next Government unlock further investment for the country and boost local and national economic growth,” Hamer said in a statement.
Earlier this month the Treasury said it will reassess the 'tourist tax' related to VAT-free shopping in anticipation of the spring Budget, hinting at the possibility of abandoning the policy, providing a potential uplift for the retail sector.
http://dlvr.it/T2shLg
Friday, February 16, 2024
Nike to cut 2 percent of workforce
Nike's Singapore store. Credits: Nike
Sportswear giant Nike has confirmed mounting speculation that it is to layoff 2 percent of its workforce, a move that comes months after it launched a strategy designed to “streamline” the business.
Following an internal memo to employees from CEO John Donahoe, the company verified the decision in a statement to Footwear News that read: “Nike’s always at our best when we’re on the offence.
“The actions that we’re taking put us in the position to right-size our organisation to get after our biggest growth opportunities as interest in sport, health and wellness have never been stronger.
“While these changes will impact approximately 2 percent of our total workforce, we are grateful for the contributions made by all Nike teammates.”
Nike had previously hinted that layoffs were to be a part of its cost-saving strategy in December 2023, a plan that it said would aim to save up to two billion dollars over the next three years.
Among the possible moves it said it saw savings potential in that of simplifying product assortment, increasing automation, streamlining its organisation and leveraging scale to drive efficiency.
At the time, CFO Matthew Friend said: “As we look ahead to a softer second-half revenue outlook, we remain focused on strong gross margin execution and disciplined cost management.”
http://dlvr.it/T2r2KP
Sportswear giant Nike has confirmed mounting speculation that it is to layoff 2 percent of its workforce, a move that comes months after it launched a strategy designed to “streamline” the business.
Following an internal memo to employees from CEO John Donahoe, the company verified the decision in a statement to Footwear News that read: “Nike’s always at our best when we’re on the offence.
“The actions that we’re taking put us in the position to right-size our organisation to get after our biggest growth opportunities as interest in sport, health and wellness have never been stronger.
“While these changes will impact approximately 2 percent of our total workforce, we are grateful for the contributions made by all Nike teammates.”
Nike had previously hinted that layoffs were to be a part of its cost-saving strategy in December 2023, a plan that it said would aim to save up to two billion dollars over the next three years.
Among the possible moves it said it saw savings potential in that of simplifying product assortment, increasing automation, streamlining its organisation and leveraging scale to drive efficiency.
At the time, CFO Matthew Friend said: “As we look ahead to a softer second-half revenue outlook, we remain focused on strong gross margin execution and disciplined cost management.”
http://dlvr.it/T2r2KP
A look into the workplace ‘bullying’ allegations against Frasers’ Missy Empire
Missy Empire online website. Credits: Missy Empire.
In a world that has seemingly taken the concepts of female empowerment and “girl bosses” under its wing, it still sometimes comes as somewhat of a shock when brands that claim to advocate for such messages are ultimately revealed to actually be doing the opposite. This is now reportedly the case for Missy Empire, a Manchester-based fast fashion retailer owned by Frasers Group, which has found itself in the midst of accusations regarding a “toxic” workplace environment.
A new report by the Guardian has unveiled a series of claims in relation to alleged bullying, abusive and degrading comments withstood by former employees of the company, all of which were able to back up their allegations through emails, screenshots and testimonials seen by the media outlet.
The company was initially co-founded by brothers Ash and Ish Siddique in 2015, who established the e-tailer as being “for the female”, while bolstering the mission of providing empowerment through clothing. While this may be the case, the report by the Guardian shows little evidence of such a goal coming through in the actual workplace of the company. In fact, 18 former employees who spoke to the publication described instances of alleged mistreatment, particularly by Ash Siddique, the managing director.
Claims regarding degrading comments, swearing and terminations without cause
These included degrading comments about models’ physical appearances, swearing at staff, employees being asked to model clothing, firing without a given reason and ignoring formal complaints. Such testimonies also suggested junior roles were made up of a predominantly young female staff who had a high rate of departures and dismissals among them, with many of those coming forward having only stayed with Missy Empire for no more than a year and a half.
Mike Ashley’s Frasers Group has also not come out of these revelations unscathed. The conglomerate, which first snapped up a majority stake in Missy Empire in June 2021 before acquiring it in December 2022 from JD Sports, had reportedly been made aware of the issues, with several complaints being brought to the attention of its human resources department. According to staff members that did share issues, however, no action was taken, with one individual also being informed that Missy Empire did not presently have a HR function back in March 2023.
While Frasers and Missy Empire have continued to maintain their silence on the allegations, a spokesperson for former owner JD told Drapers: “Missy Empire was responsible for the day-to-day running of the business, including its own HR procedures. However, as a significant shareholder in the company, Missy Empire colleagues also had the opportunity to escalate any concerns through JD’s HR department or whistleblowing policy.
"Everyone has the fundamental right to feel safe and respected at work. There were a small number of issues that were formally reported to the company during our ownership, and these were investigated fully and addressed in line with JD Group’s procedures.”
http://dlvr.it/T2qfNQ
In a world that has seemingly taken the concepts of female empowerment and “girl bosses” under its wing, it still sometimes comes as somewhat of a shock when brands that claim to advocate for such messages are ultimately revealed to actually be doing the opposite. This is now reportedly the case for Missy Empire, a Manchester-based fast fashion retailer owned by Frasers Group, which has found itself in the midst of accusations regarding a “toxic” workplace environment.
A new report by the Guardian has unveiled a series of claims in relation to alleged bullying, abusive and degrading comments withstood by former employees of the company, all of which were able to back up their allegations through emails, screenshots and testimonials seen by the media outlet.
The company was initially co-founded by brothers Ash and Ish Siddique in 2015, who established the e-tailer as being “for the female”, while bolstering the mission of providing empowerment through clothing. While this may be the case, the report by the Guardian shows little evidence of such a goal coming through in the actual workplace of the company. In fact, 18 former employees who spoke to the publication described instances of alleged mistreatment, particularly by Ash Siddique, the managing director.
Claims regarding degrading comments, swearing and terminations without cause
These included degrading comments about models’ physical appearances, swearing at staff, employees being asked to model clothing, firing without a given reason and ignoring formal complaints. Such testimonies also suggested junior roles were made up of a predominantly young female staff who had a high rate of departures and dismissals among them, with many of those coming forward having only stayed with Missy Empire for no more than a year and a half.
Mike Ashley’s Frasers Group has also not come out of these revelations unscathed. The conglomerate, which first snapped up a majority stake in Missy Empire in June 2021 before acquiring it in December 2022 from JD Sports, had reportedly been made aware of the issues, with several complaints being brought to the attention of its human resources department. According to staff members that did share issues, however, no action was taken, with one individual also being informed that Missy Empire did not presently have a HR function back in March 2023.
While Frasers and Missy Empire have continued to maintain their silence on the allegations, a spokesperson for former owner JD told Drapers: “Missy Empire was responsible for the day-to-day running of the business, including its own HR procedures. However, as a significant shareholder in the company, Missy Empire colleagues also had the opportunity to escalate any concerns through JD’s HR department or whistleblowing policy.
"Everyone has the fundamental right to feel safe and respected at work. There were a small number of issues that were formally reported to the company during our ownership, and these were investigated fully and addressed in line with JD Group’s procedures.”
http://dlvr.it/T2qfNQ
OTB turnover increases by 7.2 percent, expands retail footprint
Maison Margiela Credits: OTB
OTB reported a turnover of 1.9 billion euros, up 10.2 percent at constant exchange rates and 7.2 percent at current exchange rates for the year to December 31, 2023.
Net sales for the year reached 1.8 billion euros, an increase from 2022 of 12.4 percent at constant exchange rates and 9.1 percent at current exchange.
The company that controls the Diesel, Jil Sander, Maison Margiela, Marni and Viktor&Rolf brands, the Staff International and Brave Kid companies, and holds a stake in the Amiri brand reported EBITDA of 348 million euros for a 19.6 percent return on net sales and EBIT of 140 million euros for a 7.9 percent return on net sales.
"I am proud of what we achieved in 2023; it was a challenging year, but our brands continued to grow in all markets, not just key locations like the USA, China and Japan, a historic market for us, but also in new areas like South Korea, which is performing very well, and other Asian markets,” said OTB Group founder and chairman Renzo Rosso.
Highlights of OTB’s annual results
The group’s direct channels recorded a 33.8 percent growth, driven by increased sales in existing stores and by 76 new openings, as a result of which the retail network had a total of 610 direct sales outlets at the end of 2023.
The company said in a statement that positive performance in Asia, with a turnover improvement of 74 percent and continued expansion in Japan, which, with 23 percent reported 19.4 percent increase, supported overall growth in 2023.
“Our results match the objectives set by the Group strategic plan, whose main growth targets are development of the direct channels and greater penetration of the Asian markets,” added OTB Group CEO Ubaldo Minelli.
The OTB Group continued to expand in 2023, with the objective of developing its international markets in areas with high potential such as the Asia-Pacific countries, including China, where it opened 30 new stores during the year; Japan and South Korea. Overall, the Asian markets represented more than 40 percent of total turnover.
The company added that there was a return to growth in North America, while performance in Europe remained stable, given the complex economic situation.
Brands under OTB portfolio post positive growth
The company also witnessed a turnaround at Diesel, which reported turnover growth of 13.1 percent.
During 2023, Diesel opened 15 new stores in Europe, China, India and North America, including flagship locations in important cities such as Paris, Miami, Antwerp and Guangzhou.
In the luxury segment, Maison Margiela’s turnover increased by 23 percent driven by China and Korea, where sales were up 72.4 percent against 2022. In 2023 the brand opened 24 new stores around the world, in cities including Venice, Beijing, Shanghai, Los Angeles, Las Vegas and Seoul and the brand opened new headquarters in Place des États-Unis in Paris’ iconic XVI arrondissement.
Jil Sander reported growth of 17.3 percent. The brand strengthened its network of direct channels in Europe, the USA, Asia-Pacific and Japan with 18 new stores in locations including Paris, Rome, Venice, Madrid, London, Dallas, Los Angeles, Tokyo, Kyoto, Nanjing and Seoul. Jil Sander also renewed its licensing agreement over a ten-year timeline with Coty for the development, production and distribution of own-brand cosmetics and fragrances.
Marni, with growth of 8.6 percent due to the expansion of its retail network – with 16 new boutiques opening in 2023 alone – and its shows taken from New York to Tokyo and Paris, spreading the brand vision and values around the world. In early 2024, Marni signed a new 20-year licensing agreement with Coty.
http://dlvr.it/T2qf2j
OTB reported a turnover of 1.9 billion euros, up 10.2 percent at constant exchange rates and 7.2 percent at current exchange rates for the year to December 31, 2023.
Net sales for the year reached 1.8 billion euros, an increase from 2022 of 12.4 percent at constant exchange rates and 9.1 percent at current exchange.
The company that controls the Diesel, Jil Sander, Maison Margiela, Marni and Viktor&Rolf brands, the Staff International and Brave Kid companies, and holds a stake in the Amiri brand reported EBITDA of 348 million euros for a 19.6 percent return on net sales and EBIT of 140 million euros for a 7.9 percent return on net sales.
"I am proud of what we achieved in 2023; it was a challenging year, but our brands continued to grow in all markets, not just key locations like the USA, China and Japan, a historic market for us, but also in new areas like South Korea, which is performing very well, and other Asian markets,” said OTB Group founder and chairman Renzo Rosso.
Highlights of OTB’s annual results
The group’s direct channels recorded a 33.8 percent growth, driven by increased sales in existing stores and by 76 new openings, as a result of which the retail network had a total of 610 direct sales outlets at the end of 2023.
The company said in a statement that positive performance in Asia, with a turnover improvement of 74 percent and continued expansion in Japan, which, with 23 percent reported 19.4 percent increase, supported overall growth in 2023.
“Our results match the objectives set by the Group strategic plan, whose main growth targets are development of the direct channels and greater penetration of the Asian markets,” added OTB Group CEO Ubaldo Minelli.
The OTB Group continued to expand in 2023, with the objective of developing its international markets in areas with high potential such as the Asia-Pacific countries, including China, where it opened 30 new stores during the year; Japan and South Korea. Overall, the Asian markets represented more than 40 percent of total turnover.
The company added that there was a return to growth in North America, while performance in Europe remained stable, given the complex economic situation.
Brands under OTB portfolio post positive growth
The company also witnessed a turnaround at Diesel, which reported turnover growth of 13.1 percent.
During 2023, Diesel opened 15 new stores in Europe, China, India and North America, including flagship locations in important cities such as Paris, Miami, Antwerp and Guangzhou.
In the luxury segment, Maison Margiela’s turnover increased by 23 percent driven by China and Korea, where sales were up 72.4 percent against 2022. In 2023 the brand opened 24 new stores around the world, in cities including Venice, Beijing, Shanghai, Los Angeles, Las Vegas and Seoul and the brand opened new headquarters in Place des États-Unis in Paris’ iconic XVI arrondissement.
Jil Sander reported growth of 17.3 percent. The brand strengthened its network of direct channels in Europe, the USA, Asia-Pacific and Japan with 18 new stores in locations including Paris, Rome, Venice, Madrid, London, Dallas, Los Angeles, Tokyo, Kyoto, Nanjing and Seoul. Jil Sander also renewed its licensing agreement over a ten-year timeline with Coty for the development, production and distribution of own-brand cosmetics and fragrances.
Marni, with growth of 8.6 percent due to the expansion of its retail network – with 16 new boutiques opening in 2023 alone – and its shows taken from New York to Tokyo and Paris, spreading the brand vision and values around the world. In early 2024, Marni signed a new 20-year licensing agreement with Coty.
http://dlvr.it/T2qf2j
A glance at New York's fashion future: Anniversaries, comebacks, and debutantes for FW24
Eckhaus Latta Fall 2024 Credits: ©Launchmetrics/spotlight
New York Fashion Week was once the shining centre of a new guard of fashion, far removed from the heritage and prestige of Milan and Paris or the experimental creativity of London. It has somewhat fallen out of favour and fashion in recent years. Over time, New York seemed a little too commercial in taste, a little too safe and yet, at often times not commercially viable for the brands whose collections were, above all, meant to sell. While the latter continues to be an ongoing struggle with support, both monetary and otherwise, not being readily available, the fall/winter 2024 season has proven that there is more than enough young talent worthy of it. All while contrasting with some of the city's biggest success stories.
Anniversaries and New York Originals
While Marc Jacobs, who was Design Student of the Year at Parsons in 1984 and now celebrated his label's 40th anniversary, was not officially on New York Fashion Week’s schedule, his show and his enduring relevance underlined the true potential of New York’s creativity. The collection itself was driven by the idea of the mundane. Seemingly common and simple garments and shapes reminiscent of 60’s housewives were, as is often the case with Jacobs, exaggerated and yet impeccably tailored. Models walked under a large-scale sculpture of American artist Robert Therrien’s 2006 work ‘No Title (folding table and chairs, beige)’, imbuing the line with a child-like wonder, that aptly being the name of the collection. Maybe it was because Jacobs, akin to most of the industry, is aware of just how rare a continuous success story like his truly is, that he celebrated this milestone with vigour and more poignantly – and more publicly – than any before.
Marc Jacobs Fall 2024 Credits: ©Launchmetrics/spotlight
Jacobs, however, was not the only designer in New York with plenty to celebrate. Once ‘the new kid on the block’ Joseph Altuzarra presented his 15th anniversary collection within the confines of his headquarters, choosing to only invite those who have truly supported him in the course of his career, according to Vogue Runways global director Nicole Phelps. The salon style show and the collection itself felt deeply personal, not just for the designer, but also for the customers that flock to the brand. Inspired by riding apparel and the style of Princess Diana as well as portraits of the art deco artist Tamara de Lempicka, the collection was shrouded with a sense of nostalgia but without sacrificing modernity or the modern woman in its course.
Altuzarra Fall 2023 Credits: ©Launchmetrics/spotlight
One brand that has been in business five years longer than Altuzarra is Tory Burch. The designer opened the doors to her first store 20 years ago and has since been a fixture on the New York schedule. Recently, however, the brand has had a sort of renaissance, at least according to the Lyst Index, where it was crowned as a breakout brand a few months ago. After being nominated for Womenswear Designer of the Year by Council of Fashion Designers of America [CFDA] the brand and its pierced mules have executed a successful transformation from commercial to cult, according to the British search engine. With plenty to celebrate, the anniversary show exuded joyfulness, as models confidently walked the runway to the tunes of The Cure and Joy Division. They showcased a vibrant array of shiny frocks alongside subdued office attire ingeniously transformed into work-appropriate hoodies.
Tory Burch Fall 2024 Credits: ©Launchmetrics/spotlight
Two New York prodigies that had no anniversaries to show for and yet plenty to celebrate this season were Proenza Schouler and Khaite. While the former, headed by boy wonders Jack McCullough and Lazaro Hernandez since 2002, has been an assured favourite among the city's it-girls from the start, Catherine Holstein’s brand Khaite has risen to cult status in a mere few years. Since the brand was founded in 2016, Holstein has been twice named designer of the year by the CFDA in 2022 and 2023, and has built a devoted following. Both brands in their own right, dress quintessential ‘cool girls’ based in the big city but while Holstein seems to have leant in to the trending ‘Mob-Wife’ aesthetic for this season – Shearling coats, gold chains, oxblood colours and lots of leather – the designer-duo at Proenza Schouler was set on clean lines, sharp tailoring and sheerness and layered staples.
Proenza Schouler (left), Khaite (right) Credits: ©Launchmetrics/spotlight
Tommy and Thom return to the city, Ludovic De Saint Sernin makes a pit stop
Aptly titled ‘New York Moment’ Tommy Hilfiger, who has not shown since September 2022, returned to New York City this season and brought prep, nostalgia and a starry front row with him. As a designer who is synonymous with American fashion, he paid tribute to what show notes referred to as “a lifetime of memories” in the city. The show, held at Oyster Bar at Grand Central Terminal, brought classic American cool to the runway and honed in on Hilfiger trademarks such as rugby shirts with pleated skirts, baseball caps paired with shirts and ties, varsity jackets, hoodies, tweed separates and a lot of red, blue and white colours that the brand describes as “Tommy’s Americana come to life”.
Thom Browne Fall 2024 Credits: ©Launchmetrics/spotlight
Hilfiger's return to New York was not the only notable comeback. Despite being chairman of the CFDA and therefore spearheading American fashion, Thom Browne had forgone the spring/summer 2024 presentations in September after debuting his Haute Couture collection in Paris. Upon his return to the city, Browne, ever the master showman of American fashion, closed the FW24 season with an Edgar Allan Poe-inspired collection that masterfully combined apparel of commercial appeal with endless storytelling. The collection's theme was infused with an air of mystery and without forgetting about the garments themselves. From a striking black headpiece resembling a raven to coats adorned with black birds, the designs were inventive and theatrical but at its core, wearable. Thom Browne showcased an array of coats, jackets, skirts, and trousers, some fully formed while others boasted a deconstructed aesthetic.
Thom Browne Fall 2024 Credits: ©Launchmetrics/spotlight
One designer that slightly and surprisingly made his NYFW debut was Ludovic de Saint Sernin. The Paris-based designer has been a fixture on the Paris Fashion Week calendar since he founded his brand in 2017, yet for this season he touched down in New York. In parts, this was due to a collaboration with the Robert Mapplethorpe Foundation, founded by the photographer before his death in 1989, as well as to quench the thirst of his customer base in the US that, according to WWD makes up 32 percent of the brand’s overall sales. The runway presentation traversed a narrative arc from youthful innocence to sensual maturity. Mapplethorpe's blossoms, hand-cut in velvet, adorned sheer tops, slip dresses, and skirts, juxtaposed with De Saint Sernin's glam metal mesh designs incorporating pixelated crystals. Transitioning from sultry leather coats to bondage-inspired attire, the collection delved into darker sexual fantasies, maintaining a luxurious aesthetic throughout.
Ludovic de Saint Sernin Fall 2024 Credits: ©Launchmetrics/spotlight
The ‘new guard’ redefining fashion in New York
De Saint Sernin is by no means the only young and exciting designer to choose New York as stage this season. Others, like Willy Chavarria, Collina Strada or Eckahaus Latta consider the bustling metropolis their home and have long made themselves heard among the big commercial names on the CFDA’s official schedule.
Much like Tommy Hilfiger once upon a time, Willy Chavarria has taken American Ivy prep and redefined it. However, while Hilfiger's prep at its core remains in the world of privilege, Chavarria has taken the inspiration and turned Americana into something much more inclusive. Dubbed ‘Safe From Harm’, the CFDA Menswear Designer of the Year's FW24 collection told a story about collectively keeping each other secure, a story he told with the help of tailoring and familiar fabrics such as tweed, herringbone, and glen plaids.
Willy Chavarria Fall 2024 Credits: ©Launchmetrics/spotlight
Fabrics and texture played a considerable role in Eckhaus Latta’s FW collection as well. The designer duo Mike Eckhaus and Zoe Latta played with unique knits and non-traditional fabrics, as is typical for the brand, however this season their mood seemed to have shifted from playful to serious. The collection opened with a rendition of Lana Del Rey’s ‘hope is a dangerous thing for a girl like me to have – but I have it’, setting the tone for a slightly more subdued but in no way less accomplished collection. The brand that has been in business for 13 years now presented a collection that featured clean lines and cubist patterns, emphasising wearable wardrobe staples rather than focusing on seductive allure alone. Sheer mesh shirting, maxi dresses with satin fringes, and chest-bearing 'vests' that were reminiscent of ropes evoked the brand's talent for slicing its path in an industry where the balance between commerce and creative output seems an afterthought at times.
Eckhaus Latta Fall 2024 Credits: ©Launchmetrics/spotlight
Creativity still reigns supreme at Luar, though this season a surprise appearance from singer Beyoncé almost outshone even the most creative of designers. Luckily, Luar’s Raul Lopez unveiled a collection that easily held its own, all while declaring the comeback of ‘the metrosexual’. Defined by the Oxford Dictionary as “a man who is usually heterosexual and is very interested in fashion, grooming, and his appearance in a way that is usually seen as being like a woman” the term and the phenomenon behind it is, or at least under Luar’s FW24 collection, rooted in the 90s. The reference was interesting given Luar's consistent gender-fluid ethos. The brand’s signature oversized boulder shoulders adorned tailored pieces, outerwear, and dresses, complemented by distinctive warped design elements. Notable moments include a dusty maroon-covered suit paired with a toffee-hued balaclava overlay and light-wash printed denim merged with a ribbed white knit top, as well as an oversized yet structured navy leather suit with fur arm detailing, juxtaposed with an ivory silk button-down and tie that summarised the collections' interplay between masculinity and femininity.
Luar Fall 2024 Credits: ©Launchmetrics/spotlight
http://dlvr.it/T2qdS6
New York Fashion Week was once the shining centre of a new guard of fashion, far removed from the heritage and prestige of Milan and Paris or the experimental creativity of London. It has somewhat fallen out of favour and fashion in recent years. Over time, New York seemed a little too commercial in taste, a little too safe and yet, at often times not commercially viable for the brands whose collections were, above all, meant to sell. While the latter continues to be an ongoing struggle with support, both monetary and otherwise, not being readily available, the fall/winter 2024 season has proven that there is more than enough young talent worthy of it. All while contrasting with some of the city's biggest success stories.
Anniversaries and New York Originals
While Marc Jacobs, who was Design Student of the Year at Parsons in 1984 and now celebrated his label's 40th anniversary, was not officially on New York Fashion Week’s schedule, his show and his enduring relevance underlined the true potential of New York’s creativity. The collection itself was driven by the idea of the mundane. Seemingly common and simple garments and shapes reminiscent of 60’s housewives were, as is often the case with Jacobs, exaggerated and yet impeccably tailored. Models walked under a large-scale sculpture of American artist Robert Therrien’s 2006 work ‘No Title (folding table and chairs, beige)’, imbuing the line with a child-like wonder, that aptly being the name of the collection. Maybe it was because Jacobs, akin to most of the industry, is aware of just how rare a continuous success story like his truly is, that he celebrated this milestone with vigour and more poignantly – and more publicly – than any before.
Marc Jacobs Fall 2024 Credits: ©Launchmetrics/spotlight
Jacobs, however, was not the only designer in New York with plenty to celebrate. Once ‘the new kid on the block’ Joseph Altuzarra presented his 15th anniversary collection within the confines of his headquarters, choosing to only invite those who have truly supported him in the course of his career, according to Vogue Runways global director Nicole Phelps. The salon style show and the collection itself felt deeply personal, not just for the designer, but also for the customers that flock to the brand. Inspired by riding apparel and the style of Princess Diana as well as portraits of the art deco artist Tamara de Lempicka, the collection was shrouded with a sense of nostalgia but without sacrificing modernity or the modern woman in its course.
Altuzarra Fall 2023 Credits: ©Launchmetrics/spotlight
One brand that has been in business five years longer than Altuzarra is Tory Burch. The designer opened the doors to her first store 20 years ago and has since been a fixture on the New York schedule. Recently, however, the brand has had a sort of renaissance, at least according to the Lyst Index, where it was crowned as a breakout brand a few months ago. After being nominated for Womenswear Designer of the Year by Council of Fashion Designers of America [CFDA] the brand and its pierced mules have executed a successful transformation from commercial to cult, according to the British search engine. With plenty to celebrate, the anniversary show exuded joyfulness, as models confidently walked the runway to the tunes of The Cure and Joy Division. They showcased a vibrant array of shiny frocks alongside subdued office attire ingeniously transformed into work-appropriate hoodies.
Tory Burch Fall 2024 Credits: ©Launchmetrics/spotlight
Two New York prodigies that had no anniversaries to show for and yet plenty to celebrate this season were Proenza Schouler and Khaite. While the former, headed by boy wonders Jack McCullough and Lazaro Hernandez since 2002, has been an assured favourite among the city's it-girls from the start, Catherine Holstein’s brand Khaite has risen to cult status in a mere few years. Since the brand was founded in 2016, Holstein has been twice named designer of the year by the CFDA in 2022 and 2023, and has built a devoted following. Both brands in their own right, dress quintessential ‘cool girls’ based in the big city but while Holstein seems to have leant in to the trending ‘Mob-Wife’ aesthetic for this season – Shearling coats, gold chains, oxblood colours and lots of leather – the designer-duo at Proenza Schouler was set on clean lines, sharp tailoring and sheerness and layered staples.
Proenza Schouler (left), Khaite (right) Credits: ©Launchmetrics/spotlight
Tommy and Thom return to the city, Ludovic De Saint Sernin makes a pit stop
Aptly titled ‘New York Moment’ Tommy Hilfiger, who has not shown since September 2022, returned to New York City this season and brought prep, nostalgia and a starry front row with him. As a designer who is synonymous with American fashion, he paid tribute to what show notes referred to as “a lifetime of memories” in the city. The show, held at Oyster Bar at Grand Central Terminal, brought classic American cool to the runway and honed in on Hilfiger trademarks such as rugby shirts with pleated skirts, baseball caps paired with shirts and ties, varsity jackets, hoodies, tweed separates and a lot of red, blue and white colours that the brand describes as “Tommy’s Americana come to life”.
Thom Browne Fall 2024 Credits: ©Launchmetrics/spotlight
Hilfiger's return to New York was not the only notable comeback. Despite being chairman of the CFDA and therefore spearheading American fashion, Thom Browne had forgone the spring/summer 2024 presentations in September after debuting his Haute Couture collection in Paris. Upon his return to the city, Browne, ever the master showman of American fashion, closed the FW24 season with an Edgar Allan Poe-inspired collection that masterfully combined apparel of commercial appeal with endless storytelling. The collection's theme was infused with an air of mystery and without forgetting about the garments themselves. From a striking black headpiece resembling a raven to coats adorned with black birds, the designs were inventive and theatrical but at its core, wearable. Thom Browne showcased an array of coats, jackets, skirts, and trousers, some fully formed while others boasted a deconstructed aesthetic.
Thom Browne Fall 2024 Credits: ©Launchmetrics/spotlight
One designer that slightly and surprisingly made his NYFW debut was Ludovic de Saint Sernin. The Paris-based designer has been a fixture on the Paris Fashion Week calendar since he founded his brand in 2017, yet for this season he touched down in New York. In parts, this was due to a collaboration with the Robert Mapplethorpe Foundation, founded by the photographer before his death in 1989, as well as to quench the thirst of his customer base in the US that, according to WWD makes up 32 percent of the brand’s overall sales. The runway presentation traversed a narrative arc from youthful innocence to sensual maturity. Mapplethorpe's blossoms, hand-cut in velvet, adorned sheer tops, slip dresses, and skirts, juxtaposed with De Saint Sernin's glam metal mesh designs incorporating pixelated crystals. Transitioning from sultry leather coats to bondage-inspired attire, the collection delved into darker sexual fantasies, maintaining a luxurious aesthetic throughout.
Ludovic de Saint Sernin Fall 2024 Credits: ©Launchmetrics/spotlight
The ‘new guard’ redefining fashion in New York
De Saint Sernin is by no means the only young and exciting designer to choose New York as stage this season. Others, like Willy Chavarria, Collina Strada or Eckahaus Latta consider the bustling metropolis their home and have long made themselves heard among the big commercial names on the CFDA’s official schedule.
Much like Tommy Hilfiger once upon a time, Willy Chavarria has taken American Ivy prep and redefined it. However, while Hilfiger's prep at its core remains in the world of privilege, Chavarria has taken the inspiration and turned Americana into something much more inclusive. Dubbed ‘Safe From Harm’, the CFDA Menswear Designer of the Year's FW24 collection told a story about collectively keeping each other secure, a story he told with the help of tailoring and familiar fabrics such as tweed, herringbone, and glen plaids.
Willy Chavarria Fall 2024 Credits: ©Launchmetrics/spotlight
Fabrics and texture played a considerable role in Eckhaus Latta’s FW collection as well. The designer duo Mike Eckhaus and Zoe Latta played with unique knits and non-traditional fabrics, as is typical for the brand, however this season their mood seemed to have shifted from playful to serious. The collection opened with a rendition of Lana Del Rey’s ‘hope is a dangerous thing for a girl like me to have – but I have it’, setting the tone for a slightly more subdued but in no way less accomplished collection. The brand that has been in business for 13 years now presented a collection that featured clean lines and cubist patterns, emphasising wearable wardrobe staples rather than focusing on seductive allure alone. Sheer mesh shirting, maxi dresses with satin fringes, and chest-bearing 'vests' that were reminiscent of ropes evoked the brand's talent for slicing its path in an industry where the balance between commerce and creative output seems an afterthought at times.
Eckhaus Latta Fall 2024 Credits: ©Launchmetrics/spotlight
Creativity still reigns supreme at Luar, though this season a surprise appearance from singer Beyoncé almost outshone even the most creative of designers. Luckily, Luar’s Raul Lopez unveiled a collection that easily held its own, all while declaring the comeback of ‘the metrosexual’. Defined by the Oxford Dictionary as “a man who is usually heterosexual and is very interested in fashion, grooming, and his appearance in a way that is usually seen as being like a woman” the term and the phenomenon behind it is, or at least under Luar’s FW24 collection, rooted in the 90s. The reference was interesting given Luar's consistent gender-fluid ethos. The brand’s signature oversized boulder shoulders adorned tailored pieces, outerwear, and dresses, complemented by distinctive warped design elements. Notable moments include a dusty maroon-covered suit paired with a toffee-hued balaclava overlay and light-wash printed denim merged with a ribbed white knit top, as well as an oversized yet structured navy leather suit with fur arm detailing, juxtaposed with an ivory silk button-down and tie that summarised the collections' interplay between masculinity and femininity.
Luar Fall 2024 Credits: ©Launchmetrics/spotlight
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