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.”
 
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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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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.”

 

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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

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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:

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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

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Special Edition: Rafat Ali on the Month the World Stopped Travelling

Special Edition: Rafat Ali on the Month the World Stopped Travelling

May 1, 2020

In the latest special edition of the BoF Podcast, Rafat Ali, founder and CEO of the B2B travel news site Skift, talks to BoF Editor-in-Chief Imran Amed about the tourism standstill following the outbreak of Covid-19 and its impact on travel retail.

 

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Special Edition: Imran Amed on Finding Opportunity in a Crisis

Special Edition: Imran Amed on Finding Opportunity in a Crisis

April 29, 2020

BoF’s Founder and Editor in Chief joins educator and activist Sinéad Burke to discuss how BoF is forging ahead during the Covid-19 crisis in a live event hosted by Istituto Marangoni.

 

 

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Special Edition: Silvia Venturini Fendi Will Surprise You

Special Edition: Silvia Venturini Fendi Will Surprise You

April 24, 2020

In the latest special edition of the BoF Podcast, Fendi Creative Director Silvia Venturini Fendi talks to BoF Editor-at-Large Tim Blanks about everything from the future of smart clothing to the end of the fashion show as we know it.

 

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