The Glossy Podcast

Glossy

The Glossy Podcast is a weekly show on the impact of technology on the fashion and luxury industries with the people making change happen.

  1. 1d ago

    Did Dior 'craft-wash' its holiday ad?

    In the last month, several fashion brands debuted animated holiday campaigns. These campaigns from brands like Levi's, Prada and Dior positioned themselves as using older, more traditional art forms — from stop-motion to hand-drawn cel animation — in contrast to the rise of generative AI and "slop." But in the ensuing weeks, one of these ads drew more scrutiny than the others. People started analyzing the Dior ad, made in collaboration with the acclaimed French animator Sylvain Chomet, going frame-by-frame and checking the details. Multiple posts on Instagram and Reddit began accusing the brand of using generative AI for its supposedly hand-crafted campaign. On the Glossy Podcast this week, senior fashion reporter Danny Parisi and international reporter Zofia Zwieglinska discuss why brands are gravitating toward hand-crafted art in their campaigns, why they may be tempted to "craftwash" their marketing and what consequences brands face when the accusations of AI usage start to fly. For the Dior ad, Chomet and the campaign's producer both spoke to Variety, denying accusations that they used AI to generate the ad, but admitting they used "automated interpolation to generate some of the intermediate frames." The problem is that there are many ways to interpolate animation frames. Some are not "generative AI" in the common understanding: simply algorithmically blending two frames together. Newer models use generative AI to create a completely new frame of animation. It's unclear which of the two Chomet and his team used, but on social media, many have concluded that the premise of the ad — that it was entirely made by hand the old-fashioned way — is misleading. "The worst part is that they were very prominently featuring the animation in the behind-the-scenes content, as well," Zwieglinska said. "An animator I spoke to said you can't assume that generating the in-between frames in animation also takes care of the creative decisions those frames might require. The fact that Jonathan Anderson himself said that it was entirely hand-drawn [means] you're making a claim that you'

    Did Dior 'craft-wash' its holiday ad?
  2. Oct 23

    After its pop-up controversy, does Good American owe anything to nano-creators?

    This past weekend, the Khloé Kardashian- and Emma Grede-founded denim brand Good American hosted a pop-up in New York City, inviting dozens of content creators and influencers. Many of the influencers who showed up, however, did not get the experience they were expecting. In the days after the pop-up, social media was flooded with videos of disgruntled creators sharing their experience. Believing the event was an "exclusive" experience for VIPs, some flew from other cities only to face a long line in the rain and decidedly less-than-VIP treatment. Since then, there has been widespread public debate over who was in the wrong here. Did Good American err by poorly communicating the exact nature of the event? Or did the influencers, as some have said, have too high an opinion of themselves or fail to read between the lines, expecting special treatment at what was ultimately a standard pop-up event? On the Glossy Podcast this week, senior fashion reporter Danny Parisi, international reporter Zofia Zwieglinska and editor-in-chief Jill Manoff discussed what exactly went wrong with this pop-up and what it says about how brands work with influencers, who are increasingly central to their marketing efforts. "The problem was that a lot of these creators are nano-influencers or micro-influencers," said Zwieglinska. Typically, a nano-influencer has 1,000-10,000 followers, while a micro-influencer has 10,000-100,000. "A lot of them thought this was an exclusive invite and, for their size, having an opportunity to work with a big brand like Good American could be a really big deal." Zwieglinska pointed out that a separate, actually exclusive event later in the day let influencers with much larger followings in without issue. They posted far more positively about how much fun they had, adding to the bitterness for smaller creators, many of whom never even got into the store before being turned away. Manoff said she understood why the situation provoked such an intensely negative reaction from the influencers who felt burned. "I've had similar experiences," she said. "I've been invited to fashion shows, and they tell you you have a seat, and you get there, and it's such a scene — they've clearly invited too many people, or they're a buzzy brand and the public swarms it, and you don't get in. You have certain expectations when you get invited. You're there to do your job. And, bluntly, you feel like a loser. Like, what am I doing here? It's a really bad feeling." Fashion brands are increasingly relying on influencers and content creators to magnify their reach, and brand executives often tell Glossy reporters that micro-influencers are key to that strategy. Despite their smaller followings, they often have more engaged audiences, and their influence can be just as valuable as big-name celebrities. Yet in reality, brands often use a tiered system, and influencers with bigger follower counts still get the glamorous treatment. The hosts also discussed how they could have avoided this. All it really would have taken was Good American being more direct about what exactly the event entailed. "I think there is also a scourge of PR, in their efforts to make their clients look good, increasingly exaggerating their pitches," Parisi said. "I get a lot of PR pitches, and I feel like they are getting longer, vaguer and more exaggerated. They want to make every event sound sexy and

    After its pop-up controversy, does Good American owe anything to nano-creators?
  3. Oct 16

    Has LVMH lost the sauce?

    This week, LVMH reported earnings that showed its recovery last quarter was short-lived. Sales in its bellwether fashion and leather goods category fell 5% last quarter. Sales in Asia were also down 5%, and the company's share price has fallen by nearly 40% so far since its peak in 2023. While LVMH is still the largest luxury conglomerate in the world, it's clear that something isn't working in the company's strategy. Other luxury brands and conglomerates have faced similar issues, like slower sales in China and disruption in the Middle East, but several aren't facing LVMH's problems. Chanel, for example, has seen double-digit growth in every region, including Asia, this year. So what's going on at LVMH? On the Glossy Podcast this week, senior fashion reporter Danny Parisi, international reporter Zofia Zwieglinska and editor-in-chief Jill Manoff discussed some of the reasons for LVMH's declining sales. For one, the company's brands are failing to inspire on the runway, and the lack of creative innovation is leading to a loss of desirability. "I've looked at a lot of recent reports from resale sites like Fashionphile, Rebag and The RealReal, and in 2023, LVMH had four of the top 10 most searched brands," Manoff said, citing a recent The RealReal report. "In 2024, they had four again; in 2025, they had five of the top 10. But in 2026, they only have one of the top 10. Louis Vuitton was the only one still there. That is quite a backslide in my eyes." Manoff also noted that executives on LVMH's earnings call on Monday talked a lot about environmental factors negatively affecting performance, but offered little in the way of planned changes to their strategy. "At some of their brands like Bulgari, they're introducing more accessibly priced products and being more innovative," Zwieglinska said. "But at Louis Vuitton, in particular, they've been very stubborn about making any changes."

    Has LVMH lost the sauce?
4
out of 5
260 Ratings

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The Glossy Podcast is a weekly show on the impact of technology on the fashion and luxury industries with the people making change happen.

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