Kontoor Brands revenues increase but China lockdowns weigh on results

Image: Kontoor Brands; Lee and Wrangler retail store in Berlin For the fourth quarter, Kontoor Brands reported revenue of 732 million dollars, a 7 percent or 9 percent increase in constant currency over the same period in the prior year. The company said, revenue increases were primarily driven by strength in domestic wholesale and digital, somewhat offset by decreases in international with the continued impacts of lockdowns and restrictions in China weighing on the quarter. For the full year, revenue was 2.63 billion dollars, a 6 percent or 8 percent increase in constant currency over the prior year. The company added that revenue increases were primarily driven by strength in digital, as well as strength in U.S. wholesale offset by a decrease in non-U.S. wholesale with the continued impacts of lockdowns and restrictions in China weighing on the year. “We finished 2022 strong, as fourth quarter revenue and EPS came in significantly above our plan. Despite unprecedented macroeconomic challenges, we are delivering on many of our long-term goals, with 2022 revenue and earnings ahead of our Investor Day targets,” said Scott Baxter, president, CEO and chair of Kontoor Brands in a statement. Highlights of Kontoor Brands Q4 results For the fourth quarter, U.S. revenue was 605 million dollars, increasing 16 percent over the same period in the prior year, with gains in both the Wrangler and Lee brands. U.S. wholesale increased 17 percent, including strength in U.S. digital wholesale of 66 percent compared to last year. These gains were augmented by continued strength in U.S. own.com revenue, which increased 19 percent compared to the same period last year. International revenue was 127 million dollars, a 20 percent or 12 percent decrease in constant currency over the same period in the prior year. China decreased 33 percent or 25 percent in constant currency, driven by impacts from the Covid lockdowns and restrictions in the region. Europe decreased 15 percent or 4 percent in constant currency, with wholesale pressures more than offsetting constant currency gains in DTC. Wrangler brand global revenue was 509 million dollars, a 15 percent or 16 percent increase in constant currency with Wrangler U.S. revenue increasing 19 percent, primarily driven by increased shipments in U.S. wholesale, with broad-based channel and category strength including western, outdoor, workwear and T-shirts. Wrangler international revenue decreased 17 percent or 9 percent in constant currency, with gains in DTC more than offset by decreases in wholesale channels. Lee brand global revenue was 219 million dollars, a 6 percent or 3 percent decrease in constant currency. Lee U.S. revenue increased 5 percent compared to the same period last year, primarily driven by digital. Globally, non-denim categories such as T-shirts experienced significant year-over-year gains in the quarter. Lee international revenue decreased 21 percent or 13 percent in constant currency, driven primarily by reductions in China due to the impact of Covid restrictions. Other global revenue was 4 million dollars, a 19 percent decrease compared to the same period in the prior year. Gross margin decreased 200 basis points to 40.8 percent of revenue compared to the same period last year. Compared to adjusted gross margin in the fourth quarter 2021, gross margin decreased 180 basis points. Operating income was 85 million dollars on a reported basis and 86 million dollars on an adjusted basis. Adjusted operating margin of 11.7 percent increased 110 basis points. EBITDA was 95 million dollars on a reported basis and 93 million dollars on an adjusted basis. Adjusted EBITDA margin of 12.7 percent increased 60 basis points. Earnings per share were 91 cents on a reported basis and 88 cents on an adjusted basis compared to reported EPS of 75 cents and adjusted EPS of 88 cents, in the same period last year. Full year review of Kontor Brands’ performance Full year U.S. revenue was 2.07 billion dollars, increasing 11 percent over last year, with gains in both the Wrangler and Lee brands. U.S. wholesale increased 11 percent compared to 2021, including strength in digital wholesale which increased 23 percent compared to last year. U.S. own.com revenue increased 23 percent compared to 2021. International revenue was 557 million dollars, an 8 percent or 1 percent decrease in constant currency over the prior year. China decreased 23 or 20 percent in constant currency compared to 2021, driven by the impacts of Covid lockdowns and restrictions in the region. Europe decreased 5 percent or increased 7 percent in constant currency over the prior year, with DTC driving the constant currency gains. Wrangler brand global revenue was 1.75 billion dollars, an 11 percent or 12 percent increase in constant currency, driven by U.S. wholesale and global Wrangler own.com which increased 25 percent. Wrangler U.S. revenue increased 13 percent compared to last year. U.S. Wrangler.com increased 27 percent compared to last year. Wrangler international revenue decreased 1 percent or increased 8 percent in constant currency compared to 2021. Lee brand global revenue was 874 million dollars, a 1 percent decrease or 1 percent increase in constant currency from the prior year. Lee U.S. revenue increased 7 percent, primarily driven by digital. U.S. Lee.com increased 13 percent compared to last year. Lee international revenue decreased 12 percent or 6 percent in constant currency from 2021, driven primarily by the reductions in China due to the impact of Covid lockdowns. Other global revenue was 11 million dollars, a 17 percent decrease compared to the prior year. Gross margin was 43.1 percent of revenue, a decrease of 160 basis points. Operating income was 357 million dollars on a reported basis and 372 million dollars on an adjusted basis. Adjusted operating margin of 14.1 percent decreased 10 basis points. EBITDA was 390 million dollars on a reported basis and 402 million dollars on an adjusted basis. Adjusted EBITDA margin of 15.3 percent decreased 30 basis points compared to the prior year. Earnings per share were 4.31 dollars on a reported basis and 4.49 dollars on an adjusted basis compared to 3.31 dollars and adjusted EPS of 4.28 dollars, in the prior year. Kontoor Brands expects FY23 revenue to increase at low-single percent For 2023, the company said, revenue is expected to increase at a low-single digit percentage over 2022 with growth fairly balanced between the first and second half. The company expects first half growth to be driven by the U.S. with continued momentum in POS, share gains and digital, somewhat tempered by softness in China as the region continues to recover from Covid lockdowns and restrictions. During the second half of 2023, the company assumes macro consumer demand conditions to be more challenged in the U.S., with the China market fully reopening. Gross margin is expected to be in the range of 43.5 percent to 44 percent, increasing 40 to 90 basis points compared to gross margin of 43.1 percent in 2022. EPS is expected to be in the range of 4.55 dollars to 4.75 dollars.
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Fashion industry-backed Black Carpet Awards takes place for first time

Michelle Ngonmo and Tamu at the Black Carpet Awards. Image: Afro Fashion Association The Black Carpet Awards, an event created by the Afro Fashion Association, took place for the first time on the evening of February 24, in conjunction with Milan Fashion Week. Despite it being the debut edition, the award ceremony had already found many partners in the fashion industry, including the likes of Capri Holdings, Condé Nast and Vogue Italia, and was attended by notable figures in the sector, such as Anna Wintour and Edward Enninful. The initiative looked to celebrate diversity and inclusion, as well as underrepresented voices throughout fashion, design, art, food, music, business, sport and cinema. 10 winners were selected overall, five by the public – five by a jury of experts led by the event’s founder Michelle Ngonmo – each representing specific fields: culture, creativity, community, heritage and entrepreneurship. For this year, winners included social media personality Khaby Lame, journalist Sarah Kamsu, film producer Fred Kuwornu, musical artist David Blank and author Nadeesha Uyangoda, among others. In a release, Ngomno said: “Celebrating all stories… This is what we are doing through the Black Carpet Awards. Very often we feel comfortable comparing ourselves with people who share our same background or our same opinion, but the different perspectives are enriching.” Ngomno went on to note that the premise of diversity and inclusion should not be addressed as a “politically correct” theme, as the two are an integral part of daily life. She added that the event was not just about the black community, but the colour black as a “sum of all colours”, made by mixing different pigments, an idea that Ngomno translated for the awards in a bid to support heritage culture and economic growth. The organisation confirmed that a 2024 edition of the event will be taking place next year.
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Yoox to launch pre-owned category

Image: Yoox Marketplace Yoox is launching a pre-owned category in a bid to become a new destination for second-hand shopping. On its website Yoox states the pre-owned area was created to give new life to apparel and accessories, a space dedicated to a selection of second-hand styles, to promote circularity and reduce environmental and social impact. The service is available in almost 30 European countries, and launches in conjunction with a campaign called Endless Love. Currently over two thousand pre-owned items can be found on its marketplace, mostly from authenticated luxury brands through resale partners including Reflaunt, Catch the Grail, Drip Drops, Millesime and The Brand. Collector“. With the introduction of pre-owned Yoox, Ynap is coming full circle as a shopping destination for new, last season and pre-owned designer fashion. The launch follows the launch of resale services powered by Reflaunt on Net-a-porter, Mr Porter and The Outnet in 2022. “At Yoox, sustainability has always been one of our core values and continues to be our guiding star as we strive to become an increasingly responsible destination,” Valentina Visconti Prasca, managing director of Yoox, told Pambianco.” We know that it is an increasingly decisive element that influences the purchasing behavior of our customers, who are concerned with how their purchases affect the world around them. Pre-owned Yoox is not only an opportunity for customers to buy special limited edition and vintage pieces from their favorite designers, it also empowers them to give pre-owned products a second life.” Yoox Marketplace was launched in 2022, as part of Yoox Net-a-porter's broader transition to a hybrid and flexible operating model. The Milan-based company at the time said it would help customers navigate new market trends and to meet the enhanced expectations for digital and e-commerce in the luxury space. The launch follows the company's expansion into home décor and art category Yoox pre-owned is available in most European countries, with further expansion of the Marketplace planned in the United States and the Middle East later in 2023.
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From Westwood to Lee: London Fashion Week ushers in a new age of luxury consumerism

Burberry AW23, LFW show finale. Image: Burberry London Fashion Week returned to the UK capital this week, boasting a teeming line up of 127 brands that showed through a series of runways, presentations and events throughout the city. Like always, the fashion week continued to put its emphasis on emerging designers and new names, bolstering their platform via its NewGen initiative. However, over the five-day period it wasn’t just the anticipation surrounding what the innovative young designers would present that had people buzzing, but that of eagerly awaited debuts and special occasions that were taking to London for the first time. Luxury prevails in the fashion capital And the event seemed to have rolled around right on time, just as the English capital was experiencing something of a luxury fashion revival. The sector is seemingly thriving in London, indicating a hint of promise for luxury despite the region braving the current cost-of-living crisis alongside record-breaking inflation. This was evident in a recent report by Savills, which stated that premium fashion brands were continuing to dominate the city’s retail landscape, moving in at a rate slightly higher than pre-pandemic. The property consultants found that there were some 21 international fashion and footwear brands that had opened debut London stores in the last year, double that of its 2021 figure. And the optimism is predicted to continue over the coming year, with more expected to come. London Fashion Week street style. Image: British Fashion Council London Fashion Week street style. Image: British Fashion Council This sentiment was reflected in LFW’s lineup this season, where a number of luxury brands had either returned to the city or made their debut. However, unlike its Parisian and Italian counterparts, LFW relies more on that of young talent and emerging names, which take up the bulk of the schedule in the form of the British Fashion Council’s (BFC) NewGen initiative. This didn’t distract the spotlight from established names though, who were still sparking conversations throughout the week. There was one definitive matter that did partially eclipse the rest. While last season the industry remembered Queen Elizabeth II, this season LFW was dedicated to the queen of punk, Vivienne Westwood, who passed late December 2022. Prior to the event’s kick off, the BFC already announced its intention to honour the late designer and her legacy, recognising her role in defining punk and driving positive change. In light of this, LFW was arguably ushered in through Westwood’s memorial, which took place at the beginning of the week-long event on Thursday and saw a cohort of celebrities and public personalities, including Stormzy, Kate Moss and Elle Fanning, descend on London’s Southwark Cathedral all donning fantastical, on-theme fits — ensuing in a fashion show in its own right. Westwood, Moncler and Daniel Lee spark discussions Meanwhile, the literal fashion week kicked off on Friday, with a line up that already set out the bold pace for the coming days. Anticipation had already been heightened by the addition of Moncler Genius and Burberry, both of which hosted shows consecutively on Monday evening. While Burberry was returning to London after a three-year absence, for Moncler, it was the first time attending under its collaborative project Moncler Genius. During the event, the Italian luxury brand unveiled its new “co-creators” – Louis Vuitton’s new creative director Pharrell Williams, designer Rick Owens, singer Alicia Keys, sportswear giant Adidas Originals and motorist Mercedes-Benz, among others – each of which presented creative concepts and new iterations of Moncler’s staple jackets in their own space. Moncler Genius AW23, LFW. Image: Moncler Moncler Genius AW23, LFW. Image: Moncler The event, set in Olympia London, aimed to portray an evolution of the Moncler Genius concept, which the brand established in 2018 with a focus on co-creation across multiple industries. In a release, the company said: “The platform now evolves from the established concept of collaboration, which merges two sets of brand codes together, entering a new phase of co-creation focused on human creative skill and imagination to make something each brand couldn’t achieve on its own.” The concept took the idea of collaboration one step further, extending the strategy so favoured by brands beyond the boundaries of the fashion industry. Meanwhile, a new phase was also being celebrated over at Burberry, where the house’s latest creative director Daniel Lee made his highly-anticipated debut. Upon his appointment, Lee had been tasked with rejuvenating Burberry’s British heritage, something that had been lost under its previous head Riccardo Tisci, while also driving it towards the five billion pound revenue target set by its CEO Jonathan Akeroyd for 2025. This alone chimed in a revival for Burberry, seeing many of the brand’s familiar codes receive a welcomed restoration through a fresh colour palette and contemporary detailing. Burberry AW23, LFW. Image: Burberry A particular focus for Lee was that of accessories, a category the 37-year-old designer has become particularly versed in after building a flourishing body of work at Bottega Veneta, where he previously served at, and therefore serves as a beacon of hope for Burberry shareholders. His efforts were already evident on the runway in the form of faux trim shoulder bags and leather crossbodies, as well as a casual take on footwear that drew on the outdoor aesthetic that once thrived at the British brand. Like many other labels, a younger consumer was also at the forefront of both Lee and Akeroyd’s mindsets, for which the house translated its traditional values into punky graphics and emboldened silhouettes for a string of zhuzhed up classics. Even Lee’s evolution of the brand’s Equestrian Knight Design logo was prominent, inflated onto dresses, knits and accessories. Fashion week regulars make their own statements JW Anderson AW23, LFW. Image: Launchmetrics Spotlight JW Anderson AW23, LFW. Image: Launchmetrics Spotlight Burberry and Moncler weren’t the only globally renowned brands to grace London this season, and many used the platform to firmly reiterate their own values and visions. Offering up his quintessential tongue-in-cheek flair, JW Anderson returned with a show that saw his guests confronted by a phallic-inspired presentation. The designer, who has become known for his unconventional commercialism, tackled the topic of “fandom”, as stated in the show’s notes, mirrored through the use of logomania graphics and slogan jumpers — a standout piece being a Tesco-branded bag shaped into a leotard. Meanwhile, other statements were a little less raunchy. Turkish designer Bora Aksu, for example, decided to utilise the opportunity to pay homage to his home country, holding a minute’s silence for the victims of the February 6 earthquake that has ravaged the region resulting in the loss of tens of thousands of lives. While he was one of the few designers to reference the tragedy during the event, he joins a growing number of fashion houses and retailers responding through hefty donations and humanitarian initiatives hoping to alleviate the effects of the disaster. Aksu’s attitude was also mirrored in his predominantly black and white line, a world away from his typically vibrant colour schemes. The designer told Reuters post-show that, while it was not his initial intention, the choice of black “felt right in the sense of a silent grieving”. Bora Aksu AW23, LFW. Image: Bora Aksu Bora Aksu AW23, LFW. Image: Bora Aksu Backstage at 16Arlington AW23. Image: British Fashion Council Backstage at 16Arlington AW23. Image: British Fashion Council For many designers, the ever-shifting consumer mindset was at the core of their offerings, causing subtle repositionings when it came to their collections. This was subtly evident at 16Arlington, for which designer Marco Capaldo partially stepped away from the brand’s partywear origins to present a more casual take on its aesthetic. While heavily sequined dresses and shimmery evening staples were still on show, the sparkles were juxtaposed with comfy skirts, fluffy fleece and elevated basics. Next to this, Capaldo also took this season as an opportunity to introduce menswear, a category he has long expressed his desire to enter and has now done so through co-ords and tailoring that still references his design codes. It brought to light the possibility that the Italian-born designer is looking to evolve the brand in order to appeal to a wider clientele, with items that take consumers from the dancefloor to the local pub to the supermarket. A similar mentality of wearability was also apparent at the show of the usually flamboyant Molly Goddard. While still proposing her signature exaggerated tulle, for this season Goddard appeared to have dialled her collection back in a line that linked to the simplicity she felt when she started out in the industry in 2014, as stated in the show’s notes. Many pieces drew inspiration and were reworked from the British designer’s personal and professional archive, with references to nostalgic items from her childhood and popular looks that had previously been featured in magazines. Her focus on wearability and simplicity was further reflected in the choice to show the line at her East London studio. In the notes, Goddard said: “The space is basic, stripped back to the bare minimum, the perfect setting for a collection that isn’t about drama or optics, but wearability and the joy of dressing.” Molly Goddard AW23, LFW. Image: Molly Goddard Molly Goddard AW23, LFW. Image: Molly Goddard Brands turn to a old-school glamour, stepping away from Y2K In a stark contrast to the toned down route, some brands went in a completely different direction towards that of high-glamour and Hollywood drama – possibly implying a brief departure from the Y2K trend that has run rampant among recent trends. While David Koma drew design cues from the 1930s and 1960s, as seen in deconstructed tuxedos and exaggerated ruffles, Roksanda took to the runway with references to the art world, specifically the work of Japan’s Atsuko Tanaka, which guided the creation of sculptural gowns that closed the show. The intimate event appeared to be designed specifically for the Serbian brand’s dedicated clientele and fans, who lined the front row while models paced the runway to the backdrop of a live reading from poet Arch Hades. Richard Quinn AW23, LFW. Image: Launchmetrics Spotlight Richard Quinn AW23, LFW. Image: Launchmetrics Spotlight In a similar dramatic fashion, Richard Quinn also delivered a spectacle, with a show that heavily recalled Frances Hodgson’s The Secret Garden. In typical Quinn manner, the collection brought together his now staple design combination of florals and BDSM-inspired details, as well as voluminous shapes that still seemed to mirror old-school Hollywood glamour. A highlight of Quinn’s show was a selection of bridal looks composing half of the collection. A series of 16 brides strode down the aisle donning gowns that incorporated everything from corsetry to embellished netting to highly structured silhouettes. The prominence of this line hints at the designer’s blooming bridal business, something he has been notably vocal about, particularly when it comes to international clients. The category is a one that Quinn has been building up over the last few years since he first ventured into the wedding arena prior to the pandemic. Simone Rocha was another to lean on bridal wear this season. The Irish designer first entered the sector in 2021, just as weddings were beginning to pick back up after Covid-related restrictions forced many to be rescheduled. While her debut collection was designed to cater to brides looking for toned down gowns, which were popular during the age of Zoom weddings and restrained ceremonies, for AW23 Rocha did a distinct U-turn in the form of flowing lace and puffed-out skirts. Meanwhile, other pieces in this season’s collection saw the designer continue to bulk out her menswear offer, an area she only first dove into for SS23. While last season, the designer attempted to bring a new sense of femininity to her menswear, this year saw her further blur the lines, deftly intermingling women’s and men’s clothing to become one and therefore appealing to any and all who desire them. Simone Rocha AW23, LFW. Photos by Ben Broomfield. Image: Simone Rocha Simone Rocha AW23, LFW. Photos by Ben Broomfield. Image: Simone Rocha Read more: * LFW: Ukrainian Fashion Week comes to London * Pantone reveals AW23 colour trend report for London Fashion Week * LFW: Patrick McDowell declares “Cinderella shall go to the football”
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Clarks taps Set Free Richardson as creative specialist

Set Free Richardson, Clarks Originals creative specialist. Image: Clarks Footwear retailer Clarks has announced the appointment of Set Free Richardson to the role of Clarks Originals creative specialist. In the multifaceted position, Richardson has been tasked with executing various creative projects, producing live events and acting as an ambassador and conduit to different cultures and areas, with a particular focus on music and art. His appointment builds on the duo’s already established relationship, with Richardson having previously worked with Clarks on a basketball-inspired collaboration in the past – seeing the release of Clarks Originals Wallabee collection for Art Basel Miami. In a release, Richardson said: “It’s not often you get the opportunity to work with a brand that you’re truly a real fan of. “Working with the Clarks team feels like working with family, there’s a mutual trust and belief in my creative vision which I truly appreciate. The partnership so far has been great, and we’re only just getting started.” The brand’s chief marketing and digital officer, Tara McRae added: “Working hand in hand with Free on our now multi award-winning Clarks and New York short film was a triumphant experience, and the start of a working relationship that we felt could only go from strength to strength. “We already have lots lined up with Free for the coming year and I cannot wait to see what we can achieve together.”
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Forever 21 relaunches in Japan, with upmarket aspirations

Image: Forever 21 by FashionUnited When Forever 21 filed for bankruptcy in 2019 it had exited nearly 40 markets, closed hundreds of stores and was dousing the flames of a pr disaster for insulting the plus-size community. It was, by all accounts, not a good year for the fast fashion retailer. Yet bankruptcy did not spell the end of the brand, which relaunched the following January as an e-commerce first business via a series of new licensing deals, more market exits, changes of ownership and navigating the pandemic. It was a year that compounded more turbulence than growth. Japan, once a key market for the retailer, was keen to see the brand return under a new umbrella and formula, with Forever 21 announcing it has formed a partnership deal with local retail giant Itochu and Adastria, where it will launch as digital first company along with a pop-up in Tokyo. More store openings are planned in the future, with up to 18 outlets to be opened by 2028, according to the Japan Times newspaper. The strategy in Japan, however, is to move away from its fast fashion past and embrace are more high-end image and product. “We hope to thoroughly manage production and remove ourselves from the image of mass production and mass disposal,” Osamu Kimura, president of Adastria, said during a news conference in Tokyo. This would make the product different from its other markets. Currently the majority of Forever 21’s retail network is in its home market, operating some 400 stores in the U.S. In the UK and Europe Poetic Brands was granted licensee rights to manufacture, market, and distribute the brand. As in Japan, most of Forever 21 stores are franchised or, in some markets, operated as joint ventures with a local partners. The retailer is targeting sales of 10 billion yen (70 million dollars) for the year ending February 2028, the newspaper reported.
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Inside the fairs of FW23, from Florence to Copenhagen to London

The first Neonyt in Düsseldorf comes to an end. Photo: FashionUnited After the interruptions during the pandemic, fashion fairs in Europe are returning to normal operations. But the lockdowns have left their mark, brands and buyers alike were often reluctant to travel in light of the uncertain economic situation. To what extent have fairs like Pitti or Premium been able to return to their old form? FashionUnited has brought together an overview of the fairs for FW23. Pitti Uomo, Florence Pitti Uomo is and remains the place where the (men's) fashion industry gathers at the beginning of the ordering season. The number of exhibitors recovered from the slump during the pandemic to a total of 800. Meanwhile, the number of visitors rose to over 18,000: 13,500 were buyers, 33 percent of whom came from outside Italy. Before the pandemic, the fair had 1,200 exhibitors and over 21,000 buyers. In its January edition, the fair was again able to impress with fashion highlights, such as fresh up-and-coming brands and shows by guest fashion designers like Jan Jan van Essche and Martine Rose. For the first time, there was also an section for dog fashion. Read more about the Pitti Uomo: * Pitti Uomo: An animalistic mood in Florence * Golden Hour in Florence: The street styles of Pitti Uomo Image: FashionUnited Premium and Seek, Berlin The mood at the Berlin trade fairs Premium and Seek was more relaxed than expected after fears surrounding the Christmas business did not materialise. Around 500 brands showed their collections at the two fairs, compared to about twice as many before the pandemic. According to the organiser Premium Group, a total of around 10,000 visitors were counted, 80 percent of whom came from German-speaking countries. Overall, Seek seemed livelier with streetwear and many green brands, while Premium was quieter. Some visitors remarked afterwards that Premium in particular could be more curated. For the first time in three years, Berlin Fashion Week took place at the same time as the fairs. In the same week, the sustainable fashion fair Beyond Fashion Berlin made its debut. Read more from Berlin here: * Berlin Fashion Week: Things are happening, but what’s next? Image: Pure London | Credit: FashionUnited Pure and Scoop, London While other cities experienced some declines in attendance and participation, Hyve Group fairs Pure and Scoop reported positive figures on their return to the UK capital. Over 250 brands exhibited at each show, spanning womenswear, menswear, footwear and accessories. While Pure had a dedicated space for manufacturers, Scoop opted to also show lifestyle collections during its event. Notably, the group never discloses exact numbers of attendance, however at Scoop, which took place the last three days of January, reported “its highest ever number of buyers” for an AW show. Pure also saw positive numbers, with its organiser Gloria Sandrucci noting that international buyers had been among those returning. In total, there were attendees from over 22 countries, Sandrucci told FashionUnited. Read more from Pure and Scoop: * Pure London enjoys positive AW23 edition despite wider retail woes * Pure London: The role of smaller businesses in pioneering sustainable fashion * Scoop celebrates record buyer numbers Modefabriek January 2023. Image: Aygin Kolaei for FashionUnited. Modefabriek, Amsterdam At Modefabriek, 450 brands presented themselves in a colourful and lovingly curated ambience. With this number, the Amsterdam fashion fair is still below the pre-pandemic level. Around 100 newcomer labels used the event mainly to present or reposition themselves in the Dutch and Belgian markets. The fair did not disclose the numbers of visitors, but some brands noticed an increase compared to the previous edition. Like Pitti and Premium, however, Modefabriek is not a traditional ordering fair, so for most exhibiting brands it was still a matter of waiting to see whether the good mood would also be reflected in showroom orders. Read more from Modefabriek: *
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Luxury sector eyes reopening of China

After a year of record sales and profits despite slowing global growth the luxury sector is looking to the reopening of China to deliver further expansion in 2023. The world's largest luxury group LVMH posted a 23-percent jump in sales to a record of 79 billion euros (86 billion dollars) in 2022 and saw profits climb 17 percent to 14 billion. The company's chief executive, Bernard Arnault, wants to continue along that path in 2023, "at the risk of becoming boring". LVMH's rivals also managed blistering growth in sales and profits last year. Sales at Hermes jumped 29 percent to 11.6 billion euros and profits soared 38 percent to a record 3.4 billion. Kering, despite a tough time for its flagship brand Gucci, still managed a 15-percent increase in sales to 20 billion euros, while profits rose 14 percent to 3.6 billion. Ferrari also saw sales race to a new record of five billion euros, delivering 13,221 vehicles last year. The 2022 results were barely dented by the disruption in China linked to end of its coronavirus-related travel restrictions and their progressive lifting at the end of the year, with LVMH calling the month of December an "air pocket". Only Hermes escaped unscathed. "There was no drop in traffic in our stores," said Hermes chief executive Axel Dumas. The company's sales rose 30.7 percent in its Asia-Pacific region excluding Japan. The gradual reopening of China -- which abandoned the last of the draconian travel restrictions of its zero-Covid policy on January 8 -- should help the economy expand by 5.2 percent in 2023, according to the International Monetary Fund's latest forecast. With the restrictions having restrained consumption, the reopening of the Chinese economy is being looked at as a growth opportunity for 2023. Analysts at UBS say 2023 will be the "year of the Chinese consumer", noting that the pandemic restrictions pushed down the share of Chinese consumers in global luxury spending to 17 percent last year, compared with 33 percent before the pandemic. 'Volcano ready to explode' "The Chinese clientele is much more important than it was in 2019," LVMH's financial director Jean-Jacques Guiony told journalists. Guiony does not expect Chinese tourists to return to Europe, where they traditionally spent heavily on luxury goods, before next year. Instead, luxury groups are focusing on Chinese consumers at home. LVMH's Arnault said it was no secret that China needs growth and that the government would likely take steps to facilitate economic expansion as the country reopens. "If that is indeed the case -- and it began in the month of January -- we have every reason to be confident, even optimistic about the Chinese market," he said at the presentation of LVMH's 2022 results. China is a "volcano ready to explode", said Arnaud Cadart at asset manager Flornoy Ferri. "There is an incredible amount of savings that has been built up, an incredible reserve in the hands of the well-off class which wants to purchase luxury goods," he added. Cadart estimated the luxury market in China could jump by 30 percent this year. Kering's chief executive Francois-Henri Pinault visited China at the end of January and said he was amazed by the people thronging stores "like the virus had never been in China". "This is a good sign," said Pinault, who also welcomed moves by Chinese authorities to boost domestic consumption.(AFP)
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Francesca's announces launch of resale program with ThredUp

Image: ThredUp Women’s boutique chain Francesca's has announced the introduction of a resale program called ‘Forever Francesca’s’ that aims to combat fashion waste. For the launch of the new program, the brand will partner with ThredUP, one of the largest online resale platforms worldwide. "We are aware of the environmental impact apparel has on our planet, and our work with ThredUP in launching ‘Forever Francesca's’ is an important first step in doing our part to make a difference," stated chief marketing officer Jann Parish in a press release. The program will allow customers to shop for secondhand products and resell clothing, shoes, and accessories through ThredUP's Resale-as-a-Service platform. The partnership between those companies is part of a growing trend among retailers to address the negative environmental impact of the fashion industry. According to a report from the Ellen MacArthur Foundation, the equivalent of one garbage truck of textiles is wasted every second, and the fashion industry is responsible for 10 percent of global carbon emissions. Through the program, customers can send worn items from any brand to ThredUP for free, which will handle the cleaning, pricing, and selling. By receiving a payout in form of store credits, Francesca's supports the sustainable use of clothing while offering customers an incentive to return and repurchase. According to ThredUP, nearly one billion clothing purchases of secondhand items were made in 2021, showing the shift in consumer demand. Parish commented: "Our Millennial and Gen-Z customers value their eco-footprint but they also come to our boutique for a fun opportunity to find something unique – resale is the perfect blend of both of those experiences.”
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Havaianas owner Alpargatas posts Q4 loss

Image: Courtesy of Havaianas Fourth quarter net revenue at Alpargatas reached 4.2 billion Brazilian real, up 6 percent or 10 percent in constant currency (CC) versus 2021. Recurring EBITDA was 689 million Brazilian real, 17 percent of net revenue. The company reported net loss of 21 million Brazilian real. Havaianas net revenue in the fourth quarter reached 1,086 million Brazilian real, up 3 percent or 5 percent in CC versus the same quarter in 2021. During the year, the brand recorded 4,121 million Brazilian real, an increase of 5 percent or 9 percent in CC against 2021. Havaianas performance in Q4 and 2022 The company said net revenue at Havaianas Brasil grew 2 percent in the fourth quarter, driven by price increases and mix improvement initiatives that caused an increase in the revenue per pair of 16.5 percent. During the year, there was a net revenue growth of 9 percent versus 2021. Havaianas International net revenue reached 36 million Brazilian real representing growth of 7 percent. Net revenue in CC grew 19 percent and revenue per pair increased 11 percent in CC. During the year, international revenue accounted for 29 percent of the total net revenue for Havaianas. EMEA net revenue grew 1 percent and revenue in CC rose 20 percent in the fourth quarter and was driven by RGM, with an increase in revenue per pair of 10 percent in CC. During the year, the company recorded 16 percent growth in CC of the net revenue in the region. US net revenue fell by 20 percent or 15 percent in CC due to the volume drop of 27 percent. The company added that it noticed a price per pair increase of 18 percent in CC versus the fourth quarter of 2021. Revenue from DTC channels grew, driven by e-commerce performance, which grew 86 percent against the fourth quarter last year. Net revenues in China dropped 37 percent or 33 percent in CC. Distributors net revenue grew 23 percent or 32 percent in CC and was driven by volume growth in APAC distributor markets, and revenue growth per pair was 14 percent or 22 percent CC in these markets. Highlights of Havaianas operational results In the fourth quarter, consolidated gross profit was 442 million Brazilian real, 2 percent drop, while in constant currency, the consolidated gross profit was 444 million Brazilian real, 1 percent decrease. Gross profit reached 1,928 million Brazilian real during the year, an increase of 5 percent in CC. Havaianas' recurring EBITDA reached 147 million Brazilian real in the fourth quarter, down 19 percent or 21 percent in CC. The EBITDA margin dropped 4pp or 5pp in CC due to the volume drop in Brazil and the increase in distribution and marketing expenses. During the year, Havaianas' recurring EBITDA added up to 672 million Brazilian real, down 12 percent versus 2021 and down 3pp in the margin. In constant currency, consolidated recurring EBITDA dropped 8 percent year-on-year, decline of 3pp of margin in CC. In Havaianas Brasil, recurring EBITDA reached 174 million Brazilian real, with a 19 percent margin in the fourth quarter, 5pp decline. During the year, EBITDA increased to 548 million Brazilian real, down 1 percent, with a 2pp decrease in margin versus 2021. At Havaianas International, recurring EBITDA was negative by 26 million Brazilian real, an improvement of 6 million Brazilian real and 1 million Brazilian real in CC. During the year, recurring EBITDA added up to 124 million Brazilian real, down 41 percent or 31 percent in CC.
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BFC unveils programme for LFW City Wide Celebration

Image: British Fashion Council The British Fashion Council (BFC) has unveiled the programme of the latest City Wide Celebration as part of the upcoming edition of London Fashion Week. Set to take place from February 17 to 21, the schedule includes a range of public events and activities held by retailers, restaurants and cultural institutions around London. Over 450 of these events will take place at shopping destinations in the city, with participating brands to include Selfridges, Browns and Matchesfashion, at which an exclusive pop-up cafe will be housed. Activities range from workshops to panel discussions, as well as promotions, collection previews and styling sessions. Among other public events are that of in-store retail experiences, including Labrum’s immersive space, an exhibition at Jigsaw and the ‘World’s Smallest Department Store’ by Anya Hindmarch. Further installations will take on a sustainability focus, as will be seen in Aniela’s interactive space that looks to promote methods of upcycling. A similar concept can also be found at the likes of Studio Noirgaze, River Island and Peter Jones, which will each offer a selection of archive, upcycled or handmade garments. The full schedule can be found on London Fashion Week’s dedicated website, alongside the official schedule for the week itself.
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Inflation to add 18.2 billion pounds in non-food retail sales

Sale signs in shop window. Image: Unsplash A new report has found that inflation in the UK could result in a 2.6 percent increase in non-food retail sales, driven by rising consumer prices. According to research by Metapack, ShipStation and Retail Economics, the sector’s sales value is expected to hit 249 billion pounds in 2023, up 18.2 billion pounds of spending on the previous year. However, while the increase initially presents itself as a positive, the E-commerce Delivery Benchmark Report stated that the rise will be caused by businesses looking to increase the price of products in the coming year. In a survey of over 730 retail firms across eight international markets, it was found that 80 percent were planning to increase the price of products, with 40 percent noting that rising costs would be the biggest challenge in 2023. It falls in line with retailers facing rising input and operating costs, causing many to pass on such costs to consumers in a bid to preserve margins. The shift could also be seen among consumer sentiments towards the economy, with 66 percent of consumer respondents citing inflation as their biggest concern. Three quarters further stated that they plan to change their buying habits, either by only making necessary purchases or reducing their spending completely. Despite this, retailers are said to be remaining optimistic about trading prospects in 2023, with more businesses holding a positive perspective over a negative one. Cost over convenience Various factors will play into shifting consumer behaviour, the report noted, including that of delivery costs, for which customers seemingly are moving away from speed and convenience in favour of lower prices. This contrasted the response of retailers, with over a quarter reporting that they planned to increase cost of delivery for customers, while only 18 percent said they wouldn’t. Meanwhile, retail models deemed more affordable for consumers were favoured during the report. This included an increase in interest for online resale marketplaces and second hand purchasing, with over 25 percent of consumers saying they planned to buy from these companies more often in the near future. The report noted that this shift is likely an offset of cost-of-living concerns, possibly accelerating the move to a circular economy. In the end, this behavioural change could result in discounters coming out on top, leaving mid-tier retailers at a potential loss if they don’t adapt. While luxury is less likely to see such an impact, 61 percent of shoppers in this category still stated they planned to tighten their spending, many of which adding they would switch to cheaper brands when buying clothing. Beauty remains priority On the other hand, beauty and health continued to remain an important factor for UK consumers. One in three respondents said they did not plan to change their spending habits in this area, with a further 14 percent preferring to trade down instead of purchase less. In the report, Richard Lim, CEO of Retail Economics said: “Retailers will continue to face a toxic mix of pressures this year as rising input and operating costs collide against a backdrop of weaker consumer demand, rising interest rates and shifting consumer behaviours. “These conditions favour those retailers who have strong balance sheets who can invest heavily in price, leverage data to target their most valued customers and win new ones, while efficiently utilising stores to provide a truly omnichannel proposition. “Those that carry high levels of debt, have weak pricing power and sit in the middle of the market could find life very difficult.”
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JCPenney names Keith Melker chief transformation and strategy officer

Keith Melker, chief transformation and strategy officer at JCPenney. Image: JCPenney American shopping chain JCPenney has announced the appointment of Keith Melker as chief transformation and strategy officer. In the role, Melker has been tasked with overseeing the transformation office, ensuring related initiatives are executed to maximise value creation and defining the company’s corporate strategy. Key areas to be focused on are that of driving profitable consumer traffic, enhancing inventory management, advancing digital growth, exploring strategic partnerships and evolving the value delivery model, a press release read. Most recently, Melker served as chief executive officer for property management company Wehner Multifamily, prior to which he also held the position of chief strategy officer for Kimberly-Clark Corporation. Speaking on the appointment, Marc Rosen, CEO of JCPenney, said: “As we continue our transformation journey into 2023, we’re laser-focused on achieving our goals to better serve our customers as they turn to JCPenney for style and value. “Keith’s extensive experience in transformation work and strategic leadership abilities will make him a valued advisor in this next step for our organisation.” Meanwhile, Kate Mullen will remain as the retailer’s chief digital officer, continuing to play a vital role in its transformation journey.
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Grammys red carpet: bold colours, basic black, bling

Beyoncé wearing Gucci at 65th annual Grammy Awards. Image: Gucci Music's brightest stars on Sunday brought their fashion A-game to the Grammys red carpet, strutting their stuff in bold colours, slinky styles, major bling and barely-there gowns. While the Oscars are known for embracing a certain brand of Hollywood glamour, the Grammys are in your face: some of the most iconic fashion looks have emerged on music's biggest night, like Jennifer Lopez's plunging green Versace gown in 2000. Here's a look at what the A-listers wore to the Grammys: Rainbow effect If you want to get noticed on the red carpet, a pop of colour does the trick. Lizzo -- who won Record of the Year honours for "About Damn Time" -- served up major fashion drama in a voluminous orange Dolce and Gabbana cape with huge floral blooms, over a sleek corseted gown in the same vibrant hue with peach eye shadow, fingerless mesh gloves and nail art to match. Taylor Swift, who won the Grammy for best music video for "All Too Well," stunned in a two-piece bejeweled bluish-purple Roberto Cavalli number -- a long-sleeved crop top and long skirt -- in keeping with her album title "Midnights." Adele wearing Louis Vuitton at 65th annual Grammy Awards. Image: Louis Vuitton Adele, who won for Best Pop Solo Performance, wowed in a full-length Louis Vuitton burgundy gown with sculptural shoulder ruffles and a plunging neckline, her hair cascading in soft waves. At the gala, she was seated with Lizzo -- a major power duo. Super-producer Pharrell Williams rocked up in a quilted red leather ensemble -- with a (faux?) fur coat over the top and uber-cool blinged out sunglasses. And pop dreamboat Harry Styles -- who won Album of the Year honours and the award for Best Pop Vocal Album -- obviously couldn't choose which colour to go with, so he wore them all. The British singer donned a glittering Harlequin-patterned sleeveless jumpsuit in every hue of the rainbow encrusted with Swarovski crystals, leaving his chest bare to show off his body ink. Country folk rocker Brandi Carlile donned a sparkly black Versace suit with a long coat and a pop of color -- a fuchsia blouse that was more readily visible during her performance of her Grammy-winning song "Broken Horses." Harry Styles wearing Gucci at the 65th annual Grammys. Image: Gucci Bold in black Of course, some stars went for basic, but sexy, black. Olivia Rodrigo, last year's Grammy winner for Best New Artist, adopted the naked dress trend seen on several recent showbiz red carpets in a sheer floor-length black gown. Brazilian superstar Anitta, up for Best New Artist honors this year, also understood the assignment -- she slayed in a strapless Versace gown with see-through detailing and a long train. And Doja Cat, who wowed fashionistas at Paris fashion week with her exuberant looks and wild makeup, showed up in another Versace dress -- hers was a one-shoulder latex frock that hugged her curves, finished with long gloves. Simply flawless As the new all-time Grammy winners with 32 statuettes, Beyonce is in a class by herself, and that applies to her fashion as well. The 41-year-old superstar arrived at the gala more than an hour late -- due to traffic, host Trevor Noah said -- in a strapless Gucci corset gown with a silver skirt cut up to her hip and rippling out in shimmering ruffles to finish in a train. Elbow-length gloves finished off the look for the new reigning queen of the Grammys.(AFP)
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Vestiaire Collective partners with Courrèges on resale rewards scheme

Vestiaire Collective X Courrèges resale partnership. Image: Vestiaire Collective Resale platform Vestiaire Collective has unveiled a new partnership with Courrèges which will see resellers be rewarded for prolonging the life of the luxury brand’s clothing. Through the partnership, Vestiaire Collective hopes to uncover the best pre-loved items from all eras of the French house, while also promoting more responsible fashion. The deal will reward customers for reselling Courrèges pieces through the partnership’s dedicated website. In exchange, they will receive a gift card to be used on Courrèges’ e-commerce site, which will include a 15 percent bonus. In a release, Adrien Da Maia, Courrèges’ CEO, said: “Through its history and the timelessness of its style, Courrèges has always embroidered the idea of sustainable fashion. “Through our new designs, we are creating the vintage offer of tomorrow and our ambition is to extend the life cycle of Courrèges pieces. By facilitating the resale and authentication of all Courrèges pieces, this partnership with Vestiaire Collective reinforces our commitment to sustainable and circular fashion.” The scheme adds to the growing list of partnered brands Vestiaire Collective has worked with, as it looks to build on its strategy of bespoke resale partnerships and allow its community to purchase branded items with confidence.
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