The Business of Fashion Podcast

Latest Episodes:

What Happens When It’s Too Hot to Make Fashion? Aug 16, 2024

Show notes

Many of fashion’s largest manufacturing hubs, particularly in South and Southeast Asia, are increasingly at risk of dangerous, record-breaking heatwaves. As extreme heat becomes more frequent, more intense and longer-lasting, what is the cost to industry and how will we adapt to the growing climate risks?

Senior correspondent, Sheena Butler-Young and executive editor, Brian Baskin sat down with BoF sustainability correspondent Sarah Kent to understand what rising global temperatures means for the future of garment production.

“We have to assume that it’s the new norm and or at least a new baseline. It’s not like every year will necessarily be as bad, but consistently over time, the expectation is things are going to get hotter for longer,” says Kent. “We both have to take steps to mitigate and prevent things getting worse, and we have to accept that we have not done enough to stop things getting this bad - and so we have to adapt as well.”

Key Insights:

Extreme heat leads to productivity problems, including increased instances of illness and malfunctioning machinery — even air conditioning units. The reason this isn’t surfacing as a significant supply chain issue is that it occurs in short, sharp bursts. “The supply chain is flexible enough and sophisticated enough that it can be papered over for the moment, particularly at a time when demand is not at its peak,” shared Kent. “Not all factories are working at full capacity all the time, so if your productivity isn’t 100% you can manage that for a few days or a week.”

When it comes to working conditions in garment factories, climate also tends to take a backseat, both for manufacturers and, often, the workers themselves. “The biggest issue for a worker is going to be okay, I’m not earning enough to feed my family, my job isn’t secure, and then it’s really hot and that’s making it worse,” Kent recalled hearing from union representatives in Bangladesh.

Whilst brands understand the interconnectivity between their emissions and supply chain issues, the drive to produce what consumers want as swiftly and cheaply as possible doesn’t leave much room for manufacturers to prioritise investments to improve their environmental footprint or adapt their factories to be more resilient to climate extremes. “We’re going to need to raise the prices in order to do that. That becomes a very tricky conversation very quickly,” says Sarah. “The disconnect is between the delightful picture of peace, love, Kumbaya, green planet that the industry would like to suggest that it is gunning for, whilst at the same time paying prices that in no way support that.”

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Convoy on How to Create Fashion Moments Aug 09, 2024

Show notes

Creative directors and brand strategists Juan Costa Paz and Nordine Benotmane, who founded Paris-based creative agency Convoy in 2012, are paid to think outside the box for clients from Nike to Louis Vuitton.

“We care about having conversations outside of the fashion echo chamber,” said Costa Paz. “I like to create tension, even if people don't like things, because I do think that it's good to try to create the conversation,” added Benotmane.

This week on The BoF Podcast, Costa Paz and Benotmane join BoF founder and editor-in-chief Imran Amed to discuss how they do it and their paths to fashion.

Key insights:

Convoy’s Costa Paz and Benotmane came to fashion from the worlds of music and cinema, respectively, and that’s a good thing. “The fact that both Nordine and I come from different spaces, we don't tend to abide by the rules of what makes a fashion moment,” said Costa Paz. “We're a little bit kamikaze in the way that we try to not think as the brand wants us to think,” added Benotmane.

Over the years, Convoy has produced content around fashion shows for brands like Miu Miu, Vuitton and Balmain. Describing these moments as, “like going to war”, Paz Costa believes there is an element of both care and challenge that is required when realising ambitious ideas with clients. “Sometimes you just need to hold hands with your clients and jump together into the void. I think that we usually land very well when there is communication and transparency.”

Convoy also leads creative direction for Condé Nast’s Vogue World, which kicked off Paris Couture Week with a pre-Olympics sports-themed extravaganza. “This is a new way of seeing media,” said Benotmane. At the same time, he recognises there is always still space to explore. “Maybe this is a new way of doing the media, but we could have told stories of the athletes, the way they prepare for the competition, their relationship to fashion, a lot of things that we maybe didn't manage to do this time because it's still a new project and it's very ambitious.”

Offering advice for up-and-coming creatives, Benotmane said: “Don't be scared, do it your own way.” Added Costa Paz: “Being a little bit punk also doesn't hurt.”

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Willy Chavarria on Promoting Social Justice Through Fashion Aug 02, 2024

Show notes

Willy Chavarria has become a force in American fashion, known for his Chicano-inspired take on menswear. Last year, Willy broke through, winning the CFDA award for Menswear Designer of the Year. For more than two decades before that, Willy worked behind-the scenes in major American fashion companies like Ralph Lauren, American Eagle and Calvin Klein.

But now, he is focused on building his own business. At the centre of his designs is a focus on community and equality:

“I sat with my team before we actually started the Willy Chavarria label and I said that this is how we're going to move forward with this brand. Everything that we do is going to be aimed to raise people up and to make people feel good and to celebrate human dignity,” he said. “That will be the foundation of the brand.”

This week on The BoF Podcast, Willy joins me to discuss his journey from the San Joaquin Valley into the fashion big-time in New York City, his commitment to social justice, and how the American fashion industry is evolving today.

Key Insights

Chavarria has always been fascinated by the way people dress. Growing up in the San Joaquin Valley in California, he was far away from the centres of fashion, but still paid close attention to style around him. “Part of my personal outlook was the way people chose to dress themselves in order to project an inclusion in a particular group,” he recalls. “The women in the family, I think of them in the red lipstick and the dark floral dresses getting ready for mass every Sunday, the black veils for the widows and the men with their fine pressed shirts.”

Growing up half white and queer in a macho, predominantly Latinx environment, Chavarria often felt out of place. “I was always looking at my surroundings as an outsider. It was difficult when I was young, but now I look back on it and I'm so grateful because it gave me a perspective that was highly visual, very analytical, and it gave me so much time to work on my own creativity and to be just kind of in my own world as I grew up.”

Chavarria says the American fashion system is in flux, and industry leaders need to meet customers where they are in order to stay relevant. “Our lives are so different now than they were ten years ago. It's so important for business leadership to be much more flexible and much more challenging with ideas in order to stay on top. People really need to be touched in a way that's more personal and more emotional and more connected to where people are,” he shared, adding that he believes that work involves “being communicative about social issues.”

Chaavarria’s advice for young designers is simple: “Experience is your best friend, because what you learn in school is not what you're going to learn in the real world,” he says. “I suggest that people get jobs in every level of fashion for the experience. Even if it's a job you hate, stick it out for a year. It doesn't matter if you hate it, because that's where you're going to learn the most.”

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Stéphane Ashpool on Fashion, Sports and the Paris Olympics Jul 26, 2024

Show notes

Sport and fashion have always been a part of Stéphane Ashpool’s life: He was raised watching his artistic parents socialise with designers like Claude Montana in Paris, while simultaneously falling in love with basketball watching the LA Lakers on TV. He followed both of these passions into adulthood, eventually launching streetwear brand Pigalle in 2008 and going on to collaborate with brands like Nike.

“I have as much curiosity for couture as I have for sport kit,” said Ashpool. “I knew I wanted to kind of blend those things spontaneously. I had no clue what it was going to bring me but that's why I started to put things together.”

This week on The BoF Podcast, Ashpool joins BoF founder and editor-in-chief Imran Amed to share his journey with clothing brand Pigalle and how his unconventional path into fashion led him to designing the French national team’s Olympic uniforms.

Key Insights

Raised in the Parisian suburbs with his dancer mother and artist father, Ashpool was deeply rooted in the worlds of sport and fashion from a young age. “I had this charming home, and when I went in the streets, I had this more masculine type of vibe. And that was related to the sport I love the most, which is basketball,” he says. “My mother and her friends were dancers, so I've been surrounded by a lot of the gay community, people coming from all over the globe, eccentricity, people that really embrace style.”

Established in 2008, Ashpool’s brand Pigalle was named for the Parisian neighbourhood he grew up in and born with the district’s multi-dimensional spirit in mind. “I didn't exactly know what I was doing, but what I did know was the best of both worlds. I like to blend, so I have as much curiosity for couture as I have for sports kits,” he shares. “[At the start] we didn't know how to handle things, to organise ourselves, but the fire was burning. It was really exciting to enter a lane that no one really did before.”

When Ashpool was approached by Le Coq Sportif to design the uniforms for the French Olympic team, it came with new challenges and constraints, but Ashpool relished this learning experience. “I really embraced it because even though they put you in a frame, if you managed to break the frame even a little bit, you always got more than what they gave you. I made sure I was pushing the boundaries.”

For young creatives, Ashpool’s advice is simple. “Dream big, but manage your expectations. Create your own lanes, be inspired, but don't let yourself be someone else. If you start something, you need to finish it. Don't teach yourself to not finish something. Otherwise, it's going to enter your DNA,” he warns. “Be nice to people. It works. Be yourself. It works. Be patient. It works.”

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Vennette Ho on the Future of Beauty M&A Jul 19, 2024

Show notes

2024 has the potential to be a dynamic year for dealmaking in beauty, as brands including Makeup by Mario, Kosas, Merit and even Selena Gomez’s Rare Beauty begin exploring their strategic options. But strategic buyers and private equity firms are also adopting more selective acquisition strategies.

At The Business of Beauty Global Forum 2024, Vennette Ho, managing director and global head of beauty and personal care at investment bank Financo Raymond James shared her expert views on this year’s M&A scene in the beauty industry. Vennette is the industry’s most respected investment banker, so when she talks, the beauty industry listens.

“M&A happens when there's a fundamental change in the consumer. The consumer needs and the consumer wants are something that the strategics today don't have,” Ho explained. “Every time there's an evolution of a consumer need or want or expectation, M&A has to become a necessity for large strategies to look at.”

This week on The BoF Podcast, Imran Amed, BoF founder and editor-in-chief sits down with Ho to discuss the evolving nature and market of the beauty industry.

Key Insights:

According to Ho, consumer expectations for beauty brands have changed, as well as how they engage with them. Acquiring indie brands helps conglomerates meet those expectations. “A lot of the big companies don't have … the ability to incubate internally, they don't have the ability to come up with something. It really comes honestly from the hearts of founders and it comes from private companies. As a result, M&A becomes really necessary,” she says.

Ho advises founders to get to know lots of potential acquirers when considering a potential acquirer, in order to understand who shares your values before making a deal. “It also goes for the other side that they feel like they know you and you can have a better alignment from the beginning,” she adds. .

The perfect exit process is not just about the closing of the deal but also what happens after. “What happened six, 12 months, three years after the deal happened? Are people still feeling the same way? I think that's where we get the most pride and say, ‘Okay, this actually impacted the industry in some huge way that went beyond just that moment of the deal,’” says Ho.

Looking towards the future of the industry, Ho believes we’ll continue to see the breakdown of beauty category silos. “I think some of the most interesting and most disruptive companies don't actually fit into that mould and don't actually fit into a traditional thing,” she said. “The consumer doesn't think, ‘Is this a prestige brand? Is this a mass brand? Is this a skincare brand?’. They're thinking, ‘Is this a brand that I want to engage with that engages me in a certain way?’ There's a really exciting democratisation of things where brands can exist in different channels at the same time.”

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Why the Fashion Industry Needs a Makeover Jul 12, 2024

Show notes

In a special episode, BoF founder and editor-in-chief Imran Amed joins Bob Safian on the Rapid Response podcast, part of the respected Masters of Scale series.

“The most interesting thing you can do, if you look at historical photos going back 50 or 100 years, is to look at what people are wearing. It gives you a sense of what's happening in the world at that time,” said Amed. “When we look back to 2024, and see the Hoka sneakers, the athleisure, and the streetwear looks that people are wearing, these are a reflection of what's happening in the world right now. That's what makes fashion so powerful.”

In their conversation, Amed and Safian discuss the rapid growth of the global fashion business, the dominance of the megabrands and the resulting crisis of creativity and challenges faced by independent fashion brands, as well as the impact of ultra fast fashion brands like Shein and Temu.

Key Insights:

According to Amed, the fashion industry's focus on business growth is stifling creativity, leading to a homogenised market, where innovation is increasingly scarce. "Creatives are being put into boxes and forced to work in ways that are all about meeting the demands of these large, now publicly traded companies that are analysed by all the same investment banks and analysts as Procter & Gamble and Apple. When you're in these big public companies, every quarter you have to show growth, and it really puts a drain on creativity."

Independent designers are facing significant hurdles in a market dominated by mega brands. "The big brands in this industry have become so big, so dominant that it makes it really hard for younger independent designers,” Amed explains. “Lately, I've just had this feeling that the early stage part of our industry is not very healthy. There's been a lot of things happening in the industry that have just made it really, really hard."

Amed believes artificial intelligence is poised to revolutionise the fashion industry. "It's going to be really interesting to see how leaders on both the creative and the business side of fashion begin to integrate AI tools and processes into the way they run the business but also the way they run the creative process. Some of the designers I'm talking to are already using some of these tools."

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Tim Blanks and Imran Amed on Haute Couture Week A/W 2024 Jul 05, 2024

Show notes

Paris Couture Week has come to a close, and Tim Blanks and Imran Amed sat down for their seasonal review of all the most important collections — from Schiaparelli to Armani, the standout looks, and of course the designers who brought them to life.

They also discuss the significance of Dries Van Noten’s final collection, which was the most important moment during the menswear shows, and also how the brand will take things forward now that Dries is stepping back.

“Alain Gossuin, the first model on the catwalk, was the first model in Dries’ first show. They had to dig for those models. They had to really get out there and find all these people and it was spectacular. All of that was very emotional, but I think Dries really kept the lid on it with the way that he came out at the end and waved as if to say, ‘maybe I'll be back soon.’”

Key Insights:

Down to the way the models moved, Daniel Roseberry's collection for Schiaparelli was a cinematic spectacle, merging traditional haute couture craftsmanship with futuristic design elements. “When [the models] stared at you it was challenging. They weren't staring at you to welcome you into their world.They were imperious. It's quite piercing but it was so deliberate that it felt like a different element in the show,” shared Blanks.

In light of Virginie Viard's departure, there is now a significant opportunity for change at Chanel. “If they want to take a chance on change, it's an amazing time to do that. Chanel is codes — and whoever goes in there has to understand those codes — but there's stuff you can do with those codes,” remarked Blanks.

At Gaultier, Nicolas di Felice’s interpretation of the French house left a lasting impression. “The intensity of the audience's engagement with him was so genuine you could see the future,” said Blanks. “He's quietly created an authentically cultivated real sense of goodwill amongst people. I think people in the industry are really rooting for him.”

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Diane von Furstenberg on the Making of Her New Documentary Jun 28, 2024

Show notes

From her miraculous birth as the daughter of a Holocaust survivor to becoming a fashion powerhouse with her signature wrap dress, Diane von Furstenberg's remarkable journey is one of resilience, innovation, and empowerment.

In a new documentary about her life called "Diane von Furstenberg: Woman in Charge,” Academy Award-winning filmmaker Sharmeen Obaid-Chinoy combines archival footage and intimate interviews with von Furstenberg’s closest friends and family to paint a vivid picture of a woman who has always been true to herself and her vision.

“The most important thing is to work hard at being true to yourself and liking yourself. If you are true to yourself, you are free,” shared von Furstenberg.

“Women are defined by society and placed in boxes and labels, and sometimes are forced to make decisions that they don't want to,” added Obaid-Chinoy. “Diane's story coming at a time like this is so important because it is an anthem of freedom.”

This week on The BoF Podcast, von Furstenberg and Obaid-Chinoy speak to BoF founder and editor-in-chief Imran Amed at the London premiere to share their experience of making the documentary and the new learnings this process surfaced about a life well lived.

Key Insights:

When creating documentaries, Obaid-Chinoy’s goal is to carefully peel back the layers of a person until reaching their core. After countless hours of conversation and travel with von Furstenberg, she believes she succeeded. “This is a story about a woman who faced adversity and rose up each time. I feel like all my films are about women who are faced with extraordinary circumstances. And Diane fits right at the heart of it.”

For von Furstenberg, the documentary also tells a crucial tale of her mother and her legacy. “It's about this woman who refused to die, who refused to be a victim, who told me never to be afraid, who never told me to be careful, who wanted me to have a big life,” she shared. “when you have a strong mother, you know, and you're being told that you are her torch of freedom. That torch could be heavy. But that's what was given to me. And I honoured her.”

Themes of gender, autonomy and power are central to the film, but ultimately, for von Furstenberg, the ability to connect with oneself is paramount. “Being in charge is not an aggressive thing; it's owning who you are. … The most important relationship is the relationship we have with ourselves.”

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Deena Aljuhani Abdulaziz on Redefining Arab Fashion Media Jun 21, 2024

Show notes

Deena Aljuhani Abdulaziz was drawn to fashion from a young age, devouring issues of Vogue and Tatler. This led her to set up D’NA, a members-only boutique based in Saudi Arabia and Qatar. 10 years later when she closed her boutique, she became the founding editor in chief of Vogue Arabia – but soon parted ways with the publication due to a misalignment in values.

Now, Aljuhani Abdulaziz is back with her own media publication, on her own terms. ‘Deenathe1st.com’ is an editorial lifestyle website dedicated to fostering a creative community that celebrates Arab culture.

“What I hold dear is what anybody would hold dear. Representing my culture correctly and fairly,” she says. “And it's not trying to show off Western ideas to the region. It's the other way around. It's showcasing the region and what we share creatively with the rest of the world.”

This week on The BoF Podcast, Aljuhani Abdulaziz joins BoF founder and editor-in-chief Imran Amed to share her career journey, the lessons she’s learned about fostering culture and community, and why the fashion community needs a new publication.

Key Insights

Born in California but raised between the US and Saudi Arabia, Aljuhani Abdulaziz is an expert code switcher who’s always felt able to act like a cultural bridge between the two worlds. “It never felt like an effort. It just came naturally. I think that's part of what makes me who I am in a sense,” she shares. “It's not just in figures of speech, but also in how you would interact with people, because there are different customs and traditions in different regions and in different households. It's really about a state of mind.”

Aljuhani Abdulaziz’s first fashion influence was her mother, who she describes as “still very, very chic.” As a child, her discovery of Tatler magazine pushed this passion even further. “I picked it up and I opened up its pages and I was like, ‘Oh my goodness, this is it!’ I was just so grateful and happy that it existed.”

Aljuhani Abdulaziz’s stint at Vogue Arabia ended abruptly after just two months. “I understood the responsibility of being a voice for a very big region, being Arab myself,” she said. “I think there was a point when that didn't align and the visions were not parallel.”

Looking to the future, Aljuhani Abdulaziz says she is building her editorial lifestyle platform ‘Deenathe1st.com’ on the basis of community, shared values, and kindness. “I think that it's super important to remind people that you don't have to be nasty to be stylish or to be in fashion or to be chic,” she said. “I would love to continue my love letter to Arabia. That's really what I'm trying to do with this site.”

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Law Roach on Keeping Busy After ‘Retirement’ Jun 14, 2024

Show notes

As a self-styled “image architect”, Law Roach has earned global recognition for the red carpet looks he has created for some of the most famous — and most photographed — women in the world.

But in 2022, when he suddenly announced his retirement on Instagram, writing “If this business was just about the clothes I would do it for the rest of my life but unfortunately it’s not! The politics, the lies and false narratives finally got me! You win…I’m out.”

While Roach continues to work with top clients Celine Dion and Zendaya — he was the mastermind behind Zendaya’s tennis-inspired “Challengers” press tour earlier this year — he’s also pursuing his entrepreneurial ambitions. Later this year, he will launch a new online learning platform to train the next generation of stylists.

“It was hours and hours of me talking with a script writer and being recorded to get out all my processes, from the way I set up a room to style and the psychology of choosing the right dress. So it's super comprehensive and I'm super proud of it. And we’re launching it with me as the very first instructor.”

This week, on the BoF Podcast, Roach joins me to trace his career right from the beginning when he was selling thrifted clothes from the trunk of his friend’s car in the South Side of Chicago and to exclusively share the details of his new online learning platform and what he hopes people will learn from it.

Key Insights:

Roach’s first memories of fashion are from his childhood in Chicago. “My first runway show was church on Sunday morning, watching those women with the hats and the outfits, but high fashion had always been something that was very aspirational but also seen very unattainable at the same time.” He then began his career selling vintage pieces from the trunk of a friend’s car before moving to a brick-and-mortar storefront. “That turned into a revenue stream for me and which then turned into a boutique, which turned into Kanye West coming in one day,” he said. That celebrity attention led to “global recognition about this little store in Chicago.”

Roach has worked with his most high-profile client, Zendaya, since she was a teenager. Back then, he had trouble finding brands that were willing to dress her, which forced him to get creative. “She became one of the best dressed, most looked at stars on the red carpets and had not even worn any of these brands. So at that point I was like, ‘I kind of don't need you.’ We had just worked so hard to make her this thing that everybody wanted without using the traditional tools of getting there,” he shared.

With his new online learning platform, Roach wants to encourage greater representation and open up opportunities in the industry. “Ours is a comprehensive collegiate level, educational, educational coursework. Everything that I've used to become who I am is in there.”

Despite the various challenges in his career, Roach’s unwavering self-belief has carried him to where he is today. “No matter how many doors are closed, no matter how many times people ask me to get out of my seat at a fashion show, no matter how many times people say no, I came to L.A. to be considered the best or one of the best, and there was no way that anybody could deter me from that. I really, honestly believed in myself.”

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