The Business of Fashion Podcast
Imran Amed and Tim Blanks on a Most Unusual Fashion Month

Imran Amed and Tim Blanks on a Most Unusual Fashion Month

October 15, 2020

Amed and Blanks reflect on this season’s collections, the shift to digital and the limitless potential power of creative collaboration.

 

 

LONDON, United Kingdom — This last fashion month has been unlike any other. After much of the year working under lockdowns, brands largely shifted to digital channels to showcase their newest collections. In the latest episode of the BoF podcast, BoF Founder and CEO Imran Amed and BoF Editor-at-Large Tim Blanks reflect on the season's most compelling moments and lasting impact.

  • Virtual presentations haven’t always landed, but this season felt different, said Blanks. “There was so much thought and creativity and ingenuity applied to new ways of doing business and new ways [of showing work]... It was a very different ball game.”
  • In London, Blanks was struck by female designers like Bianca Saunders, Ahluwalia and Supriya Lele who “did these super strong presentations that were provocative and affirmative and positive,” he said. Overall, London Fashion Week was defined by a joyful defiance during a time of crisis. In Milan and Paris, Blanks and Amed referenced Prada and Rick Owens as two of many shows that stood out to them.
  • This season also made clear the power of strong partnerships. Through creative collaborations between designers and filmmakers, brands have managed to bring their collections to life to audiences the world over. “It changes the fundamental conception of fashion being about the designer, now we have a much more collaborative thing happening,” said Blanks. “That’s a shift, I think.”

Related Articles:

How Impactful Were the Digital Fashion Week Shows, Really?

Who Will Win the Digital Fashion Week Battle?

How to Make Digital Fashion Weeks Work

 

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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Daniel Roseberry on the Schiaparelli Challenge

Daniel Roseberry on the Schiaparelli Challenge

October 1, 2020

The artistic director tells Tim Blanks about reigniting the surrealist maison, and why fashion doesn’t have to be ‘relevant’ right now.

 

LONDON, United Kingdom — Daniel Roseberry grew up in Texas, far from his current professional home at Elsa Schiaparelli’s Place Vendôme headquarters, but he always knew he wanted to work in fashion. “It was always something that I was interested in that no one else around me knew anything about,” he told BoF Editor-at-Large Tim Blanks in the latest episode of The BoF Podcast. “It was this idea of fantasy.” Appointed as Schiaparelli’s artistic director last year, Roseberry lifts the lid on his journey as a designer and his approach to honouring, but not replicating, the vision of the maison’s founder.
  • Before Schiaparelli, Roseberry, spent more than 10 years at ready-to-wear label Thom Browne “There’s nowhere else I could have worked in New York that could have prepared me for the kind of hours that go into a garment… It was my only job before Schiaparelli in fashion and so that was my first foray into this kind of approach.” Despite having over a decade worth of experience, nothing could have prepared him for the challenges of being that “person that has to step out at the end of the show and wave.” Roseberry often wondered when his time would come and the journey has been a learning process. “I thought I knew what it was like to maintain a vision throughout the entire creative process… when there’s so many moving parts… that is the challenge… and it’s something that I’m getting better at.”
  • When it comes to adding his stamp and reinventing the maison, Roseberry tries to “honour... and embody [Elsa Schiaparelli’s] ethos.” The maison shuttered in 1954 and only reopened six years ago. Roseberry is the third artistic director to take its helm. “Trying to replicate what [Schiaparelli] did, which also seemed to be so effortless and such a product of the time and place in which she lived, would be a very arrogant disaster,” he said.
  • Following the outbreak of Covid-19, the industry all but came to a halt and brands had to find ways to pivot to keep their heads above water. For Roseberry “fashion shows don’t have to be relevant right now. There’s so many other things that are more important and I wish that fashion people could allow themselves to sit with that discomfort.” When asked about the future of fashion, Roseberry, like many during this crisis, is unsure but believes that is ok. “Fashion is so obsessed with predicting itself and I think it’s because deep down we know how… not essential we are [right now]… and I think there is an insecurity there.”
 
Related Articles:

 

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Lulu Kennedy on London’s Young Creatives

Lulu Kennedy on London’s Young Creatives

September 24, 2020

BoF’s Editor-at-Large Tim Blanks speaks with the Fashion East Founder about the future of London’s emerging designers.

 

LONDON, United Kingdom — For twenty years, London's Fashion East has helped incubate and support emerging designers hoping to establish themselves as the industry’s next big thing. The imperative to nurture emerging talent is even more urgent now, as young designers enter an increasingly uncertain industry. In the latest episode of the BoF Podcast, BoF Editor-at-Large Tim Blanks speaks with Fashion East Founder Lulu Kennedy about what the future of fashion might look like for emerging creatives and independent designers.

  • One major change in the last twenty years is the decline in funding available to stage grandiose fashion shows. “Sponsorship was very good [20 years ago],” Kennedy said. “It’s not as easy now; you have to work harder with the budgets you have.” While strict financial limitations can help foster creativity, it also adds pressure on young designers hoping to compete with more established players.
  • When asked why London remains a central hub of exciting new design talent, Kennedy points to its stellar colleges and powerful and pervasive youth culture. But London-based designers also face specific challenges. “There is a lot of frustration with designers trying to get stuff made on time, in budget and that’s good quality,” Kennedy said. “Going forward with Fashion East, I would love to secure some manufacturing partnership.”
  • Lookbooks and short films have become crucial for designers during the pandemic, when real-life shows are restricted. But standing out amid the social media noise is no easy feat. In fact, the best advice Kennedy has to offer is authenticity: “Be true to yourself. Don’t be second guessing and looking at what other people are doing over your shoulder. Just do you.”

 

Related Articles:

In London, Emerging Designers Face a Critical Season

Where Do Independent Fashion Brands Go From Here?

How to Break Into Fashion When You Don’t Already Have Money

 

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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Craig Green Says, ‘Fashion Can Come From Anywhere’

Craig Green Says, ‘Fashion Can Come From Anywhere’

September 17, 2020
The designer speaks with BoF Editor-at-Large Tim Blanks about his ongoing Moncler collaboration and his dream of designing a wardrobe classic.
 
LONDON, United Kingdom — Known for his intricate seaming and detailed designs, Craig Green is currently hard at work on his Spring/Summer 2021 collection — which he is aiming to reveal in October. This time, however, it won’t be in a fashion show format. Rather, Green is exploring alternative ways of showcasing his collection that he feels are more appropriate to the times. “The way everything changed so suddenly shows you can’t really plan for anything,” Green told BoF Editor-at-Large Tim Blanks. In the latest episode of The BoF Podcast, Green and Blanks reflect on the designer’s ongoing collaboration with Moncler, his love of problem-solving, and his dream of designing a wardrobe classic.
  • Protection and functionality are the two words that come to Green’s mind when he thinks of Moncler, so it was crucial to incorporate them into the collections he continues to design for the heritage skiwear label. “The first collection we did with Moncler, I thought it would be interesting to think about the most obvious imagery that we associate with [the brand] like mountains and the outdoors,” the designer said. The initial partnership gave birth to many years of collaboration that most recently saw Green reimagining Moncler’s staple winter jackets into wearable art for Collection 5, which launched last December.
  • “Fashion can come from anywhere and can come from anyone,” said Green. “You have an idea of what fashion as a career will be, and then you discover designers who are so uncompromising in what they do and so individual in their voice.” For Green, it is problem-solving that continues to draw him to fashion; the endless possibilities of constructing new shapes and silhouettes using a range of textiles and patterns.
  • Green’s ultimate goal is to design a wardrobe classic, like a Burberry trench coat. But for Green, the staple is more likely to be a workwear jacket. “For a brand or designer to create one of those items is really an achievement,” said Green. “I have great respect for designers that own wardrobe classics.”
 
 

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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Welcome to Retail Reborn from The Business of Fashion | Trailer

Welcome to Retail Reborn from The Business of Fashion | Trailer

September 14, 2020

In an exclusive new series from The Business of Fashion in partnership with Brookfield Properties, Doug Stephens and BoF investigate the seismic shifts transforming the retail ecosystem. From the post-pandemic consumer psyches to increased risk and growing calls for responsibility, BoF identifies the forces transforming the retail market and what they mean for the global industry.

The Retail Reborn Podcast launches on Tuesday 15 September. Subscribe now to never miss an episode.

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For all sponsorship enquiries, it’s: advertising@businessoffashion.com.

 

The Fate of the Physical Runway Show

The Fate of the Physical Runway Show

September 10, 2020

BoF Editor-at-Large Tim Blanks, The Washington Post’s fashion critic Robin Givhan and GQ’s Rachel Tashjian explore the past, present and the future of the event that makes the industry go round — the fashion show.

 

LONDON, United Kingdom — Do fashion shows still matter? In the latest episode of The BoF Podcast, BoF Editor-at-Large Tim Blanks, The Washington Post’s fashion critic Robin Givhan and GQ Magazine writer Rachel Tashjian join BoF Executive Editor Lauren Sherman in a virtual panel discussion on how the pandemic tested designers’ ability to captivate buyers, media and consumers through creativity and the use of digital tool. What happens next?
  • For Blanks, in order to look forward, you must look back. Fashion shows have always “[meant] almost everything in fashion to an enormous degree… They challenge, they provoke, they’re disturbing, they’re overwhelming,” he said. However, over the years, people have looked at the shows of the past as “a world that’s gone in a way… it has that kind of poignant tug.”
  • As industry commentators, Blanks, Givhan and Tashjian have taken note of how designers pivoted their strategies following the outbreak of the coronavirus pandemic and what set them apart. For Givhan, JW Anderson’s “show in a box” tapped into “the desire for something tactile, the desire for something that felt personal… that you could hold, that wasn’t a digital... distant thing.” Although livestreams have a way of broadening a brand’s reach, as a critic, Givhan finds being “forced to look in one particular direction” hinders the experience. “Sometimes I find the most interesting element to be something that’s over in a corner, but that’s not the main thing that’s walking down the runway towards me,” she said.
  • In the future, Givhan hopes designers will use technology to “tell a story about their clothing, to weave a narrative in some way… to evoke emotion,” instead of carbon-copying a traditional runway in a digital way. “It [just] feels… like something that… doesn’t really quite fit,” she said. For Blanks, what has come out of this period of uncertainty — and the modes of communication adopted — shouldn’t be forgotten. “I hope that there will be this immediate contact, this sort of intimacy,” he said. “I find that more interesting than maybe the way that we used to deal with things. I don’t want a press release, I want to talk to people.”

 

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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Cathy Horyn on Why Fashion Media Must Evolve

Cathy Horyn on Why Fashion Media Must Evolve

September 3, 2020

The industry veteran and renowned Critic-at-Large at New York Magazine and The Cut discusses how the pandemic has shifted the way journalists cover fashion, signalling an editorial transformation.

 

LONDON, United Kingdom — For fashion critic Cathy Horyn, the pandemic has ushered in yet another transformation of fashion media. Just like the brands and designers who pivoted and adopted new digital tools to reach buyers and consumers amid show cancellations, publications maximised their online presence to guide the industry at large through a period of upheaval.

In the latest episode of The BoF Podcast, Horyn sat down with BoF Editor-at-Large Tim Blanks to discuss reviewing the upcoming shows this month (a mixture of both physical and live events) and her outlook for a post-Covid-19 fashion industry.

  • For Horyn, the media reflects and adapts to the needs of its time. “There’s been incredible [fashion] writers all the way back to the 1830s at least… and they all did something different. Journalists adapted to whatever was going on at that time,” she said. With the advent of the internet and social media, the industry saw the emergence of new voices and new talent. Amid this current period of uncertainty, Horyn remains optimistic that the industry will emerge stronger and transformed. “We’ve seen a lot of experimentation in the last… two months… I think going forward...it’s going to be an adjustment for everybody covering fashion, [but] I certainly think it should be covered.”
  • Will the show go on? This has been one of the questions on the minds of designers across the globe, but with New York Fashion Week given the go ahead (sort of) industry insiders and consumers are in for a fashion week unlike anything ever seen before: a mixture of in-person shows, livestreams, films and virtual panel discussions. What does this mean for journalists, like Horyn, that usually review the collections gracing the runway? “We don’t even know if we’re going to be covering shows like we did till possibly next fall,” she said. “My long-term feelings for the industry are really strong… [fashion] will transform itself but we just don’t know what that’s going to [look like].”
  • For Horyn and other critics, it would be remiss to ignore the allure of the physical runway show. A collection “doesn’t [always] translate so well on television or on a video screen,” Horyn said. But one thing that remains, whether via a screen or in real time, is the “sense of discovery and [realisation] that some of that stuff ... moves the historical needle of fashion and we get to see that,” she said.

 

Related Articles:

The Best-Case, Worst-Case for Fashion Media

For Fashion Magazines, It's Crunch Time

At Condé Nast and Hearst, It’s About More Than the Current Crisis

 

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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Stella Jean Asks ‘Do Black Lives Matter in Italian Fashion?’

Stella Jean Asks ‘Do Black Lives Matter in Italian Fashion?’

August 27, 2020

The Italian-Haitian designer and the only Black member of Italy’s Camera della Moda speaks to BoF Editor-in-Chief about racism within the country’s fashion industry.

LONDON, United Kingdom —  For designer Stella Jean, enough is enough. “It’s time to turn the page” and demand fashion reform, she said. Last month, alongside Milan-based designer Edward Buchanan, Jean issued letters to Carlo Capasa, president of the Camera della Moda, and to the organisation’s 14 executive members in what Jean described as “an historical appeal to bring to the forefront for the first time in our history, the paradoxical taboo topic of racism in Italy… and also to support Black designers who are still invisible in the business of Italian fashion.”
In the latest episode of The BoF Podcast, Jean sat down with BoF Founder and Editor-in-Chief Imran Amed to share her personal history growing up the daughter of a Haitian mother and Italian father, discuss the systemic racism within Italy’s fashion sector and focus on fostering change.
  • The self-taught designer, whose clothes have been worn by the likes of Beyoncé, Rihanna and Zendaya, called out fashion giants for making “performative gestures of public support” regarding racism in America, while simultaneously “overlooking what is happening to the Black minority in their own country among its workforce.” During the virtual call with Amed, Jean shared that she had received a letter from Capasa regarding the creation of a new unit in the Italian fashion council to tackle racism within the sector. Jean hopes that this will transform her question “do Black lives matter in Italian fashion?’” into the statement “Black lives matter in Italian fashion.”
  • In order to effect change, fashion leaders and executives must have an open discussion about what more can be done to boost diversity within their organisations, Jean said. While brands rushed to post black squares on social media, Jean urged leaders to first address the lack of diversity within their corporate structures. “[Brands] have long preached multiculturalism but have rarely applied such concepts beyond the media window… [and] in the spaces away from the spotlight where no one is watching,” she said. “[This is a] wound that we have ignored for far too long… If you don’t understand that awareness is the first step in solving the problem, this wound will never heal.”
  • For Jean, who founded the sustainable development initiative Laboratorio delle Nazioni, growing up in the 1980s “and struggling [with] being so diverse from [her] fellow citizens has motivated [her] to find a way to show people not to be afraid of different cultures and colours, but instead to see them… as a chance to grow better and together.” Jean recognises fashion as a tool that can offer fair and equitable opportunities for people in low-income countries. When Jean creates a collection she meets and works with various artisans in countries like Peru, Haiti, Burkina Faso, Mali or Pakistan for example, researching and learning about the local indigenous skills to then create a textile or garment, combining the country’s traditional craftsmanship with Italian design. “The beauty of fashion is it has no borders,” Jean said.

Related Articles:
Op-Ed | Fashion Is Part of the Race Problem
Op-Ed | Inclusivity Demands More Than a Show
Fashion's New Stella

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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Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout.

For all sponsorship enquiries, it’s: advertising@businessoffashion.com.

Rebuilding Lebanon’s Fashion Industry

Rebuilding Lebanon’s Fashion Industry

August 20, 2020

Elie Saab Jr, chief executive of Elie Saab Group, and Lebanese designers Roni Helou and Amine Jreissati speak about the urgent need for global solidarity in the face of crisis.

Jerry Lorenzo Says, ‘I Know What I’m Fighting For’

Jerry Lorenzo Says, ‘I Know What I’m Fighting For’

August 18, 2020

The Fear of God designer talks American luxury and why feeling like an outsider is a strength.

 

LONDON, United Kingdom — For Fear of God Founder Jerry Lorenzo, being an outsider is an advantage. “I just feel like I never fit,” he told BoF Editor-at-Large Tim Blanks in the latest episode of The BoF Podcast. “I’ve gotten to a place where I’m ok with that and I don’t need to fit within fashion to be validated… and so I know that I’m outside but I feel like my strength is that I’m outside. My strength is that I see [things] differently.”

Lorenzo has often taken a less-beaten path, but it’s his approach to collection drops — his latest is the first he has released in two years — as well an ability to use fashion as a platform to foster social change, that have helped to position him as an industry leader. An outsider no longer?

  • "The Pelican Brief," "The Breakfast Club," "License to Drive" and "Rocky IV" are just some of ‘80s movies Lorenzo often references. “There’s something about that time period that to me was the highest level of effortlessness and sophistication,” he said. That spirit is alive in his seventh collection, which offers an “unfiltered vision of tailoring and suiting” for the first time, as well as accessories and handknits. “It’s a move from an emerging brand to a foundational brand,” Lorenzo said. “What we’re doing with [this] collection is purely our point of view.”
  • Using his platform, Lorenzo looks to inspire young people to pursue their passions relentlessly in whatever field. “I know what I’m fighting for and I’m clear on that,” he said. “Some kids just don’t have the example of someone that looks like them… and without that visual example, sometimes it feels impossible… fashion just happens to be the platform that I’m using to do that.”
  • Fear of God might be rooted in streetwear, but Lorenzo explained why it’s more than that. “Some people just chalk it up to be a hoodie and that’s okay but we understand that we’re providing the solution for the lifestyle that today is the modern man,” he said. “We’re putting out clothes when we feel like… we have something to say… [and] that we have solutions for what’s missing in the marketplace. We don’t feel like we’re operating from a place of a capitalistic spirit, we feel we’re proposing what’s needed.”

 

Related Articles:

The Decade When Streetwear Rewrote the Rules of Luxury

What the Merger of Suiting and Streetwear Says About the Men’s Market

Streetwear Took Over the Fashion Industry. Now What?

 

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.

 

Sign up for BoF’s Daily Digest newsletter.

 

Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout.

For all sponsorship enquiries, it’s: advertising@businessoffashion.com.

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