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Is it worth renting your clothes MY WARDROBE HQEverybody loves a side hustle. Look at your wardrobe and there is probably hundreds, if not thousands, of pounds worth of merchandise not earning its keep. It’s just hanging there, not being worn or potentially earning you money. Enter the peer-to-peer rental scheme.

It’s tempting. Under the guise of being better for the environment, women are hiring out their wardrobes for a fee. The companies facilitating this are earning a commission from each hire. The business model makes sense. There’s no initial outlay and money tied up in stock for the businesses and much like other service companies - Uber, Airbnb, eBay -  the majority of work is done by the individuals, while they cream off the commission. Sounds easy.

Left - MYWARDROBE HQ - CHANEL - Perfume Bottle Clutch - FROM £147 / DAY (RRP £15,000)

But, is this nascent industry working for lenders - those hiring their clothes out - and is it sustainable enough for this sector to scale? This business is only as good as its lenders and the product they can offer at a price which is attractive to others. Companies, such as HURR Collective and MY WARDROBE HQ, need to keep these individuals engaged, encouraged and make it as seamless as possible, while being low enough to keep people hiring frequently.

The current MY WARDROBE HQ mail-outs are enticing with £325 Rixo dresses for £8, or Simone Rocha fur stoles for £23 a day. At these prices, renting finally makes sense for many. It says customers can shop womenswear clothing and accessories from the wardrobes of Arizona Muse, Poppy and Chloe Delevingne, Olivia Buckingham, Roxie Nafousi, Caroline Fleming, amongst other fashion stylists and influencers. Victoria Prew

Founded in 2018 by Sacha Newall and Tina Lake, MY WARDROBE HQ is now chaired by Jane Shepherdson, of Topshop & Whistles fame and has just opened a pop-up in London department store Liberty until 31st March 2020. 

HURR Collective, founded in 2017, too has launched its first in-store wardrobe rental pop-up at Selfridges, London for six months. Available to rent for either four or eight days, the stock will rotate on a weekly basis and there will be specially curated London Fashion Week, Valentines Day and Holiday edits.

The value of unused clothing in wardrobes has been estimated at £30 billion with an estimated £140 million of clothing going to landfill annually in the UK alone. The fashion rental industry is projected to reach $1.96 billion by 2023.

Sarah Angus, Content Director, MY WARDROBE HQ, say, “Customers can choose a rental term that suits their occasion; 4, 7, 10 or 14 days, and we can extend this further if they require. We have customers that rent for each and all of these terms - the 10 day particularly suits holidays/vacations, while the 4 day rental is perfect for interviews and events such as LFW.” 

“Lenders make 60% of every rental or sale. Our business model includes a resale element also which has seen renters rent something, love it, and then buy it for the difference.” she says. "Our unique business model means that we manage everything for the lender; people nowadays are time poor and don’t have the time to manage things like this, but they’re conscious of the damage fashion is doing to the planet and want to do good (and also earn some cash for it). We manage the whole service from intake, photography, storage, cleaning, delivery and returns. The lenders in return receive a monthly pay cheque, minus our commission.” she says.

“We have approximately 150 lenders and this is an almost even split between individuals and brands. We have seen such huge support for the managed service that we are offering and have some big name brands joining our platform this week which we can’t wait to share!” says Angus. “We are really discerning with the items that are available on our platform and as such screen and select individuals to ensure the items are of the best condition to rent and buy. We photograph, clean and manage all the items you see on the platform so that customers can view, rent and buy the items in a premium environment.” she says.

“We price items to rent at 10% of RRP and to sell at 30% of RRP. Some items such as Chanel and Gucci retain their value so we always confer with the lender and decide a suitable price.” says Angus. “Brands in particular are tapping into this and we have seen huge uptake with brand partners, including Coach, Mulberry, Diane von Furstenberg, Temperley, Needle & Thread, Vivienne Westwood, Perfect Moment, Beulah, Chinti and Parker, all signed to MY WARDROBE HQ.”

Is it worth renting your clothes fashion rental Hurr Collective

“Our target customer is ABC1, 28-35; she recognises the damage fashion is having on the planet and wants access to items that ensure a ‘Cinderella’ moment. These are wow pieces that would cost a lot to buy but can be experienced at a fraction of the cost.” she says.

“Rental is the future!” says Angus. “Consumers care less about ownership and want to experience rather than own material things; just look at Uber, Netflix, Spotify and Airbnb, all of whom own no stock. Designers are reducing their collections or ceasing completely - Jean Paul Gaultier famously just showed his last collection and actually up-cycled his couture collection to make a stand against the damage fashion is having on the planet. 

Why buy the copycat version on the high street when you can rent it from the designer that inspired it, for the same price?” she says.

“On the HURR platform you can rent for 7, 14, 21 and 28 days. This week we launched in Selfridges where you can rent for 4 days, exclusive to the pop-up.” says Victoria Prew, CEO & Co-Founder, HURR Collective.

On the HURR Collective platform the lender makes 85% of each rental, while HURR take a 15% commission. For example, you can rent a £170 Ganni dress for £32 for 7 days.

Right - Don't lose it! The infamous Jacquemus handbag from HURR Collective

“We use data-driven insights and customer spending behavioural data to suggest prices that balance both affordability to the renter and profitability to the lender. This results in a pricing model which makes it 'worthwhile' to both parties.” says Prew. “We take a tech-first approach to pricing, by consistently analysing our pricing algorithms to optimise and balance the number of rentals, and rental income.” she says.

“The number one reason for signing up to HURR is sustainability. Our user base is largely millennial and is deeply passionate and informed about sustainable fashion and the circular economy.” says Prew. “HURR is set to scale throughout the UK this year, with international expansion on the horizon. As we don't hold stock there's no limit on the number of users, their location or the number of items that can be listed.” she says.

People wearing/sharing their clothes more has to be good for the environment if it means people are buying less, but, while these look like retail sites, with the feeling of full options, these rental websites are restricted by sizing and the volume of the items stocked. They need to keep both parties happy, particularly those individuals renting their prized pieces.

Kate, 36,  from London, recently decided to rent via these rental platforms, “I have quite a few designer items that I’ve bought over the years which I rarely wear, I didn’t want to sell any of them but it seemed a waste to just have them hung in a wardrobe … plus its a great way to earn a bit of extra money ;)” she says. “I googled clothing rental sites some time ago and HURR and MY WARDROBE HQ looked the best ones. 

“It was quite soon after HURR launched, I requested to register as a lender, uploaded a couple of pieces and didn’t think much more of it.” she says. “One of the girls from HURR got in touch with me a few weeks later and said they were setting up a pop-up shop and wanted some pieces they could hold in the store. I sent over the items I wanted to rent and then they helped me upload everything on to the website”, she says.

“Both websites are super easy to upload. The HURR team uploaded most of the items for me (I think they offer a service for this, I’m not sure if MY WARDROBE HQ does) so it was really convenient and the photos/descriptions are perfect as they know what renters are looking for.” says Kate.

“The items HURR are holding for the pop-up - customers try on and rent in store - HURR handle all of this I just get a confirmation and payment. They also look after cleaning.” she says. “The pieces not held in the pop-up - the renter will put in a request on the website, sometimes there is some chat via message about size / fit etc. Once I’ve accepted the request (you can choose not to lend the item). she says. “I arrange postage/delivery. When the rental period has ended the renter posts/delivers back the item and I arrange for the item to be cleaned. I think its best I handle cleaning - I can ensure its cleaned exactly as it should be.”

“If the item doesn’t fit, the renter has 24hrs to process a fit return, once returned they receive a refund minus shipping/cleaning.” she says. “HURR has been great, always on hand to help with any tech issues or questions. It’s great that they hold some of the pieces in the pop-up as I think its more likely they will be rented (especially now they have a pop up in Selfridges) - plus I don’t have to deal with the logistics of renting.” she says. “MY WARDROBE HQ - I’ve loaded pieces but none of my pieces have been rented yet so I’m not sure how smooth it runs.” she says.

Is it worth renting your clothes MY WARDROBE HQ

“Positives - I get to make some money from items just sat in my wardrobe. I’m also keen to do my part in making the fashion industry more sustainable and I think this is one small step towards creating some change.” says Kate. “Negatives - - if something gets damaged and can’t be replaced / fixed  - The HURR team advise not to rent items that have sentimental value and if you’re not comfortable renting something once a request comes in you don’t have to, so fingers crossed nothing will go wrong.”

Left - MY WARDROBE HQ - The Vampire's Wife - Velvet Tea Dress - FROM £18 / DAY (RRP £995)

“Renting with HURR has been no hassle, especially while they are holding the clothes for the pop-up and I don’t I need to do anything.” says Kate. “I’ve made enough to buy a new pair of shoes.” she says. “The pieces I have listed for rental are designer dresses/statement/party pieces. A Dolce & Gabbana sequin dress got a lot of interest over the Christmas period. I only rent clothes - not shoes or bags.” she says.

The daily rates are slightly misleading because you can’t rent anything for a single day. Both companies have a minimum of 4 days. The designer rental market, up until now, has been quite expensive and for special occasions. Too expensive and you may as well buy the item, too cheap and you can’t provide the service or convince the lenders to offer their precious items. For example, Scottish manufacturer, Begg & Co., was offering to rent a scarf for £160 for 2 weeks, last autumn. Surely, you’d buy it outright if you could afford £160 to rent a scarf? It's no longer an option on their website.

Renting is about Instagrammable, look-at-me pieces. These business models are restricted by only usually having one item, in one size, so it could be difficult to scale the business. It also needs to have a lot of ‘must-have’, desirable items to keep up the demand.

MY WARDROBE HQ’s marketing offers a £1300 Victoria Beckham dress for £22 a day, which will surely get people thinking differently about the rental market. Is there enough incentive and motivation for the lenders, we’ll have to see, but with brands joining the mix, this could be the answer for these growing companies. The designer brands will probably want to keep it on the down low to avoid it eating into retail sales, or put the 'sustainable' spin on it, but it could be a good way of making money from last season’s stock.

Will you carry on lending? “For sure”. says Kate. 

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Is the fashion documentary replacing the book Alexander McQueen film

When I saw an article advertising a new fashion documentary on André Leon Talley I knew we’d reached 'peak fashion documentary' territory. The larger-than-life (in-life?) American Vogue editor-at-large has a film called “The Gospel According To André” coming out in May. 

Left - The new Alexander McQueen documentary by Embankment Films Read TheChicGeek Review - here

It charts his humble beginnings growing up in North Carolina to being one of America’s most well known fashion characters.

He just adds to the many designers, brands and egos who have released documentaries over the last few years. We all know how the treatment goes: a new designer diarising their first ‘crucial’ collection, a celebration of an eccentric fashion ‘icon’ or a big opening or event and the drama surrounding it. It’s all played out in the 90 minutes or so of devoted film. Done.

It’s all very watchable content, even for those who wouldn’t know their Simone Rocha from their Ferrero Rocher. Most recently we’ve had Westwood, Blahnik and Noten get the fash-doc once over, and with a new McQueen one on it’s way, the output shows no signs of slowing down. 

"Fashion has become something of an entertainment industry, and the fashion doco' is an effective way of educating an audience keen on learning about the fashion industry's players, its big brands and the myths that surround them. Expect a lot more,” says Jamie Huckbody, European Editor for Harper's BAZAAR Australia.

Netflix and the like needs content and fashion is a truly visual medium with many can’t-make-them-up type characters perfectly cast in their Devil Wears Prada roles. 

I wanted to write something about the rise of the fash-doc and its growth for while, but it was a visit to the London Book Fair that got me thinking about the reason why we’ve hit peak fashion documentary.

It’s basically replaced the fashion book for the younger generation.

Is the fashion documentary replacing the book Andre Leon Talley Film

There are definitely less fashion monographs being produced on brands and designers ATM. Large, definitive books just don’t seem as cool anymore, and feel almost dead in comparison to the documentary.

There’s also been a generational shift. Under the elegant expanse of Olympia, I looked at all these books and I thought, who is buying them? It’s the older, wealthier generations. The ones who have the luxury of time, money and space.

Right - The Gospel According To André, coming out in May

‘Generation Rent’ - younger people - aren’t buying these books anymore. Even if they could afford them, they’ve got nowhere to store them and they certainly don’t want the additional baggage of cart shelves of expensive books around every time they move. They often don’t even have enough room for the coffee table, let alone the door stopper books to go on it.

Why buy a weighty and expensive Taschen or Assouline when you can watch the documentary? You’re only going to look at the book once, anyway, most probably. You can stream a video anytime you like, plus we are all so used to consuming content in this way.

Huckbody disagrees, saying “"Over the past three years, I've been working very closely with the millennial generation as a university lecturer, and there is still a huge appetite for books; especially books that offer an insight into 'other worlds'. This might be anything from the black and white photography of Karlheinz Weinberger to the books that are published alongside fashion exhibitions such as the Alexander McQueen: Savage Beauty book. For a lot of 'Generation Rent', the book offers a different experience to a picture glanced momentarily on social media." 

I agree that social media is a very quick, disposable and, sometimes, unsatisfactory medium for fashion history and I’m not going to go to the extreme and pronounce the book dead, (just yet!), I’m just saying the fashion documentary has proven massively popular and it’s a modern case of you've bought the designer T-shirt now watch the documentary on it.

Traditional forms of consuming information are changing and adapting and the fashion book was always ripe to be replaced by film. Film can illustrate movement, show catwalks, people and really gives consumers a feel for what they are seeing. Add the music of the time, interviews and you get a 360 view, albeit one the brand or designer wants you to see, but then, hey, books can be just as commissioned or narcissistic.

Not all films meet with the subject’s approval. We recently saw Westwood fall out with the makers of her documentary and encourage people not to see it. It had the opposite effect, gave it more exposure and we all know that it’s good for her anarchic image.

Some of these documentaries won’t do its subjects justice, others will surprise you with how interesting they actually are.  

What is great is, by replacing the book, fashion has got a much larger audience. It would have been a select, passionate few buying these books originally, but now everybody has access to give the documentary the first 10 mins and see if it piques their interest enough to watch it until the end.

What do you think? Tell me on social media @thechicgeekcouk

Talking of fashion documentaries, TheChicGeek just reviewed Antonio Lopez: Sex, Fashion & Disco 

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