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Tim Blanks, editor-at-large at The Business of Fashion, joins Imran Amed for their seasonal review of the Spring/Summer 2027 shows. In London, Simone Rocha and Erdem delivered what Blanks calls career heights, and Christopher Kane made his debut at Mulberry, which brought the label back to the London schedule. In Milan, Demna presented his third show for Gucci, and Miuccia Prada and Raf Simons built Prada’s collection almost entirely around the skirt. In Paris, Anthony Vaccarello staged his final show for Saint Laurent, a collection built around gold. Kering confirmed his departure on Oct. 9. But the thread Blanks and Amed kept coming back to was bigger than any one show. In an industry dominated by giant groups trying to meet quarterly targets, there is a renaissance of independent designers and independent thinking. Blanks says independence is the theme he expects to return. He describes fashion at its best as an “individual idiosyncratic statement, this passion, and that applies not just to the designers but to the people who sell the designers.” Amed adds that independent stores around the world are looking for designers who offer something customers can’t find everywhere. Key Insights: London finds its feet again: Blanks saw two of the city's established names reach new heights. "I saw designers who are really part of the establishment, like Simone Rocha and Erdem, who reached career heights," he says, pointing to a mood of "anything goes, reckless" confidence. "I thought Erdem's show had a particularly wanton quality that was quite enthralling ... you do feel a volcanic force building sometimes, and in this show there was just this explosion of subversive energy."Demna's Gucci moment: After two seasons spent researching the house, Blanks felt Demna's third Gucci collection finally delivered clarity. "I really liked this show," he says, noting the designer "explored all those different elements — that hyper-bourgeois element, the Tom Ford element ... he really needed to find his way through Gucci." Prada doing Prada: Miuccia Prada's return to the main collection, built around 63 skirts and her own maxim — "the skirt is my T-shirt" — struck Blanks as a necessary reassertion rather than a retreat. "It totally resonated with me as a reflection of her golden era ... I felt it was a necessary reassertion. I think that anyone who loves Prada would love this collection."Rick Owens' new alchemy: Owens' Paris show marked a genuine shift for a designer whose idea of beauty is usually challenging. "This time, it was beautiful," Blanks says. "Those gowns at the beginning — they were woven from seatbelt material ... he is like an old-time alchemist, making extraordinary things out of actually quite banal things."Saint Laurent's gilded goodbye: Witnessing Anthony Vaccarello's final show after 10 years at the house, the collection was built entirely around gold. "This is his farewell to Saint Laurent ... the single-mindedness of his vision is quite overwhelming. It's imperial fashion," Blanks says. "The clothes were like a coronation."Chanel as "an Act of Faith": Matthieu Blazy's Chanel collection led Blanks to a bigger point about belief and independence inside a giant, privately-held house. "Fashion is an act of faith," he says. "It's something that people have to believe in for it to work ... [criticism] destroys the illusion." He frames Blazy's process as fundamentally independent: "The sheer joy in the making ... that's kind of really independent thinking. You know, when he says, 'I want something that's unknittable,' and comes up with knittable sequins." Additional Resources: Miuccia Prada: Future-Proofing a Fashion DynastyChristopher Kane Opens New Era at Mulberry Satoshi Kondo: Crafting Issey Miyake’s Comeback Hosted on Acast. See acast.com/privacy for more information.

Fashion's biggest wave of creative-director musical chairs is now a year or so in, and the early read is starting to emerge. Over a dozen major houses have brought in new leadership, and while the broader luxury market is still sluggish, the areas designers can actually move — product, image, storytelling — are showing real signs of life. On a global scale, Chanel is seeing an immediate commercial payoff under Matthieu Blazy, Gucci looks to be stabilising under Demna, and at Dior, Jonathan Anderson's vision is starting to take shape. In this episode, senior correspondent Sheena Butler-Young is joined by BoF's Chief Luxury Correspondent Robert Williams, who has spent the last few weeks on the ground in Milan and Paris covering the shows. Williams runs through the designer reboots at Chanel, Gucci, Dior, Celine, Loewe, Givenchy, Balenciaga and Saint Laurent — and separates the resets that are paying off from the ones still searching for a formula. Key Insights: Williams calls Chanel's revamp under Matthieu Blazy the standout of the cycle, with sales up around 16 percent in the first half of the year. "It's very easy to understand, to digest. It's very visually him, it's very Chanel," he says. The house’s next challenge, Williams says, is balancing the consistency Blazy has established with newness and innovation: :"There needs to be some kind of a formula... at the same time, they need to always make sure they're investing in having new ideas." After a polarizing debut in February, Demna's September show for Gucci clicked. "He was able to bring what he's really good at, which is documenting the way people dress in real life," Williams says, though he's candid that the product left a bit more to be desired: "I'm not sure that the product has caught up with the vision... the collection still has a little bit of a ways to go." At Dior, Jonathan Anderson has sharpened the brand's image quickly, but the clothes are proving trickier to land. Where previous collections felt overcomplicated to some, he sees progress this season: "It felt more cohesive to me and it felt refreshingly just pretty." At Celine, Michael Rider has taken a more evolutionary approach to the house after Hedi Slimane. Williams says Rider has brought “something looser, more playful … a bit more of a focus on design.” Loewe’s JackMcCollough and Lazaro Hernandez, meanwhile, also resisted a wholesale reinvention after Jonathan Anderson: “They've managed to keep the brand pillars going, but rather than the focus being so much about innovation and intellect, they've moved it to the body, to the senses,” Williams says. At Balenciaga, as reports mount that Pierpaolo Piccioli could already be on the way out, Williams argues the house got its strategy inverted: "They kept a lot of the merchandising plan, but they changed the message, the values." At Saint Laurent, with Anthony Vaccarello reportedly exiting after nearly a decade of laser-focused vision, Williams calls it one of the most compelling stories to watch: As luxury fashion became obsessed with relatability and lifestyle, “Vaccarello was running in the opposite direction" The opportunity, and the risk, lies in broadening that identity: "How to build on that without upsetting the apple cart is going to be really risky but also hugely interesting to watch." Additional Resources: Fashion’s Designer Reset (Kind of) Worked | BoFLuxury’s Mid-Year Review | BoFHas Demna Solved Gucci’s Identity Crisis? | BoF Hosted on Acast. See acast.com/privacy for more information.

Today, we introduced The BoF 500 Class of 2026: 100 new members added to our ever-growing index of people shaping the global fashion industry. This year’s BoF 500 cover stories feature Miuccia Prada, Marc Jacobs, Givenchy’s Sarah Burton and Issey Miyake’s Satoshi Kondo, examining the ineffable creative quotient that turns clothes into things of desire. But creativity is just one part of the fashion equation. It is not something managers can simply turn on like a light switch. Designers also need sufficient time and resources, and teams that know how to translate their visions into commercial products — not to mention the best factories, strong retail networks and so on — to make a fashion business tick. Recently, Marc Jacobs has been grappling with some big changes at his namesake brand, opening a new chapter under new owners WHP and G-III which closed a deal to acquire the Marc Jacobs business from LVMH in September. Over the summer, Jacobs met with BoF contributor Eric Wilson in New York to discuss life after LVMH — and whether he can work with his new business partners without losing his soul. The full story is out on BoF on Oct. 7. After the cover shoot, Jacobs sat down with Imran Amed to talk about what’s next for his business and reflect on the ongoing fashion slump. “What I see is a bunch of non-creative people thinking that this all hangs on a creative person,” Jacobs says. “And I think it's just a big mistake.” Key Insights: The LVMH ceiling: Jacobs is candid that LVMH's backing came with a ceiling. “We might have a tote bag that's successful and we might have our show that's been applauded … [but] LVMH was not going to open stores or pour money into this place,” he says. Under his new owners WHP and G-III, he sees uncertainty paired with possibility: “There's an opportunity for something to change and grow, which certainly wasn't the case if we remained at LVMH. It would have just been a maintenance program, which is all that's really been in the past decade plus.” Changing the designer as a fix: Asked about last year’s wave of creative changes across the industry, Jacobs pushes back on the idea that just swapping out a designer fixes everything. “You can put a different logo over a designer's head or you can change the store that clothes are available in, but there’s an exhaustion, I think, from all of this stuff. And I don't know that the world even knows who's where at any given point,” he says. Instinct over advice: Jacobs resists offering advice to emerging designers, instead emphasising lived experience: “You do your best to trust your instincts and to go with your instincts in the gut ... I've been up and down and out, and I just never lose this desire to make things and be a part of this fashion world.” Additional Resources: Marc Jacobs | BoF 500 | The People Shaping the Global Fashion Industry Introducing The BoF 500 Class of 2026 Miuccia Prada, Marc Jacobs, Sarah Burton and Satoshi Kondo Are 2026’s BoF 500 Cover Stars Marc Jacobs Approaches a New Era Hosted on Acast. See acast.com/privacy for more information.

In 2024, Milan prosecutors uncovered sweatshop-like conditions within the Italian supply chains of major luxury brands, revealing that workers faced degrading living conditions, low pay, and 15-hour workdays. Nearly two years later, despite brands strengthening internal controls, increasing audits, and restricting subcontracting, labour groups report little fundamental change on the ground. This week, BoF’s Sarah Kent and Sheena Butler-Young explore whether the luxury sector's response has addressed the root causes of this exploitation, or merely added layers of compliance to the same flawed business model. Key Insights: Luxury’s supply chain problems are structural, not isolated. The 2024 investigations exposed more than a handful of bad factories. Kent says exploitative suppliers had become an “open secret” within parts of Italy’s manufacturing ecosystem, enabled by a fragmented supply chain and commercial pressure for low prices, speed and flexibility. “Everyone knows, no one tells because it is convenient to have them exist,” says Kent. “At its heart, when you really press people, they say it’s because of the price brands are willing to pay for products and the speed and flexibility at which they want them produced.” Brands have tightened oversight but audits are creating new pressure on suppliers. Luxury companies have increased inspections, consolidated suppliers and restricted subcontracting. But because each brand often uses a different audit system, manufacturers can face overlapping checks and conflicting requirements at a time when margins are already under pressure. “It’s a time cost, a financial cost, and a big burden to have this quite diversified system of audits that’s hitting suppliers at the moment,” Kent says. Despite tighter controls, there is little evidence that conditions have meaningfully improved for workers. According to Kent, labour groups report little change on the ground, while the luxury slowdown and falling orders are adding more pressure to manufacturers. “ From what I understand from labour groups, there is not a sense that a huge amount has changed on the ground, and I think that's partly because it's quite a complex situation that isn't only linked to luxury supply chains,” Kent says. Without changes to commercial practices that shape working conditions, improvements could remain limited. Compliance alone cannot fix the economics that helped create the problem. For years, luxury positioned craftsmanship, quality and responsible production as part of what justified premium prices. The investigations exposed significant blind spots in that narrative, particularly where brands knew which factories were producing their goods but focused on product quality rather than labour conditions. “It is very interesting to me that for luxury in particular, which has long spoken about issues of labour abuse or environmental degradation as being a fast fashion issue, to have such apparent blind spots when it comes to its own supply chain,” Kent says. Industry-wide solutions remain limited by fragmented standards and voluntary participation. Efforts such as the Milan Protocol aim to create common standards and a database of vetted suppliers. But participation remains voluntary and limited geographically, while brands have struggled to align around a single auditing framework. Kent questions: “If everyone’s not on it, and everyone’s not using it, and they don’t have to be on it and they don’t have to use it, how useful is it?” Additional Resources: Has Fashion Fixed Its Italian Supply Chain Problems? | BoF Inside Luxury’s Italian Sweatshops Problem | BoF Is Luxury Finally Set for a Sustainability Reckoning? | BoF Hosted on Acast. See acast.com/privacy for more information.

Every weekday morning, a certain slice of New York opens the same e-mail. Lawyers, bankers, editors, restaurateurs: some of the city's most plugged-in people read Feed Me, the daily newsletter written by Emily Sundberg. In a few short years, Sundberg has turned a newsletter she started at her desk into one of the most talked-about new media publications in New York. She has built it herself, with a paywall from day one and no outside investors. Feed Me now includes contributing columnists, reader events, merchandise and a podcast. Her readers are exactly the people fashion brands are trying hardest to reach: smart, sceptical and very aware of how they are being marketed to. That makes Sundberg one of the sharpest outside observers of the industry today. "I just never underestimate how clued in and informed my audience is, and I never want to speak down to them." Sundberg joins Amed to talk about building a media business on instinct, and capturing the attention of fashion's most sought after customers. Key Insights: Fashion's customers know exactly how they are being sold to: Sundberg notes that when a strong campaign lands on Instagram, the compliment is increasingly about the marketing itself. "They're in on the bit. They know that they're being sold to," she says. She tells brands to stop recycling the same models and copy, and to assume every campaign will be "dissected, potentially dunked on, on X or Substack or Instagram." Pushing a single product can backfire: Sundberg has noticed brands putting all their marketing behind one hero item, such as J.Crew's pink shrunken sweater or a Free People coat she saw 20 women promoting on her feed. "Why would I want to buy that coat if you're pushing it so hard?" she says. Sundberg cites shoppers booking flights to buy Chanel's new collection as "the best case scenario." Menswear is how fashion reaches readers who don't work in it: "Almost half my readers are men," Sundberg says, and many of them "actually geek out a lot about how they get dressed every day." Her male readers follow how their favourite clothing companies have changed through bankruptcies, investments and new creative directors. "There's a way to talk about fashion and style to non-fashion people," she says. "And that has become really important." Fashion media lacks the independent, authoritative voices that other fields have: Sundberg has trusted experts for restaurants, tech and books, but says: "I don't feel like I have as many of those voices right now in fashion." She worries that people starting Substacks and podcasts aren't being edited. When Amed says fashion media sits too close to the brands it covers, she agrees that too much of it runs on the "same press releases" and is "scared of advertisers." Three Books Emily Sundberg Recommends: Scribble Scribble: Notes on the Media, by Nora EphronThe Official Preppy Handbook, by Lisa BirnbachThe Shards, by Bret Easton Ellis Hosted on Acast. See acast.com/privacy for more information.

Fashion brands have long used cafes, restaurants and hospitality to sell a broader lifestyle. Increasingly, they’re looking to a less obvious partner: the gourmet grocery store. From branded smoothies and limited-edition tote bags to run clubs, labels are tapping destinations such as Erewhon, Happier Grocery and Meadow Lane to reach consumers in the course of their everyday routines. The draw is clear: these spaces sit at the intersection of food, wellness and community, while offering a highly-sensory environment for brand storytelling. But as more labels pile in, the challenge is making sure these collaborations amount to more than an expensive Instagram moment. In this episode, senior correspondent Sheena Butler-Young is joined by BoF marketing correspondent Haley Crawford to discuss why fashion is moving into the grocery aisle and what brands need to do to get it right. Key Insights: Tie-ups between gourmet grocers and beauty predate today's boom. Erewhon laid the groundwork with early influencer- and celebrity-driven partnerships — including Hailey Bieber's strawberry glazed smoothie in 2022 — while British handbag label Anya Hindmarch has made custom grocery totes for Waitrose and Daylesford for years. Now, Crawford says, "gourmet grocery has just grown so much that there's a much larger sandbox for brands to play in."Crawford is skeptical that grocers are fertile ground for genuinely new fashion products. The more successful tie-ups — like On's long-term Erewhon partnership, which paired a running shoe capsule with a run club and a co-branded recovery juice — use the grocer to market products the brand already has. "This is where brands might have more success than trying to force a raffia skirt that has nothing to do with the brand or the grocer," she says. "It really has to lend itself well to the universe of the grocery store." For most brands, Crawford says the value of these collabs is primarily top-of-funnel – offering marketers a path to connect with customers who may not be ready for a major fashion purchase If they're not ready to shell out $500 for a handbag, they can definitely afford a $15 smoothie," she explains. "That can be something of a revenue driver, but it more so gets them into the funnel and drives that loyalty and brand awareness." In many cases, brands are borrowing "wellness halo" from these stores, Crawford says. But she warns the format risks becoming generic as more brands pile in: "We've seen it with every brand launching their own café... brands need to be wary of that as they tread into the space so it doesn't just become another hot new trend that they're jumping on."The strongest partnerships hinge on genuine identity overlap and understanding a grocer's specific capabilities — whether that's Meadow Lane's ability to whip up custom menu items like a trout dip for Dairy Boy, or Happier Grocery's built-in cafe setup, which let fashion brand Nanushka import its own cafe concept to New York. Prada Beauty took a different route entirely, partnering with local design agencies to stage market takeovers in cities like Milan for its Prada Spring Market. . Crawford's takeaway: brands should ask "what can these grocers offer to me?" before chasing the trend. Additional Resources: How Hotels Became Fashion's Most In-Demand Partner | BoFErewhon Is Coming to New York With a Smoothie Bar | BoF Hosted on Acast. See acast.com/privacy for more information.

In 2023, Christopher Kane did what no independent designer ever wants to do. He closed the label he had spent 17 years building with his sister, Tammy Kane. This was the man who put rubberised lace on the runway, who cut up saddle leather on a domestic sewing machine, and who found his ideas in the least obvious places. This Sunday, Kane returns to London Fashion Week as Mulberry’s creative director of womenswear. It's an unlikely pairing. Mulberry means Somerset leather, country houses and the bags everyone remembers from the brand’s buzzy Alexa Chung years. Kane’s world has always been more subversive: Catholic school uniforms, the strong women who raised him in Motherwell and the "bad, cool girls" who have run through his work for two decades.  But Mulberry needs something new. Two years ago, it was fending off a takeover bid, cutting nearly a quarter of its corporate roles and seeing sales slide. Under chief executive Andrea Baldo, Mulberry is rebuilding itself around Britishness and craft, and there are early signs it's working. Sales rose 23 percent in the first quarter of this financial year.  Kane’s first fashion show is the next and most visible test of that strategy. He sees the job as an extension of his idiosyncratic design sensibilities. A few days before the show, Kane sat down with BoF's editor-at-large, Tim Blanks, who has followed his work since the beginning. They talk about the axe in his Instagram teasers and what his years away from fashion has taught him. Key Insights: Pruning your work as a design philosophy: Kane has been posting images of an axe chopping a tree ahead of the show — a reference, he says, to arboriculture and to his own process. "I have been editing heavily and pruning, as you would say, to fine-tune this really clear message, but also having a blade-like precision," he says. "I think I've learned over 20 years in the business, of really having a heavy edit and just always trying to be precise." Mulberry’s mix of Britishness: Mulberry was never a status bag where Kane grew up; it was a football casual brand. Long before Alexa Chung and the brand's golden moment, Kane knew Mulberry as one label among many worn by football casuals in Motherwell. "Mulberry was definitely present when I was growing up, but it wasn't the obvious bag," he says. "It was the rugby shirt or the football T-shirt" — worn alongside labels like Burberry as "an amalgamation of street culture, youth culture." A failed business teaches you things a successful one never will: Kane is candid about what the two years since his label's closure gave him. "That time off really gave me perspective into what I really wanted in life," he says. "The highs are there, but they're very short-lived. And the lows are there, and they're also short-lived." He's blunt, too, about an industry that rarely acknowledges its casualties: "No one ever sees that, what designers and creatives go through, because it's a tough game, but for some reason we're truly addicted to it and we love it." Every collection is autobiography: Kane says the Mulberry collection carries the same personal references that defined his own work — Catholic school uniforms, the "bad, cool girls" of his Motherwell childhood, the women in his family who raised him. "Every collection I've done has always been a bit of an autobiographical look to my life or my childhood," he says.  Additional Resources: Is London Fashion Week Back in Action? | BoFChristopher Kane Joins Mulberry to Power Ready-to-Wear Relaunch | BoFMulberry Quarterly Sales Jump 23% as Turnaround Gathers Pace | BoF Hosted on Acast. See acast.com/privacy for more information.

Behind every luxury handbag, bespoke suit and couture gown lies an intricate value chain powered by skilled artisans. But as master craftspeople retire without successors, fashion faces a growing shortage of skilled workers — US tailoring employment has fallen roughly 30 percent over the last decade. Nordstrom, North America's largest employer of tailors, is funding tailoring programmes at FIT and Seattle Central College with another planned at ASU FIDM. The effort is aimed at   rebuilding that pipeline at a moment when skilled trades more broadly are enjoying  renewed interest from young people questioning the value of a four-year degree. In this episode, Sheena Butler-Young is joined by BoF Commercial Features Editor Dan Hastings to explore why fashion’s skilled-trades pipeline has thinned,  what the industry is doing to rebuild it, and whether rising tuition costs and anxiety around AI have created a new opportunity to sell young people on these careers.  Key Insights:   As Hastings sees it, today’s shortage reflects decades of consolidation and the shift of more luxury manufacturing outside traditional fashion capitals. In his view, the industry failed to invest enough in training the next generation of skilled craftspeople, leaving many expert artisans nearing retirement with too few successors in the pipeline. The industry, he says, "kept the offices in the West... but we didn't really train that next generation of handicraft people.” Fashion has long heralded  the creative director while overlooking the production side. Hastings argues the industry " venerates the creative director" as its "rock stars," while the people making the clothes remain invisible — a visibility gap that can be compounded, particularly in more junior roles, by pay that doesn’t always reflect the skill required. Apprenticeship programmes tend to cluster around established luxury hubs, leaving many young people unaware these careers are even an option. Hastings argues that interest is there when people know where to look: “It all comes down to knowing that these programmes exist.” But information about apprenticeships, scholarships and bursaries doesn’t always reach prospective workers. Short courses can make trade careers look deceptively fast to enter, but true mastery takes decades. Hastings notes that at some fashion houses, reaching the highest levels can require decades of experience, warning that for a generation “raised on instant gratification,” the long runway between entering the trade and reaching real earning power can be a tough sell. While AI may automate some patternmaking functions, Hastings insists it can't touch the artistry of haute couture. He recalls the tradition of embroidering a strand of hair into a Chanel wedding gown for good luck — “that kind of magic doesn't really happen with AI” — arguing luxury houses will have no choice but to keep investing in training if they want to justify their prices on craftsmanship. Additional Resources: Can AI Ignite a New Generation of Fashion Tradespeople? | BoFFashion's Craftsmanship Challenge | BoFFacing a Shortage of Luxury Artisans, LVMH Seeks Apprentices in the US | BoF Hosted on Acast. See acast.com/privacy for more information.

Colleen Allen learned to sew sitting on her grandmother's lap, holding the fabric while her grandmother worked the pedal. Growing up in the Midwest, far from the industry, she found her way in through magazines, fashion blogs and old McQueen shows on YouTube. Allen studied menswear at Parsons, moved to London for a semester abroad at Central Saint Martins and asked to stay on to complete her degree. She landed her first job designing menswear at The Row but then something shifted. She decided to venture out on her own and create a womenswear label in 2024. Since then, Allen says the business has grown by triple digits year over year, with no outside investment and no full-time team other than herself. So how did she do it? This week on The BoF Podcast, Allen joins BoF founder Imran Amed to talk about the making of a womenswear label, the discipline behind self-funded growth and what she's building next. This conversation was recorded ahead of the LVMH Prize final in Paris, where Allen was one of nine finalists. Key Insights:  A blog-era education: With no connections to the industry, Allen taught herself fashion through magazines, hand-me-downs and, later, fashion blogs. She describes Alexander McQueen's Plato's Atlantis livestream as a formative moment: "It just totally blew my mind that there was still something to be discovered and something new and something transformative." Advocating for herself at Central Saint Martins: After a single semester abroad, Allen asked to stay at CSM and was told no. "I thought, no, I'm going to figure it out. I'm going to find a way to stay," she says — and by the end of the year, the head of menswear invited her to remain in the programme. Leaving menswear to design for her own body: After years designing menswear at The Row, Allen realised she had "no connection to my femininity, to my body" — and that the only way to process that was through her own work. "The only way I was going to be able to create that space for myself and my sort of own becoming into myself was to be creative, to work through fashion," she says. Disciplined cash flow management : Entirely self-funded, Allen has grown her business by only working with retail partners willing to pay a deposit upfront — even if it means turning some away. “We are really only working with people on a deposit basis. Otherwise it's impossible. And so I'm very grateful that within the current retail clients, people have been accommodating for those terms because it's the only way it works.” she says. Building a world, not just a product: Looking ahead, Allen wants to reinvest wholesale revenue into her direct-to-consumer business while continuing to expand the creative universe around the brand — campaign imagery, casting and, eventually, a runway show. "It's about bringing people into the world and creating more than just the product, but like who our woman is," she says.  Two Books Colleen Allen Recommends:  Red Comet by Heather Clark Gods and Kings by Dana Thomas  Additional Resources: What to Look Out for at New York Fashion Week | BoFLVMH Announces Young Designers’ Prize Semifinalists for 2026 | BoFNew York Fashion Week’s Identity Crisis | BoF Hosted on Acast. See acast.com/privacy for more information.

For many shoppers, fashion is now experienced primarily through a screen — discovered on social media, watched on runway livestreams and purchased from a product photo. Fashion critic Eugene Rabkin argues in his new book that this shift has left the industry prioritising a garment's image over the garment itself, hollowing out creativity and quality along the way. At the same time, as AI generated imagery floods the feed, a counter-movement is emerging: luxury brands are commissioning painters and illustrators, hosting phone-free dinners and building hands-on experiences designed to pull customers back into the physical world. In this episode, senior correspondent Sheena Butler-Young is joined by Diana Pearl, BoF's US Editor, and Marc Bain, BoF's UK Editor and technology correspondent, to discuss whether this renewed emphasis on human creativity and craft is a meaningful response to fashion's image-first culture — or just the next trend cycle. Key Insights: As consumers increasingly interact with clothing through small screens rather than in person, Bain explains that subtler markers of quality have lost their power to communicate value. "As we interact more with clothing through imagery rather than the physical garments themselves, the logo becomes more important... Now the logo is just the easiest thing to identify. And that has become the most important thing on a garment."Drawing on a concept borrowed from French theory, Bain says  the gap between a product's online image and its physical reality has left some shoppers disillusioned — a dynamic he says extends well beyond fast fashion. "It doesn't just apply to Shein..Eugene Rabkin's argument is that it's come to apply to a whole lot of fashion, including luxury fashion... There's been this decline in quality over the years."Bain says and Rabkin are  careful not to cast technology as the villain, noting that AI's impact depends entirely on how brands choose to use it. " Technology is amoral. It's a tool..And it's really how it's used that is more important."Pearl points to a wave of luxury brands hiring painters, illustrators and sculptors as a direct response to overly polished, perfected imagery that technology has made ubiquitous — a trend only accelerated by AI. e. "Being perfect and having just this picture-perfect imagery is no longer seen as aspirational. It's actually seen as, ‘slop’ … having that human-made art... is what feels now aspirational and special."As brands pull back from influencer-driven content blitzes in favour of intimate, phone-free events, Pearl says the playbook for measuring success has changed. . "It's all representative of this bigger shift that we're seeing away from volume and just get as much content as possible... towards the depth of connection." Additional Resources: Is Fashion Stuck in Its Simulation Era? | BoFAs AI Floods the Feed, Fashion Marketers Tap Artists | BoFLogging Off Is the New Luxury. How Can Brands Adapt? | BoF Hosted on Acast. See acast.com/privacy for more information.

In the summer of 2007, BoF founder Imran Amed landed in Tokyo for the first time. A young American writer named W. David Marx took him on a menswear tour of the city's back streets of Shibuya and Harajuku. That trip would eventually lead Marx to become BoF's first contributor — apart from Amed himself. Nearly 20 years on, Marx is still in Tokyo, watching a city that experienced three of fashion's biggest shifts before anywhere else: luxury as a middle-class product, the rise — and now retreat — of streetwear and menswear as a global obsession. Marx is the author of three books on Japanese and global culture. The first, “Ametora,” is about how Japan absorbed, and then improved, American style. The most recent, “Blank Space,” is a cultural history of the 21st century, arguing that something has gone missing from the way we make culture today. Amed sat down with Marx in Tokyo to discuss all of this and more in what is a fascinating conversation about the state of global culture and global fashion today, and how Japan’s place in it has changed.  Key Insights:  Japan taught the luxury industry that luxury could be a mass-market business.  Marx traces Japan's luxury boom back to the 1970s, when newly wealthy Japanese travellers began bringing home souvenirs from Paris. He argues Japan is where brands like Louis Vuitton first learned that "luxury could become a middle class market," building duty-free stores in airports rather than relying solely on flagship boutiques for old-money customers — a model since exported across the world. Tokyo Was the Origin Point of the Global Streetwear Boom: Marx lays out how Bathing Ape's underground Tokyo stores became a phenomenon so outsized it reshaped how the rest of the world thought about streetwear. He recalls a Stüssy veteran saying, "Bathing Ape blew streetwear out of the water." Luxury's growth problem is structural, not cyclical. Marx argues luxury goods are fundamentally different from something like an iPhone, because "for every additional handbag you sell to a new consumer, you do decrease the value of the handbag that you sold originally." That tension between scarcity and growth, he says, “is at the root of the industry's current slump”. Culture Has a ‘Blank Space’ Where Invention Used to Be: Marx’s  central argument is that value shifts, not a lack of talent, have pushed culture away from art for art's sake. He points to hip-hop and graffiti as movements built by outsiders pursuing invention for its own sake, contrasting that with today's incentives: "If you are making things to get attention, if you're making things to make money, it's just very unlikely that your strategy's going to be to be the most inventive as it could possibly be." Three Books W. David Marx Recommends Fashion is Spinach, by Elizabeth Hawes On Human Finery, by Quentin Bell For a Critique of the Political Economy of the Sign, by Jean Baudrillard Additional Resources: Streetwear’s First IPO, Explained | BoFHow Big Luxury Is Rewiring for the Future | BoFHow BAPE Kept Its Cool for Decades | BoF  Hosted on Acast. See acast.com/privacy for more information.

Beauty has long been one of the industry’s most reliable growth engines — fragrance boomed post-pandemic, prestige beauty held up better than other categories, and value-driven brands like e.l.f. proved that sharp pricing and marketing could keep consumers spending. But a slowdown that began last year and has only become more pronounced since has challenged that thinking. In this episode, senior correspondent Sheena Butler-Young is joined by BoF senior beauty correspondent Daniela Morosini to unpack the first half's earnings across the beauty conglomerates — from Estée Lauder and Shiseido to L'Oréal, Beiersdorf and E.l.f. — and identify what’s still driving growth and what’s stalling, as well as what investors will be watching for next. Key Insights:   Selective Spending, Not Shrinking Wallets: Consumers haven't stopped buying beauty — they've become pickier about where they spend and what they’re purchasing. "People are just getting a little bit more selective," said Morosini. Shopping itself is shifting, too: "Maybe it's not always Sephora and Ulta. Maybe it's TikTok Shop." Skincare Results, Injectables and the Price-Value Equation: Affordable, results-driven skincare brands are outperforming, while medical aesthetics are surging in parallel. Morosini points specifically to "the derm-backed skincare brands or the dermatological brands, the more affordable ones like CeraVe and La Roche-Posay, alongside the growing pull of the lasers and the injectables."Hair's Unexpected Boom: Hair has emerged as one of the biggest bright spots this earnings season, driven equally by innovation and a cultural shift around hair loss. Morosini notes, "hair loss has just become so much more of a hot topic and I think a lot of stigma has been removed," while also crediting brands like K18 and Olaplex that “have increased what we expect hair products to do for us." Estée Lauder's Momentum Question: Lauder posted a 17 percent stock jump on its first results under new leadership, but Morosini cautions the win may be borrowed. "The question is how much has Estée Lauder improved its brand's desirability and how much has it benefited from a rising tide," she says, adding that stripped of Amazon Prime Day effects, US growth was closer to "about two percent." The Danger of the One-Hero Brand: From E.l.f.'s reliance on Rhode to Beiersdorf's dependence on Nivea, this earnings season exposed how a single hero product can mask underlying weakness. "When that's basically all concentrated around one brand, that makes investors a little bit nervous," Morosini says, noting the read-through for M&A: “At a certain point you have to buy the growth." Additional Resources: Beauty Is Growing. Not Everyone’s Benefitting. | BoFCan Estée Lauder Turn a Moment Into Momentum? | BoFBeauty Is Betting on Fragrance. Why Isn’t Shiseido? | BoF Hosted on Acast. See acast.com/privacy for more information.

Earlier this month, A Ma Maniére — one part of James Whitner's The Whitaker Group — was named one of BoF's Best Fashion Stores in the World, our definitive global list of retailers with the most distinctive edits and experiences. Whitner has spent twenty years building an independent retail business that operates more than 20 stores across 16 US cities — many of them in Black neighbourhoods that mainstream retail had overlooked — based on the feeling he got hanging out in barbershops and sneaker spots growing up in Pittsburgh. “The best things happen in the barbershop — the most interesting conversations on the block are in the barbershop,” Whitner says. “And once I got some money, going shopping … [was about] how you were serviced, the relationships you had with those people and how good you felt entering and exiting the space. The social currency tied to looking good was about feeling good.” Back in February 2025, James spoke to me about the discipline behind the business, how he's built brand partnerships that actually last, and why he believes community development, not just retail, is where he needs to head next.  Key Insights: Learning to Operate Before Chasing Scale: Whitner is candid about the unglamorous groundwork behind Whitaker Group's growth — five years learning to operate, and then another five building brand partnerships. "You have got to understand how to keep costs down, how to build an infrastructure while keeping costs down," he says. Brand Partners Who Play the Long Game: Whitner is blunt about who he'll work with. "If you want to work with brands who want to be for everybody, that means you're for nobody," he says. On scaling a business built on cultural credibility: "This is an industry that you can scale, but it's not built for scale." Nike and the Trust in Storytelling: Whitner credits an authentic relationship with Nike for the Whitaker Group's most successful drops. "Nike loves us because we're uniquely us for them... nothing scales better than a great story," he says, previewing a tighter, more intentional distribution strategy. From Retail to Real Community Development: Community development has become central to Whitner's business, with completed projects including Social Status Detroit — a $5.5 million redevelopment on the city's east side — and The Collective on Tuckaseegee, a ten-space retail compound in Charlotte. "At some point, realising that we needed to be the developer that helped shape the community," he says. “It's more important for us to drive connections and just try to help people who want to help people." Additional Resources: The Best Fashion Stores in the World | BoFThe Independent Retailer Built on Prioritising Black Buying Power | BoFThe Whitaker Group Expands With New Women-Centric Retailer Jaide | BoF Hosted on Acast. See acast.com/privacy for more information.

For a long time, upcycling sat on the fringes of the fashion industry, a tactic used primarily by small independent designers, niche sustainability labels and in one-off capsule collections. That's changing. At Paris Couture Week this spring, Swiss designer Kevin Germanier closed the season with a collection made entirely from excess inventory across seven LVMH-owned brands. Coach is turning used denim into new bags, and Uniqlo is remaking unsellable and used garments under its RE label. In this episode, senior correspondent Sheena Butler-Young speaks to senior editorial associate Shayeza Walid to explore why upcycling brands are increasingly marketing upcycling through creativity and individuality rather than sustainability alone, and what's really driving the shift from new EU regulations to a changing consumer mindset. Key Insights: Selling Creativity, Not Just Conscience: Walid points to a fundamental shift in how upcycling is marketed. It's no longer framed primarily as an environmental fix, but as a source of design distinction and story. "It felt like the term was becoming ubiquitous across marketing," she says, noting that upcycling has moved from something "relegated to a certain type of consumer or a certain type of brand" to being claimed by some of the industry's biggest names.Regulation Is Quietly Doing the Heavy Lifting: Walid connects the timing of the boom to the EU's ban on the destruction of unsold goods, which came into force in July. She notes that Kevin Germanier's LVMH-backed couture collection was deliberately built from unsold stock, not deadstock fabric — a distinction he emphasised on stage. "It also means that they'll have to figure out sustainable and approved ways for using their excess stock, and upcycling is one of the methods for that."Deadstock vs. Textile Waste — Not the Same Debate: Walid unpacks a live tension among practitioners: using deadstock fabric is being challenged by some critics as not addressing overproduction, since it still puts commercial value on excess production. "With deadstock, it's the same as using new fabric in the sense that they're rolls of fabric... that's not necessarily what upcycling is about," while brands like E.L.V. Denim work directly with used, discarded garments instead.The Infrastructure Is Finally Catching Up: Sorting, collecting and sourcing — the industry's biggest upcycling bottleneck — is improving. Walid cites organisations like Fashion for Good working on AI-assisted sorting, and platforms such as Nona Source and The Materialist connecting brands to deadstock fabric. "There's a greater design interest in it now more than there's ever been," she says of the shift she's tracked through conversations with suppliers.The Consumer Wants Range, Not a Label: Walid argues the audience for upcycled product has broadened well beyond the sustainability shopper. "You could have an upcycled Miu Miu product today, and maybe that says that you like high fashion... but also you think it's cool that your product is from an upcycled material," she says, describing a consumer who wants variety in their closet rather than to be defined by one aesthetic or ethic.Scale Remains the Unsolved Problem: Despite the momentum, there are limits. Sizing and colour inconsistency frustrate wholesale buyers, the process is inherently slower than working with virgin material, and export bans on used textiles in countries like Bangladesh complicate sourcing. She also flags that upcyclers in the Global South — in markets like Kantamanto in Ghana — have done this sort of work for generations but remain largely excluded from the value chain brands are now building. Additional Resources:Why So Many Fashion Brands Are Upcycling | BoFWhy Fashion’s Economics Work Against Sustainable Brands | BoFCan the EU Ban on Destroying Unsold Goods Actually Work? | BoF Hosted on Acast. See acast.com/privacy for more information.

I've been interviewing Nick Knight for more than 15 years. This is our fourth in-depth, sit-down interview. At this stage, it's become something closer to a running conversation about how technology is reshaping fashion. This time around, I wanted to know where Nick is focusing his energy now. It turns out, he is building his own AI datasets from scratch — photographing a model over and over so the machine sees the world only through his references, and never scrapes the internet for somebody else's. He takes his own still image and asks the AI to make it move, producing something that is neither a photograph nor a film.  I also asked him for the advice he'd give to young image-makers starting out today, in the age of AI. This week on The BoF Podcast, Nick and I get into what happened to the metaverse, how Nick believes AI is creating an entirely new medium somewhere between photography and film, and what fulfilment really means to one of fashion's defining image-makers. Key Insights:  The Metaverse Didn't Disappear, It Rebranded: Knight argues the concept never really went away, but was tainted by association once Facebook was renamed Meta.  He says, "I don't think it's necessarily drifted away. I think the term's been, to some degree, cancelled because it had too many bad connotations,” he said. "The metaverse is just a digital version of life, that's absolutely happening." Building Proprietary Datasets to Escape the Echo Chamber: Knight's studio creates its own AI models rather than pulling from tools trained on the wider internet, specifically to avoid reproducing past photographers' work. He explains the method: "We've done a conventional session where I photographed the model lots and lots of times, and lots and loads of clothes, et cetera, and that's my data set," which is then fed into the AI, "so it sees the world only through those references." Referencing Isn't Plagiarism, Copying Is: Knight pushes back on the idea that AI imagery is inherently derivative, arguing that all creative work draws on a subconscious library of influence — human or artificial. "When you walk around a museum, go around the V&A, you are taking in Botticellis, and you're taking in 20th century furniture... they go into your brain... so it's your frame of reference. AI does the same sort of thing." But he draws a hard line at direct imitation: "There's no satisfaction in copying an existing piece of work." Fashion Models Should Own Their Own Digital Likeness: Knight argues that AI could extend a fashion model's career well beyond its traditionally short, youth-focused span — but only if the model, not the agency or brand, controls the rights. "I think that fashion models need to own their own digital likeness. Now, I've spoken to a lot of model agencies and there is virtually nothing happening to make sure that happens," he says, adding that agencies have little financial incentive to invest in it.  Fame, Money and Power Are "False Goals": Asked what he's chasing if not happiness, Knight rejects the premise outright. "Fame is a false goal. Money is a false goal. Power is a false  goal. He locates his own fulfilment elsewhere: "My interaction with people in the studio, my interaction with my wife and my family... it comes from the human interaction with all people around me." Additional Resources:  Nick Knight Says Heart and Mind are the Key to Fashion Imagemaking | BoFThe BoF Podcast |  Inside The Future of Fashion Image Making with Nick Knight The BoF Podcast | Nick Knight on Why the Metaverse Is Fashion's Next Frontier | BoF Hosted on Acast. See acast.com/privacy for more information.