The Debrief

A growing number of direct-to-consumer brands are disrupting the luxury market by offering high-quality alternatives at more affordable prices. As traditional luxury brands focus on the ultra-wealthy and fast fashion dominates the budget market, these “dupe” brands cater to middle-class consumers who feel priced out of luxury but still want value for their money. Through transparent pricing and savvy use of social media, they are reshaping how consumers think about value and quality.

“The term dupe stems from duplication, but it also does speak to consumer sentiment around pricing today - they do feel duped,” says e-commerce correspondent Malique Morris. “Luxury brands have exponentially raised their prices for hip products in a way that is locking out middle class shoppers who typically could splurge on a few nice bags or a few nice sweaters a year.” 

Key insights:

• As luxury brands continue to hike prices for their most popular products, middle-class consumers are feeling increasingly excluded from the luxury market. This sentiment is fueling the rise of brands like Quince and Italic. “Luxury brands have exponentially raised their prices for hip products in a way that is locking out middle class shoppers who typically could splurge on a few nice bags or a few nice sweaters a year,” says Morris. “The check is going to come due for luxury brands to explain why their prices are so high.”

• Dupe brands take advantage of this dynamic by being open about their costs, breaking down exactly how much it takes to produce their items and what they’re selling them for. “Dupe brands are almost annoyingly transparent about pricing in terms of breaking down,” Morris explains. “That’s refreshing for middle-class shoppers who are seeing the prices of things like milk and eggs rise inexplicably. Outside of this vague bogeyman of inflation, their dreams of owning a Chanel bag is moving further away with no real explanation on that front either.” 

• Platforms like TikTok and Instagram have been instrumental in the rise of dupe brands, where influencers showcase cheaper alternatives to high-end products. However, the sustainability of this trend is uncertain. “If consumers stop caring about dupes and engagement goes down, then social media leverage on this front will die out for these brands, but right now, it really is a boon for them,” says Morris.
• While price is the main draw for dupe brands now, they will need to evolve beyond being simply the cheaper alternative. “What is our differentiator beyond offering good prices now? What is our storytelling? What are our products that are unique to us? If dupe brands can answer those questions, they’ll stop being seen as just cheaper versions,” says Morris. 

Additional Resources:

• What Luxury ‘Dupe’ Brands Get Right About Shoppers | BoF 
• Is Dupe Culture Out of Control? | BoF

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The beauty industry thrives on virality, but in the age of social media, that can be a double-edged sword. One viral TikTok video can catapult a brand to success — or bring it to its knees. From Youthforia’s foundation shade controversy to Huda Beauty’s mislabeling error, brands are discovering that managing customer expectations and addressing backlash swiftly is critical to their survival.

“It happens pretty fast when it does happen. … Sometimes it’s an unknown creator who can make [a product] go viral for all the wrong reasons,” says beauty correspondent Daniela Morosini. “You have to be willing to listen when they tell you that you got it wrong.”

Key Insights:

• Building a strong brand community involves more than just creating a product; it means engaging with your customers and allowing them to have a meaningful role in your brand’s development. “If you're going to create a community to help your brand grow, you need to understand that those customers want a seat at the table,” says Morosini. Listening to customer feedback, especially when things go wrong, is crucial. 

• Being proactive in addressing customer complaints is crucial. As demonstrated by Huda Beauty’s mislabeling issue, taking responsibility early on and offering solutions can stop a backlash from spiralling. Morosini notes, “She took full accountability and offered to make everybody whole if they’d bought the wrong shade.”

• Hair care products, especially those tied to hair loss, tend to evoke emotional responses and intense scrutiny. The stakes are high as hair loss is a sensitive, deeply personal issue. As Morosini points out, “There are so many factors that can cause hair loss… people don't want to roll the dice if there's even a 1% chance a product could be the cause.”

• Complexion product mishaps can be particularly damaging for beauty brands, as they quickly highlight inclusivity gaps. “It’s just so obvious when a brand has missed the mark with complexion,” says Morosini. “Oftentimes the scandals that seem to cause a lot of blowback, they come back to that exclusionary point,” she adds. “Nobody likes to feel left out.”

Additional Resources:

• What to Do When a Beauty Product Launch Goes Wrong | BoF
• Why Beauty Brands Keep Getting Accused of Causing Hair Loss — and What They Can Do About It 

Editor's Note: The hosts mistakenly identified a YSL blush as a Givenchy blush. BoF regrets this error.

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The influencer landscape has shifted dramatically over the last decade. While the image of influencers posting flawless selfies on exotic, brand-sponsored trips still resonates, the reality has become far more complex. Influencers now host live shoppable streams, publish newsletters on Substack and engage in intimate group chats. Their goal is not just to build a following and wait for brands to come calling, but to establish multiple sources of income through affiliate links, brand deals, and subscription models.

“Influencers and creators have realised that they need to diversify and be on multiple platforms. They need to be connecting with their followers in multiple ways and have a deeper relationship with their followers,” says Diana Pearl, senior news and features editor. “Even five years ago, there were people who didn't really take this industry very seriously and didn't realise the difference they could make for their brand. Now it is impossible to ignore.”

Key Insights:

• In the evolving digital landscape, influencers and creators are no longer relying on a single platform for success. Diversifying their presence across platforms, from Instagram to Substack, is key. Pearl emphasises, “It’s really all just about diversification... not relying so much on one source, not having to rely so much on Instagram, the algorithm, affiliate links and brand deals.”

• While macro-influencers may reach a broader audience, smaller influencers often have more engaged, loyal followers. “Once you get so big and you've got millions and millions of followers, you can't have that type of relationship with 5 million people the way you can with 100,000,” says Pearl.

• The rivalry between influencer marketing platforms LTK and ShopMy highlights a shift in the landscape, with ShopMy offering influencers more control and transparency. Pearl explains that while LTK encourages creators to centralise their content on its app, ShopMy allows influencers to share across platforms. “We know our audience, we know what content resonates with them. But if you hand us this really detailed brief and expect us to act like a traditional ad agency... it’s just not going to come off as authentic,” Pearl explains.

• The industry is becoming more nuanced, with clear distinctions emerging between influencers and creators. While creators focus on producing unique, engaging content, influencers drive sales and hold sway over purchasing decisions. Influence remains the key asset in the industry, one that can be translated across platforms like Instagram, TikTok, or Substack. "At the end of the day, the most valuable commodity in this business is influence," Pearl explains.

• By understanding their goals and selecting the right partner to meet them, brands can optimise the impact of their influencer campaigns and better connect with their target audiences. “Brands just need to be smart about what are your goals, what’s the right type of person to achieve these goals or right type of partner and who should we go with from there?” says Pearl. 

Additional Resources:

• The Widening Gap Between Influencers and Creators
• The Fight for Influencer Marketing Dollars Heats Up
• What’s Driving the Influencer Subscription Boom

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For decades, department stores were symbols of American retail success, but their shine has long since faded. Overexpansion that began in the 1990s, the growth of e-commerce and the decline of many malls has left a saturated market, with more stores than there is demand. Major department stores have been struggling for decades to adapt to changes in the way their customers shop, with little to show for it. 

"These challenges existed ten years ago, but the problem we have today is that it’s getting later and later, and more and more desperate for these department stores. Time is running out, and they still haven’t figured out the solution,” says retail editor Cat Chen.

In this episode of The Debrief, BoF senior correspondent Sheena Butler-Young speaks with Chen about why department stores are struggling to stay relevant, how activist investors are complicating the picture, and whether following the approach of European department stores like Selfridges can save this iconic segment of the retail industry.  

Key Insights:

• Activist investors have been targeting department stores like Macy’s and Kohl’s, but they are more interested in these companies’ real estate portfolios than retail. Chen highlights the parallels with Sears, where the investor Eddie Lampert spun out Sears’ real estate into a separate entity, ultimately leading to its bankruptcy. “The sentiment in the industry is that if these companies were bought out by activist investors it would not be a good sign for the health of these department stores. There wouldn’t be a long-term strategy for maintaining their health,” she says.

• Nordstrom's strategy for revival includes focusing on experiential retail, enhancing customer service, and possibly going private under the Nordstrom family’s ownership. These moves would allow them to invest in the long-term health of the company without the pressure of quarterly earnings. “The Nordstrom family is really set on making some radical, transformative changes to Nordstrom that they just can't make as a public entity,” Chen explains.

• European department stores are a potential model for American department stores to replicate. “Look at Selfridges or look at Le Bon Marché. People love spending time in those stores — tourists but also locals,” Chen says. Explaining how European stores are treated like flagships, with significant investments in customer experience and meticulous attention to detail, she adds, “these companies invest in the layout of the store — fixtures, carpeting, lighting — all of these details matter, and European department stores have done a great job making it happen.” 

Additional Resources:

• Why Nordstrom’s Founding Family Wants to Take the Retailer Private | BoF
• Innovation Won’t Save Department Stores. The Right Products Will. | BoF
• Can Saks, Neiman Marcus and Amazon Save the American Department Store? | BoF

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A style renaissance that changed how many men dress – mostly for the better – has congealed into a sea of sameness, at least in the eyes of a growing number of fashion critics and influencers. Too many interchangeable brands take the same approach, blending tailoring with casualwear in neutral-toned collections that are stylish but often fail to inspire. The look is often derided as a menswear “starter pack,” but remains popular with consumers. 

This week on The Debrief, Brian Baskin sits down with correspondents Malique Morris and Lei Takanashi to discuss why this “starter pack” approach works for the industry - but at the cost of long-term brand building and customer loyalty. Additionally, they probe what brands must do to recapture consumers' imagination.

“Any brand can make a good product, but what makes a brand good, especially a good menswear brand, is having a great story that's worth telling,” says Takanashi.

Key Insights:

• Menswear brands today are following a familiar formula, leading to a prevalence of “starter pack” lookbooks. “They all do some sort of version of this. Approachability, timeless, stylish and handsome but inoffensive look,” says Morris. This marketing playbook, popularised by brands like Aimé Leon Dore and followed by many others, has led to a lack of creativity and experimentation. As Morris puts it, “everything is good and nothing is great. So if everyone can dress well, then no one is actually cool.”

• What makes brands stand out over decades isn’t radical changes in design, but compelling storytelling and mythmaking. Morris argues consumers may not be loyal to today’s menswear brands in the long term if they're just buying into a trendy and easy to copy aesthetic. 

• But Takanashi notes that for certain brands that are seen as authentically embracing this style, their best bet is stick to what’s worked: “I feel like in the case of brands like Aimé Leon Dore and Supreme, the long game for them is becoming a heritage label … they have such a distinct point of view that they will always have a core consumer.” As Morris puts it, “what brands should think about is just being themselves.”

Additional resources:

• Why Menswear Is Getting a Marketing Refresh | BoF
• Can Off-White Get Back on Track? | BoF
• How the Streetwear Customer Is Evolving | BoF

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Luxury fashion remains an exclusive club, where leadership positions are often filled from within tight, familiar circles. Despite industry-wide commitments to diversity and inclusion, the sector continues to struggle with gender and racial diversity in its top creative roles. Many luxury companies still operate within networks that favour traditional backgrounds, making it difficult for new, diverse talent to break through.

“It's a role where I think people's unconscious biases really can come into play because whether or not they receive something as good design or bad design is going to be so much influenced by the person who told them that it's good design or bad design,” said BoF’s Luxury Editor Robert Williams. 

This week on The Debrief, BoF Senior Correspondent Sheena Butler-Young sat down with Williams to discuss the structural barriers that keep women and minorities from ascending to these coveted positions. They explore how the industry’s patriarchal business models perpetuate these challenges, the influence of consumer expectations in driving change, and how mass brands like Uniqlo are beginning to shift the narrative by appointing creative directors from unconventional backgrounds.  

Key Insights:

• The role of the creative director in luxury fashion has traditionally been defined by a singular, authoritative voice that dictates trends and tastes, often imposing what is considered "right" or "wrong" in design. Williams explains that this model, which elevates the creative director as a gatekeeper of style, makes it challenging for those who don't fit the traditional mould of authority in fashion to rise to the top.“The creative director defined in a very traditional sense … is so much about imposing this authority from the top. And while that's not how everyone operates a brand anymore, … when you have that tradition, that makes it harder for people who don't fit the bill of what someone is used to seeing as a person of authority and in power to rise up.” 

• Women in creative leadership face unique challenges, needing to prove their creative vision with commercial success. Williams explains, “Women have had to maybe back up their creative contributions with commercial results. And I think when you look at the women at the top of the luxury industry, you have a group of women who really know how to say something on the runway and say something with the brand. But then also really to back that up with products that women will want to buy and wear.” This dual expectation places added pressure on women creative directors, which may not be applied to their male counterparts.

• Luxury fashion remains a highly insular industry, where hiring and promotion often occur within exclusive networks that favour familiar faces and traditional backgrounds. “Many luxury companies still operate within a very exclusive network, which makes it difficult for new, diverse talent to break in,” Williams notes. “It's a very contacts and relationship driven industry, and so reinforcing diversity is quite tricky. If the people in positions of power don't have a really diverse group around them, it's going to be less and less likely that they're going to find out about an interesting talent, someone that they want to kind of cut into the action in terms of their studio.”

Additional Resources:

• Luxury Fashion’s Designer Diversity Problem Persists | BoF
• Do Mass Brands Need Creative Directors? | BoF

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Shein has fundamentally changed the fashion market, challenging fast fashion giants that were not so long ago in the disruptor position themselves. Once the category's upstart, H&M now finds itself struggling to keep pace as Shein redefines consumer expectations with ultra-low prices, endless selection and lightning-fast production. In response, H&M’s new CEO has unveiled a strategy to target the elusive middle market, hoping to position the retailer as more affordable than Zara but higher-quality than Shein. 

This week on The BoF Podcast, executive editor Brian Baskin sat down with Senior Sustainability Correspondent Sarah Kent and Retail Correspondent Cat Chen to delve into the contrasting paths of these two retail giants and what it means for the future of fashion.

“H&M has been stuck in the middle with kind of a muddled identity … It's trying to figure out how to differentiate itself,” said Chen. Meanwhile, Shein’s breakneck growth comes with a heavy environmental toll, raising questions about the industry’s efforts to reduce emissions.

“Shein’s growth is phenomenal, but its environmental impact has grown even faster than its sales… now outpacing all other large fashion companies,” Kent said.

Key Insights:

• H&M’s CEO Daniel Ervér is focusing on a strategy to occupy the middle ground between ultra-budget brands like Shein and more premium fast fashion like Zara. The goal is to appeal to both ends of the market with a mix of affordable basics and higher-end pieces, as Ervér explained to Chen in her interview with the CEO. “[Ervér] said they were committed to this position of wanting to offer something to everybody.

• Shein’s rapid growth has turned it into fashion’s biggest polluter, surpassing even Inditex in emissions. The company’s production model, reliance on cheap polyester, and coal-powered manufacturing contribute heavily to its environmental impact. “Over the last three years, their emissions have tripled as their sales have grown hugely,” Kent explained. 

• Shein’s rapid growth has turned it into fashion’s biggest polluter, surpassing even Inditex in emissions. The company’s production model, reliance on cheap polyester, and coal-powered manufacturing contribute heavily to its environmental impact. “Over the last three years, their emissions have tripled as their sales have grown hugely,” Kent explained. 

• As Shein continues its rapid growth, the company faces increasing scrutiny from regulators and potential investors regarding its environmental and labour practices. But Shein is unlikely to face major restrictions on how it operates anytime soon. “The hand of regulation moves slowly, and so far, most companies are being asked to provide a bit more transparency,” Kent said. “No one's facing any real penalties for being the worst polluter at the moment.” 

• Shein’s growth may be peaking, creating opportunities for competitors like H&M. The market is always evolving, allowing established brands to find ways to stand out. “We are at the end of the beginning for Shein and Temu. … And at the end of the day, there will always be new disruptors,” Chen shared.

Additional resources:

• H&M’s Big Bet on Fashion’s Elusive Middle 
• Shein Emissions: Fashion’s Biggest Polluter?

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Nike’s streak as the undisputed leader in the activewear category spans generations, but the brand is facing its most significant hurdles in decades. However, recent shifts in leadership, oversupply issues and a botched direct-to-consumer strategy have chipped away at its once-untouchable brand image. As challengers like Hoka and On gain ground, and archrival Adidas surges, Nike faces mounting pressure to innovate and reconnect with consumers. 

“Nike remains a behemoth, … but all is not well,” says Miller. “The brand is on course for its worst financial performance in over a quarter of a century, and unfortunately for Nike, trouble is happening everywhere, all over the brand.”

This week on The Debrief, BoF executive editor Brian Baskin and senior correspondent Sheena Butler-Young sit down with sports correspondent Daniel-Yaw Miller to explore how Nike fell off track and the strategic moves it’s making to reclaim its market dominance.

Key insights

• Nike’s reliance on retro sneaker lines like Air Force 1 and Dunks is driving consumer fatigue, as these once-coveted styles now languish on shelves. “At one point not so long ago, they were like gold dust,” says Miller. “But now they’re sitting on shelves for months and sometimes being discounted.” This overabundance is diluting the brand’s appeal and paving the way for smaller, more agile competitors to capture the spotlight.

• Despite substantial investment in R&D, Nike’s innovation efforts have faltered, allowing rivals to define the next wave of sneaker trends, like performance sport styles and technology-driven designs. “Nike didn’t really have any new products to turn to and point consumers towards,” says Miller. Brands like On and Hoka have gained traction with innovations such as On’s CloudTec Technology and Hoka’s MetaRocker running silhouette.

• The “Winning Isn’t For Everyone” campaign marks a return to Nike’s swaggering marketing playbook of the 90s and 2000s, and a potential early sign of the brand’s resurgence. “It wasn’t just one simple video; it was meant to communicate a new brand ethos,” Miller explains. “This Nike campaign needed to be divisive. Consumers are looking for brands that have a point of view, and that’s what Nike is trying to bring back.”

Additional resources

• How Nike Ran Off Course
• Inside Nike’s Big Marketing Vibe Shift
• The Rise of Sportswear’s Challenger Brands, in Four Charts
• The Debate Over Nike’s CEO Bursts Into the Open | BoF

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As the first female, Black, and South Asian Vice President of the United States, Kamala Harris’s every move is closely watched — from her policy decisions to her wardrobe. With Harris now leading the Democratic ticket in the 2024 presidential election, her style and beauty choices — from her for her sleek silk press hairstyle to her endless variety of pantsuits — have sparked renewed discussion. 

“She is communicating something, even if it's not remarkable,” said BoF senior correspondent Sheena Butler-Young. “No one truly opts out of signalling something with how they present themselves.”

This week on The Debrief, BoF executive editor Brian Baskin sat down with Butler-Young and editorial apprentice Yola Mzizi to explore how Harris’s beauty and fashion choices are being interpreted by different audiences across the political spectrum, and what that means for the future of political style. 

Key Insights:

• Harris’s signature silk-pressed hairstyle has deep roots. “It's a centuries old way of straightening hair, and it's been around for generations upon generations. Most people associate it with just the hair that they have to have for Easter Sunday, or the style that the grandmothers would have,” Mzizi explains. Despite the history, Black Gen-Z voters have embraced the style, calling it the presidential silk press. “It's a way to support her candidacy in a fun way,” said Mzizi. 

• Harris’ wardrobe choices are being closely scrutinised, which has led her to more streamlined, straightforward ensembles. “The pantsuits, specifically the colour schemes — black, grey, navy blue, or just blues, with an occasional pastel, a pump as the shoe, or occasional Converse and pearls — are very much in line with how politicians dress,” said Butler-Young. Meanwhile, male politicians, like Harris’s vice-presidential nominee, Minnesota Governor Tim Walz, have more freedom to experiment. “You look at her running mate Tim Walz, and his ability to sort of play around with style with those well-worn red wing boots, the camouflage hats, rather than being distracting, they actually endear some voters to him. … Kamala, for all intents and purposes, doesn't seem to have the licence to do that.” 

• The 2024 election has highlighted the growing role of fashion and beauty in politics. Black-owned beauty brand BLK/OPL was centre stage at the DNC providing makeup services as the event’s first beauty sponsor. “Harris's candidacy is opening up new avenues for different kinds of brands to have their say in this larger conversation,” Mzizi notes.

• Should Harris win the presidency, she could use her platform to further influence the intersection of fashion and politics. Harris has already hinted at this with her past choices by wearing Black designers like Christopher John Rogers and Sergio Hudson. “She'll have more leeway to [support minority designers] when she's empowered. Right now, I think she's constrained … by this idea of having to cater to this broad, collective public palette.”

Additional resources

• How Kamala Harris’ Signature Tresses Became a Gen-Z Hit | BoF 
• Why Kamala Harris Isn’t Making Bold Fashion Choices – Yet | BoF 

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2024 has brought forth the arrival of the “Sephora tweens,” which refers to members of Gen Alpha (roughly defined as those born between 2010 and 2024) who have enthusiastically taken to buying up skincare and makeup. This phenomenon, driven largely by beauty-related chatter on social media, has resulted in a new wave of brands catering specifically to this younger demographic.

“There are now teen brands, tween brands, 20-something brands, 30-something brands. … I think we can thank the DTC movement and everything that happened from 2014 on for this kind of innovation,” Rao says. “There's been a total disruption in beauty overall with challenger brands like Glossier that have come and really taken market share away from the big conglomerates and companies … that have been household names for a really long time.”

This week on The BoF Podcast, senior correspondent Sheena Butler-Young and executive editor Brian Baskin sat down with Priya Rao, executive editor at The Business of Beauty at BoF, to delve into how tweens have taken over the beauty aisle and what this means for the future of the industry.

Key Insights 

• Kids have long experimented with beauty products, but today, they’re starting earlier and earlier. "If you look at social media today, it's not just 10-year-olds or 11-year-olds. There are 5- and 6-year-olds putting on makeup and trying different lipsticks and lip glosses," shared Rao. This early engagement with beauty is not just a passing trend, but is becoming a norm, fueled by the accessibility of products to try in stores like Sephora and the influence of social media platforms like TikTok.

• Another driving force behind this trend is the rise of celebrity-led beauty brands that resonate with young people. For example, Rare Beauty, founded by Selena Gomez, not only offers products but also promotes mental health awareness. "Tweens and teens can identify with these brands not just because of the products, but because of what they stand for," explained Rao.

• The proliferation of skincare products has also led to some confusion and concern, with tweens using products like retinol that are meant for an older demographic. Brands and influencers play a crucial role in teaching young consumers what’s right for their skin. "Fear is not the way to lead here. It's about education first," advised Rao. Brands must strike a balance between engaging young consumers without overwhelming them with too many steps or products.

• As the beauty industry continues to evolve, brands that wish to stay ahead will need to be responsive to the needs of Gen-Z and Gen Alpha consumers. "Smart companies have to be agile and constantly communicate with their customers," noted Rao. This means reflecting the diverse experiences of young consumers back to them, whether through representation in ad campaigns or through the products themselves.

Additional resources 

• How Tweens Took Over the Beauty Aisle | BoF
• How Should We Feel About Tweens at Sephora? | BoF
• Tweens Obsessed With Skin Care Drive Brands to Say: Don’t Buy Our Stuff

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Many of fashion’s largest manufacturing hubs, particularly in South and Southeast Asia, are increasingly at risk of dangerous, record-breaking heatwaves. As extreme heat becomes more frequent, more intense and longer-lasting, what is the cost to industry and how will we adapt to the growing climate risks? 

Senior correspondent, Sheena Butler-Young and executive editor, Brian Baskin sat down with BoF sustainability correspondent Sarah Kent to understand what rising global temperatures means for the future of garment production.

“We have to assume that it's the new norm and or at least a new baseline. It’s not like every year will necessarily be as bad, but consistently over time, the expectation is things are going to get hotter for longer,” says Kent. “We both have to take steps to mitigate and prevent things getting worse, and we have to accept that we have not done enough to stop things getting this bad - and so we have to adapt as well.”

 Key insights

• Extreme heat leads to productivity problems, including increased instances of illness and malfunctioning machinery — even air conditioning units. The reason this isn't surfacing as a significant supply chain issue is that it occurs in short, sharp bursts. “The supply chain is flexible enough and sophisticated enough that it can be papered over for the moment, particularly at a time when demand is not at its peak,” shared Kent.  “Not all factories are working at full capacity all the time, so if your productivity isn't 100% you can manage that for a few days or a week.”

• When it comes to working conditions in garment factories, climate also tends to take a backseat, both for manufacturers and, often, the workers themselves. “The biggest issue for a worker is going to be okay, I'm not earning enough to feed my family, my job isn't secure, and then it's really hot and that’s making it worse,” Kent recalled hearing from union representatives in Bangladesh. 

• Whilst brands understand the interconnectivity between their emissions and supply chain issues, the drive to produce what consumers want as swiftly and cheaply as possible doesn’t leave much room for manufacturers to prioritise investments to improve their environmental footprint or adapt their factories to be more resilient to climate extremes. “We're going to need to raise the prices in order to do that. That becomes a very tricky conversation very quickly,” says Sarah. “The disconnect is between the delightful picture of peace, love, Kumbaya, green planet that the industry would like to suggest that it is gunning for, whilst at the same time paying prices that in no way support that.”

Additional resources 

• Why Hotter Weather Matters for Fashion | BoF
• What Happens When It’s Too Hot to Make Fashion? | BoF. 
• Too Hot to Handle? | BoF

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Occasionwear’s late-pandemic comeback may have felt like a reactionary fluke, but retailers and designers are betting it’s more than a trend. 

Background: 

Post-pandemic, occasionwear has been booming. During the second half of 2022 US and UK retailers introduced nearly twice as many dresses embellished with sequins, beads and jewels compared to 2019, according to retail intelligence firm Edited,. Over the same period, sequined dresses sold out 52 percent more compared to 2019, while high-heel shoes sold out 121 percent more. Retailers and designers don’t think the trend will slow any time soon as bold looks continue to flood runways and shop floors.

“It's natural that now that the world is even more open compared to last year when we had just gotten vaccinated, that there's this desire for a little bit of escapism,” said Cathaleen Chen, BoF retail correspondent.  

Key Insights: 

• Outside of work-from-home and sweatpants, there’s a growing appetite for loud, statement pieces that go beyond old occasionwear staples like sequins and bold colours, and expand into split-hem pants, corset tops and velvet shoes. 
• Much about dressing up has changed too. Consumers are looking for versatility now more than ever, and demanding comfort out of occasionwear — opting for kitten heels rather than stilettos, and slip dresses rather than form fitting looks. 
• Though some of the uptick can be chalked up to a pandemic hangover, and some styles will stay while others fade away, the statement dressing category will remain strong through 2023. 
• Still, cycles of consumption and consumer sentiment remain unwieldy amid wider economic uncertainty.

Further Reading: 

• Hyper Growth Is Over for Sneakers. What’s Next?
• Why Sequins and Platform Heels Are Here to Stay

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Priya Rao, executive editor, Business of Beauty, joins Lauren Sherman to unpack how the singer’s lifestyle label has managed to build a loyal fan base — without his direct involvement. 

Background: 

Harry Styles has managed to pull off a feat that has eluded countless celebrities, despite their many attempts: Building a popular beauty brand. He’s managed to do so even while taking a backseat when it comes to running Pleasing, his lifestyle line which predominantly sells nail polish as well as skin care and sweatshirts. Since launching in November 2022, Styles has not talked much about Pleasing publicly or on social media. But, the brand, created in partnership with his stylist Harry Lambert and creative director Molly Hawkins, has generated a plugged-in community of loyalists nonetheless. 

“[Celebrities] are coming out with these really full lines that have nothing to do with what they’ve been about before. Pleasing really feels like Harry … like you’re getting a piece of Harry when you buy [products],” said Priya Rao, executive editor, Business of Beauty.

Key Insights: 

• The Pleasing team, including stylist Harry Lambert and creative director Molly Hawkins, have distilled Styles’ aesthetic into a burgeoning brand — with fans who feel they’re buying a piece of the singer when they shop. 
• Styles’ hands off approach has given the brand an interesting air of mystery, and his fanatical fans have helped build hype by visiting the brands’ maximalist pop-ups and collecting every colour of polish. 
• Just because a celebrity or influencer has fans doesn’t mean their brand will be a hit — products have to be effective and messaging has to be on point for a label to have staying power.  

Additional resources:

• Why Harry Styles Fans Can’t Get Enough of Pleasing 
• Why Do We Root Against Celebrity Beauty Brands?
• The State of the Celebrity Beauty Brand
• Why Male Celebrities Are Launching Nail Lines

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A new BoF Insights report tracks the evolution of the fast-growing high-end footwear market — and why luxury shoppers are willing to spend more than ever on the perfect shoe.

Background:

Luxury footwear is booming as consumers opt to spend more than ever on shoes with soaring prices. The market for designer shoes is set to grow to $40 billion by 2027, up from $31 billion in 2022, according to Euromonitor International. As consumer demand grows, competition is heating up for brands from Manolo Blahnik and Christian Louboutin to Chanel and Prada who stake much of their businesses on the core segment. The market is much-changed: shoppers crave comfort, but also newness and uniqueness. They also have more choices than ever: cowboy boots, Mary Janes, stilettos and mules have been trending recently. 

“There was this vibe shift occurring post-pandemic. The shoes that consumers want today look and feel very different from what they had before,” said Diana Lee, BoF’s director of research and analysis, on the heels of publishing BoF Insights’ latest report “The Statement Shoe: Reimagining Designer Footwear.”

Key Insights:

• The footwear category is poised for growth this year: 84 percent of consumers surveyed across the UK, US and China told BoF Insights they were planning on investing in footwear in the coming year. At the same time, prices for women’s footwear have increased 10 percent from 2019. 
• Shoes have gotten more expensive, partially, thanks to streetwear’s hype cycle, which has conditioned consumers to shell out for limited edition items. Of course, inflation and rising costs across the supply chain have contributed to increases. 
• Much about the footwear market has changed. Mass trends toward casualisation have led consumers to seek out comfort, primarily, when buying shoes. 
• Still, high heels are performing well following the return of in-person events. And, the high heel space has seen a sort of reinvention as brands opt for designs that grab consumers attention — like Loewe’s eggshell and balloon designs. Meanwhile, newcomers like Amina Muaddi are stealing share. 

Additional resources:

• BoF Insights | The New Statement Shoe: Reimagining Designer Footwear
• BoF Insights | What’s Next for Luxury Shoes in 5 Charts

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Background: 

For fashion, one of the most alluring prospects for NFTs is how they could help brands collect royalties — forever — on secondary sales of physical goods. Though the mechanics of doing so are not ironed out yet, brands could ideally code NFTs tied to physical products with smart contracts triggered by certain conditions and benefit every time an item is sold, not just at the initial sale. But, technical loopholes used to circumvent loyalties and finicky marketplaces leave brands and creators without ways to enforce rules. 

“One of the big principles of Web3 is these royalties are the idea that it's a creator led economy, it wouldn’t necessarily be controlled by a big centralised organisation … Except that’s not really playing out,” said BoF technology correspondent Marc Bain. 

Key Insights: 

• Marketplaces are responding to controversy over enforcing royalties. Opensea, one of the biggest Web3 marketplaces, wants to attract creators, so it has an incentive to honour creator royalties. Newer marketplaces just looking for sales are willing to cut fees for buyers. 
• This has led to an existential crisis for the NFT community, showcasing that creators are not entirely in charge in a space that was touted as having enormous potential to empower them. 
• Marketplaces and infrastructure for fashion brands that would want to get royalties for secondary sales don’t exist right now. It also remains to be seen how brands would scale such a system. 
• A number of start-ups including EON and Aurora Blockchain Consortium are working on linking digital identities to physical goods, but doing so is complicated. 

Additional resources:

• Is Fashion’s NFT Dream Over Before It Started?
• How Fashion Is Using NFTs to Sell Exclusive Physical Products
• The Secrets to a Successful NFT Drop

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Much has changed about the world since the last recession — meaning, fashion’s reaction will shift this time around, explains BoF’s workplace and talent correspondent Sheena Butler Young.  

Background:

Fashion is bracing itself for a 2023 filled with uncertainty. An impending recession hangs in the background of executives’ conversations about the year ahead. Leaders will have to strike a balance between safe-guarding their companies (which, may inevitably will include layoffs) while continuing to fuel growth and retaining crucial employees“There’s this mindshift shift that’s happened that people truly aren’t disposable … a lot of things that would have typically happened [during a recession] are now a last resort,” said BoF’s workplace and talent correspondent Sheena Butler-Young. 

Key Insights: 

• In the coming months, fashion executives will inevitably start pulling recession-reaction levers, including doing hiring pauses and layoffs, reorganising responsibilities across teams and reigning in focus on experimental spaces like the metaverse. 
• But, market conditions are different now compared to prior recessions, and the industry has changed drastically. 
• Because of the labour shortage, CEOs are first and foremost focused on keeping workers happy. 
• Teams that were once considered “nice-to-haves” and “first-to-gos” — including sustainability and diversity and inclusion — have become crucial to business function for fashion companies in the past few years. 

Additional resources:

• Advice From Fashion CEOs on Leading in a Recession
• Quiet Quitting, Labour Hoarding and Other Workplace Trends, Explained

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A number of products made from leather alternatives have begun to hit store shelves. BoF’s chief sustainability correspondent Sarah Kent unpacks why it's so hard to market — and scale — these new products.

Background: 

Leather alternatives have been called both industry-changing eco-innovation, and dismissed as mere plastic — covering up complexities in how products are made and how much better or worse for the environment they are. At the same time, brands are increasingly using buzzy terms like “vegan leather” and “plant-based” to sell products, without doing much to explain their environmental impact.

“You have to be very careful and very switched on to understand what it is you’re buying as a consumer,” said BoF chief sustainability correspondent Sarah Kent.  

Key Insights: 

• The emergence of items made with alternative materials — like mycelium, also known as mushroom “leather” — has sparked a conversation about how brands should name and market products without greenwashing.
• Because innovation is in its early stages, it's hard to understand, track and compare impact versus leather. Without clear data, the space is difficult to regulate.  
• Plastic is a dirty word. But, the material is so useful, it's hard to replace in fashion. Most available leather alternatives aren’t plastic free, but rather, just feature reduced plastic content. 
• For brands working with such materials, the best course of action when it comes to talking about them is to be transparent with the consumer — rather than leading them to believe they’re buying a magic, new harmless material. 

Additional resources:

• The Truth About ‘Vegan Leather’ 
• The Debrief: Is This the Beginning of the End for Leather?

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In the past decade, the independent label has grown from downtown storefront to indie force with $40 million in net sales so far this year. BoF contributor M.C. Nanda breaks down how founder Gaëlle Drevet did it. 

Background: 

Whether you know it or not, you’ve come across The Frankie Shop. Founded by former journalist Gaëlle Drevet in 2014, the brand’s monochrome tracksuits, oversized blazers, T-shirts and cargo pants have become almost ubiquitous amongst a certain set of Instagram creators, and a staple for downtown fashion types across the globe. Over the past few years, the brand has expanded from a single Lower East Side Manhattan store front, to three (including two in Paris), inked retail partnerships with Matchesfashion and Ssense, and generated $40 million in net sales so far this year. Now, The Frankie Shop is charting its next phase of growth, with expansion into menswear and home. 

“There is consistent demand — they’re not over extending themselves, which I think can be a really hard brand to toe as a brand of this size,” said BoF contributor M.C. Nanda. 

Key Insights: 

• The Frankie Shop started as a multi-brand store carrying up-and-coming brands that are now industry mainstays, including Ganni and Loulou Studio.
• Drevet soon started producing her own items. Her label took off partially because of her ability to stay attuned to, and draw in influencers with newness and keen styling — without having to resort to paid posts. 
• The brand has managed to toe the lines between cool and cheesy, high end and accessible, basic and trendy. Often, items are paired with pieces from higher end labels like Toteme and The Row. 
• The Frankie Shop operates on a drop model, which has kept it in demand and helped the independent brand grow in a manageable way without taking on additional funding. 

Additional resources:

• What’s Next for The Frankie Shop
• Aimé Leon Dore’s Teddy Santis on New Balance and the Future of Menswear

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BoF retail correspondent Cathaleen Chen details the consumer shifts that have made it easier — and more popular than ever — to buy luxury dupes.

Background: 

A growing number of young consumers are embracing counterfeit Prada loafers and Gucci bags, as the internet has made access to these dupes easier than ever. The value of the fake and pirated goods market has tripled since 2013 to be worth $3 trillion, according to the Organisation for Economic Co-operation and Development. That’s thanks to a number of factors. For one, websites like Aliexpress and DHgate connect consumers directly with counterfeit manufacturers. It’s no longer a necessity for the dupe-curious shopper to visit the shady alleys of Canal Street. Meanwhile, the skyrocketing prices of luxury products are pushing aspirational shoppers away. 

At the same time, the quality of luxury goods has diminished as much production has been outsourced to Asia, narrowing the gap between what’s real and what’s fake. Lastly, social media and constant seasonal trends have conditioned consumers to covet not only the “it” bag of the season but shoes, tank tops and more. 

“I think there’s a sense of consumer alienation with luxury goods — where it's like you’re super close to it, but at the same time it's extremely inaccessible,” said retail correspondent Cathaleen Chen. 

Key Insights: 

• Counterfeits have gotten much easier to find and buy: Chinese websites like DHgate and AliExpress ship inexpensive dupes to Western consumers’ doorsteps.
• The counterfeit surge doesn't seem to be affecting the bottom lines of luxury goods companies, whose profits have only risen in the past few years. 
• Resale plays an interesting role in the counterfeit conversation. On the one hand, resale could curb the continued growth of dupes by providing shoppers an entry to luxury pieces. On the other, resale is particularly vulnerable to fakes, as platforms have to be on guard against ever-more-sophisticated fakes. 

Additional resources:

• https://www.businessoffashion.com/articles/luxury/fashion-counterfeit-problem-authentication-technology/ 
• https://www.businessoffashion.com/articles/global-markets/china-luxury-counterfeits-flourish-louis-vuitton-covid-19-douyin-pinduoduo/

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As the economy weakens and funding dries up, digital brands may face pressure to sell from investors. To do so, they’ll need to prove they’re more than just another money-losing start-up.

Background:

Over the past few years, investors have been bullish on fast-growing digital brands — rewarding their rapid sales growth with sky-high valuations. More recently, physical retail has rebounded and e-commerce sales have shrunk. As a result, a number of digital-first brands are burning through cash as inflation and the cost of goods rises. VCs are increasingly wary of investing in companies without clear paths to profitability, so a number of those money-losing labels are finding it difficult to raise funds. Many, with few options to weather the imminent recession, are looking for an exit. 

“A great deal of these digital brands were growing at all costs… people did not anticipate a large slowdown and then a possible recession — so they weren’t managing their money well,” said Malique Morris, BoF direct-to-consumer correspondent. 

Key Insights:

• To catch the eye of a potential investor, brands must focus on profitability. But they also need to set themselves apart with new ideas and business models. 
• A number of retailers struggling to adapt to shifting consumer tastes — like Victoria’s Secret, which acquired lingerie start-up Adore Me in November — are in need of a boost. 
• To set the stage for an attractive exit, Ministry of Supply, which sells wrinkle-free dress shirts, has focused on getting old customers to make additional purchases, rather than acquire new ones. 
• Seeing lower valuations, profitable brands that are attractive acquisition targets don’t have much incentive to sell at the moment. 

Additional Resources:

• https://www.businessoffashion.com/articles/direct-to-consumer/buck-mason-ministry-of-supply-adore-me-dtc-acquisitions-/
• https://www.businessoffashion.com/articles/entrepreneurship/why-venture-capital-is-a-bad-fit-for-most-fashion-businesses/
• https://www.businessoffashion.com/articles/entrepreneurship/a-new-model-for-funding-fashion-start-ups/

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The BoF Insights team shares details from their recent report on why these young consumers are so crucial to the success of the fashion industry — and what brands can do to woo them. 

Background: 

Gen-Z, or those born between 1997 and 2010, accounts for 25 percent of the world’s population. With the oldest of the generation turning 25 this year, the group has already come into its own with a purchasing power of about $360 billion. Fashion brands have always chased youth, but Gen-Z brings a whole new set of marketing challenges. Having grown up in the midst of rapid technological advancement, a worsening climate crisis and global movements like Me Too and Black Lives Matter, Gen-Z has been characterised as more pragmatic and socially aware, while also being trend-fixated. The contradictions are endless.

Key Insights: 

• Sometimes, Gen-Z contradicts itself. For example, top fashion brands including Nike and Gucci were among the general group’s favourite brands — but smaller focus groups said they wanted to support underrepresented designers. As well, fast fashion brands like Shein are popular, but the group says they care about sustainability. 
• Gen-Zers increasingly impact the economy. However, the group will come into its own with more financial insecurity than those before it. 
• BoF Insights distilled the demographic down to a few key personas with distinct characteristics to understand its habits and behaviours: the forgers, signatures, satellites, rebels, explorers and idealists. 
• Generally, brands should communicate with Gen-Z in a casual, natural, community-forward way. The group is less beholden to traditional tastemakers, and trends move fast. 

BoF Insights is the new data and analysis think tank from The Business of Fashion, arming fashion and luxury professionals with the business intelligence they need to make better strategic decisions. For more insights, please see BoF Insights’ archive on topics like designer bags, resale, digital fashion, and fashion’s supply chain.

Additional resources:

• https://www.businessoffashion.com/reports/retail/gen-z-fashion-in-the-age-of-realism-bof-insights-social-media-report/
• https://www.businessoffashion.com/articles/retail/implications-of-gen-z-for-the-fashion-industry-bof-insights-charts/
• https://www.businessoffashion.com/events/retail/gen-z-and-fashion-in-the-age-of-realism-bof-live-insights-report/

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A panel of experts, including BoF’s Lauren Sherman and Diana Pearl, detail how the business of influencing has evolved — and where it's all going.

Things move fast on the internet. In just the past few years, there have been a number of changes in the social media space and the influencer economy built around it. For one, brands are betting on influencers with day jobs, working with creators like Sky Ting Yoga founder Krissy Jones or James Whiteside, principal dancer at the American Ballet Theatre, as they look for relatable ambassadors to reach engaged audiences. The line between the average social media user and influencer is increasingly blurred as non-influencers endorse products online. Widely, people learn more about brands from other people, rather than brands’ own storytelling. It's becoming even more important for brands to be on every platform — and influencers to have their own platforms. 

Key Insights: 

• In many ways, the shift represents a return to old days of influence — where hobbyists set up YouTube channels and churned out authentic content viewers found refreshingly relatable. 
• Influencer pay increased almost 50 percent overall from 2020 to mid-2021, said Nord. But, there are a lot more influencers getting paid, which means more competition as brands have a deepening pool of options. 
• There’s been a shift to video-first content. And younger generations are starting to snag brand deals from more established figures. 
• Overall, marketers are paying whether influencers actually have influence — not just followers.

Additional Resources:

• Why You Should Hire an Influencer With a Day Job: Influencers who gained online fame for offline pursuits are rapidly earning brand attention, but working with them requires a different type of partnership.
• Why Nordstrom Appears to Be Pivoting Away From Influencers: Influencers helped turn Nordstrom’s Anniversary Sale into a major moment for the department store. This year, they say the retailer is leaning less on social media marketing, leading some creators to downplay the annual event.
• Is Now the Time to Hire a Virtual Influencer? Virtual influencers had faded from fashion campaigns, but now amid all the metaverse hype they’re popping up again, with Prada and Pacsun turning to virtual faces.
• The Complete Guide to Influencer Marketing: As the creator space has matured, brands must be thoughtful about crafting a strategy that leverages influencer marketing’s full power, considering everything from talent scouting to the effectiveness of metrics.

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Background: 

After years of build up, from its origins in cultural movements like New York’s hip-hop scene and LA’s skating community to early commercialisation in the early 2000s from brands like Fubu and Stussy and Japanese designers Nigo and Hiroshi Fujiwara, by the late 2010s, streetwear found itself at the centre of luxury fashion. The breaking point came in 2018, when, after success at his label Off-White, Virgil Abloh was named creative director of Louis Vuitton. 

But lately, streetwear institutions like Bape and Stussy have been losing heat — and luxury brands are pivoting away from streetwear staples like hoodies and sneakers. 

“Streetwear brands are more commercial and less connected to the actual street culture where they found their roots,” said BoF editorial associate Daniel-Yaw Miller. 

Key Insights: 

• Streetwear brought items like puffer jackets and hoodies, graffiti details and logo-centric designs to high fashion runways. 
• Lately, designers have been more focused on harder shoes, knitwear and tailoring. But, streetwear-centric items haven’t disappeared from brands’ assortments, they’re more absorbed into the core offerings — and in consumers' day-to-day wardrobe. 
• A new crop of brands, including Daily Paper, Corteiz and Free The Youth, are making the case for streetwear’s enduring fashion relevance. 
• Streetwear mainstay Supreme is still driving growth with its savvy marketing and collaborations. Owner VF Corp. said it expects the label to generate $600 million in revenue this year — up from $500 million when it was acquired in 2020. 

Additional Resources:

• Why Supreme Sold to VF Corporation: In a deal that values the New York streetwear brand at $2.1 billion, Supreme picks up a long-term partner with back-end prowess and ambitions to scale it past $1 billion in annual sales.
• Is Streetwear Still Cool? Luxury brands may have pivoted away from sneakers, puffer jackets and hoodies, but new labels like Corteiz and Free The Youth are making a case for street culture’s enduring relevance in fashion.

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Simon Porte Jacquemus is one of fashion’s hottest independent designers — and his namesake label is one of its most impressive businesses. The company, known for its tiny bags and minimalist playfulness, is on track to double annual revenues to over €200 million ($199 million) by year-end, with plans to reach €500 million by 2025. The designer has been able to build buzz with his clear brand vision, and savvy ability to storytell through social media.  

“He was one of the first designers to realise how powerful of a tool Instagram was going to be, and to have something really compelling to say on that platform — to have a universe that was just really organically compelling,” said BoF luxury editor Robert Williams. 

Key Insights:

• Simon Porte Jacquemus has managed to build a scalable luxury start-up without the help of a conglomerate or big investor: a rarity in fashion. Jacquemus thinks the pressure to up sales every season to keep the business running pushed him to commercial success. 
• Armed with a new store on Avenue Montaigne, the brand reaches up into luxury prices, but maintains a more accessible, fun, young and playful bent.
• Handbags — led by the brand’s hit, Chiquito style — are an essential profit driver for the business. 
• With a new CEO on board in Puig’s Bastien Daguzan, the brand is looking to solidify its footwear business and diversify its menswear offering. 
• As of now, Jacquemus does not plan on taking outside investment. The brand believes it's momentum and strong retail partnerships will help it reach its sales goal of €500 million by 2025.

Additional Resources:

• Jacquemus: A Fashion Star’s Business Vision: For the first-time, the industry’s hottest independent designer — a charismatic, social-media savvy storyteller from the south of France — reveals the financial underpinnings of his burgeoning company and plans for the next phase of growth. 
• How to Open a Store in 2022: From seamless online-to-offline offerings to metaverse-inspired installations, the standards of brick-and-mortar retail have evolved since the pandemic struck.
• Jacquemus, Now Nike-Approved, Opens ‘New Era’ in Provence: Simon Porte Jacquemus’ showmanship, social-media savvy and ultra-recognisable designs have turned his regionally-inspired label into a global hit.

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BoF editor-at-large Tim Blanks describes the designer and businessman’s life, continuing impact on fashion, mysterious succession plans and newfound vulnerability.

Background

Over his decades-long career, Giorgio Armani has built one of fashion’s most successful businesses. Known for his signature tailoring and functional glamour, at 88, he’s retained his dominance in an ever-changing, hyper-competitive industry. Amid speculation about what's to come for the Armani fashion empire, BoF editor-at-large Tim Blanks met the titan at his garden in Milan for an intimate conversation about his life, business and future — including succession plans. 

“He was a revolutionary in his own way. I can think of maybe five people in fashion who had the impact he had,” said Blanks. 

Key Insights: 

• The Bloomberg Billionaires Index estimates Armani has a personal net worth of $9.5 billion. He still owns and runs his company and as Blanks says, may value his independence more than anything. 
• Rumours about Giorgio Armani’s future after Armani include a potential takeover by Bernard Arnault’s LVMH, the Agnelli family’s Exor or Valentino parent Mayhoola.
• One thing people don’t fully realise about Armani is he is an eccentric, said Blanks. Armani told Blanks his eccentricity lies in his radical approach to design, which is both streamlined and nuanced. 
• Armani’s close relationship with partner Sergio Galeotti, who passed away in 1985, has helped fuel his ascent to status as fashion’s most successful designer. Now, Armani, who has no children and doesn’t claim many friends outside his family and his company, is leaning into a new kind of love and vulnerability, thanks to the presence of his collaborator’s young daughter at the office. 

Additional Resources:

• Giorgio Armani: Lion in Winter

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How the 75-year-old luxury house tripled its revenue in just four years, according to BoF luxury editor Robert Williams. 

Background: 

In 1947, months after being founded, Christian Dior Couture revolutionised dressing with its “New Look,” an exaggerated hourglass-shaped silhouette. In the ’80s, the then-withering brand was bought by entrepreneur Bernard Arnault, who would eventually transform it into one of the largest luxury labels in the world. In 2017, when LVMH — of which Arnault is CEO and chairman — took full control of the house, Dior transformed into one of fashion’s fastest-growing and most profitable labels — with estimated revenues of €6.6 billion. 

“[LVMH] just said ‘We need to … do what it will take to get this business on the scale of these really big brands like Gucci, Louis Vuitton and Chanel,’” said BoF luxury editor Robert Williams. 

Key Insights: 

• More than a decade after buying Dior, Arnault hired designer John Galliano — who introduced the Lady Dior bag — and appointed executive Sidney Toleando (now chief executive of LVMH fashion group) to refashion Dior as a modern luxury brand. 
• While Galliano and Toledano fully cemented Dior as a global fashion and leathergoods player with a robust beauty business over their 15-year partnership, the brand entered a new phase in 2017, when Arnault moved Dior from his personal holdings to LVMH.
• The brand’s beauty and fashion lines are segmented, which has led to a certain amount of success, particularly in the company’s perfume business. Now, the brand is slowly starting to connect the two to power the business. 
• Dior’s total control over its brand — where it only sells through its channels, doesn’t discount and isn’t separated out on LVMH’s balance sheet — allows it to protect itself from investor demands and excess product risk. 

Additional Resources:

• https://www.businessoffashion.com/case-studies/luxury/christian-dior-strategy-lvmh-pietro-beccari-maria-grazia-chiuri-kim-jones/ 
• https://www.businessoffashion.com/articles/luxury/diors-maria-grazia-chiuri-a-fashion-hitmakers-method/
• https://www.businessoffashion.com/podcasts/luxury/why-chanel-is-opening-private-boutiques/

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Patagonia founder Yvon Chouinard’s is giving away his billion-dollar company. BoF chief sustainability correspondent Sarah Kent explains why — and what influence the change could have on the culture of business.

Background: 

Patagonia has long been the standard bearer for responsible capitalism: the jackets and fleece maker has donated 1 percent of all sales — which top $1 billion a year according to The New York Times — to environmental groups since the ’80s, and was one of the first companies to qualify for B-Corp sustainability certification. In its latest bid to live out its mission statement, “founder Yvon Chouinard gave most of Patagonia’s shares over to a non-profit which will be tasked with reinvesting its profits (projected at some $100 million a year) in fighting the climate crisis. “Earth is our shareholder now,” Chouinard wrote in an open letter on the company’s site. 

“This is pretty unprecedented. Individuals don’t do this, and it almost broke the bounds of what people had imagined business should look like, ” said BoF chief sustainability correspondent Sarah Kent. 

Key Insights: 

• Chouinard created a structure in which Patagonia’s profits cycled toward charitable endeavours focused on climate change in perpetuity. 
• All shares priorly held by the Chouinard family will be given away to different entities, two percent of shares will be put into a trust which will govern the company and ensure it operates in line with responsible business practices and the other 98 percent will be held by a non-profit that will be responsible for distributing them.  
• Through the years, Patagonia has made it a goal to balance turning a profit with encouraging responsible spending. It's managed to go about communicating that in an authentic way because it's transparent about the tension between those two goals. 
• While the move by Patagonia will be hard to replicate elsewhere (given shares were owned by the family), it has created a template that could be used on a smaller scale. 

Additional Resources:



• Can Patagonia Make Capitalism Climate Friendly?
• Patagonia’s Radical New Ownership Structure, Explained

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After years of speculation, designer e-tailers are finally consolidating in an effort to increase profits and gain market share. BoF’s Robert Williams and Tamison O’Connor unpack what’s in store for major players including Farfetch, YNAP and MatchesFashion. 

Background: 

The launch of Net-a-Porter in 2000 changed fashion forever, heralding the first phase of luxury e-commerce, and inspiring a slew of competitors to get in the game. But in an increasingly competitive market, e-tailers have struggled to retain pricing power and turn a profit. Now, the space is starting to see some consolidation. In August, Farfetch took a stake in Yoox-Net-a-Porter Group, which laid the groundwork for an eventual acquisition, and allowed Richemont to offload the platform — which had long weighed on its portfolio. 

“This deal is a pretty major step for Farfetch in terms of setting up the platform to solidify a dominant position… YNAP was Farfetch’s biggest competitor,” said Tamison O’Connor, BoF luxury correspondent. 

Key Insights: 

• As part of the deal, Farfetch acquired a 47.5 percent stake in YNAP, in an agreement that contains provisions for a full acquisition within a full year. Farfetch will power YNAP’s technology, and sell YNAP inventory — including Richemont brands — on its own platform. 
• E-commerce can be hard. Farfetch is attractive to brands because it offers back-end management, stock management and connection to the company’s fulfilment logistics network, at a time when brands are struggling to wrangle their supply chains due to macroeconomic challenges. 

Additional Resources:

• Richemont, Farfetch and YNAP: Understanding a Transformational E-Commerce Deal: The Swiss luxury group is spinning off Yoox Net-a-Porter in a joint venture with Farfetch. What does it mean for Richemont, Farfetch, YNAP and the luxury industry at large? BoF dissects the deal.
• Inside Farfetch’s Bid to Dominate Luxury E-Commerce — Download the Case Study: During a blockbuster year for online sales, Farfetch surged ahead of rivals to position itself at the front of luxury’s e-commerce race. Can it spin the current momentum into sustainable — and profitable — growth and become the unrivalled platform for luxury fashion online?

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BoF’s retail correspondent Cathaleen Chen joins The Debrief to discuss how the mall brand plotted a turnaround that’s starting to pay off.

Background:

Gap Inc. has had a hard year, accented last week by a dramatic Ye break-up following an anticlimactic retail roll-out of Yeezy Gap, which it staked its comeback on a year ago. Old Navy sales sank, and its once fast-growing sportswear label Athleta has seen sales level. But there’s been one glimmer of hope in the midst of it all: Banana Republic. The long-struggling mall brand’s sales were up 9 percent in the quarter ended July 30, helping to send Gap Inc. shares up 6 percent after what was an otherwise grim report. It seems the company is finally starting to see the payoff of the brand and product re-fashioning it started a year ago under chief executive Sandra Stangl and then-chief brand officer Ana Andjelic. 

“For the first time in a long time, it's exciting, it's different — and the fact that it’s not for everybody serves an advantage for Banana, because it finally has a point of view,” said retail correspondent Cathaleen Chen. 

Key Insights: 

• After getting lost in an amalgamation of indistinct mall brands, Banana Republic has started to redefine itself with a pointed aesthetic that doesn’t serve every consumer — reinventing its look and product offering. It launched a line “Imagined Worlds” IS THIS THE RIGHt NAME?” that nods to its heritage as a travel and safari line.
• Half of Banana Republic’s sales come from its off-price segment. 
• Overall, the Banana Republic makeover could be a learning experience for Gap, which hasn’t yet mounted a brand turnaround as significant as this. 

Additional Resources: 

• How Banana Republic Became a Bright Spot in Gap Inc.’s Portfolio: The mall retailer saw sales rise after swapping generic office clothes for a stronger point-of-view inspired by its safari-themed origins. The new look wasn’t for everyone — and that was the point.
• The Secret to Breathing New Life Into Old Brands: Banana Republic, J.Crew, Express and other mall brands are all promoting a new, more digital and fashion-forward identity in a bid to regain relevance.

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Louis Vuitton is expected to name its Virgil Abloh successor within weeks. BoF’s Imran Amed joins Lauren Sherman to discuss what luxury labels think about when recruiting top designers.

Background:

Louis Vuitton has spent almost a year searching for a Virgil Abloh successor after the designer died in November 2021. According to sources, Martine Rose, Grace Wales Bonner and Telfar Clemens are among the names that were considered by owner LVMH, and the decision is expected to be announced within weeks. But how do brands like Louis Vuitton even go about finding a designer?

“Without the creative energy, without that kind of excitement, there’s nothing to sell,” said Imran Amed, BoF founder and editor-in-chief.

Key Insights:

• While all brands have their own personality and the situations that necessitate finding a new creative director differ, the things most brands look for in a leader are similar.
• Executives have to consider whether they’re looking for revolution, like when Gucci tapped Alessandro Michele for creative energy and new ideas, or evolution, like when Saint Laurent tapped Anthony Vaccarello to keep its aesthetic formula after Hedi Slimane departed.
• A strong vision is the most important thing. But creative directors also need to have commercial sensibility and the ability to work in a corporate environment.
• One of Abloh’s achievements was that he managed to build a community at Louis Vuitton, and engage consumers who had been traditionally excluded by the luxury industry.

Additional Resources:

• Virgil Abloh: Building on a Legacy: Like Yves Saint Laurent, Alexander McQueen and Gianni Versace before him, the late Virgil Abloh leaves a powerful legacy. What does this mean for Off-White and Louis Vuitton?
• Which Luxury Leadership Configuration Works Best? In luxury fashion, the right configuration of creative and commercial leadership is critical to success, writes Pierre Mallevays.

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BoF’s workplace and talent correspondent Sheena Butler-Young unpacks how fashion’s labour market has evolved in the past year, and what positions brands are hiring for now. 

Background: 

As companies confront a potential recession, they’re making changes to the way they hire, and who they hire. During the pandemic, the number of fashion jobs requiring expertise in web3 or the metaverse rose exponentially. But now, brands are once again focused on hiring for jobs in traditional areas like human resources, supply chain and finance that can help meet new consumer demands. 

“The pandemic has fundamentally changed the way people work,” said BoF workplace and talent correspondent Sheena Butler-Young. 

Key Insights:

• Brands are having to scale up how they address environmental social and governance issues as regulations and laws emerge around climate impact and fair labour practices. That’s driven the need for lawyers and people attuned to environmental studies. 
• Supply chain has gone from a back-office function to be more closely connected to consumer experiences. 
• DEI departments are evolving: most human resources employees say diversity roles should not sit in HR, but rather, in the C-suite, next to chief executives. Added to that, chief diversity officers are starting to get better budgets and hire managers and directors. 

Additional Resources: 

• Fashion’s In-Demand Jobs: Recruiters say interest in the metaverse is cooling, while brands look for candidates with the real-world expertise to navigate uncertain times.
• How to Know When Layoffs Are Coming — And What to Do About It: Fashion workers worried about their jobs amid an economic downturn should watch for warning signs and look for ways to transition their role if the worst happens.
• What Makes a Great Fashion Office: More and more companies want to see their staff in person again. Creating a work environment that fosters collaboration, offers flexibility and thoughtful perks could convince employees to leave the home office behind.

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BoF technology correspondent Marc Bain and contributor Chantal Fernandez join Lauren Sherman to discuss how TikTok took over fashion conversation — and what brands need to know to get the most out of the platform.

Background: 

It seems Instagram’s autonomous rule over fashion is finished. While the Meta-owned app still has more users, a growing number of brands and creators are turning to TikTok as their go-to marketing platform. As TikTok ascended to Gen-Z-favourite status, fashion and beauty used the app as a space for experimentation, while doing most of their marketing on Instagram. That is starting to change — and it's shaking up the way brands approach their social media channels.  

“The content demands on brands are just escalating and escalating,” says BoF contributor Chantal Fernandez. 

Key Insights:

• Just a year ago, TikTok wasn't taken seriously as a marketing platform by fashion brands, which struggled to adapt their polished content to its loosy-goosy approach. Now, it's seen as a place where all brands need to have a presence. However, returns on TikTok marketing investment aren't great yet. The app is still pretty new, where Facebook and Instagram have decades-old, more sophisticated advertising platforms. 
• For influencers, wannabe influencers and regular users, TikTok is appealing because it has created a relatively level playing field, where anyone could go viral at any moment. Casual, personality-forward content is preferred over high-production, over-the-top shoots and scenes. 
• Instagram still plays an important role for influencers and brands. It can serve as a channel for reaching older consumers, showcasing products and can act as almost a secondary website or blog that people refer back to. 
• Prompted by the rise of TikTok, social media is moving away from being social — and more toward acting as a sort of recommendation machine, where algorithms decide what’s shown to users. 

Additional Resources: 

• How TikTok Won Over Fashion
• The Returns on TikTok Ads Don’t Match the Hype Just Yet

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BoF’s Sheena Butler-Young and Tamison O’Connor join Lauren Sherman to discuss how a new generation of entrepreneurs are driving growth in this underdeveloped category.

Background: 

Monique Rodriguez turned a series of Instagram tutorials — where she made hair care concoctions out of ingredients found in her kitchen — into one of the most recognisable multicultural hair care brands in the US, Mielle Organics. The label just secured a reported $100 million non-controlling investment from Berkshire Partners that will help Rodriguez, who is now one of fewer than 100 Black women founders to have secured at least $1 million in funding, scale her business independently. 

Products for natural hair is a billion-dollar plus business in the US, and getting more attention from investors as they start to recognise its enormous untapped potential and historical neglect. At the same time, founders are re-thinking how products are made, marketed and distributed to consumers. 

“The next class of Black hair care founders want to flip the narrative arc: this isn't a segment, this is the market,” said BoF correspondent Sheena Butler-Young. ”I think that's where we're headed. That's the goal of these kinds of brands.”

Key Insights: 

• The textured hair category remained relatively stagnant even as beauty saw a wider branding evolution with the rise of brands like Glossier that changed attitudes in beauty about the way brands can look and market themselves. Now, that’s changing.
• For a long time, fashion and beauty has neglected to direct proper attention and resources to catering to and courting the Black consumer. That’s shifting as it has become clear to investors and brands they are leaving money on the table. 

Further Reading: 

• Rethinking Luxury’s Relationship With Black Consumers
• How Mielle Organics Is Rewriting the Playbook for Black Hair Brands
• Modernising the Black Hair Care Market

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Mounting customer acquisition costs and a pressure to grow fast have made it hard to build a profitable DTC business. BoF deputy editor Brian Baskin and retail correspondent Cathaleen Chen join Lauren Sherman to analyse the past, present and future of the market. 

Background: 

About a decade ago, a number of flashy direct-to-consumer brands peddling premium products and promising to cut out retail’s middlemen emerged on the scene. Quickly, names like Warby Parker, Allbirds and Glossier attracted investor attention with battle cries of disruption, setting off a DTC boom. They managed to raise hundreds of millions of dollars, and garner valuations in the billions of dollars. However, the market as a whole has largely failed to live up to sky-high expectations. How does the model need to change? 

“Over the last year or so, investors are looking around and saying ‘wait a minute, you told us you’d get big enough and the profits would come. Where are the profits?’” said BoF deputy editor Brian Baskin. “Consumers have also looked around and said, ‘ok, I got my Allbirds sneakers — what else you got for me?’”

Key Insights: 

• The pandemic exposed a huge flaw in the DTC model: scaling ultra-fast without the support of multi brand retailers is tough — and often requires heavy spending on customer acquisition. . In both private and public markets right now, investors have little patience for brands that aren’t profitable. 
• Today, DTC brands are embracing other distribution channels in order to scale, or choosing to grow more slowly. 
• Growing a profitable DTC brand can be done with tight control over spending, scrappiness and smart marketing. AYR — a basics brand that started in 2014 as a Bonobos subsidiary and was later taken over independently by its co-founders — is on track to hit $60 million in sales, having only taken around $6 million in funding.  

Additional Resources: 

• Why the DTC Model Can Still Work
• The Direct-to-Consumer Reckoning

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BoF’s Cathaleen Chen and Marc Bain join Lauren Sherman to talk about retailers’ big hires, hopes and plans for bringing their brands back to life.

Background: 

J.Crew and Gap defined how Americans dressed for much of the ’90s and 2000s, until their clothes grew stale, malls emptied out and fast fashion took retail’s reins. Then, during the pandemic, J.Crew filed for bankruptcy and Gap closed hundreds of stores. More recently, they’ve both orchestrated attempts to win back consumers: Gap, with its Yeezy-Gap collaboration, and J.Crew, with new mainline designers, including former Supreme creative director and Noah-founder Brendon Babenzien, whose menswear collection dropped a few weeks ago. 

Though they share similar histories, the retailers’ comeback plans couldn’t be any more different. 

Key Insights: 

• In the late-aughts, CEO Mickey Drexler and designer Jenna Lyons turned J.Crew into a fashion powerhouse before insurmountable debt sent it into bankruptcy a few years later. Meanwhile, Gap struggled to define its design aesthetic after dominating 1990s mall fashion with its preppy basics. 
• With its 2020 appointment of the artist then known as Kanye West, Gap has been able to generate hype, but not sustained sales. Yeezy Gap and Gap are still mostly bifurcated: its retail rollout in Times Square featured clothes in black trash bags, in a blacked-out room separate from the rest of the Gap store.
• Both retailers face significant headwinds, but J.Crew is best poised to win given its balanced merchandising strategy aimed at satisfying new and old customers, said retail correspondent Cathaleen Chen. Particularly tough, added technology correspondent Marc Bain, is the fact that Gap is so large, and beholden to shareholders.

Additional Resources: 

• J.Crew’s and Gap’s Comeback Playbooks Couldn’t Be More Different. Only One Is Working
• The J.Crew Comeback Starts Now
• Yeezy Gap Brings a Dystopian Retail Experience to Stores

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In an effort to reignite consumer fire, the Italian megabrand has done some restructuring. Bernstein luxury analyst Luca Solca breaks down what it all means. 

Background: 

In the late 2010s, Gucci pulled off a successful turnaround by aligning creative director Alessandro Michele’s unique, baroque aesthetic and Jacopo Venturini’s expert merchandising under the leadership of chief executive Marco Bizzarri, according to Luca Solca, Bernstein luxury analyst and BoF contributor. They injected the brand’s heritage and tradition with streetwear codes and coolness — bringing more casual products like sneakers into the luxury fold, and sparking the era of “new luxury,” said Solca. 

Lately, the brand has started to see momentum slow, falling behind rivals on organic growth. In search of a boost, Gucci has reorganised, introducing two newly created roles to support creative director Alessandro Michele. 

“The onus is on Gucci to continue to drive newness so that consumers can turn their heads and say, ‘Wow, this is something I don't have. I want to buy it,’” said Solca. 

Key Insights: 

• One of creative director Alessandro Michele’s longtime deputies will develop the brand’s commercial collections in the newly created role of design studio director. Maria Cristina Lomanto will oversee merchandising and brand elevation as executive vice president, brand general manager. 
• The shifts are a signal of Gucci’s intent to appeal to more consumers, while searching for a creative spark. Its biggest challenge right now, according to Solca, is for Gucci to “drive newness” to spur consumer demand. 
• Michele has been creative director of Gucci for seven years; a long tenure by today’s standards. Relying more on a wider team could help mitigate the risks associated with an eventual creative transition for Gucci as it targets annual sales of €15 billion. 

Additional Resources: 

• Will Gucci’s New Creative Configuration Work?
• How Big Can Luxury Brands Get?

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Kim Kardashian’s ‘solution wear’ line was recently valued at $3.2 billion. BoF correspondent Alexandra Mondalek charts the rise of the brand, and details what challenges lie ahead.

Background: 

Founded in 2019 by Kim Kardashian and retail veteran Jens Grede, ‘solution wear’ line Skims has taken the fashion industry by storm, disrupting the sleepy shapewear category and fetching a $3.2 billion valuation following its Series B funding round in January 2022. Now, the brand is looking to launch new categories and in new geographies, and is eyeing brick-and-mortar and a potential IPO. 

“Investors particularly like to talk about founder-product fit, and this really felt like a business that accomplished that,” said BoF’s Alexandra Mondalek. 

Key Insights: 

• Skims has seen non-stop momentum since its launch. Going forward, the brand will have to find a way to keep up with lofty expectations based on its early performance. As Grede told BoF in March, “[Skims] doesn’t have the luxury of failing.”
• A big challenge Skims has faced is managing unrelenting demand, especially amid the global supply chain crisis. Core items are often out of stock on the brand’s site — a huge problem for getting and keeping customers, and a reason for the business to take on funding, raising a $240 million round in January.

Additional Resources:  

• Skims Plots Its Next Moves: ‘We Don’t Have the Luxury of Failing’
• The BoF Podcast | Jens Grede on Building Skims, Frame and the Future of Fashion
• Building a DTC Challenger Brand | Download the Case Study

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BoF’s Daniel-Yaw Miller unpacks why — and how — sports stars including Russell Westbrook and Megan Rapinoe are running their own labels, with full financial and creative control. 

Background: 

Athletes have long been part of the fashion conversation. In the past, they’ve capitalised on their influence by inking brand endorsements with the likes of Nike and Adidas. Now, stars like the NBA’s Russell Westbrook, soccer player Megan Rapinoe and runner Allyson Felix are taking it a step further and launching their own labels in pursuit of more financial and creative control. 

Key Insights:

• Tennis champion Rene Lacoste’s namesake label is one of the earliest examples of an athlete starting a brand. One of the latest is NBA star Russel Westbrook’s Honor the Gift, which just showed its Spring 2023 collection at Paris Fashion Week. 
• Founding a brand gives athletes more control over creative direction, finances and their future; whereas endorsement deals often mean athletes have little say, are restricted in what they can wear and will expire upon their retirement. 
• Many athlete-founded brands are imbued with a sense of purpose. After leaving Nike, track star Allyson Felix founded footwear and apparel label Saysh — which just closed an $8 million funding round led by Gap’s investment fund — with a nod to her advocacy for maternity rights baked in, allowing mothers and pregnant women to trade in shoes as their foot sizes change. 
• Though many athletes, including Westbrook and Felix, are pushing out brands toward the end of their playing and running careers, younger players are starting their careers with the mindset that they will eventually run fully-fledged businesses like Honour the Gift or Saysh.

Additional resources:

• How Athletes Went From Selling Merch to Building Fashion Brands
• How NBA Star Russell Westbrook Is Changing How Men’s Fashion Works
• Why Luxury Brands Want in on Football

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After a pandemic pivot to e-commerce, many brands are back to working with third-party retailers, this time, with better terms.

Background:

The wholesale model, while offering exposure and some upfront revenue, did not always have the best terms for vendors. Department store bankruptcies, pandemic-induced store closures and the boom in online shopping pushed brands further towards their direct-to-consumer and e-commerce businesses to drive revenue. 

But that’s beginning to change. As shoppers return to stores, brands are seeing value in ramping up their partnerships with multi-brand retailers — this time on better terms. “What I'm hearing across the board from both brands and retailers is that this vendor-retailer relationship is more collaborative than ever,” said BoF retail correspondent Cathaleen Chen. 

Key Insights: 

• There are multiple factors pushing brands back to wholesale. Among them, the growth of e-commerce, which has slowed after spiking in 2020, and the growing consumer appetite for curated, in-person shopping experiences that allow them to stumble upon new designers. “That discovery is still so important, and now [shoppers are] relying on a cool third-party retailer to sort of facilitate that discovery,” said Chen.
• Both parties are also increasingly open to exploring other models like concession, consignment — more typical to European department stores — and drop-shipping, where the brands themselves are responsible for fulfilling orders made through retailer’s websites.  
• Brands are returning to wholesale, but not at the expense of their direct-to-consumer and retail offerings. “I think we're at a point where everybody has a more well-rounded business so that if things do go bad again in whichever channel, they can be agile and adapt very quickly,” said Chen. 

Additional resources:

• How to Take a Brand From Local to Global | BoF 
• Searching for the Next Barneys 
• Inside Neiman Marcus' Post-Bankruptcy Playbook 

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BoF correspondents Chavie Lieber and Daniel-Yaw Miller discuss why fashion brands are making products for sports like pickleball, padel, rugby, boxing and skiing. 

Background: 

Two decades ago, Lululemon built its brand around yoga — then considered counter culture. Today, it’s a $6 billion behemoth that makes products for everything from running to swimming and tennis, becoming a model for upstarts like Gymshark and Nobull hoping to filch market share from giants like Nike and Adidas. Now, as sports like pickleball, padel and skiing are gaining traction, there’s yet another opportunity for start-ups to disrupt the activewear market.

“If you go niche and focus on a very specific customer base with a very specific niche following, that might be a better way to crack activewear as opposed to selling everything for the masses — then you’re going head to head with Lululemon and Nike,” said BoF correspondent Chavie Lieber.  

Key Insights: 

• Instead of going after the activewear space in general, brands are serving underrepresented groups or making noise with differentiated products and price points. 
• A few brands, like Gymshark and District Vision have succeeded by identifying strong communities and putting themselves at the centre of them. 
• The activewear market represents a massive opportunity for brands: global sportswear is expected to grow to $395 billion by 2025, at an annual rate of 8 to 10 percent, according to McKinsey. 
• Brands are tapping into the desire to look good while playing sports like pickleball, rugby and boxing. They are poised to benefit from and buzz surrounding events like the 2028 Olympics and 2031 and 2033 Rugby World Cup, which will be held in the US. 

Additional resources: 

• The Hunt for Activewear’s Next Big Category
• Activewear’s Biggest Disruptors
• The Race to Develop the Best Sports Bra

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The vice president of fashion and shopping partnerships at Meta and BoF technology correspondent Marc Bain join Lauren Sherman to discuss the company’s new marketplace — which sells digital items from Thom Browne, Balenciaga and Prada — and the future of fashion on the platform.   

Background: 

Social-media company Meta has launched a virtual clothing store, and Balenciaga, Prada and Thom Browne are the first major designers to create looks fit for avatars in Mark Zuckerberg’s metaverse.The designs, available for use on Instagram, Facebook and Messenger, include a Balenciaga motorcycle suit, Prada shorts and one of Thom Browne’s signature grey suits. The move marks Meta’s formal entry into the virtual high-fashion business after Zuckerberg declared his ambitions to build the metaverse in late 2021.

Key Insights: 

• Meta’s virtual goods represent an opportunity for consumers who may not be able to afford physical items from the labels, to own a piece of the iconic brands. 
• Chen said the designers already are masters of creating their own immersive worlds — whether through shows or clothes — so it wasn’t hard to get them interested in the experience. Translating real-world texture and detail to virtual items, however, was a challenge. 
• Right now, the metaverse doesn’t represent a huge revenue stream for fashion companies. But, being a first name to the nascent space has a branding advantage. 
• Eventually, when brands are able to make virtual items into NFTs, they’ll be able to create true ownership and scarcity, which could create the same dynamics of exclusivity and hype that drive fashion today. 

Additional Resources:

• Balenciaga, Prada and Thom Browne Will Be the First Brands on Meta’s Virtual Fashion Store 
• Facebook’s Vision for Fashion in the Metaverse

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BoF’s workplace and talent correspondent Sheena Butler-Young explains why managers in the fashion and beauty industries are struggling to balance their youngest employees’ expectations against the needs of their businesses.

Background:

The youth-obsessed fashion and beauty industries can’t get enough of Gen-Z talent: they believe they need to recruit more entry-level employees in order to maintain relevance and attract new customers. But the cohort is entering the workforce with big expectations — not only around salary, but remote working, too — that many companies feel unprepared to meet. 

“Gen-Z is entering the workforce amid a labour shortage… So that’s real leverage behind the demands they’re making,” explained Sheena Butler Young, BoF’s workplace and talent correspondent. 

Key Insights: 

• Gen-Z is the latest in a long line of generations accused of impatience entering the workforce.
• A key difference between Gen-Z and its Millennial predecessors is that the job market currently favours job-seekers rather than employers — so their demands are more likely to be met. 
• Fashion is finding demands surrounding remote work particularly hard to deal with given the collaborative nature of most jobs. 
• Brands shouldn’t get caught up in stereotypes about young talent, but find ways to actually understand job-seekers’ desires. 
• Often, the generation that hates being sold to and just wants transparency, honesty and open lines of communication about career progression. 

Additional Resources:

• What Will It Take to Make Gen-Z Happy at Work?
• What Fashion’s Class of 2022 Expects from Employers
• Solving Retail’s Labour Shortage

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BoF’s luxury editor Robert Williams offers insight into the surprising news that the mega-label plans to open stores dedicated to serving top customers.

Background: 

As traffic to stores soars, Chanel’s chief financial officer Philippe Blondiaux said the brand plans to open dedicated boutiques for top-spending clients starting in key Asian cities. It's a strategy that emphasises the importance of big-spenders to the in-demand French luxury brand’s future amid whispers of an impending recession — but one that risks alienating first time and occasional shoppers who are still dropping upwards of $10,000 for bags.

“Brands like Chanel, they’ve lived through lots of cycles of boom and bust in the economy… When there’s an economic crisis, they need to be ready to have a real focus on repeat business,” said BoF’s luxury editor Robert Williams. 

Key Insights: 

• Chanel sells many items in-store only, and limits locations to the most luxurious places in the world’s most luxury cities — operating just around 250 stores compared with Louis Vuitton’s over 400 doors. 
• Chanel is not the first brand to open special stores for private clients; Brunello Cucinelli deployed a similar concept last December. Other brands like Zegna have dedicated spaces in-store for special items. 
• The brand’s growth in fashion, watches and jewellery last year was driven by its decision to raise prices and a flood of new clients and first-time buyers to luxury. 
• In addition to focusing on its physical footprint, Chanel is pushing its beauty business, which has been historically driven by department stores and beauty retailers like Sephora and Marionnaud, toward majority direct-to-consumer. 

Additional Resources:  

• Chanel to Open Private Stores for Top Clients as Sales Soar 50%
• How Luxury Brands Court the 1 Percent

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Brands including Stella McCartney, Balenciaga and Hermès are making products from mushroom-based material. BoF’s chief sustainability correspondent Sarah Kent details the forces pushing next-gen fabrics like mycelium leather forward — and whether the much-hyped sustainability solution has a future in fashion.

Background: 

After years of experimentation and development, handbags, shoes and coats made of mycelium leather — created from the roots of mushrooms — are hitting the shelves from names like Stella McCartney, Balenciaga and Hermès. It’s a test of whether mycelium leather will make it in the mainstream. Made by start-ups like Bolt Threads and MycoWorks, mycelium is promising for fashion as brands seek out non-plastic, non-animal-based, less-energy-intensive leather alternatives and consumers demand more environmentally friendly products. But taking an idea from the lab to the store floor involves a lot of trial and error. 

Key Insights: 

• Though the space is gaining momentum as brands bring products to market and start-ups attract investment, most items are still limited-edition or very expensive. To gain mainstream traction, companies need to scale up and prices need to go down. Much depends on how brands’ first experiments perform.  
• If all goes well, the market for alternative materials could be worth $2.2 billion by 2026. 

Additional Resources: 

• Fashion’s Race for New Materials — Download the Case Study: Brands are pursuing a raft of initiatives to adopt recycled textiles, regeneratively farmed cotton and mushroom-based leather, but giving fashion’s major materials a sustainability makeover still requires billions of dollars worth of investments and deeper, longer-term commitments to scale. 
• Luxury’s Latest Battleground: Material Science: Armed with extensive patent portfolios, Bolt Threads, Modern Meadow, MycoWorks, Natural Fiber Welding and others are targeting luxury brands with alternative materials.

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“It really just speaks to the changing of the times and how styles are evolving within fashion,” said BoF correspondent Chavie Leiber.  

Key Insights: 

• Skinny jeans are no longer the most popular denim silhouette, according to data from NPD Group. But, that doesn’t mean no one is buying them. 
• As consumers come out of the pandemic, they don’t just want comfort. Shoppers are either skewing toward raw denim with no stretch or athleisure and leggings — but jegging and stretch denim styles occupying the in-between have started to fall to the wayside. 
• The world is in the midst of a “denim Renaissance,” says Marie Pearson, senior vice president of denim at Madewell, who added she’s never seen so many different types of fits and shapes selling.

Additional Resources: 

• The Style That Finally Dethroned Skinny Jeans
• Why Skinny Jeans Will Never Die
• Fashion Drives New Denim Momentum

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BoF’s Chavie Lieber dives into the elaborate and secretive way luxury brands court their high-spending clients with trips to exotic locales and entry to exclusive events. 

Background: 

In the midst of a post-Covid luxury boom, brands are going the extra mile to lavish top spenders — known as very important clients, or VICs. To court and keep VICs, who often account for the majority of their sales, names like Givenchy, Balenciaga, Alexander McQueen and Chopard fly clients out to ritzy charity galas and film festivals, organise exclusive runway shows and extended stays in five-star hotels and even grant access to designers and executives.   

“It's really about access to a designer, keeping them in the inner rings of the fashion world, so they feel seen and appreciated,” said BoF correspondent Chavie Lieber. “And then, obviously it leads back to more sales.” 

This week on The Debrief, BoF’s Chavie Lieber takes Lauren Sherman inside the cloistered world of luxury clienteling. 

Key Insights: 

• VICs, who can range from being very private to Insta-influencer status, are the engine powering luxury. Luxury e-commerce platform MyTheresa said 3 percent of its customers account for 30 percent of its business. 
• In response to consumer appetite in the wake of Covid, brands have upped the ante on experiences for VICs and potential new big spenders. 
• Much focus has been on the US, where spending in tertiary cities like Palm Beach and Austin — rather than New York and Los Angeles — is redirecting luxury’s attention. 
• In the midst of economic turbulence, VICs are becoming even more important to brands, as entry level consumers hold off on spending-up. 

Additional Resources:

• How Luxury Brands Court the 1 Percent
• The Crypto Wealthy Are Luxury’s New Big Spenders
• The Two Hottest Cities in America

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In a sea of unsubstantiated claims about sustainability, BoF’s Sarah Kent explains why it's so hard to measure impact, and what sort of regulation could be coming for fashion.  

Background: 

Concern about the environmental impact of clothing has swelled in the past few years. So too, has the practice of greenwashing. Right now, fashion marketing is flooded with eco-conscious messaging as brands dub their products “sustainable” without doing the groundwork to back up declarations. Consumers and regulatory parties are starting to demand more. 

Key Insights: 

• With little oversight outside voluntary inter-industry initiatives and no regulation, a sustainable marketing free-for-all has swept over fashion. 
• European policymakers looking to crackdown on greenwashing are currently considering legislation about how impact across various environmental areas can be measured. 
• Several snags have inhibited any real progress on measuring sustainability, including bad data, tangled methodologies, and the presence of complex social factors that go beyond ecological impact. 

Additional resources: 

• Green or Greenwashing: Who Gets to Decide?: European efforts to introduce standardised rules governing how brands backup environmental claims are fuelling a heated debate that stands to create winners and losers.
• The Sustainability Regulations That Could Reshape Fashion: Governments in Europe and the US are discussing regulations and policy proposals that could help steer the sector in a more sustainable direction.
• Fashion's Greenwashing Problem Begins with Bad Data: Fashion is doubling down on ambitious promises to clean up its environmental impact, but bad and misleading data are complicating efforts to build a more sustainable industry.

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BoF’s Tamison O’Connor explains how the fashion industry is betting on resortwear as consumers return to their pre-pandemic lifestyles and travel rebounds.   

Background: 

Every spring, top fashion clients, influencers and insiders are whisked away to lush destinations like Monte Carlo and Capri to indulge in fabulous dinners and cocktail parties — and sneak a peek at brands’ resort collections. Resortwear, which began as a way for luxury houses to cater to wealthy, travelling clients halfway through the main season, now represents so much more as a meaningful driver of sales for retailers. 

“It's really attractive for the true luxury customer who sees these items as a fun way to accessorise a holiday, but it's also an entry point for more aspirational and younger consumers,” said luxury correspondent Tamison O’Connor.

Key Insights: 

• As consumers start travelling and treating themselves again, luxury is betting big on vacation dressing. 
• Resortwear stands apart with more casual designs, lighter fabrics and lower prices. Brands aren’t just using these collections to attract travellers and true luxury consumers, but also to snag wealthy domestic clients and appeal to aspirational buyers.
• Retailers are picking up on opportunities to engage wealthy consumers by building buzz with events and activations surrounding resortwear online and in stores.
• Big brands are opening more stores and pop-up markets in vacation towns. 
• Luxury doesn’t expect growth in the segment to slow, even amid global economic turbulence, travel restrictions in China and skyrocketing inflation.

Additional Resources: 

• Luxury Seizes the Vacation Dressing Boom 
• Loewe's Brand Within a Brand: Is This the New Way to Do Diffusion? 
• How Fashion Is Targeting the Travel Rebound

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BoF’s Marc Bain chats with Lauren Sherman about the 3D creators, game designers and NFT experts bringing fashion into the virtual world.  Background: 

A new generation of digital creatives are leading fashion brands into virtual worlds by using their technical expertise and creative prowess to craft experiences for games like Fortnite or Roblox, and launch Web3 products like NFTs. Translating real-world brand imagery to virtual spaces, however, requires a unique skill set and grasp of the culture driving different ecosystems. 

“There's a community that already exists [in the metaverse]. That's one of the things that brands have to consider …” said Marc Bain, technology correspondent. “Making sure what they're doing works for the community that's already there. You don't want to alienate people.” 

Key Insights: 

• Creative studios like Emperia and BeyondCreative that specialise in the metaverse have seen an uptick in brand interest. 
• Training in skills like 3D design is becoming more mainstream: fashion schools are teaching it and designers are making an effort to learn the tools. 
• Even amid the hype, as Bain points out in his review of Decentraland’s Metaverse Fashion Week, digital fashion still often looks rudimentary. That’s due to a number of factors, like insufficient consumer technology, which proponents bet will evolve as worlds become more developed. 

Additional Resources: 

• The New Creatives Bringing Fashion Brands Into the Virtual World: Their mix of technical expertise and digital artistry has put 3D creators, game designers and NFT experts in high demand among fashion brands as they venture further into virtual territories.
• Can The Metaverse Transform Fashion Business Models?: There may be a better analogy than e-commerce to size up fashion’s metaverse opportunity: will it be more like streaming or 3D movies?
• Lessons From Metaverse Fashion Week: Brands such as Tommy Hilfiger and Dolce & Gabbana were among those to test the virtual waters, encountering challenges like low-quality visuals as well as some opportunities.

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BoF’s Lauren Sherman and Matthew Schneier, senior writer at New York Magazine and The Cut, discuss the former star designer’s attempted industry re-entry following a slew of sexual assault allegations. 

Background: 

Following a flurry of sexual assault allegations — which some thought would wipe him from fashion forever — Alexander Wang is attempting a return to fashion. After dressing celebrities including Rihanna and Julia Fox, and honing his business strategy in China, the designer staged a runway show in Los Angeles historic Chinatown — his first live event in more than three years.  

But his plans were thwarted when swarms of consumers rejected the idea of any kind of Alexander Wang comeback following the fashion show — making it clear that his return to fashion is in no way guaranteed. Will consumers buy into a revived Alexander Wang? 

“It's up to the public to decide whether they are still interested in what he has to say and whether whatever issues they may have with him personally impact their interest in hearing it,” said Matthew Schneier, senior writer at New York Magazine and The Cut. 

Key Insights: 

• The rise of the Alexander Wang brand was fueled by Wang’s energetic, party-forward image. 
• Even before publicly facing allegations of groping, non-consensual touching and druggings — the relevance of Wang’s brand was beginning to fade amid market shifts including the rise of luxury streetwear labels like Off White.
• It remains unknown how much the scandal affected Wang’s brand. According to a source close to the business, e-commerce sales have almost doubled since 2020. 

Additional Resources:

• Alexander Wang Plans a Comeback: After sexual assault allegations tarnished his brand, the designer is back with a booming business in China, an upcoming show in Los Angeles and a broader strategy.
• What Will Happen to Alexander Wang?: Five men spoke to BoF about similar encounters with the New York-based designer, who is facing an onslaught of sexual assault allegations, which he vehemently denies. Could a backlash hurt his business?

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Fast fashion upstart Shein set the industry ablaze this month after reports it was seeking to raise $1 billion in funding at a $100 billion valuation, according to Bloomberg. Shein has upended fast fashion by making apparel at jaw-droppingly low price points and gaining market share, attracting major investors. But is it profitable?

“Even if Shein isn’t profitable now, the thesis is that if enough people shop from the brand it would be able to leverage some of its operational costs … It could become a very lucrative business,” said Chen. 

Key Insights

• While it is unknown whether Shein is profitable, the retailer drives ultra-high sales volume and razor-thin margins 
• Shein is powered by a nimble, AI-driven supply chain, which allows it to produce a plethora of trendy items for an internet-obsessed young fashion audience almost instantaneously. 
• The retailer’s app uses casino-like tactics and rewards to draw shoppers in and keep them buying, sharing and engaging. 
• Despite its murky manufacturing process and reputation for amplifying rates of consumption, Shein is popular among young consumers — who purport to care about sustainability.

Additional Resources

• The $100 Billion Shein Phenomenon Explained: Reports revealed that Shein is seeking over $1 billion in funding at a $100 billion valuation. BoF breaks down how the fast-fashion disruptor has built a global business that now rivals Zara and H&M.
• How to Compete With Shein: The Chinese fast fashion giant built an empire on unmatched speed-to-market and unbelievably low prices. To compete, others must play a different game.

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In this weekly series,  BoF’s chief correspondent will go behind the scenes of the $2.5 trillion global fashion industry. 

Fashion has the ability to move markets, shake up cultural norms and even transform society. But who — and what — are the forces driving major change?

We’re answering that question on The Debrief, a new weekly podcast series from The Business of Fashion, where we go beyond the industry’s glossy veneer to understand how the fashion business is evolving, from the inside out.

Hosted by BoF’s chief correspondent Lauren Sherman, The Debrief will be your guide into the megalablels, indie upstarts and unforgettable personalities shaping the $2.5 trillion global fashion industry. Each week, Lauren will take you through BoF Professional story —  in conversation with our correspondents and industry experts — to unpack the analysis and insights you need to know to navigate an industry undergoing rapid change.From the rise of direct-to-consumer disruptors, to the rapid consolidation of the luxury industry, to cultural shifts turning beauty upside down.

BoF covers it all.

Make sure to follow wherever you listen to podcasts to never miss an episode. 

Join BoF Professional today with an exclusive 25% discount on an annual membership, follow the link here.

Email Lauren with your feedback, ideas and tips at [email protected]

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