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.”

 

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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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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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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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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: 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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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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