University of Fashion Blog

Category "Fashion Business"

ONSHORE, RESHORE & OFFSHORE – BRINGING MANUFACTURING BACK HOME

- - Fashion Business

Made in USA Vintage Shield. (Photo Credit: Apparel Business Systems)

How  It Took a Global Pandemic & a War to Make it Happen

For years U.S. politicians have been promising to bring manufacturing back home, in an attempt to help strengthen our economy and bring jobs back to our shore; but they were always empty promises.

In the 1960s, the U.S. was responsible for 50% of the world’s manufacturing output (hard to believe, right?), but today the number is a pitiful 17% . In 1979, there were approximately 20 million manufacturing jobs in the U. S. and today, sadly, there are less than 12 million. So, what went wrong? Why did we lose our manufacturing capabilities across the board?

The manufacturing industry once generated a number of steady, higher paying jobs, creating a healthy middle class, as well as labor unions. It also widened the gap between rich and poor. Many immigrants came to the U.S. because there were so many jobs available. Where once industrialized cities such as New York City, Buffalo, Cincinnati, and Cleveland were among the top ten in population, today, they are only shadows of their former manufacturing selves.

“The inner cities and the rural towns were really basically decimated,” said Sandy Montalbano, a consultant with the Reshoring Initiative, an organization that was formed in 2010 to help bring back manufacturing jobs to the United States. In an interview with 60 Days USA she claimed, “These were really good-paying jobs with benefits and these wage earners were able to provide for their families.” 

The United States dominated the manufacturing market worldwide until the 1970s. So, if the U.S. was such an industrial powerhouse, why did American manufacturing go offshore? What happened?

Sadly, there were a number of factors that contributed to the decline in manufacturing in the United States.

Beginning in the mid-Eighties, and throughout the early 2000s, many manufacturing jobs went “offshore” as companies took advantage of lower wages and fewer regulations.

According to Montalbano, these companies were focusing on short-term gains for shareholders instead of investing in capital equipment, innovation, and workforce training. Another factor was the federal government, it allowed the U.S. dollar to appreciate 300 percent vs. our trading partners over the past 40 years, which caused the U.S. dollar to become overvalued.

These factors were all compounded, Montalbano adds, when the country began to promote a “college for all” education system, putting less emphasis on ‘skills-based’ training, credentialing, and apprenticeship. UoF has been actively trying to help re-educate people with their digital and on-the-table video library of 500+ lessons.

Consumers also had a hand in manufacturing jobs going offshore, by demanding and buying the cheapest products available. This caused a trade deficit, which means the amount by which the cost of a country’s imports exceeds the value of its exports, which continues to impact the manufacturing industry in the U.S.

Obviously, bringing manufacturing back to life in the United States will stimulate the economy and create plenty of job opportunities. In recent years, some promising numbers indicate that certain industries are willing to bring manufacturing back to the U.S., a hopeful and encouraging sign, but it will take more time, money and lots of effort.

According to a 2020 Reshoring Initiative report, approximately 1 million manufacturing jobs returned to the United States from 2010-2020.

Made in the USA image. (Photo Credit: Getty Images)

These are all promising signs, but while manufacturing nationwide increased 20 percent from 2009 to 2017, employment in the fashion industry only increased by 5 percent. Montalbano says there are a number of things that need to be done to rev up the nation’s manufacturing sector. “The government needs to level the playing field,” Montalbano said. This can also be achieved by fine tuning the American manufacturing industry with automation and other new technologies, as well as investing in properly training the workforce through processes such as apprenticeships and vocational education. According to Montalbano, “Workers are going to need more than a high school education. There needs to be lifelong learning because technology is moving so quickly.”

The Reshoring Initiative sees an encouraging trend as U.S. companies are gradually turning away from offshoring and returning to U.S. manufacturing. American companies are beginning to weigh the pros and cons of manufacturing offshore: quality control issues, increased transportation costs, fair trade and labor issues in other countries and concern over a company’s carbon footprint and public image when it comes to sustainability.

In an article published in Industry Week, Harry Moser, the founder and president of the Reshoring Initiative, said the push to bring back jobs initially got off to a good start under Trump, due to tax cuts and reductions in regulations, however, his tariff policies and other uncertainties put a damper on that progress.

Ironically, the COVID-19 pandemic actually helped U.S. manufacturing. Moser stated that the pandemic encouraged local production with shorter supply chains and fewer people handling merchandise.

Moser is more optimistic about the administration of President Biden, as Biden has promised 5 million new manufacturing jobs. Moser said the nation will need to reduce manufacturing costs, improve worker skills, and strengthen the U.S. dollar to get there.

One of the easiest manufacturing categories to bring back “onshore” would be fashion. While the fashion industry in the U.S. is still recovering from the losses suffered during the pandemic, brands and retailers could benefit from manufacturing at least some of their clothes in America.

“American-made goods are overwhelmingly popular”, says Christie Grymes Thompson, chair of advertising, marketing, and consumer product safety for Kelley Drye & Warren, an international law firm, in an interview with Sourcing Journal.

“Consumer surveys consistently show over 90 percent of consumers [expressed] a favorable or somewhat favorable view of ‘Made in USA’ products,” Grymes Thompson says in a webinar regarding “Made in USA” claims. “A lot of people think it’s to help the economy, or to otherwise support their local community. Some people also think they would get better quality while recognizing they might pay a premium for that better quality or, at least, perceived better quality.”

Post-Covid, McKinsey & Company says it benefits retailers and manufacturers to move at least some production closer to home.

“Part of being resilient is building an agile network of suppliers and partners,” McKinsey states. “Certain major nondiscretionary retailers are diversifying their supply chains to mitigate dependencies on geographically concentrated suppliers. Retailers dependent on offshore production might explore alternative sources and locations, perhaps developing manufacturing capacity closer to core markets. Rethinking production footprints could help drive down risk while providing new value propositions for product that are sourced or made locally.”

Fashion brands that already manufacture their clothes in the United States, as well as those who are considering doing so, should consider that consumers value American-made apparel, and 90 percent say they would feel good about wearing clothes made with cotton that’s grown in the U.S., according to Monitor™ research. Nearly 86 percent say U.S. cotton is something to be proud of, and 74 percent agree cotton grown in the U.S. is more sustainable than cotton grown in other countries. Furthermore, 62 percent of shoppers say they would pay extra for clothes made of cotton grown in the U.S.

When the pandemic spread in 2020, roughly half of the world’s disposable masks were made in China, but as COVID-19 became a global crisis, face masks became essential and countries started imposing restrictions on exports –unfortunately, this led to shortages of masks and raw materials. The pandemic educated the U.S. that we cannot just rely on China and once again, ‘Made in America’ and reshoring gained in popularity, especially for protective gear which grew about 60 percent.

Reshoring Means Reskilling

For U.S. manufacturing to become competitive, automation and robotics, are the key to offsetting higher U.S. labor costs. Manufacture workers need to learn how to use advanced technology, 3D design software, artificial intelligence, cloud computing, 3D printing and supply chain management – these are all instrumental in the continual efforts to reshore manufacturing.

Only automated manufacturing technologies will help US apparel sector successfully work out ‘local to local’ production more efficiently. (Photo Credit: Apparel Resource)

Substantiating on the same, Harry Moser says manufacturing costs in the U.S. are often 20 per cent higher than those in Europe and 40 per cent higher than in China and other low labor cost countries. “If we don’t invest in automation, we don’t increase our competitiveness,” he added. The fashion industry will have to think and talk technology, as only automated manufacturing technologies will help them successfully work out ‘local to local’ production more efficiently and successfully. “Some people are afraid of automation because they’ll lose their jobs,” Harry adds, but workers need to get over that frame of mind, “The U.S. will lose more jobs to Chinese automation if we don’t automate than we will to U.S. automation if we do. Since we are competing, you have to automate the best you can just to stay even.” Just like when Barthélemy Thimmonier’s sewing machine, created in the early 1800s, was destroyed by journeymen tailors who felt that the machine threatened their livelihood, we can’t allow luddites to keep us from moving our domestic manufacturing industry into the future.

Automated manufacturing technologies will surely and effectively help the U.S. apparel sector successfully work out ‘local to local’ production; while technology is integral to  reshoring jobs back to the U.S.. And will provide higher paying jobs.

Reshoring Pioneers  

As the reshoring movement gains in popularity, with many more to follow, one such fashion company that is leading the pack is American Knits in Swainsboro, GA. Companies like America Knits are testing the waters to see if the U.S. can regain some of the manufacturing output it relinquished in recent decades to China and other countries.

At America Knits in Swainsboro, Ga., workers earn up to twice as much per hour as they would in a service job. (Photo Credit: The New York Times)

American Knits was founded in 2019 by Steven Hawkins, with 65 workers producing premium T-shirts from locally grown cotton. He expects the company’s work force to increase to 100 in the coming months. If the area is to have an industrial renaissance, he is a visionary. “I’m the only one, the only crazy one,” Mr. Hawkins said to the New York Times. But as he sees it, bringing manufacturing back from overseas has found its moment. “America Knits shows it can be done and has been done,” he said.

Some corporate giant brands are eager to test that premise, if not for finished goods, then certainly for essential parts.

Since the beginning of the pandemic, efforts to relocate manufacturing have accelerated, said Claudio Knizek, global leader for advanced manufacturing and mobility at EY-Parthenon, a strategy consulting firm, in an interview with the New York Times. “It may have reached a tipping point,” he added.

Decades of dependence on overseas factories, especially in China, has been upended by delays and increasing freight rates — when shipping capacity can even be found.

Onshoring has never been more essential, not only because of the delays of much needed essentials due to the pandemic, but also for sustainability. Many companies have committed to sustainability, and therefore by manufacturing in the United States, companies will attempt to reduce pollution and fossil fuel consumption in transportation across oceans, which is a major selling point.

Julie Land is the owner of the Canadian company Winnipeg Stitch Factory, and its clothing brand, Pine Falls. The 12-year-old business is opening a plant in Port Gibson, Miss., in 2022. While fabrics will be cut in Winnipeg, Canada, they will then be shipped to Port Gibson to be sewn into garments like jackets and sweaters. The new factory will be heavily automated, which will keep her costs manageable, and the company will be able to compete with overseas workshops.

“Reshoring is not going to happen overnight, but it is happening, and it’s exciting,” Julie Land said to the New York Times. “If you place an order offshore, there is so much uncertainty with a longer lead time. All of that adds up.”

Another fashion company that is building facilities in the U.S. is Resonance, which is a collection of companies focused on transforming the fashion industry. The company opened its first sew production facility in New York City. The 300 square-foot facility is located in Pier 59 in Chelsea Piers, adjacent to the company’s headquarters. This is the first creation-to-customer-closet platform for sustainable fashion.

Resonance uses digital printing on organic and environmentally certified fabrics as part of a fully automated process to design, sell, and make garments in real time, on demand, sustainably anywhere in the world.

A Photo from Resonance’s New York City Factory. (Photo Credit: Shutterstock.)

“The new facility is comprised of 12 sewing stations with the ability to make hundreds of garments per week supported by Resonance’s proprietary technology. The team plans to hire additional team members to run the NYC facility as well as several others that are planned in the coming months,” according to the company’s statement.

Lawrence Lenihan, Resonance chairman and co-founder, said in a press release, “Resonance is deeply committed to bringing components of garment manufacturing back to NYC, a city whose thriving textile manufacturing industry was driven overseas in search of lower production costs,” the statement further said. “Resonance believes that this network can birth a new fashion value chain and new entrepreneurs can build job-creating manufacturing businesses in their communities powered by orders for clothing from brands on the Resonance platform. These next generation manufacturers will compete on cost and by being closer to the end customer, adding value to the last-mile process, and producing garments that create social and environmental value transparently.”

Resonance’s goal is to open hundreds of these sew production facilities around the country and internationally while also connecting existing ones, helping to reimagine the textile manufacturing experience for designers, consumers, and the planet.

Another onshore pioneer is New York Embroidery Studio, which is opening a new space in NYC’s Brooklyn Army Terminal. The new three-year lease is one of the largest in the Sunset Park location. The company has been manufacturing in the garment center for over 30 years and is known for collaborating with fashion luxury houses such as Caroline Herrera, Ralph Lauren, and Oscar de la Renta.

This luxury fashion company, known for their exquisite embellishments, pivoted at the height of the pandemic to create personal protective equipment like masks and hospital gowns. New York Embroidery Studio’s founder, Michelle Feinberg and her team made over 590,000 hospital gowns in just nine weeks and also kept hundreds of New Yorkers employed even as the city’s economy sharply declined.

New York Embroidery Studio Founder Michelle Feinberg at the new Brooklyn Army Terminal space. (Photo Credit: NYES)

New York Embroidery Studio’s new 80,000-square-foot lease will bring more than 500 on-site jobs, generating an estimated $73 million in economic output for New York City. The studio will use automated machines and advanced manufacturing techniques to produce PPE full-time as part of an ongoing effort to restore the country’s national stockpile.

“The local production of PPE is essential to our health care workers and our city, so we are always prepared,” said New York City Economic Development Corporation President and CEO Andrew Kimball. “We must be forward-thinking as we address our city’s future pandemic preparedness.”

Russia’s War & Its Impact on Fashion Manufacturing

Since Putin’s war against Ukraine began in February 2022, the global fashion industry has come down heavy on Russia with brands refusing to ship merchandise and closing their retail stores there. Sanctions imposed on Russia are resulting in major supply chain issues for the global textile and apparel industry as the rising cost of essential materials such as crude oil and the rising cost of food is resulting in higher labor costs. According to Fibre2Fashion.com, “Several of the Asian economies are dependent heavily on coal and oil from Russia, and food supplies from Ukraine. UNCTAD [The United Nations Conference on Trade and Development] update on the Russian-Ukraine crisis shows that Turkey, China, Egypt, and India are the countries that are most dependent on food supplies from Russia and Ukraine.  These are incidentally also major textile and apparel suppliers globally. Inflation in Turkey has skyrocketed to almost 54.44 per cent in February 2022, which is expected to significantly impact sourcing from the country. Consumer prices inflation in Bangladesh has also risen rapidly to 6.17 per cent, predominantly due to increase in food prices.”

The U.S. fashion industry (and Europe’s as well) is now having to take a long, hard look at what the repercussions are of their heavy reliance on foreign textiles and on shoe and garment manufacturing.  Our once booming textile, shoe and garment manufacturing industries were reduced to rubble in the 80s and to bring them back will take time and lots of money. Watch this space as American ingenuity explores how to make it happen. It’ll take a village though: government money, fashion pioneers and entrepreneurs, patriotic consumers willing to pay more for Made in America products and an army of influencers to promote it.

Between the War in Ukraine and the global pandemic, these two events alone have educated Americans that reshoring is sure to become the biggest growth driver for its manufacturing industry – in particular the apparel and textile sector. As more and more companies explore onshore opportunities and align their marketing and selling strategies into the digital space, they just may be surprised at how profitable bringing manufacturing back home can be. Jobs, jobs, jobs.

 

So, tell us, how motivated are you on manufacturing your collection in the United States?

 

 

NEW WAYS YOUNG DESIGNERS ARE REACHING CONSUMERS

- - Fashion Business

A YouTube video on Neighborhood Goods.

It didn’t take a global pandemic to know that the retail sector of the fashion industry was in trouble. Over the past few years we have all watched traditional retail stores fail, as more and more consumers started to spend more of  their time and money shopping online. No one seemed exempt from bankruptcy, both specialty and department stores alike. Barneys New York, Jeffrey’s, Neiman Marcus, J.C. Penney and Lord & Taylor have all declared bankruptcy. These closures not only affected retailers and their staff, but also hurt the pockets of many designers, especially smaller, independent designers, who were able to get their start from these stores. Even mega-retail chains have been struggling with declining in-store shoppers, astronomical rents, and debt. Unfortunately this trickle down effect results in cancelled orders and invoices that are left unpaid, a burden the brand must take on.

Even before COVID-19 hit and the economy was thriving, the wholesale system was hurting many designers and running their business to the ground. Department stores constantly pressured designers to create something new and exclusive for them, but in the end, it was never really worth it for the designer and they only obliged to keep the department stores happy and hopefully keep their orders coming.

Many designers started to realize that the traditional wholesale model wasn’t working for them and began to ask the question…what’s next? 

Today, young designers are looking for creative outlets to present their pieces to potential consumers. For many, the direct-to-consumer model has been a successful one. But for others, they view the benefits of a wholesale partnership as a vital step towards creating brand awareness and building a customer base, whether their goods are in a brick-and-mortar store or on a retailer’s site.

NEW OPTIONS

There are a few new and exciting options surfacing for brands that value the exposure that multi-branded retailers offer, but where designers can still take control of their inventory. Many retailers are operating on a ‘retail-as-service’ business model, which means that rather than purchasing inventory from brands, they may lease out space and/or provide logistical and marketing support for a fee, in addition to potentially taking a commission on sales.

Here are a few platforms and marketplaces that young designers are excited about:

NEIGHBORHOOD GOODS

Inside Neighborhood Goods. (Photo Credit: D Magazine)

Neighborhood Goods is an innovative alternative to the traditional department store model. The store provides brands with a low risk and less expensive way to test the waters of the physical retail model. Neighborhood Goods charges brands a small fee to display their designs in one or several of its physical locations (Austin and Plano, Texas and New York City), as well as on their e-commerce site where the retailer also takes a percentage of sales.

Neighborhood Goods features an experiential, appealingly-designed format with excellent customer service and even frequent food pop-ups. In April, in response to COVID-19, Neighborhood Goods launched The Commons, a section dedicated to featuring small brands who were negatively impacted by the pandemic, at no cost to their struggling businesses.

Neighborhood Goods’ smart business model, and $11 million in venture capital, put it in a stronger position than most to weather the current retail storm. According to co-founder Matt Alexander in an interview with Fashionista.com, “In an industry struggling to adapt to the future, this whole crisis is going to accelerate the prevailing winds in the retail industry, and we end up being in a relatively good spot on the other side.“

THE YES

An image from The Yes shopping app. (Photo Credit: Vogue)

The Yes is the brainchild of fashion and tech veterans Taylor Tomasi-Hill (Street-style star and Fashion Market Editor at Teen Vogue and W Magazine to name a few), Julie Bornstein (StitchFix, Nordstrom, Sephora) and Amit Aggarwal (Google, Bing, Groupon). The mobile shopping platform carries well established brands, as well as young designers ranging from Prada to Khaite.

Every brand has its own storefront in the app and The Yes uses dropship, meaning it doesn’t hold its own inventory. The site collects a share of revenue from each sale made through the app. The Yes also uses Artificial Intelligence (AI) to personalize every user’s feed in real time. For example, when you click “yes” on a style, you will see a variety of similar looks.

SHOP

Shopify launches Shop, a new mobile app. (Photo Credit: TechCrunch)

Shop is another mobile shopping site and describes itself as your personal “shopping assistant.” The site was launched during the COVID-19 pandemic by Shopify, it’s a go-to tool for independent brands and retailers setting up e-commerce.

This savvy site allows shoppers to shop numerous retailers all in one place. One unique feature is that the app allows shoppers to locate and shop businesses that are local to them, but only if they use Shopify. The site also offers speedy checkout and helps the consumer track and receive updates on all orders.

SHOWFIELDS

Showfields NYC. (Photo Credit: Time Out)

With a brick-and-mortar store in New York City, and a soon to open Miami location, Showfields’ goal is to curate innovative, unconventional, and relevant digitally native brands in one giant, highly Instagramable space. The store frequently hosts new and exciting events and initiatives to engage consumers and create a buzz. And so far they have done it successfully even through quarantine.

The top floor of Showfields is used as a community space with food and events that have ranged from theatrical performances and art installations to fundraisers and digital discussions. American Express has also sponsored a special curation of Black-owned brands; the credit card company is only charging brands membership fees, but the brands keep 100% of their sales.

RE:STORE

A look inside Re:store. (Photo Credit: Re:store)

Selena Cruz, a Silicon Valley venture capitalist, recently opened the doors to Re:store in San Francisco, CA. The store positioned itself somewhat of a WeWork space for unique, saught-after, online-only or difficult-to-find brands. Re:store carries many millennial-targeting labels that are popular on Instagram, all together on one space. Of course the store is very cool and Instagrammable, which of course draws in the millennials.

Brands pay only $350 a month as well as a 20% commission to hold a space on the experimental retail floor. RE:store also offers a community workspace offering young brands to work with and interact with their customers, all in the heart of Downtown San Francisco for a fraction of the price. The opportunity for these brands to connect with their customers is priceless, particularly those for whom this is their brick-and-mortar debut.

DEPOP

Hand-painted boots by Zigzaggoods on Depop. (Photo Credit: Craft Industry Alliance)

Depop is a new digital marketplace for handmade items that Gen Z designers are excited about. The fun and eccentric online mall has a young demographic; of its 21-million users 90% are age 26 or younger—members of Gen Z, the first all-digital generation. The site looks a lot like Instagram, so it’s very familiar and easy to use. It’s a sellers’ lifestyle shown in images. In a recent New York Magazine poll teenagers voted Depop the top marketplace for buying resale goods (over Etsy and eBay). If you’re interested in reaching a young demographic, it’s definitely worth a look.

Depop’s CEO, Maria Raga believes in supporting the growth of young entrepreneurs. “I view my role as more than just running a company. It’s about helping young sellers fulfill their passions, stretch their business skills, and become independent business owners who create fashion trends,” she said in an interview with Fashionista.com. Another plus, Depop only takes a flat 10% fee on each transaction, including shipping.

In the coming months and years, post Covid, retailers will be looking to up-and coming designers for ideas on how to give consumers what they want. Stay tuned…

So tell us, what are you doing to get your brand out there?

ANNOUNCING OUR NEW DIGITAL MARKETING SERIES

- - Current Topics in Fashion, Fashion Business, Fashion Innovation, Marketing, Technology


MEET YOUR NEW INSTRUCTOR: ROZA SALAHSHOUR

The University of Fashion is honored to add Roza Salahshour to our distinguished list of talented instructors.  Roza is a Digital Marketing Consultant & founder of Branderella, a 360° branding agency based in Paris.  She will be sharing her knowledge and expertise in our new Digital Fashion Marketing series. We are pleased to announce the launch of her first lesson, Introduction to Influencer Marketing.

Whether you are an established fashion brand or an aspiring fashionprenuer, knowing the ins and outs of digital marketing puts the power in your hands when launching your brand.

Roza began her career as a graphic and multimedia designer for tech startups before pursuing her interest in digital academically through a bachelor’s degree in Web Media technology (BSC), a  joint degree program between Staffordshire University UK, and Asia Pacific University, Kuala Lumpur.

During her studies abroad in Kuala Lumpur,  Roza had the opportunity to model part-time and participate in the marketing campaign for various fashion brands, including Tommy Hilfiger, JOGS,  Harper’s Bazaar & Bimba & Lola. In 2012 Roza took on the role of a fashion events coordinator launching & curating fashion shows for Harley Davidson & product shows for Laura Star through their Asian divisions.  In 2013 Roza co-founded MAVN Models designing and launching its digital presence before moving to Paris to pursue her MBA in fashion, luxury & Cosmetics at IFA PARIS. 

After short assignments for COTY Beauty & Iman cosmetics, Roza was sought out by various business schools to share her diverse international experience at the intersection of fashion, technology & business.

To date, Roza has served a variety of different universities including IPI (Group IGS), IPSSI, a digital marketing school, INGETIS, a BTS web & engineering school, Toulouse Business School, GBSB Business school, Madrid  and CIEE Paris, a study abroad Institution for American students wishing to explore Paris.

During her time at INGETIS, Roza created the Introduction to Technoprenuership Program for undergraduate students in Web Development and Networking curating a range of mini-modules including Startup Universe, Cash Cow & Founder’s Story.

At IPI, Roza designed and founded the Introduction to Digital Marketing Program along with practical coursework and online examination.  For Toulouse business school, she designed the Marketing Exchange Evolution program, a multi-faceted, interdisciplinary module at the cross-section of luxury, digital, and entrepreneurship.

At GBSB Business School she teaches Social Media & Public Relations for master’s students in luxury & business.

As a creative individual passionate about digital technology, Roza enjoys creating innovative modules that help creative enterprises tap into the exciting opportunities in the digital ecosphere!

Email:  Info@rozasalahshour.com

LinkedIn:  http://linkedin.com/in/rozasalahshour

Website:  https://www.branderella.com/

Check out the lesson preview:

How Indie Brands are Revising & Revolutionizing Retail

- - Fashion Business

A busy street in NYC’s Soho neighborhood. (Photo courtesy of USA Today)

2020 is here and there’s much to look forward to (and not just the election). Although our beloved Barney’s has shuttered its business and major chains such as The Gap and Victoria Secrets are closing stores across the U.S., and a stroll down Madison Ave., uncovers a retail graveyard of a few dozen empty store fronts, good  things are happening for NYC retail. For years now, we’ve been hearing that traditional retail is dead, but wait…hold the presses….indie brands are starting to open boutiques in Soho! Is this a sign that brick-and-mortar will survive after all? Is it that millennials prefer downtown over uptown for their retail experience?

While many digital native brands, such as Glossier, Warby Parker, and Bonobos, started online. Today, these brands are expanding and opening retail ‘concept’ shops for their clients. “According to real estate experts, digitally native brands are predicted to open 850 brick-and-mortar stores in the next 5 years, with New York being the most popular destination,” according to Tinuiti, a NYC-based marketing firm. Through research and marketing, Tinuiti stated that “most of the digital brands opening stores sell apparel, which makes sense; it’s a category where shoppers definitely benefit from interacting with the product in person. We’re sure to see plenty more storefronts from these ecommerce brands — apparel and other categories alike.”

The outside of Glossier’s store in New York. (Photo courtesy of Glossier)

Another trend that is sure to continue is the rise of omnichannel. Retailers need to offer a consistent buying experience across channels, both online and off. The lines between digital and physical shopping experiences are a blur. Retailers need to be agile and responsive to customer needs with branded touchpoints at all parts of the purchasing journey. According to Ray Hartjen, Marketing Director at RetailNext, “Consumers simply don’t think in terms of channels. This isn’t 1998. No one is sitting around and thinking, ‘Hey, I think I’ll do some online shopping.’ For many years and certainly in 2020, it’s all just ‘shopping.’ Shopping journeys now go through a variety of branded touchpoints, digital for sure, but physical touchpoints too, and they are nowhere near linear shopping journeys. Brands need to be nimble, agile and responsive to shopper needs, and they need to deliver seamless, friction-free paths for their shoppers to navigate.”

Through marketing research, Tinuiti states that retail is in fact in the midst of a Retail Renaissance. A recent study by the International Council of Shopping Centers (ICSC) showed that opening a physical store increases online traffic by 36% for established retailers and 45% for emerging brands. According to the marketing firm,” In-Store Purchase Funnel is about to be integrated seamlessly into Unified Commerce. The stores will become Experience Retail. In addition to Interactive Technologies such as Smart Fitting Rooms, watch for more in-store immersive innovations in 3D Printing, Eye-Tracking, and Augmented Reality.”

In today’s retail environment, direct-to-consumer brands are reinvigorating the retail scene in NYC. A growing number of e-commerce brands are opening storefronts to grow their businesses further. “Physical retail embodies a social and tangible experience that America’s Amazon-driven format of online retail has yet to duplicate,” Web Smith, the co-founder of Mizzen+Main, said. And so, “digital-first retailers are … investing in extending their direct-to-consumer relationships by owning permanent storefronts in worthwhile locations.” It’s a theme that’s expected to continue to ring out in retail this year. A study in 2018 by real estate research firm Green Street Advisors found so-called digitally native brands altogether have more than 600 stores blanketing the U.S., and counting.

Rents across NYC have also dramatically dropped and are nowhere near levels seen in the peak of 2014. Even Madison Avenue — known for its prestige and high end boutiques such as Chanel, Prada, and Celine— is not immune to the trend of falling rents.

According to CNBC, “in the second quarter of 2019, average asking rents across New York City declined an average of 4.5% from a year ago to $776 per square foot, according to an analysis by commercial real estate services firm CBRE. It marked the seventh consecutive quarter of declines. Rents along Upper Madison Avenue (57th to 77th Streets) in particular dropped 11.7% from a year ago to $1,042 per square foot.”
Thanks to the falling prices of rents and more flexible lease terms, its open the possibility for smaller brands to open shop. At some point, landlords had to budge. A lot of these new retailers weren’t going to pay sky high rents. “If someone was renegotiating a lease today, it’s a very different market than it was 10 or 15 years ago,” said Nicole LaRusso, director of research and analysis at CBRE.

After 2014, as rents started to fall and store closures picked up, “landlords didn’t want to hear it,” LaRusso said. “But most of that lesson has been learned now.” There’s much more negotiating being done today, she said. “I think we are getting to that equilibrium.”

Indie Brand Retail Invasion 
“Meatpacking today is what I would call New York’s ‘it’ neighborhood,” said Jared Epstein, developer at Aurora Capital Associates. Epstein worked on RH’s roughly $250 million deal for a 15-year lease in the area. An RH hotel is also set to open in the Meatpacking District next fall.

“New York has a certain resiliency that is proven time and time again,” Francis Greenburger, founder and CEO of real estate developer Time Equities. “I would never doubt New York resiliency.”

And as a resilient city, here are a few indie brands that have opened retail shops in NYC and across the United States.

Glossier NYC Boutique. (Photo courtesy of The New York Times)

Beauty brand Glossier is a direct-to-consumer label founded by Emily Weiss in 2014. In 2018, her small business surpassed $100 million in revenues. Weiss opened her flagship boutique in Soho, in November of 2018. The store is such a hit that you can find shoppers lining the sidewalk streets to get in, whether it’s to shop or pose in front of the companies signature millennial pink-covered walls. Glossier also has a store in Los Angeles and is experimenting with pop-up locations.

Rothy’s San Francisco store. (photo courtesy of Rothy’s)

Rothy’s, a woman’s shoe label, opened its first brick-and-mortar store in San Francisco in 2018. The label was launched in 2015 in San Francisco by Roth Martin and Stephen Hawthornthwaite, the direct-to-consumer brand created and sold shoes that ranged from ballet flats to loafers for women and kids that are made out of recycled plastic bottles. The brand decided to open its first store so customers can see the shoes in person and try them on before making a purchase. In 2018, Rothy’s gained a $35 million investment from Goldman Sachs and has raised over $42 million to date. Rothy’s booked a little more than $140 million in revenue for 2018.

The outside of Koio’s store in Venice, California. (Photo courtesy of Koio)

Koio, a high-end sneaker brand, was launched in 2014 by Chris Wichert and Johannes Quodt. In 2018, the brand has already raised $5.1 million and opened a handful of stores throughout the United States, including, New York, Chicago and Los Angeles and are planning to open more in the near future. The brand creates sneakers for both men and women, but the men’s category outperforms women’s. Wichert and Quodt are already creating new silhouettes to keep up with the growing ‘designer’ sneaker category which has exploded in popularity.

Outdoor Voices Boston Store. (Photo courtesy of Outdoor Voices)

Outdoor Voices is a woman’s athleisure brand that was founded by Tyler Haney, the 31-year-old is also the CEO of the brand. Outdoor Voices was started in Austin in 2014 and has raised over 56.5 million to date. The brand has a number of stores throughout the United States, including Los Angeles, Chicago, Nashville, and Boston. Tyler told CNBC in 2017 that in the future she planned on opening at least 50 stores, one in every state. Giving investors a vote of confidence, Mickey Drexler, the former CEO of J.Crew and Gap, serves on its board. Haney said he’s played a key role in helping Outdoor Voices grow offline.

Ganni store in Soho. (Photo courtesy of Ganni)

Ganni, the Copenhagen-based brand, opened its first U.S. store in Soho this past October, followed by one in Los Angeles and Miami.”We always dreamt of opening stores in the U.S.,” explains founder Nicolaj Reffstrup. “We’ve been extremely fortunate to be stocked in some of the U.S.’s finest boutiques and retailers; seeing our U.S. audience connect with our Scandi 2.0 sense of style has been incredible and we’ve resonated well with the market. This next step of having our own physical stores means we can welcome our community into our universe and experience Ganni in real life. It just made sense. There’s been so much talk of the death of retail, but I don’t think retail is dead, it’s just entering a new phase. It’s about figuring out how you give your community a unique real-life experience, a high level of service, interesting interactions with real people and an easy, effortless shopping experience where your community feels welcome.”

Self-Portrait Boutique. Courtesy of Flaunt Magazine

Self-Portrait is a contemporary label launched in 2013 by Han Chong. The London based label is known for its feminine dresses with a youthful twist. In August 2019, the label opened its first brick-and-mortar concept retail space in the U.S. in  Soho; but Self-Portrait is testing out the New York City store-front experience before fully committing, with the concept store set to close in June 2020. “This is a great opportunity to welcome anyone, not only to shop, but also to explore the Self-Portrait experience,” says Chong. “What I’ve seen happening is that stores are now becoming brand ambassadors both online and offline. We want to blend these experiences to create that connection with our clients. We’ve built this amazing community digitally with them since we started the brand and now we get to invite them into our home to get know us more intimately.”

Are you considering opening a pop-up or a retail shop for your brand? Share your thoughts!

The Future of Fashion: Power in Numbers

- - Current Topics in Fashion, Fashion Business, Fashion Innovation, Marketing, Pattern Making, Sustainability, Trends

Year 2020 is upon us, and there’s no better time to take pause, reflect on the decade gone by and plot a bright new course forward.

In the past ten years, the fashion industry has seen some major shifts. In New York alone, the home of fashion week has bounced around from Bryant Park to Lincoln Center to the piers and beyond as designers have adjusted to a changing industry. Once extravagant runway shows have turned into presentations, private viewings for buyers in showrooms and studios, if not online iterations designed to showcase offerings. The power of social media and social media influencers have changed how designers market, brand and promote themselves. And the topics of sustainability, slow fashion and increased concern with how, where and by whom clothing is made have taken center stage.

Consumers have changed, too. In response to the fast and furious pace of social media, “I want it now!” mentality has driven designers to a see now, buy now cycle of production and selling in order to get their customers the clothes they want the day after they see them posted on Instagram. But consumers have also become more thoughtful with the fashion dollars they spend, taking into consideration the consequences of “fast fashion” on the environment and the humans behind the sewing machines making 9.99 trend-of-the-moment pieces.

All in all, the age old model of designing as an independent “head of house” designer, showing a collection, hoping buyers will bite, producing orders and delivering garments six months later to retailers has been turned upside down. Today designers are required to innovate, create, collaborate and develop a path in the fashion industry that will keep their design dreams alive.

The upside of this upheaval is that a bold new day in fashion is upon us—a future that is less about ego and more about educated decisions, less about opulence and more about open conversations about the real challenges our industry is facing. Running a profitable fashion business is a multifaceted operation, with more roles that need to be filled than any one human can possibly sustain.

In our opinion, the path forward will be paved with groups of designers and experts coming together for a common goal. Think of creative factories where there is no singular Marc Jacobs or Ralph Lauren, but instead a group of people, each with a particular talent, banding together as they work toward a common creative vision.

Consider for a moment the power of putting together a team of the following:

Sustainability Expert – Someone who can focus on making affordable and sustainable decisions in terms of materials and processes used. A sustainability expert may also focus on in house sustainable labor practices and options, think creating structure so that all involved enjoy a work/life balance and a healthy environment while at work.

Innovator – A designated innovator is one who can research new methods, ways of producing, materials, structures that support the efficacy of the the team’s common vision. An innovator is focused on the next step of the group’s progress.

Designer(s) – This individual or group of individuals set the aesthetic vision for the group. Imagine bringing together a team with specializations in womenswear, menswear, accessories, etc.

Pattern Maker(s) – Pattern maker(s) carry out the technical aspects of the groups vision, whether by traditional flat pattern or using 3D software, pattern makers create a library of patterns for the group.

Social Media Guru – Someone who thrives on the fast paced, changing world of social media and understands which channels appeal to the group’s customer as well as when and how frequently to release content plays a key role in any successful business today.

Influencer – An influencer who has a significant social media following and who aligns with the vision of the brand can truly alter the course of brand awareness and sales.

Brand Manager – Someone who acts as a liaison between photographers, a social media guru, designers, etc. and makes sure messaging is consistent. A brand manager may also seek out partnership opportunities that support the group.

Of course, this list is not exhaustive…there are models, photographers, and so on to consider. However, just imagine as an emerging designer, dedicating as much time to finding your tribe of like minded people with strengths different from yours as you do to learning how to draw a croquis.

Imagine pooling resources as you build a fashion business.

Imagine having emotional and professional support as you go through the typical ups and downs of any business venture.

And imagine not feeling the weight of an entire fashion brand on your shoulders as well as having a supportive team around you to celebrate the successes you will experience.

This notion of “better together” is already starting to take shape. In a recent WWD article, 7 New Designers to Watch for Spring 2020, you’ll notice only a couple of independent designers. The rest are brands made up of two, sometimes three designers under a common label.

The team at Colville Image: www.drapersonline.com

For example, in Milan, Colville is made up of Lucinda Chambers, Molly Molloy and Kristin Forss, three designers that met 15 years ago while working at Marni. Collectively, they share experience in styling, journalism (Chambers is the former British Vogue fashion director) as well as both menswear and womenswear. They speak to this idea of power in numbers when they say, “We are surrounded by amazing people who have become our mentors and influencers, friends, colleagues and each other. We involve friends to work and collaborate with us, we are building a Colville community, the collection isn’t just one voice and not even three but many, it’s an inspiring way to work.”

The team at Commission Image: @commissionnyc

In New York, Commission, a brand by designers Jin Kay, Dylan Cao and Huy Luong, is a great example of a tribe of designers with a common creative vision. All three designers are first-generation immigrants from Asia and inspired by their mothers’ style. They share an impressive collective resume of experience. Kay has designed for Gucci, Narciso Rodriguez and Prabal Gurung. Cao has taken turns at Alexander Wang, 3.1 Phillip Lim and R13, and Luong is a photographer with a background in visual communication design. Not only does this tribe of artists share an extensive list of strengths and a creative vision, they are also tied to a greater purpose of combatting the stereotypical and literal translation of “Asian” beauty and culture in the fashion industry.

It’s been a decade since I showed my graduate collection for the Academy of Art at NY Fashion Week (in Bryant Park!) and I never could have predicted how fashion would change. But now, ten years later, I am inspired by the thought of future designers banding together for the ride. Fashion is such a wonderful world of creativity, passion and excitement and it’s meant to be shared. In 2020, my wish for you is to honor and recognize your own strengths and seek out your tribe for the rest!

Are you inspired by other design teams? Please share below in the comments.

 

 

 

 

Posen Shutters His House As the UoF Opens Doors for Future Designers

- - Current Topics in Fashion, Fashion Business, Fashion Education, Fashion School

Fashion times, they are a changin’.

In just the past few weeks alone, once fashion darling Zac Posen has closed his doors and the iconic retailer Barneys has closed its remaining doors, two more signs that fashion design and retail operations as we’ve known them for so many years are in fact yesterday’s news.

To Posen’s credit, he can claim the story many emerging designers have aspired to. With semesters spent at Parsons and Central Saint Martins, a long line of celebs who have worn his gowns on the red carpet and fame as an expert judge on Project Runway, some would claim that Posen’s run in the fashion world is the stuff an emerging designer’s dreams are made of. And truthfully, Posen lasted much longer in a crumbling model than most. He even starred in his own documentary, House of Z, detailing the behind the scenes successes and struggles over the years.

In 2008, when my fellow fashion school graduates and I landed in NYC after graduating from the Academy of Art in San Francisco, several of us were overcome with jealousy when one of us scored an internship with Zac Posen. It was a tough economic time in which fashion companies were laying off employees, and so many of us had given up on the thought of getting a “real job” in fashion and instead were fighting for unpaid internships with the hope that they would lead to paid positions.

Even then, I can remember the bright fashion stars I had in my eyes beginning to dim as I watched my talented classmate drape his heart out for Posen, often leaving our apartment at 6:30 am to make it to the studio by 7:00 am, not to return until well after 7:00 pm (and without pay). When one of my classmate’s creations ended up on Posen’s runway, we thought for sure, this would be his big break. But as was (and may still be) commonplace with companies headed by a singular famous face, my classmate’s “internship” was over once the season was over and Posen’s runway show was complete. Posen was on to the next group of eager “interns.” And my classmate? He was left with crippling student loans to pay and still, no job.

I share this story because it illuminates the reasons why we are finally seeing a real shift in the fashion industry. And why we’ve got to let go of what has been been considered success in the fashion industry in the past (fame, celebrity, elaborate shows season after season) and instead look toward a more sustainable future in fashion for emerging designers. Posen himself (guided by his mother) saw how unsustainable the fame-party-celebrity red carpet style of designing and running a business was back in 2010. Posen’s decision to branch out into collaborations and more affordable mass market options in order to keep the sought after design dream alive was detailed in WSJ. And yet even with this forethought, Posen’s high end business ultimately couldn’t survive.

Fast forward to today and even educators from top fashion schools (in fact, my former director, Simon Ungless at the Academy of Art in San Francisco), have started to question their own fashion programs, wondering if they are in fact preparing their students for what the fashion world holds. Ungless recently suggested that fashion schools are preparing students for an industry that doesn’t exist (read Ungless’ full interview here) and that if students aspire to celebrity as a fashion designer, they should “make a sex tape.”

Aside from the fact that today’s students in traditional fashion design programs are still striving for that final fashion show in hopes of being noticed by industry professionals (which ultimately may happen to a select handful of graduates), the college debt load students are accumulating is real. A single semester at Parsons, including tuition, books, room and board is approximately $60,000 and at FIT, around $45,000. Multiply that by the number of semesters it takes to graduate and we are talking upwards of $200,000 spent on an education that may or may not pay for itself.

And while we will never say “we told ya so,” the University of Fashion was conceived and developed years ago as a direct response to the issues we are seeing today, including:

• the prohibitive high cost of a traditional fashion education
• the lack of jobs/opportunity in the fashion industry to make a high-cost education pay off
• the changing skills/mindset needed to “make it” as a fashion designer in today’s fashion landscape

Maybe Elon Musk, Steve Jobs, Bill Gates, et al. have a point—forego college and invest that money in your own start-up. Learn fashion design at UoF, get your technical skills and then use your money to launch and advertise your own brand. Imagine the possibilities when you let go of the idea that you must have a degree from Parsons, an internship with Marc Jacobs and celebrity status as a 20-something designer with a Hadid wearing your brand on Instagram.

There are so many ways for emerging designers to “make it” in the fashion industry of tomorrow, because the industry is yours to create. Instead of aiming for super stardom and spending a fortune on a traditional fashion education, get creative with different ways to break into the fashion industry. Use online resources to create a niche design item and learn how to market yourself via social media. Follow a path that feels authentic and genuine to you and think outside the box. We truly believe designers CAN make a living at what they love through research, social media savvy and creative thought. How about a new young designer pop-up store collective? Already paving a new path forward in the fashion industry? We want to know about it! Inspire others by sharing in the comments below.

SLOW FASHION & THE CONSCIOUS EDIT – 4 Basic Principles of Slow Fashion

- - Current Topics in Fashion, Fashion Business, Retail Math

“Slow fashion” is on everybody’s mind at the moment as consumers are becoming more and more aware of the environmental and social impact of their purchasing decisions.

If you are interested in diving a little deeper into this worldwide movement, read on for the four basic principles of slow fashion.

 

1. It is all about mindfulness.

The most crucial aspect of slow fashion is that a consumer works to become more conscious and mindful of what they are consuming. It doesn’t mean that you have to throw out all your old clothes and refill your closet to the brim with ethical brands. Instead, it means switching your mindset about clothing and thinking more deeply about the daily purchase decisions you do (or don’t) make.

When looking to embrace slow fashion, you want to start differentiating between need vs. want. Therefore, before you purchase anything new, have a look through your closet and identify any gaps. Then, you can create a wish list of items that can fill the holes in your wardrobe, as well as a couple of other pieces that’ll add a fresh injection to what you already have (like a pair of Balenciaga shoes).

By being more mindful with your shopping strategy, you will find that you are increasingly rewarded as you become more content with your closet.

 

2. Always opt for quality over quantity.

The second basic principle of slow fashion is to always opt for quality over quantity.

In other words, if you have $100 to spend on clothes this month, don’t buy ten items for $10; instead, buy one high-quality piece that you need (principle #1) for $100. While this may seem like a massive investment at first, what you are actually doing is choosing to appreciate the items that you bring into your life. The well-made item that you select is going to last you a lot longer (years!) than any item you find in a cheap fast-fashion store.

That being said, don’t assume that you are going to have to take out a second mortgage to buy a few quality pieces. Perhaps you can choose to add one or two pieces to your closet each season and slowly grow your collection of high-quality basics.

Generally, sustainable brands offer similar basics each season, so you can take your time when saving up. Additionally, you can also find quality items in vintage and secondhand shops. Keep your eyes peeled for reinforced seams, lining, extra fabric on a hem, and natural fibers  – these are all indicators of quality. Or, find something from Farfetch’s ‘The Conscious Edit’- their pre-owned section on their website. For example:

 

4. Support sustainable slow-fashion brands.

Last but not least, when you do decide to shop, you want to look at the offerings from sustainable slow-fashion brands. The brands that have adopted the “slow-fashion” mantra are conscious about the environment, their social responsibility, and the effect that their business and creations have on the planet. Farfetch offers ‘The Conscious Edit’ a series of designers who are dedicated to taking positive steps across three areas: environmental, social and animal welfare. ‘Positivity Conscious’ Reformation garments are made from eco-friendly materials with sustainability at the core of everything they make. Stella McCartney is known for her uncompromising stance on using cruelty-free, organic and recycled materials in her designs. In fact, her sneaker collaboration with Adidas boasts that more than half of their range of apparel and footwear is made with recycled materials.

By supporting sustainable slow-fashion brands, you are helping to reduce the negative repercussions of clothing and textiles on the environment. Also, you are ensuring that your hard-earned money is going to a company who, in turn, pays fair wages and provides better working conditions for the people who make your clothes.

What do you think about slow fashion? Is it something that you are looking to incorporate into your life?

Let us know your thoughts and any relevant experiences you have in the comments below!

All Hail the Queen of Raw

- - Current Topics in Fashion, Fashion Business, Fashion Innovation, Sustainability, Women in Fashion

Nothing makes us happier at the University of Fashion than featuring power players who are making positive change in the fashion industry. And little did this designer realize I would have my design and production mind blown by the incredible woman you are about to meet.

Enter Stephanie Benedetto, self-proclaimed Queen of Raw.

This former corporate attorney on Wall Street and descendent of an Austrian immigrant turned Lower East Side master furrier is realizing her mission of turning pollution into profit. And maybe more importantly, she’s contributing to a world in which her son can grow up and thrive by breathing in clean air, enjoying access to clean water and wearing non-toxic clothing.

Benedetto suggests turning our traditional design process on its head in an effort to make design sustainable by powering design with dead stock fabrics.

Benedetto explains: Pen to paper or stylus to screen, designing a garment can be one of the most special and intimate experiences an artist can have. It’s no mystery why designers want to start their process with this creative expression. But it’s taking its toll on our world. Where is the business or environmental sense in designing a garment with a fabric in mind without having secured the specific material, figuring out the quantity available, knowing where it’s located, and the ethics in its production? The funnel is broken. Starting with design leaves the rest of the battle uphill.

Have you ever had one of those designer a-ha moments, where everything you’ve been taught somehow goes out the window, and suddenly you see your craft in a new light? Keep reading…

The Queen of Raw continues: The back and forth of swatching and communicating shipping, confirming color, managing orders, the possibility of the material becoming unavailable in the midst of communication – it happens all too often. What if (just trust me for two seconds), what if we started with a material? What if there was a way to see that something was already manufactured and ready to go?”

Once again, a-ah. I’ve faced this production quandary and it wasn’t pretty. On the flip side of things, as an emerging designer with only small orders to fill, I found myself wanting to use fabrics that I could only get by meeting the manufacturer’s minimums. This unfortunate situation left me with all kinds of extra fabric for some garments in my collection and running out of the right fabric (as Benedetto describes above) for others. Had I of started my design process with specific, available fabrics in mind, oh my, how things would have turned out differently.

As if reading my mind, Benedetto continues: You have all the information on where it’s [fabric] coming from, how much is available, how it was made, and it’s cheaper at the same quality you’re used to because it’s “dead stock.” What if designers began with what’s available instead of creating all the problems (for themselves) that slow production down by using/creating new? 

Benedetto will tell you exactly how a fledgling (or seasoned) designer’s business could benefit from this fabric-first design model, and this designer will concur.

Bottom lines would improve.

Price points on finished goods could be more accessible with production costs severely lowered.

Billions of gallons of water would be saved in using already existing excess (700 gallons per yard repurposed).

And fashion could move to the forefront of the sustainable mission instead of being the second biggest contributor to climate change.

Take in those last few words…fashion is the second biggest contributor to climate change. As responsible designers and global citizens, it’s important for all of us to consider all the design and production resources (and options) we have at our fingertips, thanks to thought leaders like Benedetto. If sourcing existing fabric options first makes sense to you, waste no time visiting Queen of Raw. As a bonus benefit, Queen of Raw will calculate the environmental impact of your order free of charge and you can pass the good news (and the savings) on to your customers.

Finally, we couldn’t write a post on responsible design and sustainable uses of fabric without giving a shout out to our friends at FabScrap. This incredible resource transports unused fabric from designers’ factories and warehouses to its sorting location. Then FabScrap either recycles scraps or prepares them for sale at a lower cost for designers and crafters. FabScrap even offers fabric sorting volunteer opportunities where you can earn fabric in trade. If you are in NYC, take advantage of one of two FabScrap locations!

If you have sustainable resources of your own to add, please don’t hesitate to comment and share what you know with our community below!

To sell or to rent? A sustainable business model for independent designers?

- - Current Topics in Fashion, Fashion Business, Trends

Via Bag, Borrow or Steal Instagram Account @bagborroworsteal

The buzz phrase “ethical fashion” has been tossed around for some time evoking concerns regarding fair labor practices and wages, processes that take the preservation of our environment and animals into consideration and supply chain transparency.

Often ethical fashion is confused with sustainable fashion, and yet there is no doubt the two are interrelated. Ethical practices lead to more sustainable processes which in turn mean healthier workers, an environment that can support generations of fashionistas to come and of course, clothing consumers can feel good about wearing.

But what if emerging and independent designers could take all that we’ve learned about both ethical (and sustainable) fashion and roll it into a business model that is growing in popularity and in my humble opinion, might be a way for young fashion businesses to stay afloat?

Hear me out…

The other night I was at a dinner party where several of the guests were talking about how much they loved their clothing subscription/rental services. The conversation went like this:

“I love your skirt.”

“Thanks! It’s from Le Tote.”

“Le Tote? I’ve never heard of that store. Where is it?”

“Oh, no! It’s not a store, it’s a subscription service, you know, like Rent the Runway. If I stay on top of wearing items they send and sending them back, I can get up to 4 new pieces a week. And if I really like something, I can keep it, pay for it and it’s mine. Otherwise, I wear it once or twice and send it back for the next person to try!”

Via Le Tote’s Instagram Account @letote

As the two talked, I started thinking of all of the sustainable advantages of renting a wardrobe. On behalf of the consumer, subscription services mean fewer unworn clothes packing closets and eventually ending up in landfills. And by giving clothes a “test run” and only keeping those items that the consumer is partial to (or as one guest mentioned, “get a lot of compliments from others”), more thoughtful purchasing choices can be made. Then, of course, there is the option to rent special occasion garments you may only need to wear once…

As a subscription service retailer, there are fewer risks of unsold inventory (and therefore waste in terms of dollars and garments), not to mention real time data revealing what consumers want which can guide future purchasing, order by order. Like the consumer, the retailer enjoys a more thoughtful way of approaching buying and selling in the fashion industry.

When it comes to ethical standards, it is still up to both rental services as well as the consumer to find out how the clothes they rent out (or in) are produced. After my subscription service curiosities were peaked, I did a bit of research only to find companies that curate plus sizes (Gwynnie Bee), bags (Bag, Borrow or Steal), just about any fashion item your fashion-loving heart desires from a wide variety of designers.

Via Gwynnie Bee’s Instagram Account @gwynniebee

But what I did not find is an independent designer who follows this model.

What if (on a smaller scale) independent designers could create a scenario where they could design and produce adhering to their own ethical standards and then rent their pieces in a way that is not only environmentally sustainable, but spares their business from the pitfalls that often cause independent designers to close their doors?

Feeling like I had to be missing something, I tried to create a real life scenario using the wide variety of samples I’ve created and are now tucked neatly away in my storage unit. I could photograph them, write product descriptions and create a website, but instead of selling these samples, I could rent them, earning income, while I designed additional styles. True, I would have to figure out shipping and how to protect myself against damaged garments. I’m sure I might get some pushback for not having a full size range in most styles, but wouldn’t it be amazing for these styles that I still love to see some light of day?

I wouldn’t have to worry about retailers placing an order for my most current (hypothetical) collection and subsequent production, and with the power of a social media following, I could advertise availability of garment rental to those who I already know are fans of my work.

I’m a firm believer that good design is timeless. Just the other day, I was admiring how Thom Browne posts pieces from collections past periodically on Instagram and I can rarely decipher which suit is from 2014 and which suit is from his most recent collection. Does this make me a bad fashionista? Probably. But I believe that we as a culture are trending away from the incredible amount of stress put on designers to produce season after season. Instead, wouldn’t it be incredible to generate revenue, which for a new designer could mean designing and producing the next collection, from styles past that we still love through a rental option?

Emerging designers, I’d really love to hear your thoughts in the comments. Are there additional benefits of this model you can think of? Perhaps pitfalls that I haven’t considered? I’d love to know…

GOING GREEN, HOW DENIM LABELS ARE EMBRACING SUSTAINABILITY

- - Fashion Business, Fashion Education

M.i.h. Jeans practices denim sustainability. (Photo Courtesy of WWD)

Climate change, global warming, plastic in our oceans, these are all real threats that have not just Millennials and Generation Zers worried, but should be a concern for people of all ages. As Alexandria Ocasio-Cortez’s “Green New Deal” is receiving plenty of publicity, we as a design community must realize that we are among the top polluters of our planet, actually, according to Ethical Unicorn, we rank #5. Not a number that we should be proud. So, what can we do as an industry to lower our ranking? Who are the brands who are leading the way?

Well, while there are literally thousands of fashion brands and companies around the world, there are not as many as there should be in our industry moving towards sustainability and who are consciously making an effort to reduce waste and pollution that our industry causes.

We’d like to give a shout-out to two ‘green’ advocates, Stella McCartney and Christopher Raeburn. These designers were among the ten fashion companies that have recently received the inaugural CO10 Leadership Award, an award that recognizes companies that have set down a pathway towards sustainability.

Christopher Raeburn fitting a model in one of his looks. (Photo Courtesy of WWD)

The award is presented by Common Objective, a network that connects more than 10,000 professionals in the fashion, retail and textile industries that share knowledge and best sustainability practices. Other companies that were honored were, Osklen, Bottletop, Indigenous, Outland Denim, Mayamiko, Sonica Sarna Design, Ethical Apparel Africa and The Rajlakshmi Cotton Mills.

“The industry has seen an incredible amount of traction over the past year, from increased consumer demand and government engagement, to the abundance of new entrants that focus on sustainability,” said Harold Tillman, former chairman of the British Fashion Council. The overall CO Leadership Awards are given to fashion brands that champion innovation in sustainability.

On December 10, 2018, Stella McCartney launched a program during the Katowice Climate Change Conference in Poland, which addressed various issues in the fashion industry, such as pollution, deforestation, low carbon production methods, and toxicity in products. Another goal for McCartney is to create awareness among students and designers that there are more environmentally-friendly ways to create collections. Today, more than ever, customers are aware and looking to purchase from brands that are focused on sustainability.

Stella McCartney at the Katowicw Climate Change Conference in Poland (Photo Courtesy of WWD)

Denim Sustainability News

While the majority of the population would love to purchase clothing that is environmentally-friendly, let’s face it, many cannot afford Stella McCartney’s hefty price point. But environmentalists will be happy to hear that everyone’s favorite closet staple, denim, is helping to lead the way towards sustainability.

Denim is one of the most popular fashion items around the world, but the mass production of this wardrobe staple has turned into an environmental nightmare. Remember the footage from China when a river turned blue from a nearby denim factory? Clearly denim dyes and water consumption are both harmful to the environment. However, today, the industry is searching for ways to help clean up the process and build a more sustainable supply chain. The denim industry is slowly joining together to create an ecosystem focused on sustainability practices.

Denim dyes damage the environment (Photo Courtesy of Forbes)

This past February at the Première Vision Textile Trade Show in Paris, a group of experts from the denim world gathered together for a panel hosted by Isko, a leading Turkish denim mill. The topic… the “Unlimited Possibilities of Responsible Denim.” Panelists included: Ebru Ozkucuk Guler (CSR executive at Isko), Miles Johnson (designer at Stan Ray denim and and previously at Patagonia and Levi Strauss & Co.), Rachel Pearce (director of denim consultancy firm Denimhand) and François Girbaud (owner Marithé + François Girbaud).

Isko’s sustainable denim panel Première Vision Textile Trade Showin Paris. (Courtesy Photo WWD)

Consumers today are intelligent. They want more transparency about the clothing and products they are purchasing. According to Miles Johnson, “it is high time, with all the confusion over certification, for governments to start implementing standards.”

The panel was in agreement that the idea of phasing out cotton was not realistic, but embracing new approaches to the cotton supply chain and implementing dye and waste management practices are vital for the industry’s survival.

Here’s what the panelists said: 

“We’re not going to stop doing cotton jeans, so let’s just do it better. But you have to have a big idea for 25 years down the road that everyone signs up for, and then we can all start trekking toward the same spot. Unfortunately we’re not there yet, and it’s all still a bit scattered,” Johnson said. Adding that “Cotton now has a bad name, like plastic. If people hear plastic now they go, ‘Ooh, bad.’ It’s not bad, the world just isn’t set up so that we can handle recycling, because we haven’t invested in waste disposal, so we’re not catching plastic at the end and turning it back into fiber.”

Pearce added, “We can grow cotton better, we can be more responsible with cotton, but our biggest enemy is the amount that’s going to landfill, to waste. But the cotton that’s going to landfill, it’s going to biodegrade; it’s the polyester we should be worried about, it currently stays in our environment for up to 120 years before breaking down.”

“We are in an incredibly wasteful industry, [but] I do commend everyone in the denim industry because at least we’re a step ahead of the sportswear industry,” concluded Johnson. “People are having these conversations a lot more in denim than they are in anything else.”

Blue + Denim practices denim sustainability. (Photo Courtesy of WWD)

 

Here are some possible solutions: 

Case in point, this past October in Amsterdam at the Kingpins Fair Trade Show, sustainability in denim was a key issue being tackled by experts. Posters detailing water-saving processes, potassium permanganate-free finishes and recycled fabrics were in front of most stands, and they were easy to spot from afar thanks to their symbolic green and blue hues.

M&J Group, a Bangladesh-based manufacturer, added green tags to each garment, that labeled the level of water, gas or chemicals used for the conception of each denim piece. Meanwhile, at Global Denim, the manufacturer promoted EcoloJean technology. Their posters illustrated a regular pair of jeans next to a pile of water bottles, explaining that it takes 20 liters of water to dye a single pair of jeans. The EcoloJean technology, said the poster, boasts zero water discharging.

Another big initiative in going green is fabric made from recycled plastic bottles.  “We’ve just sourced a fabric called Repreve, made from recycled plastic bottles,” said Tara Jessop, who was attending with Rebekah Hough, a fellow designer at Fundamental, a British denim manufacturer that counts the Arcadia group among its clients. “We’ve just sourced a fabric called Repreve, made from recycled plastic bottles,” said Tara Jessop, who was attending with Rebekah Hough, a fellow designer at Fundamental, a British denim manufacturer that counts the Arcadia group among its clients. “We keep seeing the green plastic bottle tags on every stand. They are an amazing marketing tool; they help the customer understand the process,” she added.

(Photo courtesy Reprove.com)

(Photo courtesy Reprove.com)

Thankfully, more affordable denim mills are now taking steps towards sustainability.  “We’ve been going round to each stand to ask them what they’ve been doing from a sustainable angle,” said Lee women’s designer Natasha Goforth, who added that the brand was looking to make its carryover fabrics more sustainable. “But we’re looking at every single element: fabrics, trims, finishes. It’s not just about the sustainability of the fabric itself, but rather how we can bring in more elements of sustainability to our brand,” she added.

DL 1961 Denim practices sustainability when producing denim. (Courtesy Photo)

Australian’s Outland Denim is facing challenges managing sudden rapid growth due to the brands ethical focus, The brands founder James Bartle stated “Integrity is everything to us as a business. The goal is to be a big part of changing the fashion industry for good. Our strategy is to be product-focused, to not be a charity and to create a genuinely sustainable business model that changes people’s lives and the environment at the same time.”

Outland Denim (Commercial Photography Cambodia)

ABLE Denim has adapted to sustainability practices. (Photo Courtesy of WWD)

TO ALL OF OUR UOF DESIGNERS AND MANUFACTURERS – HOW ARE YOU MAKING A DIFFERENCE TO BECOME MORE SUSTAINABLE? WE’D LOVE TO FEATURE YOU IN OUR BLOG. LET US KNOW