A large bulk of the fashion industry is feeling pretty smug with itself. The just-gone G7 summit in Biarritz, France, a meeting of the world’s largest economies, saw French President Emmanuel Macron, accompanied by Economy and Finance Minister, Bruno Le Maire, Minister of Labour, Muriel Pénicaud, and Deputy Minister of Ecological and Solidary Transition, Brune Poirson, launch the ‘Fashion Pact’. An initiative to minimise the environmental impact of the fashion industry, the Fashion Pact, signed by various fashion companies and brands, made numerous commitments regarding sustainability, renewable energy and biodiversity.
Left - Tall glass of Pinault?! The 'Fashion Pact' launch at the recent G7 summit
Making plenty of noise, and, while anything in the right direction, particularly while the Amazon rainforest is burning, is welcome, it’s worth looking at some of the detail.
Thirty two companies representing around 150 brands and roughly 30% of the fashion industry committed to:
“100% renewable energy across own operations with the ambition to incentivise implementation of renewables in all high impact manufacturing processes along the entire supply chain by 2030.”
“Protect the oceans: by reducing the fashion industry’s negative impact on the world’s oceans through practical initiatives, such as gradually removing the usage of single-use plastics.”
“Restore biodiversity: by achieving objectives that use Science-Based Targets to restore natural ecosystems and protect species.”
“Stop global warming: by creating and deploying an action plan for achieving the objective of zero greenhouse gas emissions by 2050, in order to keep global warming below a 1.5°C pathway between now and 2100.”
These all feel like the least they can do. Words like ‘gradually’ and ‘ambition’ make most of this wishful thinking. But, waiting until 2050 to achieve zero greenhouse gas emissions is laughable. Most of the signatories will be dead by then. It’s 31 years away!!! Who’s to say any of these companies will still be in business?
We live in a very stressful and confusing time. Environmental paralysis is understandable amongst consumers not sure exactly what they can do to combat climate change. But, waiting until 2050 to ‘possibly’ make that new handbag zero carbon emissions ain’t one of them. Green lip service is becoming increasingly frustrating and brands are going to have to give definite and distinct decisions while updating consumers on progress and fact based information much faster than this. People want to see something.
The brands involved include adidas, Bestseller, Burberry, Capri Holding Limited, Carrefour, Chanel, Ermenegildo Zegna, Everybody & Everyone, Fashion3, Fung Group, Galeries Lafayette, Gap Inc, Giorgio Armani, H&M Group, Hermès, Inditex, Karl Lagerfeld, Kering, La Redoute, matchesfashion.com, Moncler, Nike, Nordstrom, Prada Group, Puma, PVH Corp., Ralph Lauren, Ruyi, Salvatore Ferragamo, Selfridges Group, Stella McCartney and Tapestry.
In April 2019, ahead of the G7 meeting, Emmanuel Macron gave François-Henri Pinault, Chairman and Chief Executive Officer of Kering, a mission to bring together the leading players in fashion and textile, with the aim of setting practical objectives for reducing the environmental impact of their industry. And the Fashion Pact was born.
This goes someway to explain the most noticable luxury absentee from the list, the LVMH group. LVMH, Kering's main luxury competition, announced in May that it was partnering with Unesco on a five-year deal, allowing the fashion houses in the group access to “a network of experts at the regional level and in different disciplines to drive the development and success of their initiatives to protect biodiversity” and secure transparent supply chains. They’ve also recently cemented a tie-up with British designer Stella McCartney to lead their charge in sustainable luxury.
The majority of these brands don’t know what the eco-future looks like, but they know they need to start making the right noises yet want to continue to generate billions of dollars in yearly turnovers. Signing up to things like the ‘Fashion Pact’ focuses minds, but the time frame makes it a case of we’ll start tomorrow, which goes against the current urgent 'Climate Emergency' feeling felt within the wider population.
Kering issued a statement saying, “Private companies, working alongside nation states, have an essential role to play in protecting the planet. With the Fashion Pact, some leading players in the fashion and textile sector are joining forces for the first time to launch an unprecedented movement. A collective endeavour by its nature, the Fashion Pact is open to any company that wants to help to fundamentally transform the practices of the fashion and textile industry, and to meet the environmental challenges of our century.”
If these luxury companies worked as quickly as they did when chucking money at Notre-Dame, after its fire, then we’d really be getting somewhere. Pinault found €100m (£90m) down the back of the sofa and the Arnault family stumped up €200m within hours of the flames being put out.
Governments will need to bring in legislation much sooner to force these companies to do more. We’re going to look back at this period of history and wonder how we got through it sanely, but what we know is, we have to start today.
It was while watching the Alexander McQueen documentary at the beginning of the summer - Read TheChicGeek Review here - when I wondered where the subsequent crop of young designer brands were.
The British based designers who were the generation after McQueen and showed so much promise - Christopher Kane, Jonathan Saunders, Mary Katranzhou, J.W. Anderson etc. - and despite some investment, just haven’t been able to scale up their brands in the same way McQueen and Stella McCartney were able to.
Left - Christopher Kane's only permanent store on London's Mount Street
I realised that this was a signifier of how the luxury market has changed and the days of nurturing fledgling brands into ‘Mega Brands’ are over. It illustrates the saturation in the market and it’s all about making big brands even bigger, today. “If you’re not going to be a billion dollar brand, then it’s probably not worth our time", is the new attitude. It probably explains the reason why Michael Kors recently bought Versace. Read more ChicGeek Comment here
David Watts, Founder, Watts What Magazine, says, “I suspect that this is more to do with the parent company realising that these businesses are not scaleable - or to the extent of other portfolio brands and cutting their losses.”
“In the current very challenging retail market and designer wholesale model not being as robust as it used to be, brands need to shore up cash and also give themselves a buffer,” says Watts.
“For the larger groups though, bigger really is better,” says Sandra Halliday, Editor-in-chief (UK), Fashionnetwork.com. “When they take on a brand, they want it to have billion dollar potential, or at least to occupy a strong niche that will guarantee high profit margins. The stakes these days are too high to do anything else,” she says.
When the Gucci Group invested in McQueen, Stella McCartney, Bottega Veneta and Balenciaga in 2001, it signalled the moment the luxury fashion industry was in full expansion mode and opening stores all over the globe. Following that, there was a raft of investment in the generation after, with Kering - formally Gucci Group - investing in Christopher Kane in 2013 and LVMH investing in Nicholas Kirkwood and J.W. Anderson in the same year. Everybody was billed “as the next…” but it just hasn’t materialised. Well, not in consumers’ heads anyway.
Now, brands are going into reverse; fashion’s answer to “Conscious Uncoupling”. Stella McCartney just bought back the 50 per cent she didn’t own from Kering and rumour has it, Christopher Kane, is in talks to buy back the 51 percent stake from the French group after a 5-year partnership.
Right - J.W. Anderson single store in East London
Halliday says, “I think in Stella McCartney’s case there was a genuine desire to run her own show and given the strength of her brand, that’s understandable.”
“For Christopher Kane it’s probably more about Kering focusing its resources and its time on its big winners, and that makes sense with Gucci, Saint Laurent and Balenciaga doing so well and Bottega Veneta needing lots of TLC,” she says.
“It give them a certain freedom and with the knowledge and experience learned (hopefully) as being part of a large group that they know how to be more careful with finances and astute with merchandising and keeping overheads down,” says Watts.
“Staying small, focussed and niche with a direct to consumer model could work for some brands, but it’s also very tough to make serious money at that scale,” says Watts. “Of course, there are possibly different and extenuating circumstances for why these brands find themselves in their current predicament. What does it tell you that LVMH and Kering cannot make Stella McCartney, Christopher Kane, Edun and Tomas Maier work…..gonna be tough for them as independents however the chips may fall,” he says.
Announced this year, LVMH has severed ties with Edun, Bono’s ethical fashion brand, and Kering has closed Tomas Maier, previously the Creative Director at their other brand, Bottega Veneta. These brands will have to regress back to start-up mode and think small again if they are to survive.
“In many ways, the future prospects of small designers hoping to break into the big time are quite depressing as the barriers to doing that are very high.” says Halliday. “But, on another level, the internet offers opportunities that didn’t exist just 20 years ago. The combination of a well-run e-store and a physical flagship can actually be a very cost-effective way of reaching the maximum number of consumers.” she says.
“Even if smaller labels can build profitable businesses, the chances are that the end result will be a hoped-for takeover by a bigger group, or by private equity investors, as that’s the kind of investment that’s really needed to make the transition into bona fide big-name brand,” says Halliday. “And all of that doesn’t even factor in what might happen if the luxury boom runs out of steam at any point,” she says.
Those brands fitting somewhere between these smaller designers and the giant groups are making their play for their futures too. Versace has already taken shelter in a bigger American group and other Italian family brands are sensing this shift and deciding on which side of the billion dollar divide they aspire to be on. Missoni opened its ownership up to Italian state-backed investment fund FSI for a cash injection of €70 million, in exchange for a 41.5 percent stake and rumours continually circle around Ferragamo suggesting they are looking for investment or a new owner.
Belgian designer, Dries Van Noten, recently sold a majority stake in his eponymous fashion brand to Spanish cosmetics group Puig.
“Dries Van Noten is 60 and after 30 years if he keeps creative control and remains chairman of his brand, then cashing in a huge stake gives him financial security, and also Puig brings cosmetics, beauty and fragrance know-how,” says Watts. “It could be huge for a brand such as Dries Van Noten - it’s a win win for him on paper.”
“Most people who are outside of the fashion (production) industry really have no idea both how complicated it as and how hard it is to make money,” says Watts. “Fashion wholesale is broken and fashion retail is in freefall,” he says.
Disappointingly, the focus has moved away from talent to bankability. Young designers who were previously given a leg-up with investment look too high a risk and expensive for today’s investors. It seems that only those brands breaking that billon dollar turnover ceiling are worth focussing on. You can increase profit margins by making less, but in larger volumes and become a more dominant force. It is more of a risk having fewer brands, but you can win bigger and Kering is clearly taking pole position right now.
Read more ChicGeek Comments - here
We know what our clothes are made from, you only have to look at the label, but do we know which materials are the least and most damaging to the environment? Probably not.
The new fashion exhibition at the Victoria & Albert Museum, Fashioned From Nature, gets serious about the impact fashion is having on the world. It starts off fairly simply, looking at the raw and natural materials used in clothing and decoration from the 17th century onwards, and quickly charts the growing appetite for the rare and exotic to decorate the wealthy’s clothes.
Left - Historical dress inspired by nature and new discoveries
Right - Fashion protesting against itself
It’s interesting how our love of nature and the beauty we see in it has made people want to wear it and at the same time destroy it. It's very difficult to strike a balance.
This isn’t your standard fluffy fashion exhibition or one dominated by big names, it’s a thought provoking look about what things are, where they come from and their impact on the environment. But, it’s done in a way that isn’t preaching or has a strong agenda.
It’s sponsored by the European Confederation of Flax and Hemp, but I feel they could have done more to highlight the benefits of wearing flax. (I didn't see hemp mentioned at all). Most commonly made into linen, flax is one of the easiest and least damaging forms of materials to grow and is definitely something we should be wearing more of. It would have been nice to see more with regards to how you can use it, different finishes and something more than being the material of a few seasonal summer shirts and suits. There’s a wall you can touch at the very beginning made of flax. It feels like really dry horse hair.
Left - Lace Bark grown from a tree
Right - Toxic Evening Coat, Madame Grès, 1936
Things I learnt from this exhibition: I’d never heard of ‘Vegetable Ivory’ or ‘Lace-Bark’ before. I didn’t know the bones used in corsetry are called ‘Baleen’, after the type of whale.
Upstairs there is a lot going on. Some pieces are simply inspired by nature while others show new materials made from by-products or waste. ‘Vegea’ uses grape waste from the wine industry to form a leather-substitute and their ‘Grape’ gown is on show, as well as a Ferragamo piece made from ‘Orange Fiber’ derived from waste from the Italian citrus industry and an H&M Conscious dress made from recycled shoreline plastic.
I think educating people - cotton uses ridiculous amounts of pesticides and water - about what they are wearing is important and it would have been good to have seen different materials: wool, flax, cotton compared with one another. These are the main choices people have when shopping.
Fashion in its nature is wasteful and destructive. There’s no logic to moving on from perfectly wearable clothes and buying new ones other than to stay ‘fashionable’. But, that’s how it works and it’s also a huge business employing many people.
We need to be realistic, the odd dress made from recycled plastic bottles isn’t even scratching the surface. We need to look at clothing like other recyclables. Take the components and raw materials apart and reuse into new garments. This would require less fresh materials and would also close the loop on the fashion industry.
Left - Vegetable Ivory
Right - The flax wall
I think it’s naive to ask people to buy less. We need to improve environmental practises, push less destructive options and reuse and recycle more.
Fashion is dictated to by money. The minute it becomes more cost effective to do something, then it will happen. Let’s just hope that's sooner rather than later.
Fashioned from Nature - Victoria & Albert Museum - Fashion, Gallery - 21 April 2018 – 27 Jan 2019 #FashionedFromNature - £12
Below - The 'GuppyFriend' which stops micro particles being released from your washing machine into the environment
When I started in this business summer shoe options consisted of cheap flimsy flip-flops or jelly-sandals for those pebbled British beaches. There was little or no choice and there certainly wasn’t any style - even though jelly sandals are kind of bad cool ATM FYI!
Anyway, let me introduce ‘CASABLANCA 1942’ who are making some of the nicest and most beautifully crafted hot weather shoes I’ve seen. Started in May 2014 by Gabriela Ligenza, and inspired by the classic film and the year it was released, the shtick is raffia.
Left - Cesare
The uppers are made from breathable natural raffia woven in Mogador, Morocco, and then construction takes place in Italy using the finest sustainable leather from French and Italian tanneries.
Right - The raffia comes from the raffia palm tree in Madagascar
The raffia fiber is obtained from the raffia palm tree, commonly found in Madagascar. The leaves of this little tree are cut into parallel lines resulting in the long fibers used in the weaving of the shoes. Unlike straw, raffia is stronger, hard-wearing and will mould to the feet when worn.
Polish-born Gabriela trained as an architect and interior designer at Fine Art Academy in Warsaw. She also designed hats before this venture. Based between London and her design studio south of Florence, Italy, she travels extensively for her inspirations and research. Gabriela has collaborated for the last 20 years with leading accessories and shoe designers for global brands like Salvatore Ferragamo, Bottega Veneta, Prada, Martin Margiela, Missoni, Paul Smith and Stella McCartney to develop hand woven raffia shoes produced using entirely traditional hand weaving techniques, but combining the craft with Italian know how and quality materials.
The idea for Casablanca 1942 was conceived whilst sitting on a beach under the stars watching the film, Casablanca, with the background sound of the Atlantic and thinking “what would Rick wear in this intense and sweltering city?”
Each pair takes at least a day to make so the shoes are made in limited editions. After all, "true luxury should be not about the price, but in the uniqueness of the product," she says.
Left - Lace Up Trainers £260
Gabriela believes that helping local cooperatives to incorporate external developments and training improves the marketability of the local skills and products, respecting its identity, distinctiveness and preserving sustainability on a grass roots level.
Gabriela says the shoe styles are inspired by “trying to design the perfect summer shoe for my husband so he can get inspired to go on holidays more!”
There are a few thing to know to get the best out of your pair. You may find that the shoes are a bit tight when you wear them the first time, but they will soon give as they moulds to your feet. You might want to wear them with socks for the first time for your own comfort, but they are designed to be worn bare foot in very hot weather.
Right - Woven Loafers - £228
If you feel that it rubs a bit too much on a certain area, it is recommended that you apply a wet cloth on this part of the shoe while it is on your foot, in order for the raffia to mould to your foot more quickly.
Raffia, being a natural fiber, will feel very comfortable without socks as the fiber will keep your feet fresh and naturally ventilated. As they become yours, “they are even more special even when they start wearing in and fraying a bit,” says Gabriela.
These are really elegant and artisanal summer shoes and I don't think the photographs do them enough justice after seeing them in person at the recent Pitti Uomo show in Florence.
Available at Harrods in the UK
Sliders are here to stay and while the design stays pretty much the same, for many, it’s all about the branding. The majority of brands make it all about them, but these, from Isabel Marant’s first men’s collection, are the footwear equivalent of a conversation pit. Think Joe Colombo furniture and Space Odyssey.
While pricey, they are made from leather and I love the homage to some of the footwear greats of the 20th century. Here's also a mini footwear history lesson too.
Left & Right - Isabel Marant - Hellea Quilted Tri-Colour Leather Slides - £305 from matchesfashion.com
Left - 1938 Cork-layered sole and heel covered in multi-colored suede. This style was designed for the London department store Fortnum & Mason and was a variation of the model that Ferragamo created for Judy Garland.
Left - Mid 1970s Terry De Havilland Sima 1 is pure glam rock. The tiered cork wedge is an outlandish and timeless classic.
See a top inspired by Memphis
I didn’t really know very much about Tim Coppens, I actually thought he was American, until I attended his AW17 show in Pitti in Florence. Born in Belgium and graduated from the acclaimed Royal Academy of Fine Arts in Antwerp, according to his website, he has worked with various prestigious luxury and sports-performance brands before founding his own label in New York. In 2012 he received the Ecco Domani Award for “Best New Menswear Designer”. The following year he was awarded the Fashion Group International Rising Star of the Year. Most recently Coppens was the 2014 winner of the CFDA Swarovski Award for Menswear and a top 10 finalist for the LVMH Prize.
This year he has been nominated for the CFDA “Menswear Designer of the Year” Award and the ANDAM Fashion Award.
His collection was luxury sportswear with retro references and styling. And he knew how to fit a trouser which always puts a designer in my good books. This quilted coat is a very versatility piece, but add shorts and a T-shirt and you're ready for an English summer.
Credits - All clothes Tim Coppens SS17 from Harvey Nichols, Spectacles - Salvatore Ferragamo, Fragrance - Paco Rabanne 'Invictus Intense', Shoes - Tim Little X Grenson, Soothing After Shave Balm & Easy-Glide Shaving Emulsion - Pevonia
Shocking! Well, TheChicGeek looks a bit shocked. Paul Smith's latest men's collection is a feast for the eyes with a confection of rainbow collars and bold checks and accessorises.
Nothing says 'fun' like a man's jumpsuit. Here TheChicGeek has teamed it with a the must-have cricket jumper - see the top picks of the season here - and sporty bomber jacket.
Credits - All clothes & shoes Paul Smith SS17, Spectacles - Salvatore Ferragamo, Fragrance - Boucheron 'Vanille'
Shot on Olympus PEN by Robin Forster
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When TheChicGeek met Neil Barrett - see here - he was just about to unveil this collection in Milan. He told TheChicGeek he was inspired by his childhood and the 1970s and the collection was a mix of his classic smart sportswear and 70s inspired chevrons and colours.
Neil really knows how to make clothes that flatter. Here we have a classic bomber given movement with the herringbone detail on the arms, a super luxurious knit polo with epaulettes and subtle jacquard trousers with a camo-type design. The look is finished off with smart, white gum sole shoes.
Credits - All clothes Neil Barrett from Harvey Nichols Knightsbridge, Trainers - Tim Little x Grenson, Spectacle - Salvatore Ferragamo, PRO LS All-In-One Face Cleansing Gel - Lab Series, Stress Fix Body Lotion - Aveda,
Shot on Olympus PEN by Robin Forster
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Pronounced ‘Loh-wev-eh’, Loewe, is Spain's premier luxury label. Designed by Northern Irish designer, JW Anderson, it is producing some of the most directional and top quality menswear ATM.
This season was inspired by the beach: shells, rope and boats decorated tops, jackets and accessories. Gold leaf on denim brings to mind the warmth of a summer sunset. This shell tote is stunning and a real standout piece. Who said life was a beach?!
Credits - Clothes - Loewe from Matchesfashion.com, Bag - Loewe from Matchesfashion.com, Trainers - Tim Little X Grenson, Fragrance - Bentley Momentum, Cooling Balancing Oil Concentrate - Aveda
Shot by Robin Forster on Olympus PEN
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Move over the Little Mermaid as TheChicGeek gets sculptural in the latest menswear collection from Burberry. Inspired by the British sculptor, Henry Moore, Burberry's new collection was a play with form, function and distortion. Oversized dress shirts, sweatshirts with rope detailing and twisted brogues were all part of their 'See Now, Buy Now' collection.
Spot the spring carrot throughout TheChicGeek's SS17 collections as he picks his favourite menswear collections of the season and models his favourite pieces, making him one happy geek!
Credits - Clothes - Burberry SS17, Shoes - Burberry SS17, Spectacles - Salvatore Ferragamo, Fragrance - Givenchy Gentlemen Only Eau De Toilette Fraiche, Bumble & Bumble - Sumoclay
Shot on OlympusPEN by Robin Forster
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