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.”
 
 

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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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Stephen Jones Says the Constant Quest for Perfection Often Kills Spontaneity

Stephen Jones Says the Constant Quest for Perfection Often Kills Spontaneity

July 22, 2020

Celebrated milliner Stephen Jones talks to BoF Editor-at-Large Tim Blanks about how the pandemic has signalled an opportunity to reshape the fashion industry.

 

LONDON, United Kingdom — For Stephen Jones, a prolific hatter and one of the most lauded milliners in modern memory, “hats and dressing up are a sign of optimism in spite of everything.” In his storied career, which spans four decades, he has created visual masterpieces both under his namesake brand and as the artistic director of hats at Christian Dior.

“The purpose of fashion… is maybe to give people a dream,” Jones told BoF Editor-at-Large Tim Blanks in the latest episode of The BoF Podcast. “To give people the idea of more fun times, a better life… something which is solely for their pleasure,”

  • For Jones, who has created hats for high-profile clients from Princess Diana to Rihanna, forced isolation has provided an opportunity for reflection and “just being able to focus on one thing,” he told Blanks. “I’ve only ever done that in my first collection [and] that was 40 years ago. So in a funny way, I’ve been able to have the focus and the time to do something that I haven’t been able to in 40 years.”
  • “Fashion is that fabulous escapism that people yearn for,” Jones said, and when it comes crafting intricate designs, he avoids the “constant quest for perfection because perfection often kills spontaneity.”
  • As with many industry professionals across the globe, the pandemic and political unrest has signalled an opportunity for Jones to transform old practices and reshape the industry. “The one thing about fashion is it evolves,” he said. “If it doesn’t evolve it doesn’t make sense.”

 

Related Articles:

Stephen Jones and the Grammar of Hats

The BoF Podcast: Stephen Jones on the Craft of Millinery

 

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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Farfetch’s José Neves Says Profitability Is Still Possible in 2021

Farfetch’s José Neves Says Profitability Is Still Possible in 2021

July 9, 2020

LONDON, United Kingdom —For Farfetch Founder and Chief Executive José Neves, the last six months have not only been about protecting his own business from the fallout of Covid-19, but also supporting the hundreds of boutiques around the world — from China, Japan and Korea to the Middle East and Europe — that sell their goods online through the luxury marketplace.

“We've been able to support the boutiques and the brands on the platform at crucial time where online is, for many, the main channel and for some... the only channel,” Neves told BoF Editor-in-Chief Imran Amed in the latest episode of The BoF Podcast.

But as Neves explained, more challenges lie ahead for Farfetch and the global fashion industry at large.

  • Neves described the platform’s performance as “very solid,” and expects to see an acceleration in its second quarter, with year over year growth of 25-30%. Part of this success can be attributed to the business shifting its focus to markets where consumer sentiment has started to recover, according to Neves.
  • But Farfetch is still losing money, and investors and market analysts have questioned the company's recent acquisition of New Guards Group (NGG). The acquisition may have bolstered profitability, but it took the business in an unexpected direction: actually owning the brands it sells on its platform. But Neves said he remains “confident” that Farfetch will achieve profitability by 2021 — a goal it outlined last year, and that the NGG business is a brand platform in its own right.
  • The luxury industry has been bracing for what has been called “the mother of all sales,” as retailers are forced to drastically discount their surplus of spring merchandise. Some observers have pointed to Farfetch as a regular culprit with respect to the industry's discounting addiction even before the Covid-19 pandemic. Neves says the discounting decisions are made by the brands and the retailers themselves, and that Farfetch is simply the platform they use to go to the market, but acknowledges that deep discounting is a systemic industry problem.
  • Neves believes the fashion industry will finally reckon with its wasteful and unsustainable business practices — and partially because it can also reduce costs. “I do think the industry had an oversupply problem, which is an environmental problem as well," he said. “Platforms have a responsibility to… incentivise customers to shop consciously. By doing that you create an incentive for brands to be more conscious or to be totally ethical and sustainable if they can.”

 

Related Articles:

A Cloudy Picture at Farfetch

Farfetch Signals Growing Ambitions in Resale

Why Farfetch's Free-Spending Ways Have Some Investors Concerned

 

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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Roger Federer on Partnering with On Running and Designing his First Shoe, The Roger

Roger Federer on Partnering with On Running and Designing his First Shoe, The Roger

July 6, 2020

The tennis legend and cult running shoe label On are launching a sneaker together. In the latest edition of the BoF Podcast, Federer shares what's next.

ZURICH, Switzerland — It’s been 17 years since Roger Federer won his first Wimbledon championship. Now, the 20-time Grand Slam winner is commemorating the date with the launch of his first sneaker for Swiss running label On.

Named “The Roger,” Federer’s debut is inspired by a tennis shoe, but it’s designed to be much lighter and intended for everyday wear, rather than professional sports. As with On’s more performance-driven trainers, the shoe is outfitted with the “CloudTec” technology (a special sole designed to enhance the running experience) for which On is best known. The company’s first “Cloud” performance sneaker, launched in 2010, quickly gained traction among the running community.

Federer’s tie-up with On is much more than the typical ambassador-brand relationship. For starters, he invested an undisclosed amount in the company last year, consulting for the brand before signing on to co-develop product. As the tennis star put it to BoF's Imran Amed in an exclusive interview for the BoF Podcast, he wanted to see if it would be possible “to create a deal and partnership that is more than the pay-to-play deal.”

 

Related Articles:

Roger Federer Buys Stake in Swiss Running Shoemaker

How Are Sports Brands Marketing Without Sports?

Uniqlo’s $300 Million Bet on Federer

 

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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Giles Deacon on Carving Out His Own Fashion Calendar

Giles Deacon on Carving Out His Own Fashion Calendar

July 3, 2020
The designer speaks with BoF's Imran Amed about the importance of creative autonomy in a time of 'product for more product’s sake.'
 

LONDON, United Kingdom — Designer Giles Deacon’s list of clients is impressive, including Billie Porter, Sarah Jessica Parker and the New York City ballet, while his runway shows were once counted as one of the most exciting events at London Fashion Week. But a few years ago, he decided to leave all that behind, focusing on growing his private client business instead. In the latest episode of The BoF Podcast, Deacon spoke with BoF Founder and Editor-in-Chief Imran Amed about what it's been like to buck the system in a meaningful way.

  • After a few years working in the fashion industry, Deacon became disillusioned by the pace of production. “[It] was about designing more and more product for more product’s sake,” he said. So he decided to return to his art school days, focusing on craftsmanship and elaborate designs.
  • For Deacon, creative autonomy is crucial. If couture designers are to deliver spectacular garments, they need time and artistic independence. “The beauty of the bespoke is to be able to work with the client to give them that sense of service and exclusivity,” said Deacon, adding that his network of VIP customers has grown organically through word of mouth.
  • Lockdown hasn’t stopped Deacon from working over the past few months. "I have been doing sketching, consultations and FedExing patterns,” he said. “It’s gotten smaller, but things still move along.”
  • Looking to the future, Deacon said social distancing measures have prompted him to rethink his own practices. “I have become more conscious of my travelling… [Once lockdown restrictions are lifted, I may travel] less but possibly for longer.”

 

Related Articles:

Giles Deacon on the Inspiration and Couture Craft Behind Pippa Middleton's Wedding Dress

Why Fashion 'Seasons' Are Obsolete

A Proposal for Rewiring the Fashion System

 

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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Ibrahim Kamara on Photography as a Powerful Force for Change

Ibrahim Kamara on Photography as a Powerful Force for Change

June 23, 2020
The renowned stylist and fashion director talks to BoF’s Editor-at-Large Tim Blanks about his time creating under lockdown.
 
Quarantine hasn’t stopped stylist and art director Ibrahim Kamara from creating. Although he is unable to work on his usual fantastical fashion visuals, the time spent in his London home is nonetheless far from wasted. “I might not be able to achieve my dreams right now, but I can write them and make a note of them,” Kamara told BoF’s Editor-at-Large Tim Blanks in the latest episode of the BoF Podcast. Born in Sierra Leone, Kamara moved to London in his early teens. He has since worked with some of fashion’s biggest names, including Stella McCartney, Fenty and Hermès as well as British VogueLove and AnOther. During lockdown, Kamara and Blanks touched base to talk about photography as a force for change. 
  • Kamara’s ethereal aesthetic pays tribute both to his West African roots and to London, the city he has lived in for the past ten years. For Kamara, the beauty of his visuals exist in this intersection of cultures. “When I’m making work, I want people to stop and take in so much,” he said. “If an image doesn’t stop you, it doesn’t really do it’s job… That’s how I make photos, I want people to look at them twice.”
  • Kamara sees technology as a source of endless inspiration. It is through Instagram he met and befriended Kristin-Lee Moolman, one of Kamara’s longtime collaborators, with whom he has worked on countless projects. “It’s so good to find people who you think can bring something to your world,” he said. Social media has also upended fashion’s longstanding hierarchies, Kamara said, adding that people can now more easily collaborate on ambitious projects without the approval and support of established magazines. 
  • Looking to the future, Kamara hopes to inspire a new generation of young image-makers to find confidence in their ways of seeing and believe in their creative visions. Only by supporting, cultivating and promoting the next generation of creative talent can the fashion industry progress: “[I want to] push the industry [forward]… and make it a space where everyone can dream.”

 

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June Sarpong Says Fashion’s Gatekeepers Need to Start Thinking Differently About Diversity

June Sarpong Says Fashion’s Gatekeepers Need to Start Thinking Differently About Diversity

June 19, 2020

 June Sarpong shares her advice on how organisations can improve their diversity and inclusive representation, and effectively champion allyship.

 

Related Articles:
Fashion Media Called Out Over Workplace Racism
On Racism, Fashion Must Do More Than Speak Up
Op-Ed | Fashion Is Part of the Race Problem

 
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