255 episodes

The Business of Fashion has gained a global following as an essential daily resource for fashion creatives, executives and entrepreneurs in over 200 countries. It is frequently described as “indispensable,” “required reading” and “an addiction.”

The Business of Fashion Podcas‪t‬ The Business of Fashion

    • Fashion & Beauty
    • 4.8 • 11 Ratings

The Business of Fashion has gained a global following as an essential daily resource for fashion creatives, executives and entrepreneurs in over 200 countries. It is frequently described as “indispensable,” “required reading” and “an addiction.”

    How Virgil Abloh Is Lifting Up Fashion’s Next Generation of Creatives

    How Virgil Abloh Is Lifting Up Fashion’s Next Generation of Creatives

    The designer speaks with BoF editor-at-large Tim Blanks about his latest collection, making change and the importance of elevating the next generation of fashion creatives.
     
    When Virgil Abloh first broke into fashion he remembers feeling like a tourist. The designer began his career in architecture and says he struggled to find his place in an industry of insiders. But after three years at the helm of Louis Vuitton’s menswear division, the Off-White founder is now very much part of the establishment. In the latest episode of the BoF Podcast, Abloh speaks with BoF editor-at-large Tim Blanks about his hopes of paving the way to a more democratic and inclusive industry for the younger generation and why he’s launched a TV station.
    The designer is increasingly focused on lifting up the next generation of young designers, conscious of his responsibility to open up the industry. Last year, he raised $1 million to launch the “Post-Modern” Scholarship Fund for Black students.
     
    Related Articles:
    Virgil Abloh: ‘You Have to Choose Your Message Wisely’
    What’s Off-White Without Virgil?
    Virgil Abloh: ‘I Am Not a Designer’
     
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    • 58 min
    The Future of New York Fashion Week

    The Future of New York Fashion Week

    This week on The BoF Podcast, designer Jason Wu and BoF’s senior correspondent Chantal Fernandez examine the evolving purpose of runway shows and what New York Fashion Week might look like after the pandemic.
    Fashion Week looks very different this season, with most designers choosing to present their collections through digital lookbooks and short films instead of traditional runway shows. But even after the pandemic subsides, New York Fashion Week isn’t likely to revert to its prior form. As BoF senior correspondent Chantal Fernandez reported in a BoF Professional article last week, the “unbundling” of New York Fashion Week has been happening for years.
    ”What worked 10, 15 years ago, doesn’t work today,” designer Jason Wu told BoF’s Imran Amed on this week’s podcast. “The backbone of American fashion has always been about diversifying and being less traditional in its approach in what luxury and what fashion looks like.”
    ”Fashion week has become something of a different creature, but that happened long before the pandemic,” he added. “I feel like it’s my job to keep part of it alive, even though it’s forever changing.”
     
    External clip courtesy of Fashion By Look - Eleanor Lambert: Defining Decades of Fashion
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    Related Articles:
    The Unbundling of New York Fashion Week
    What Is New York Fashion Week Without Its Billion-Dollar Brands?
    How Independent Fashion Brands Are Navigating the Crisis
     
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    • 31 min
    How Independent Fashion Brands Are Navigating the Crisis

    How Independent Fashion Brands Are Navigating the Crisis

    BoF’s Imran Amed discusses transparency, cooperation and disruption with Dries Van Noten, Anya Hindmarch and Stefano Martinetto, leaders of two early pandemic initiatives — The Forum and Rewiring Fashion — to share thinking on the role of independent fashion brands and retailers amidst the biggest crisis in the history of the modern fashion industry.











    The fashion industry has long been operating in a cyclically inefficient and anti-creative way. Issues like waste, early discounts, power imbalances and a suboptimal, wholesale-controlled calendar hurt brands at every level, as well as consumers.
    But when the Covid-19 pandemic prompted lockdowns around the world in early 2020, the industry was put on pause. In response, two initiatives, Forum and the BoF-facilitated Rewiring Fashion, emerged to make this period one of retrospection and discussion in hopes of bringing about systematic change.
    In the latest episode of Inside Fashion, which features a conversation from VOICES 2020, BoF’s Imran Amed sits down with Van Noten, as well as Anya Hindmarch and Stefano Martinetto, co-founder and chief executive of Tomorrow London to discuss the lessons the industry has learned during the pandemic and how that new perspective will shape its future.

    Candour has never been one of the industry’s priorities or strengths, which has hampered progress in the past. Hindmarch emphasises that there is a power to coming together. “You solve problems by not just thinking about yourself but collaborating as an industry,” she said.


    Thanks to the rise of e-commerce and the convenience economy, storytelling is more important than ever for luxury brands. “Just showing clothes and that’s it, forget it. That’s not going to work anymore… I think we have to offer different things,” said Van Noten. “We have to tell a story to show why the clothes are more expensive than high street labels, you have to give the whole package of support to people who come to the store.”


    Wholesale retail is changing — hopefully, to allow more space for creativity and development of strong products. Hindmarch thinks that wholesalers still have an important, localised role that helps designers connect with their buyers in a personal way. Martinetto believes shifts are for the better. He said: “The notion that wholesale is dying is most appropriately defined as ‘bad wholesale is dying.’”

    Related Articles:
    Dries Van Noten’s ‘Forum’ and ‘Rewiring Fashion’ Join Forces to Rebuild the Fashion System
    DTC vs Wholesale: Striking the Right Balance
    The BoF Podcast: Dries Van Noten on Making Retail Meaningful in the Pandemic
     









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    • 24 min
    Racism and Inequality Are Stitched Into the Garments We Wear

    Racism and Inequality Are Stitched Into the Garments We Wear

    This week, Doug Stephens speaks with Kalkidan Legesse and Robert Hoppenheim about the imperative for fashion to take responsibility for the people it impacts.
     
    The pandemic’s economic impact is radically changing the retail landscape, but for fashion, the fallout is not just financial. The crisis has amplified anger over racial injustice and financial inequality among consumers and employees, redoubling pressure on brands to adjust their operations to serve both shareholders and the greater good. Increasingly, companies must respond to demands for change from outside the boardroom.
    In this week’s podcast, retail columnist Doug Stephens discusses how the fashion industry must address the systemic inequality and racism buried in its supply chain with the co-founder of UK-based ethical brand and retailer Sancho’s, Kalkidan Legesse, and the founder of brand strategy and communications advisory Kindustry, Robert Hoppenheim.
     
    External clips courtesy of BBC, NBC Latino,  and CGTN. 
     
    Related Articles:
    Retailers Pledged Action on Diversity. Delivery Is Proving More Elusive.
    Op-Ed | Fashion Brands Must Treat Garment Workers as Employees
    The BoF Podcast: Rashad Robinson on Addressing Racial Inequality in Fashion
    To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.
     

    Sign up for BoF’s Daily Digest newsletter.

     

    Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout.

     

    For all sponsorship enquiries, it’s: advertising@businessoffashion.com

     

    • 31 min
    Kim Jones on the Making of Air Dior

    Kim Jones on the Making of Air Dior

    The artistic director of Dior Men who is now also leading the women's collections at Fendi, speaks with BoF’s Imran Amed about the enduring power of youth and desire and the making of the Air Dior shoe.


    Designer Kim Jones went from being a teenager with joint custody over one pair of on-sale Jordan 5s with three friends to creating one of the most sought after shoes in the world by bringing together three iconic brands: Nike, Jordan and Dior. To create the Dior X Air Jordan, which dropped mid-pandemic in June of 2020, he took the Jordan 1 silhouette, applied Dior’s leather and Italian techniques and infused it all with Michael Jordan’s personal cool-guy style.The much-hyped, $2,200 shoe sold out in minutes after being released online. Soon after, the shoes were spotted being resold for as much as $12,000 on StockX.In this conversation from VOICES 2020, Jones covers everything from ethical consumption to the enduring power of youth and desire.  

    Young people influence the way Jones thinks about his designs. He invites his god children and children of friends over to watch them dissect his wardrobe, listening carefully to what they have to say. “Young people are learning they want to buy less, and things that last longer,” Jones said.
    Buying vintage, handing things down through generations, and luxury all tie together for Jones. “The thing about luxury that I like is it’s clothes that are built to last and there’s not that many made of things,” he said. “I care about the world a lot so it’s something I do consider that there’s not much waste. We don’t have tons of stuff left over.”
    The streetwear-meets-luxury space has exploded in the last few years. Jones sees it as a mix of comfort and easiness that fit in with modern daily life. His go-to is tailored pants and jackets with knitwear or a jersey piece. “When you’re working quite often, when it’s with your hands it’s easy,” he said.
    He advises aspiring designers and other young creatives to think less about status and more about fulfilment. “Never think about the money, think about doing the job. Work hard,” he said. “Don’t think about social media, think about the actual reality. Just get on with it, and ask questions. I ask questions all the time and that’s why I’ve learned so much.”
     


    Related Articles:
    LVMH Is Trusting Kim Jones to Define Fendi’s Post-Karl Look Dior’s Air Jordans and the Return of Pre-Pandemic Hype Will Luxury Streetwear Get Millennials Into Department Stores
     
    Find out more about #BoFVOICES here.
     

    To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.

     

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    Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout.

     

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    • 17 min
    Dissecting the Rise, Fall and Future of Topshop

    Dissecting the Rise, Fall and Future of Topshop

    A new era for Topshop is about to begin. On Monday, digital fashion retailer Asos purchased the high-street label, along with sister brands Topman, Miss Selfridge and HIIT, for £295 million ($403 million). The deal ended months of speculation about Topshop’s future after parent Arcadia Group fell into administration last November, as BoF senior editorial associate Tamison O’Connor reported in a BoF Professional article breaking down why Asos needs Topshop.
    “It’s been very sad for me to see them go through what they’ve been through in the last few months,” retail veteran and former Topshop brand director Jane Shepherdson told BoF editor-in-chief Imran Amed on this week’s podcast.
    Shepherdson discusses her time at Topshop when it was at the height of its success, the internal and external forces that caused the brand’s demise, before O’Connor weighs in on what the future might hold for the brand under Asos’ ownership.
    Topshop’s decline was a long-time coming, Shepherdson said, reflecting on her time at the brand. She joined Arcadia as a young graduate and worked her way up the ranks as a buyer, spearheading Topshop’s transformation into a fashion destination. But she left the company in 2006 as Philip Green, who bought Arcadia Group in 2002, became more involved in the business. “He was an asset stripper, more than anything else. He bought businesses, and then sold them again,” she said. “My philosophy was that you would make sure that you designed and bought something that was so amazing that no one would be able to resist it.”
     
    Asos’ ambition to capitalise on the newly acquired Arcadia brands and customer databases will depend on establishing a strong and independent identities for Topshop, Topman, Miss Selfridge and HIIT on the Asos platform, O’Connor said.
     
    O’Connor goes on to explain how the British high street’s transformation into a largely online market has been accelerated by the pandemic, having brought long-struggling British retailers like Debenhams and Arcadia Group to their knees.
     

     
    Related Articles:
    Why Asos Needs Topshop
    Why Digital Fashion Companies Are Buying Up Tired Brands
    The Rise and Fall of Topshop: What Went Wrong
     
     



     
    To contact The Business of Fashion with comments, questions or speaker ideas please email podcast@businessoffashion.com.

     

    Sign up for BoF’s Daily Digest newsletter.

     

    Ready to become a BoF Professional? For a limited time, enjoy 25% discount on an annual membership, exclusively for podcast listeners. Simply, click here, select the Annual Package and use code PODCASTPRO at the checkout.

     

    For all sponsorship enquiries, it’s: advertising@businessoffashion.com

     

    • 28 min

Customer Reviews

4.8 out of 5
11 Ratings

11 Ratings

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