The Business of Fashion Podcast
LOVE Magazine’s Editors on the Fashion Magazine’s New Role in Culture

LOVE Magazine’s Editors on the Fashion Magazine’s New Role in Culture

July 30, 2020

Ben Cobb and Pierre A. M’Pelé discuss the creative process behind LOVE’s latest two-volume issue and how they responded to the unprecedented events of the last six months.

 

LONDON, United Kingdom — What is the role of a fashion magazine at this moment in time? For Ben Cobb, editor-in-chief, men’s, of LOVE Magazine, and Pierre A. M’Pelé, the title’s senior editor, community and collaboration is key.
Launching August 4, the latest iteration of the biannual magazine is two volumes of hardback books, titled “LOVE ‘Diaries 3 March - 4 July’ Volumes 1 and 2” featuring a total of four covers. “I hesitate to even call it a magazine,” said BoF Editor-at-Large Tim Blanks in conversation with Cobb and M’Pelé. “[It’s] a remarkable time capsule of this remarkable time.”
  • Despite its triumphant final form, the process behind creating the magazine has not been without its challenges. “There were three senior members very ill with Covid,” said Cobb, describing how the team stepped in to carry out work depending on how healthy they were feeling each day, ahead of M’Pelé joining the team in late June. “We were exhausted and suffering from fatigue, [but] Pierre came in with so much energy.” As a highly collaborative process, it also dissolved the traditional hierarchy of the masthead — “a new way of putting together a magazine,” said Blanks, reminiscent of “the idealistic height of the ’60s.”
  • Producing a fashion magazine — particularly one as extensive as LOVE’s two-tome edition — typically takes a long period of planning and forethought, but the seismic and fast-developing events of the last six months required quickfire changes. The Black Lives Matter protests of May and June “changed the course of action,” said M’Pelé, who himself attended protests in Paris. “The team was very reactive because it was a matter of ‘let’s speak now, let’s take a stance now and let’s be clear of our intentions now...’ If we hadn’t added these Black Lives Matter and systemic racism conversations into the magazine, it would have been too late.” In the wake of the murder of George Floyd, M’Pelé’s “manifesto,” a portable pamphlet-like insert in the book, “became a lot more about new voices, bringing people of colour into the picture,” he said. “I want someone to be able to take it out and give it to their racist aunt.”
  • This period has also called into question the formats and fundamental role that fashion magazines assume. “Editorial perspective…[typically] crystallises a moment and it’s about dictating what that moment means,” said Cobb. “I think what’s been really incredible and transformative about this is that … that dynamic has been completely reversed and the moment tells you what it needs to be.” As for what the next issue of LOVE will look like, “Who knows?” said Cobb. “Maybe a magazine can just be a film.”
 
 

Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com.

 

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Fabien Baron Says, ‘The Way We Communicate Is Going to Change’

Fabien Baron Says, ‘The Way We Communicate Is Going to Change’

July 28, 2020

The celebrated art director Fabien Baron talks to BoF Editor-at-Large Tim Blanks about the future of image-making.

 

LONDON, United Kingdom —  For famed art director Fabien Baron, the chaos and uncertainty brought on by the pandemic presents an opportunity for the fashion industry to go “back to basics.”

“When there’s doubt like this there’s not really an answer… so there’s opportunities to take more risks and be more creative,” Baron told BoF Editor-at-Large Tim Blanks in the latest episode of The BoF Podcast. “It’s going to bring a lot of changes… but there’s something very optimistic about change. To be forced to change allows one to really [reflect] on the issues we are all facing.”

  • This period of uncertainty has unlocked conversations that were rippling below the surface, said Baron. Both the pandemic and the recent political unrest has highlighted an opportunity for the fashion industry at large to reshape “old formats” that feel at odds with the world’s new normal. For Baron, that means “a new way of looking things… which may lead you to a new path… it’s going to be an evolution [for the industry].”
  • According to Baron, creativity is the key to unlocking change and as the world adjusts to a new set of challenges, industries must do the same. From this health crisis a new way of approaching magazines, photography, styling and the buying and selling of merchandise will emerge where storytelling must supersede superficiality, said Baron. Brands and publications must hone an authentic voice which reflects the time and inspires “people with new ideas and new ways of looking at things. You need freshness and you need a lot of positiveness.”
  • Simplicity could be the antidote to the incessant pace at which the industry has been operating. The months of travelling it took to view runway shows or presentations, whether it was buyers or editors, hopping from “this city to that city just to see a show… After a while it [didn’t] make sense.” However, the outbreak of the coronavirus brought the fashion calendar to a standstill and designers turned towards digital tools in order to showcase their collections. This new way of using technology means “the way we communicate is going to change because the tools are changing and they’re opening new doors,” he said.They allow us to do different things and view things [from] different angles.”

Related Articles:

A Year Without Fashion Shows

Who Will Win the Digital Fashion Week Battle?

Fashion’s New Outlook on 2020

Fabien Baron Is Not Nostalgic

 

Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com.

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Amber Valletta Says, ‘I Don’t Want to Work in an Industry That Is the Same as Before’

Amber Valletta Says, ‘I Don’t Want to Work in an Industry That Is the Same as Before’

July 14, 2020

The supermodel, actress and environmental activist talks to BoF Editor-at-Large Tim Blanks about why the fashion industry cannot return to ‘business as normal.’

 

LONDON, United Kingdom — “The uncertainty has forced us to get really present.... We have an amazing opportunity to restart and to begin again,” Amber Valletta told BoF Editor-at-Large Tim Blanks in the latest episode of The BoF Podcast. “It is an incredible opportunity to stop and really figure out where we want to go from here. We can redesign a future.”

 

The American supermodel and actress, who has graced the cover of American Vogue 13 times and starred in various television and film series, including Revenge, Legends and Hitch, shared her thoughts on why the pandemic and political unrest has signalled the need for an equitable supply chain and an overhaul of the fashion calendar to reflect the industry’s “new normal.” 

 

  • Following the outbreak of the coronavirus, many garment workers in countries like India and Bangladesh were left destitute as textile factories shuttered and retailers in the west cancelled orders. “Before the designers make this amazing piece, [garment workers] are the people who put in the blood, sweat and tears,” Valletta said. . “In the 21st century, we should have a supply chain that’s fair and equitable.” 
  • Affecting change may not be simple but it is definitely required, Valletta said. In order to thrive in a post-pandemic climate, the fashion industry at large needs “to be resilient… which means we have to really stop doing business as normal because normal is archaic now.” For Valletta, fashion is about change and innovation: “I don’t want to work in an industry that is the same as before,” she said. 
  • “Why aren’t we slowing down the calendar?,” Valletta asked, addressing the industry’s incessant output of clothes that has accelerated over the years. “I was blessed to live in the most spectacular time in fashion… the crews were smaller, everything… There was an intimacy and excitement that we don’t have today,” she said, reflecting on her modelling career. . “There was no [social media]... and there was anticipation of the next season… Everything coming at you was a discovery.”

 

Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com.

 

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Aniyia Williams on Why Self-Examination Is Critical to Dismantling Racism in Fashion

Aniyia Williams on Why Self-Examination Is Critical to Dismantling Racism in Fashion

July 1, 2020
LONDON, United Kingdom — Aniyia Williams is ready for difficult conversations. The opera singer-turned-fashion tech entrepreneur has navigated systemic racism within corporate culture for years. And as companies slowly begin the process of dismantling policies and norms that harm Black people within them, Williams has a few ideas on where they go from here.

“The biggest thing that gets in the way is self-interest,” Williams told BoF Editor-in-Chief Imran Amed in the latest edition of the BoF Podcast. “Discomfort is the key ingredient to getting to the other side.”

  • Self-examination is critical. “It starts with the blind spots,” Williams said. “You are going to find things you don’t like about yourself.” Companies should look to their own practises and corporate culture to understand who they benefit and what needs to change.
  • You’re not going to hire your way to diversity, inclusion and equity. “What’s more important,” said Williams, is the environment that exists to support those people once they’re hired. Diversity and inclusion initiatives can only go so far, and it starts with senior leadership recognising the need to change both policies and company culture. “If the leadership isn’t buying into those ideals... I don't know how you can expect anyone else to,” Williams added.
  • Act to make it true. Aside from social media posts and one-time donations, fashion companies need to push for a larger, longer-term change. Diversity and inclusion at its core is about creating shared realities that understand what each employee is facing. “What is our relationship to each other going to be and is it going to be as fair and equitable as it can be?” asked Williams.
 
 

Watch and listen to more #BoFLIVE conversations here. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com.

 

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Rick Owens on Why Fashion Shows Aren’t Going Away

Rick Owens on Why Fashion Shows Aren’t Going Away

June 26, 2020
The American designer talks to BoF Editor-at-Large Tim Blanks about the future of the industry, sustainability and runway shows.To subscribe to the BoF 
LONDON, United Kingdom —  “This is science’s moment...so my responsibility was to study as much as I could so when my turn to contribute came I would be ready,” Rick Owens told BoF Editor-at-Large Tim Blanks in the latest episode of the BoF Podcast. “I’m concentrating on absorbing as much information, aesthetic information, that will serve me and nourish me in the future.”
The American designer, who has earned a cult following for his “’grungy glamorous” aesthetic, has been spending the pandemic studying the work of English architect Edward William Godwin, as well as listening to operas including “Elektra” and “Salome” by German composer Richard Strauss.
Owens shared his thoughts on why the pandemic and political unrest has accelerated the conversation around responsibility in the fashion industry.
  • “This period of resetting and enforced reflection has just recharged me,” Owens said. The designer revisited his past work and discussed how fashion is a powerful mode of communication. “When I think back on everything I’ve been doing I feel like I was able to do beautiful things but I was also able to talk about values that I believe in.” The outbreak of Covid-19 and the killing of George Floyd, which has led to protests across the globe, has brought conversations about fashion’s contributions to systemic racism to the surface.
  • Owens pointed out that the broader discussion around sustainability is forcing brands to reassess their businesses and consumers now more than ever are holding companies to account.
  • Even as lockdown measures begin to ease and designers pivot to live stream their shows, Owens underscored that runways are not obsolete. “Adorning oneself and communicating through the way you look, it’s an ancient ritual and it’s an important part of communication… [Fashion shows will] always be there in one way or another.”

 

Related Articles: 

Constructing Rick Owens' Creative Bubble

A Year Without Fashion Shows

The Depraved Kindness of Rick Owens

 

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Anna Sui Says, ‘You Can Define an Era By the Clothes’

Anna Sui Says, ‘You Can Define an Era By the Clothes’

June 16, 2020
The American designer speaks to BoF’s Editor-at-Large Tim Blanks about how fashion mirrors politics.
LONDON, United Kingdom — The world has changed immeasurably since designer Anna Sui’s last fashion show took place in New York in February. Her next collection is likely to reflect this transformation. “Fashion is a mirror of the times — you can define an era by the clothes,” Sui told BoF Editor-at-Large Tim Blanks. “What people are wearing mimics the politics of the times.”
Over the last few months, the world has grappled with a pandemic, a steep economic downturn and, more recently, widespread anti-racist protests. In this week’s special edition of the BoF podcast, Sui makes predictions on how these global events might impact the future of her industry.
 
  • People have spent much of the lockdowns at home in sweats and a T-shirt. Sui believes that people might go polar opposite once social distancing restrictions are relaxed. “Suddenly [people] are going to want to be seen,” Sui said, adding that eating at restaurants and drinking at bars will once become occasions for self-expression.
  • Handicrafts may see a resurgence as “people are now taking the time to relearn those skills,” Sui said. Tie dying, crocheting and knitting might well become popular creative outlets for the many people investing time in new hobbies — and this shift could be reflected in upcoming collections.
  • Sui hopes the pace of the industry will slow down and allow space for self-reflection. Looking back to the 1990s, “[There] wasn’t this frantic need to be working all the time, I remember enjoying the holidays,” Sui said. “Let’s hope that this gets back under control and that we learn how to balance out our lifestyles again.”

Sweatsuits and Yoga Pants Are Selling Like Crazy. What Happens When Lockdowns End?
A Proposal for Rewiring the Fashion System
Why Fashion 'Seasons' Are Obsolete 

 

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Graydon Carter Says, ‘There Is More Good Journalism Being Produced Now Than There Was 25 Years Ago’

Graydon Carter Says, ‘There Is More Good Journalism Being Produced Now Than There Was 25 Years Ago’

June 12, 2020
LONDON, United Kingdom —  “Magazines bring the world to you more than newspapers do and more than books do,” Graydon Carter, former editor of Vanity Fairand creator of email newsletter Air Mail, told BoF Editor-in-Chief Imran Amed in the latest episode of the BoF Podcast. “They bring the cultural nuances of what’s going on now to your door. They [tell] you about a world outside of the small town that you’re living in.”Carter’s journalism career spans over four decades, during which he was a staff writer at Time and Life, co-founded Spy magazine in 1986 and served as the editor of The New York Observer. His “third act,” the digital weekly newsletter Air Mail, employs a team of remotely working individuals from across the globe.Carter shared his thoughts on the state of the publishing industry in this time of upheaval.
 
 
  • An upended global economy is not uncharted territory for magazines. During the Great Recession, publications were hit hard as brands cut their advertising budgets to retain cash, Carter said. More than a decade later, magazines are faced with these same challenges, and for Carter, although there remains “a certain romance for magazines” the print industry “is going to have its issues and I think the strong magazines will survive and thrive and the weak ones will go away. That is a natural process in any industry.” The winners that emerge from this crisis will be the publications that form a connection with their readers. “You have to be the first or second favourite magazine of your reader… if you’re the fifth favourite magazine of a reader, they could probably do without you,” he said.
  • During his time running Vanity Fair, Carter spearheaded several newsmaking issues, including the 2015 “Call Me Caitlyn” cover, revealing Caitlyn Jenner for the first time as a woman and the “Africa Issue” that was designed to amplify the region and came with 20 special covers fronted by the likes of Muhammad Ali, Dr Maya Angelou and Barack Obama. However, his leadership was not without controversy. In a recent Netflix documentary, “Jeffrey Epstein: Filthy Rich,” allegations resurfaced that Carter removed information about the sexual abuse of Annie and Maria Farmer from an article about the disgraced billionaire written by Vicky Ward in 2003. In response to the claims, Carter said: “The legal and fact-checking elements of Vanity Fair, which was quite extensive,... is your line of defence and my head of fact-checking, my legal review editor and the lawyer for the company said we simply do not have what we needed to print this and it came in late,” he said. “In this case, they said we did not have the information we needed to publish that little bit of information in the story... I feel great pain and sorrow for the women he took advantage of, it’s an appalling situation.”
  • As the publishing industry pivots to adapt to a new normal, relying on digital tools like Zoom, cutting back the number of issues and reassessing the diversity of their organisations, Carter believes there are opportunities to be capitalised on. “I think there is more good journalism being produced now than there was 25 years ago… The fact is, now… you can start your own thing, you can do it on your kitchen table.” In a sea of start-ups it can be difficult to stand out, but “it’s just about being good at doing something that somebody else doesn’t do… You can make a name doing anything as long as it’s done well.”

 

Related Articles: 
Graydon Carter to Step Down as Vanity Fair Editor After 25 Years
Fashion Magazines Hit as Luxury Ad Spend Dwindles
For Fashion Magazines, It's Crunch Time

 

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Marc Jacobs Says, ‘I Still Have Stories to Tell’

Marc Jacobs Says, ‘I Still Have Stories to Tell’

May 18, 2020

As American fashion changes rapidly in real-time, Jacobs shared his thoughts on the state of an industry in flux.

  • Jacobs revisited his last fashion show at the Park Avenue Armory. “I would be very happy if that were my last show,” he said. New York’s role in global fashion is waning, and the future of live fashion shows in the coming months and years remains uncertain. “We don’t know if there will be much of a fashion industry in New York,” said Jacobs. “Will the people that have the skill still be around?”
  • Furthermore, the waste within the industry, and the flawed system of scheduling and orders has put more of an impetus on designers to slow down. “The idea of being forced to create something and tell a story constantly when it has no soul feels so vacant,” said Jacobs, pointing also to the wasted fabrics and unused products that end up in landfills. “The urge to make things and create things hasn’t gone away… I still have stories to tell,” he added. Maybe how that happens will change.
  • Digital collections and online shopping aren’t adequate substitutes. “Ordering online in a pair of grubby sweats is not my idea of living life,” said Jacobs, comparing the experience to looking at art online. “I don’t look at a Rothko online and cry.”

 

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Special Edition: Alber Elbaz Is a ‘Zoombie’ Now

Special Edition: Alber Elbaz Is a ‘Zoombie’ Now

May 12, 2020

The designer speaks to BoF Editor-in-Chief Imran Amed about life under lockdown and the future of young designers.

 

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Special Edition: Jonathan Anderson Says, ‘If It Feels Fake, I Don’t Want It’

Special Edition: Jonathan Anderson Says, ‘If It Feels Fake, I Don’t Want It’

May 9, 2020

The creative director of JW Anderson and Loewe talks to BoF Editor-at-Large Tim Blanks about the need for greater transparency in the fashion industry.

 

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