Are platforms like Facebook safe spaces for #fashion brands to appear? That was the question posed by investigative journalist Carole Cadwalladr to an audience of global thought-leaders, executives and entrepreneurs at #BoFVOICES in November. The Guardian and Observer reporter also called out corporations that use problematic platforms without raising any alarm of their misuse of data. “The advertising industry and fashion brands are completely complicit in this ecosystem [of misinformation],” she said.
Cadwalladr worked with whistleblower Christopher Wylie on an investigation into Cambridge Analytica, a controversial British political marketing firm and vendor to the #Trump and #Brexit campaigns. In 2018, she lifted the lid on the misuse of data belonging to 87 million Facebook users by the company. The result was a $5 billion fine for #Facebook levied by the Federal Trade Commission — one of the biggest regulatory fines imposed by the US government on a company. But despite what Cadwalladr describes as a “global democratic scandal,” the social media giant’s share prices increased. “You are in a space where laws do not work, and the legislation of our national governments do not work,” she said. With the upcoming British General Election, Cadwalladr urged political actors to look outside the “Westminster politics lens,” raising concerns about the country’s electoral system. Tune in to hear the full talk on the #BoFPodcast. [Link in bio] @Carole Cadwalladr
The world is on fire. The causes are globalisation, technology, the climate crisis and generational change, but the antidote is culture and reimagining human values according to this year's #BoFVOICES speakers. All of the talks and conversations with Matthew Williams, Trisha Shetty, Juergen Teller and more are now available, ready for you to watch on demand. [Link in bio] @HODA KATEBI | هدی کاتبی@Trisha Shetty@Alexi Lubomirski@Matthew M Williams@ALOK
“She loves Starbucks pumpkin spice lattes, Lululemon leggings, Ugg boots, Disney and old-school Taylor Swift with a passion. Her fashion journey begins and ends at the mall. “Live, laugh, love” is her motto. She likes her wine pink and her (mid-priced) gold jewellery pinker. Her Instagram feed is populated with carefully crafted selfies. She has dyed, over-treated hair, and a tattoo of the infinity sign on her wrist. She likely hails from middle America or provincial England and is largely apolitical. She is the #BasicBitch, and for much of the 2010s she was the spectre that haunted fashion,” writes Rachel Deeley, as she reflects on the decade.
But, how did such a loaded socio-cultural epithet become such an important #fashion talking-point? Read the full story [link in bio] and explore our other “End of Decade” content on businessoffashion.com. As the 2010s come to a close, we reflect on how the past 10 years transformed the fashion industry — and the culture at large.
The sharing economy promotes mindless overconsumption, argued Eugene Rabkin in a recent op-ed for BoF. “With renting you don't hold on to anything. The clothes you rent mean little, nor do you particularly care for them. Rented clothes, at best, may make you feel good for a day or two (provided that the clothes actually fit you and look as good in real life as they do on the web), but their deeper emotional value is largely lost”. While acknowledging the impact the rental market can have on the environment, BoF reader Lisa Gautier also highlights that the model serves as an alternative to those who cannot afford to purchase luxury clothing outright. Do you agree?
We love hearing your opinion and will monitor user comments for publication across our social media channels, website and email. Use the comment function on our website (at the end of each article) or add the hashtag #BoFMySay on social media to submit your opinion, thoughts and feedback on any article. [Link in bio]
As fashion enters a new #decade, frank talk about the industry’s #environmental impact and mistreatment of workers is table stakes. Brands large and small face pressures that may finally force fundamental changes to how the industry operates. Consumers are becoming more knowledgeable, more demanding and more active, with governments also paying more attention. Retailers are casting around for new business models that are less wasteful and technological innovations are creating new threats and fresh opportunities.
Heading into the 2020s, a growing number of analysts, executives, investors and consumers are looking at fixing #fashion’s numerous abuses as an existential challenge for the industry. “For sure it is getting more complex,” says Anna Gedda, head of #sustainability at H&M group. “This is about securing, not just that we exist in the next three years, but in the next 30 years.” And below the surface, emerging #designers, activists and some consumers have begun to argue that the only solution to fashion’s many ills is to end the cycle of consumption altogether. So, what can fashion learn from a decade of disasters? [Link in bio] 📷: @gettyimages
As Virginie Viard continues her baby steps at the creative helm of Chanel, her first Métiers d’Art collection ticked all the boxes when it came to infusing ready-to-wear with #couture-level craft, drawing upon the work of each of the Chanel-owned Paraffection ateliers, from Lesage and Montex’s extravagant embroidery and Lemarié’s feather and flower craft to Lognon’s pleating and Massaro’s dainty shoes.
But with such decadent possibilities at her fingertips, Viard kept a light hand. She privileged few volumes (a bolero and low-slung skirt were recurrent) and kept to a colour palette of black, white and gold that burst into ombré sunset shades. That somewhat strict frame gave the Paraffection artisans room to move, not only embellishing #tweeds and silks but creating entire surfaces, from a shimmering silver jumpsuit or a capelet of camellia-printed feathers to a bubbling pearl-covered cocktail dress. With the years of Lagerfeld’s architectural tailoring now behind us, it’s clear Viard has a softer approach, playing with tweed in pieces like a two-tone jacket trimmed with seed pearls, man-ish collarless blazers, and a twinset in raspberry satin (its tweed appearing inside out). For her predecessor and beloved boss, the annual Métiers d’Art collection was one of his chances to go all out. But with the giant’s wanderlust gone for now, Viard’s own point of view is crystallizing.
So, whilst the #Chanel history books have rendered lyrical gems under Viard’s new stewardship, it’s her coquettish and unabashedly Parisian approach that could win new fans. In time, and with Chanel’s (quilted) bag of tricks to draw upon, she’ll surely write her own chapter at the #French house. [Link in bio] 📷: @CHANEL 🖋: @danthawley
Can Balenciaga become a megabrand? In the last four years, the brand has boomed, leaping from roughly €350 million to over €1 billion in annual sales on the back of a strategy rooted in #creative disruption and zeitgeisty products like the Triple-S sneaker. But can the brand’s designer, Demna Gvasalia, keep the meme-able hits coming? #Balenciaga Chief Executive Cédric Charbit speaks exclusively to BoF’s Lauren Sherman about the past, present and future of the house. Read the full story on businessoffashion.com [Link in bio] 📷: @indigital.tv @Balenciaga
Last night, artistic director Kim Jones showcased his latest collection for #Dior Men’s in Miami in collaboration with Shawn Stussy, artist and founder of streetwear brand #Stussy. Since his tenure, Jones has collaborated with numerous brands, designers and artists, including Rimowa, Raymond Pettibon and Kaws. What do you think of the collection? 📷: @Dior Official@mrkimjones
Are companies the new communities? According to the latest studies, society is losing faith in our governments at a rapid rate. In many parts of the world, the power of religion is also faltering. “But the need to belong to a community that aligns to our values and beliefs lies so deep in our DNA that no amount of social or political disaffection can drum it out of us. We must believe in something,” says Doug Stephens in a new op-ed for BoF.
He goes on to argue that the decline of religion and eroded faith in the state has created a societal vacuum for courageous brands to fill. A 2018 global study by Edelman of 8,000 consumers across eight markets suggests that almost two thirds of us make buying decisions based on a brand’s position on #social or political issues. Meanwhile, 53 percent of us believe that brands can do more to solve social problems than governments.
For Stephens, this shift makes perfect sense. “After all, a powerful brand is, in many ways, no less potent than a religion. At the core of every great brand sits an ideology. Of course, such opportunities are not without risk. Values are called values because there’s a price paid by those courageous enough to possess them. But in a crowded and competitive marketplace, I would argue that the price of standing for nothing — is far dearer.” Continue reading Doug’s story on businessoffashion.com [Link in bio]
The great, the good and the influential descended on London’s Royal Albert Hall last night for the British Fashion Council’s annual awards gala. This year’s #FashionAwards drew a notably starry crowd, including industry leaders like Gucci CEO Marco Bizzarri, British Vogue Editor-in-Chief Edward Enninful and Donatella Versace, who were joined by Tom Cruise, Julia Roberts, Cate Blanchett and others.
However, it was Kering-backed label Bottega Veneta that swept the night, winning brand of the year and garnering multiple awards for Creative Director Daniel Lee. Other winners included Rihanna, who took home the urban luxe prize for her work at Fenty, Adut Akech, who won model of the year, and Naomi Campbell, who was named the year’s Fashion Icon. Amid the glitz and glamour, the industry paused to remember those who passed away this year, including a tribute to Karl Lagerfeld. The evening closed with wave after wave of outfits from the night’s honouree for outstanding achievement, Giorgio Armani, and a set by Eric Clapton. Read the full story on businessoffashion.com [Link in bio] 📷: @gettyimages @Alexander McQueen@PRETTY FLACKO@Emma Roberts@badgalriri@Armani@Naomi Campbell@Bottega Veneta@Edward Enninful, OBE@Adut Akech Bior@Halima@Donatella Versace@Pierpaolo Piccioli@Julia Roberts
Some of France’s biggest luxury brands are reinforcing their commitment to local production. Chanel is currently completing a 25,500 square metre building complex on the outskirts of #Paris that will house 11 of the 12 speciality #ateliers held by its Paraffection subsidiary (these include feather workers Lemarié, shoemakers Massaro, embroiderers Maison Lesage and milliners Maison Michel). Two new Louis Vuitton factories are slated to open in France next year, while family-run Hermès will open four new leather goods sites across the country by 2022.
French ateliers have built a #global reputation for their exacting standards, turning “Made in France” into a valuable strategic proposition. But securing specialised #manufacturing know-how and enabling greater speed-to-market are also key factors driving their multi-million euro investments. In today’s must-read Professional feature, BoF’s Laure Guilbault explores why ‘Made in France’ is back in force. [Link in bio] 📷: Goossens Maison by Alix Marnat
This week’s #MondayMotivation comes from Kim Jones, ahead of the Dior Men’s show this week in Miami. The designer launched his namesake label in 2002 before becoming creative director of British luxury goods brand Alfred Dunhill. In 2011, Jones joined Louis Vuitton, as the style director for its ready-to-wear menswear collections. His debut collection proved an instant hit with industry insiders, and helped to revolutionise the house's #menswear offering with a distinctive, streetwear-inflected take on #luxury. After 7 years at Louis Vuitton, Jones became the artistic director for Dior Men’s.
The celebrated designer has received numerous awards throughout his career including Menswear Designer of the Year by the British Fashion Council in 2009 and 2011, and two successive Topshop New Generation awards.
Feeling inspired by this story? Find your dream job in fashion and discover the latest opportunities at the world's leading brands on businessoffashion.com/careers #qotd#quoteoftheday 📷: Kim Jones by Brett Lloyd for Dior @mrkimjones@Dior Official
Step inside a new Alexander McQueen #exhibition, curated by the brand’s creative director Sarah Burton. The display showcases the juxtaposition between some of Burton’s creations as well as those of founder Lee Alexander McQueen. Some of the designs are brought together for the first time and explore a common thread which unites both designers – Roses.
Burton grew up in Manchester but moved to London to study at Central St Martins. On the recommendation of her tutor, Burton completed a placement year at #AlexanderMcQueen in 1996. She returned following her graduation and was named head of womenswear design after just two years, in 2000. Burton took the helm after the designer’s tragic death in 2010, and has since subtly shifted the house’s aesthetic while maintaining its iconoclastic codes.
Swipe to see more of the #London exhibition and learn more about Burton on businessoffashion.com [Link in bio] 📷: Tim Beddow @Alexander McQueen
The bulk of value creation in the #fashion industry disproportionately comes from a very small number of players. According to Achim Berg, global leader of McKinsey’s apparel, fashion and luxury group, “there are a few [companies] that really take the lion's share of all the profits and there are a lot of players that are now facing tough times.” On this week’s #BoFPodcast — a live webinar with participation from BoF Professional members — Achim sits down with BoF’s Imran Amed to discuss The State of Fashion 2020 report.
Now in its fourth year, the annual report by The Business of Fashion and McKinsey & Company addresses the key fashion industry themes that will set the agenda, amid continued political uncertainty, slowing #economic growth, a changing #digital landscape and rising consumer demand for environmental and social accountability. Tune in to learn more now. [Link in bio] @McKinsey & Company
The advent calendar — traditionally a paper box containing chocolates behind 24 small doors — stems from the European tradition of counting down the days of December leading to #Christmas. But now, #beauty brands and retailers are capitalising on high consumer interest to engineer a marketing moment.
Beauty #adventcalendars aren’t a new phenomenon, with the likes of Benefit and Ciaté debuting products as early as 2013 in the UK and the US, according to retail data firm Edited. However, beauty calendars have evolved significantly since their early days, becoming more sophisticated and elaborate, containing higher-value items, and often coming with a premium price tag. For the right product, #shoppers are willing to spend big. After trialing a calendar last year that sold out within seven minutes, Jo Loves, the fragrance brand Jo Malone CBE launched in 2011, decided to double down for 2019 with a £300 Christmas tree-shaped calendar filled with exclusive products and brand favourites. The day that the Jo Loves calendar went on sale marked the brand’s biggest e-commerce sales moment to date, bringing in record traffic levels.
For a multi-brand retailer like Liberty, the beauty advent calendar also offers “customers a chance to try and discover products, maybe even across categories, that they would never even dip into or consider,” says Liberty Beauty Buyer Emily Bell. Now in its sixth year, Liberty’s beauty advent calendar, priced at £215 ($277), remains the retailer’s fastest-selling product in its 147-year history.
But as the market grows, brands and retailers will have to work hard to keep their beauty advent calendars attractive for shoppers. Plus, striking the balance between consumer demand and product supply will continue to be a challenge. On businessoffashion.com, we take a deeper look inside the beauty advent calendar craze. [Link in bio] 📷: @Jo Loves
“The sharing economy promotes mindless overconsumption,” argues Eugene Rabkin, in a new op-ed for BoF. The global market for online clothing rentals is expected to reach $1.96 billion by 2023, up from $1.18 billion in 2018, and following the ascent of fashion rental frontrunner Rent the Runway, retailers from Urban Outfitters to Bloomingdales have jumped on the bandwagon.
On the website, Rent the Runway, which is now valued at more than $1 billion, touts benefits like "fashion freedom" and "total flexibility," as well as its green credentials. “It all sounds seductive, but steering shoppers away from ownership may actually be doing more harm than good,'' says Rabkin. “In the rental world everything is ephemeral. The sharing economy makes our relationship with the physical world transient and empty. What Rent the Runway touts as freedom is really lack of attachment,” he adds.
Rabkin goes on to argue that there is something positive to be said about being attached to material things. “With renting you don't hold on to anything. The clothes you rent mean little, nor do you particularly care for them. Rented clothes, at best, may make you feel good for a day or two, but their deeper emotional value is largely lost”. Do you agree? Read Rabkin’s full op-ed on businessoffashion.com [Link in bio] 🖋: @StyleZeitgeist
How can brands make the most out of #BlackFriday? Marketers are so concerned about the shorter 2019 #holiday shopping season that many retailers have begun sales earlier than usual, offering items at even bigger #discounts. But when it comes to Black Friday, the official start of the #sales season in the US and beyond, some players are adopting unusual strategies, from selling everything at cost to closing stores for the day, even if it means forfeiting sales that would boost fourth quarter performance. In today’s must-read, BoF’s Rachel Strugatz steps through four alternative approaches to Black Friday that may just prove more effective than the typical holiday sales strategies. Swipe for her top tips and learn more on businessoffashion.com [Link in bio] 📷: @shutterstock
Costume designer Shiona Turini began her career in #PR, where she spent three years before editors at W magazine asked her to join their masthead as accessories #editor. Having explored “many different facets of this industry,” her career has included #styling commercial projects, music videos and the red carpet, working with the likes of Solange and Beyoncé Knowles, as well as consulting with brands and publications like Christian Dior, Stuart Weitzman and CR Fashion Book. Turini later moved to Los Angeles to work as a costume designer for HBO's Insecure. This year, she took on her first feature film, Queen & Slim, working with screenwriter Lena Waithe and director Melina Matsoukas. Discover some of Turini’s #careeradvice below and read the full story on businessoffashion.com [Link in bio]
On what is needed to start a career in fashion: “I think commitment is essential. You truly need to commit to this experience and not give up. Make the decision that this is what you want and you’re going to achieve it by any means necessary.
On a particular philosophy that guides her career decisions: I never say no to projects that might scare me. When I was first asked to work in costume design, I'd never done it before and I had to uproot my life, move to LA, get a new team, work in a new city. There were so many reasons that could have made me afraid of that project. But I decided to take the risk and make the leap. It was truly a fantastic decision because it opened up so many different doors to me and I've never stopped learning.
Her advice to juniors starting out: Gaining as much experience as you can gather, and as much knowledge as you can grasp, is just going to help you in the long run. I also say, all the time, know your history. I think it's so important for everyone, whether you're just entering the industry or more seasoned, to know your references and where your inspiration has come from. While the internet is an amazing resource, I don't think that should be your only point of research.” 📷: Leanie Foster | Universal Pictures @Shiona Turini@Universal Pictures@Indya@Queen & Slim
In a world already drowning in #plastic, single-use hangers aren’t helping. Experts estimate that billions of plastic clothing hangers are thrown away globally every year, with most used and discarded well before a garment is hung in stores, let alone inside shoppers’ closets.
But it doesn’t have to be this way, according to French designer Roland Mouret. At London Fashion Week in September, he teamed up with Amsterdam-based startup Arch & Hook to debut Blue, a hanger composed of 80 percent plastic litter harvested from rivers. While the single-use plastic hanger amounts to a fraction of the plastic-waste issue, it’s a symbol the #fashion industry can rally around. “Single-use plastic is not luxury,” he says. “And that is why we need a change.” But Mouret isn’t the first to look for a solution to plastic hangers.
As more brands — including Target and Zara to Stella McCartney and Burberry — address their hanger problems, new companies are springing up to offer solutions. But such is the scope and scale of the fashion industry’s plastic problem that no one company — or single effort — can solve it alone. Continue the read on businessoffashion.com [Link in bio] 📷: @shutterstock 🖋: Jasmin Malik Chua
New brands are capitalising on the rise of body-positive narratives with size- and colour- #inclusive shapewear. From Kim Kardashian West’s #Skims to British start-up Heist Studios, these brands are helping to disrupt an industry that has long promoted force-squeezing bodies into slimming compression wear. “Women are dressing for themselves and they care about style and comfort. While shapewear used to be used to compress one’s body, it is now used to enhance one’s shape and maximise comfort,” says Ayako Homma, beauty and fashion consultant at market research provider Euromonitor international. But as more brands continue to capitalise on the movement, what does it mean for the #shapewear category’s waist-cinching predecessors? [Link in bio] 📷: @SKIMS@Kim Kardashian West
Collecting fashion used to be a fringe pursuit. Rare pieces were typically sold at heritage #auction houses, purchased by a handful of other wealthy collectors or mostly-obscure museums specialising in textiles or #costumes. But the race to buy rare #collectables is heating up. Rival museums, venture-backed startups and wealthy consumers alike are all clamouring to get their hands on fashion collectables.
From tomorrow, selected items from Sandy Schreier’s closest will go on display at the Metropolitan Museum of Art, part of a donation of 165 items that she promised to the institution’s Costume Institute last November. Schreier, who amassed what is widely considered the largest private fashion collection in the US, has a closet that #fashion enthusiasts would gladly take out a second mortgage for — from a dramatically-tufted satin ball gown custom-made by Christian #Dior to an enormous headpiece made of colourful butterflies by the couturier #PhilipTreacy from 2003. Swipe across to discover more looks from the #exhibition and delve further into the world of collectable fashion on businessoffashion.com [Link in bio] 📷: Nicholas Alan Cope for @The Met@Balenciaga@Philip Treacy@Dior Official@Sandy schreier
What's next for Victoria Beckham? The #designer is trying a number of things to turn a profit at her namesake brand: price cuts, high-margin cosmetics and a partnership with #Reebok. There's also a sunglasses license, a sophisticated private-equity investor and a new management team. But breakeven remains elusive, and last week the label posted losses for the eleventh year in a row. How can #VictoriaBeckham Ltd become profitable? Chairman Ralph Toledano speaks exclusively to BoF about the state of the #business. [Link in bio] 📷: @gettyimages 🖋: Sarah Shannon @Victoria Beckham
How did temporary pop-ups become a permanent strategy? The rise of Amazon and other digital disruptors have forced traditional #retailers to close thousands of stores, leaving whole swaths of prime retail real estate vacant in cities from New York to London. But a new model for brick and mortar retail is emerging to fill the void, one where landlords lease spaces to a rotating set of tenants on a temporary basis.
It's not just start-ups and independent #designers embracing short-term leases; major brands like Gucci and Coach now see pop-ups as an integral part of their retail strategies. In today's must-read, BoF’s Cathaleen Chen takes us inside the growing pop-up economy. [Link in bio] 📷: @Gucci
With only one month to go until #Christmas, Claridge’s Hotel in London continues its tradition of inviting creatives to envision the iconic London establishment’s Christmas tree. Following in the footsteps of Karl Lagerfeld, Diane von Furstenberg and other designers, this year sees #ChristianLouboutin create his version. What do you think?
Growing up in #Paris, the #footwear designer spent more time sketching shoes than studying and was reportedly expelled from three schools. Although he is not formally trained, he attended Académie d'Art Roederer to study drawing and decorative arts. He ran away to Egypt and India during his teenage years and returned to Paris with a portfolio filled with sketches of fantastical heels.
After approaching all of the major couture houses, #Louboutin started his career at Charles Jourdan, one of Paris’ and the world’s most respected shoemakers. Louboutin left Charles Jourdan to work as a freelance #designer, working for Chanel, Yves Saint Laurent and Roger Vivier. The designer went on to open his first store in Paris in 1992; his red-soled shoes, handcrafted in Italy, were soon taken up by Hollywood actresses and Paris’ fashion establishment. Learn more about his life on businessoffashion.com [Link in bio] 📷: @CLARIDGE’S@Christian Louboutin
Moncler's ‘Genius’ project, involving monthly collaborations with a collective of guest #creatives, is the #luxury fashion industry’s most compelling answer to a post-internet world where consumer expectation is shaped at the speed of #Instagram. But operationalising the approach was a massive undertaking, requiring — amongst other factors — heavy investment in logistics, distribution and delivery. How did they do it?
Direct retail and certain key wholesale partners are critical to bringing 'Genius' to life in-store, with wholesale accounts used to test new markets and direct sales driving the majority of revenue. Indeed, Moncler has gone to great lengths to target specific stores and demographics, especially as the brand has continued to steadily decrease its reliance on #wholesale partnerships over time. By transforming the way stores were merchandised and organised, #Moncler could ensure consumers were hooked the moment they arrived. In our latest case study, we examine the mechanics of the company's 'Genius' strategy and how it propelled Moncler to success. [Link in bio]
On this week’s #BoFPodcast, we spoke with Brendon Babenzien, founder of #streetwear brand Noah. Following his long-term tenure as Supreme’s creative director, Babenzien and his wife Estelle Bailey-Babenzien relaunched Noah in October 2015, after a 10-year hiatus. Babenzien identifies his brand as a “responsible,” rather than a #sustainable brand, with a broad range of values-driven campaigns aligning it with organisations that share similar values as they do, such as the #BlackLivesMatter movement, Standing Rock Preservation and Ocean Against Plastic for Wildlife. “We’re going to make the best product we can make in countries where we know people are looked after at work, where they’re not forced to work long hours, where they get vacation time and healthcare and all these things,” he says.
Babenzien, who has no formal #design training, sees his work as “a form of cultural connectivity,” and is seeking to build a #community around his brand that can interact with it independent of sales and consumption. “Once you take greed out of the conversation, it opens up all kinds of incredible opportunities to have an interesting business. Of course, we want to be financially viable so we can support ourselves… but enjoying it, feeling good about the things we’re doing… making sure that our success is other people’s successes. That’s what’s important to us,” he continues. “If every business, every person in #business, did little things, then the world would be a much better place. I can’t prove that… but I believe in it, so I’m doing it.” Listen to the full conversation between BoF’s Lauren Sherman and Babenzien on businessoffashion.com [Link in bio] @Noah Clothing
"I’m thrilled to be here this evening," Edward Enninful said as he accepted the Global VOICES 2019 award tonight at #BoFVOICES. "I’m so grateful to be from London. London taught me the meaning of hard work, it challenged me. But sometimes when I failed, this city picked me up and inspired me. It gave me opportunities I could never have dreamt of, and lead me down paths to friends who are now family. I’m so grateful to this industry and the community we now represent. A diverse and inclusive one. And all of us are so excited for a whole new decade ahead." 📷: @gettyimages @Edward Enninful, OBE
Tonight at #BoFVOICES, we are honoured to present the Global VOICES Award 2019 to Edward Enninful, OBE for his outstanding achievement in fashion and exemplary impact on the wider world.
Edward Enninful took the helm at British Vogue on August 1, 2017. In just over two years as editor-in-chief of the famed publication, he has helped shape a new vision for fashion media — not just in the UK, but globally.
His digital prowess and drive to break the storied title into previously unreported coverage areas has seen the publication reach new, younger audiences across social media, video and online. Digital traffic at the title grew by 7.8 percent in 2018 to 14.8 million monthly unique users, while print circulation has increased 1.1 percent since 2017. 📷: @gettyimages @Imran Amed@Edward Enninful, OBE
Before tonight's star-studded gala, it's time for our guests to relax as they are treated to a sound bath with Jasmine Hemsley as well as facials from naturopathic doctor, Nigma Talib. Some take part in a restorative yoga class, during which everyone got to trial the new Nike x MMW Series 003 collection. 📷: @gettyimages @Jessica Skye@Drnigmatalib@Jasmine Hemsley 🍯
“I am not an idea. I am not a symbol. I am not a prop. I am a person," said mixed-media artist Alok V Menon on stage at #BoFVOICES. "We are usually only allowed on stages to entertain you, rarely to educate you. The sad truth is it’s easier for people to regard who I am as a costume."
Follow the conversation on our live blog. [Link in bio] @ALOK
Who is Gerard Malanga? The poet, photographer and filmmaker was born in the Bronx in 1943, New York, the only child of Italian immigrant parents. He took his first photographs of the last day of the 3rd Avenue El when he was 12; and was a regular dancer on Alan Freed's TV show, The Big Beat, when he was 16.
From 1963 to 1970 he worked as Andy Warhol's silkscreen assistant, becoming a major influence on many of the paintings and films created in Warhol’s Factory. Malanga and Warhol collaborated on the nearly five-hundred individual 3-minute Screen Tests which resulted in a selection for a book of the same name, published by Kulchur Press in 1967.
In 1966 he was the choreographer for The Velvet Underground and in 1969 he and Warhol founded Interview magazine. Malanga is the author of a dozen books of poetry, including No Respect, New & Selected Poems 1964-2000, Tomboy & Other Tales and the latest, Cool & Other Poems. His work has appeared in Poetry, Partisan Review, The Paris Review, and The New Yorker. He has just completed his memoir, In Remembrance of Things Past.
Today at #BoFVOICES, he let us in on some of his favourite memories. Watch the conversation with Jefferson Hack now on our Youtube channel. [Link in bio] 🎥: @indigital.tv @Dazed@Jefferson Hack
Is masculinity toxic? “There is a global epidemic of violence at the hands of men,” said Evryman’s Dan Doty on stage at #BoFVOICES. “In the US, one in three women will receive some form of contact sexual violence in her life. One in five women will be raped. And it’s clear that these numbers are conservative. It begs the question: are men bad?" he asked the audience before delivering his take on 'resolving the masculinity crisis.' Learn all about it on our live blog. [Link in bio] @Dan Doty@EVRYMAN
In session four of #BoFVOICES, we took a deep-dive into today’s most important emerging markets. With China, India and Africa becoming central for global fashion players and a new generation of consumers on the horizon, we analysed what the industry can take away from these new consumers and new markets. Catch up on all the conversations now on our live blog [Link in bio] 📷: @gettyimages @Queennie.Y@R O Z A N@Trisha Shetty@YOHO!@Matthew M Williams@Tim Blanks
"The more I started working in human rights, the more familiar I became with human wrongs," said Trisha Shetty in a powerful talk at #BoFVOICES this morning. The Mumbai-based lawyer and activist shared the story of a Muslim girl in India who was gang raped and murdered over a period of days. Yet when protestors took to the streets, it was in support of the rapists, rather than the victim. Shetty said when she called for accountability, she was told to tamp down her tone, even as she was bombarded with threats online. “Those engaging in human wrongs show no civility, but when we speak up, we are expected to do so politely." Watch the full talk on our Youtube channel. [Link in bio] 🎥: @indigital.tv @Trisha Shetty@SheSays India