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    Arts

    The Business of Fashion Podcast

    The Business of Fashion has gained a global following as an essential daily resource for fashion creatives, executives and entrepreneurs in over 200 countries. It is frequently described as “indispensable,” “required reading” and “an addiction.”


    Hosted on Acast. See acast.com/privacy for more information.

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    Latest Episodes:
    Owen Eastwood and Tim Brown on Building High Performing Teams Mar 22, 2024
    Show notes

    As a performance coach to England’s national football team, the Royal Ballet and more, Eastwood taps into his Māori heritage to help groups foster a sense of togetherness and drive performance.


    For Allbirds co-founder and chief innovation officer Tim Brown, co-founder and chief innovation officer at Allbirds, a company that has gone on a rollercoaster of ups and downs since it IPO in 2021, his former life as a professional football player for New Zealand has taught him lessons he’s brought from the pitch to the boardroom.

    “When we want to create a high performing environment, we make an undertaking to each other that we will do nothing to diminish the dignity of every person, and when we all leave this experience or whatever it is together, our dignity will be enhanced,” Eastwood told Brown stage at BoF VOICES 2023. “For me, therefore, you need to understand the story of the people you work with.”


    This week on The BoF Podcast, Brown and Eastwood unpack how companies can drive high performance while maintaining a supportive culture.


    Key Insights:

    • While working with the British Olympic team, Eastwood encouraged the athletes to find a level of investment in their own story by creating a film which showcased various Olympians all the way back from 1896. “The Olympians themselves just took selfies the whole time with these images of those ancestors who they in particular could relate to, maybe something that shared their own identity story. I think it opened their eyes.”


    • Allbirds was founded in 2024 with a mission to make sustainable footwear, but 10 years on, Brown said that he’s learned how important it is to stay true to that internal story, both in communicating with employees and consumers. “As a creative person, as a storyteller, are we doing enough within our organisations to tell stories internally in the same way that we're telling them outside of the organisation?” he asked.


    • Eastwood said those sorts of strong, dynamic, internal stories are key for everyone on a team. “You've got to create rituals and traditions where it's reiterated because actually it's not just for the benefit of new joiners, it's for the benefit of us who have been here a long time.”


    Additional resources

    • The BoF Podcast | Allbirds’ Tim Brown on Learning to Lead With Resilience
    • Allbirds Co-CEO On Why DTC Brands Are Going Multichannel
    • Are DTC Brands Pulling Off Brick-and-Mortar?


    Hosted on Acast. See acast.com/privacy for more information.


    The Retail Philosopher Creating Waves in Egypt and Beyond Mar 15, 2024
    Show notes

    Amir Fayo, the founder of 69 Group, marries brand architecture and art direction to create retail and hospitality concepts rooted in culture and connection. Best known for operating Egyptian stores Maison69 and Villa Baboushka, Fayo breaks with conventions to create immersive store experiences that resonate with consumers on an emotional level. Everything starts by not thinking of himself as a retailer.


    “I don't know how to do retail. Retail is structured. Retail is data. Retail is numbers. … I connect to people, to how they feel, what makes them tick, what makes them be interested,” he says.


    This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Fayo to discuss his innovative attitude toward retail.


    Key Insights:


    • Fayo, who was born in Wales and raised in Egypt, says his architectural style is heavily influenced by his multicultural upbringing. “Egypt gave me a heart, the UK gave me my creativity and the US gave me my thinking process.”


    • There are three pillars to how Fayo approaches a project. The first is building an environment in which people can form an emotional memory. The second is creating a sense of social intimacy. Finally, he remains focussed on the idea of elevating the everyday. ‘I want to elevate [mundane moments] to be something that people remember, that people want to come back to,” Fayo explains.


    • When designing retail spaces, the idea of home is kept at the forefront. “When we started to define that code, I said, where is that space where there is no right and there is no wrong? It should be home,” says Fayo. “We're going to design homes because homes should be welcoming. Homes should create belonging. Homes should create easy connections.”



    Additional resources

    • Vogue Arabia's Editor-in-Chief on the Diversity of Urban Markets in the Middle East
    • All Eyes on Egypt
    • BoF Insights | Fashion in the Middle East: Optimism and Transformation


    Hosted on Acast. See acast.com/privacy for more information.


    Tim Blanks and Imran Amed Reflect on Autumn/Winter 2024 Mar 08, 2024
    Show notes

    This fashion month was all about looking ahead. At several major brands, newly-appointed creative directors ushered in a new era, including Seán McGirr at Alexander McQueen, Adrian Appiolaza at Moschino and Chemena Kamali at Chloé. But beyond the creative director premieres, recurring motifs of technology and the pared down everyday reflected the current state of the world — and what’s to come.


    “Early on, I detected this rather peculiar strain of sci-fi,” says Tim Blanks, BoF’s editor-at-large. “There is that incipient sense of apocalypse lurking and I think if you step back and take a really long view of what was happening, you could feel that kind of anxiety,” says Tim Blanks, BoF’s editor-at-large.


    Following the conclusion of the Autumn/Winter 2024 shows, Blanks sits down with BoF founder and editor-in-chief Imran Amed to discuss the highlights of fashion month.


    Key Insights


    • At Louis Vuitton, Phillippe Parreno’s immersive set design and Nicolas Ghesquière’s futuristic garments left lasting impressions. “There was a lot of white and a lot of reflection, a lot of shiny stuff. They could have been heading off to a space station. And the sound was insane. The sound makes you want to go home and open a nightclub in your living room,” says Blanks.


    • Undercover’s Jun Takahashi featured a poem about a single mother raising her eight year old child, written by German filmmaker and playwright Wim Wenders. “Every detail is just so beautiful and evocative and then Jun Takahashi showed the collection to go with that; everyday clothes, but completely transmogrified by his insane ingenuity,” recalls Blanks.


    • At Alexander McQueen, Seán McGirr’s first show displayed his energetic direction for the house following Sarah Burton’s departure. “I think that as a creative director debuting at a house, it's much harder to create new energy than it is to create merchandisable clothes. And I think that's what he succeeded in doing; he created a new energy around that brand,” says Amed.


    • Following the sudden passing of David Renne, Moschino welcomed new creative director Adrian Appiolaza, who looked to the roots of the brand for his first show. “If you detail Franco Moschino's iconography, Adrian Appiolaza went down the list and ticked every box. I think that that was probably the most joyful show of the whole season. … I think he celebrated the work of [Franco Moschino], in such a way that I'm really looking forward to seeing what he does next,” says Blanks.


    • At Chloé, Chemena Kamali’s charisma shone through on the runway. “You could see her really embodying the new Chloé and being that kind of ambassador for Chloé in a way that maybe some of the more recent creative directors never were really able to do,” says Amed.



    Additional resources:

    • Paris Fashion Week Says ‘So Long, Farewell’ With Chanel, Miu Miu and Louis Vuitton
    • Imran Amed and Tim Blanks Go Backstage at Milan Fashion Week
    • Backstage Pass | Rick Owens’ Life Mission: Inclusion



    Hosted on Acast. See acast.com/privacy for more information.


    Avery Trufelman on the Meaning Behind the Clothes We Wear Mar 01, 2024
    Show notes

    On her award-winning podcast “Articles of Interest,” host and producer Avery Trufelman dives deep into the stories behind the clothes we wear. From the evolution of prep to the origins of wedding dresses, Avery guides her listeners through the multi-faceted layers behind the aesthetics of fashion.


    “It's crops, it's the earth, it's handwork, it's culture, it's society. You tug on a thread and you get everything,” she said. “That's what I'm slowly realising [about fashion].”


    This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Trufelman to discuss her path into podcasting, taking her lifelong passion for clothes and what they mean into an audio format, and what she’s learned about fashion along the way.


    Key Insights:


    • A self-proclaimed “public radio nepo baby,” Trufelman has audio in her blood — her parents met working at New York Public Radio. But while she grew up with audio, she didn’t start experimenting with fashion until she was a teenager, expressing herself through quirky thrifted fashion ensembles, much to the confusion of her peers. “I knew in the back of my mind that it was too much, that I was sort of alienating people,” she says. “It just made me realise how powerful clothing was. That dressing in this wild way sort of set me apart.”


    • Trufelman initially came up with the idea for “Articles of Interest” while interning at the design and architecture podcast “99% Invisible.” Presenting a fashion podcast to an audience more focussed on architecture, Trufelman began to see the ways in which fashion touched every facet of life. “In the beginning, fashion was sort of a dirty word for me,” she says. “Now it's all about fashion because everything has fashion. Buildings have fashion, cars have fashion, colours have fashion. Fashion is just taste over time and the most easy way to measure that when you look at a picture of any era, it's the cars maybe, but mostly the clothes.”


    • Four seasons into “Articles of Interest,” Trufelman now finds herself with a rich archive to draw upon. “I don't ever kill stories. I love to reuse interviews that I collected years ago. I'm always cutting them up and revisiting them because I believe that knowledge isn't like one and done. It isn't a single use thing. I believe in making this a long sustainable living archive.”


    • Trufelman also sees the parallels between podcasts and fashion in the ways in which both allow us to engage with the world. “People are listening to your voice while they're walking down the street and they're like noticing what people are wearing or they're noticing what people are doing. It's not undivided attention. It is divided attention. It's beautiful.”


    Additional Resources:

    • The BoF 500: Avery Trufelman
    • Ralph Lauren is Traveling Back in Time to Bring Back Preppy Chic


    Hosted on Acast. See acast.com/privacy for more information.


    Arizona Muse on Modelling and Fashion’s Dirty Roots Feb 23, 2024
    Show notes

    In 2010, model Arizona Muse was catapulted into the fashion spotlight. After opening and closing Prada’s Spring/Summer 2011 show, she was signed as a face of the brand. But after years of the modelling, grind and some serious personal reflection, the British-American model has swapped the glamour of the runway for environmental activism.


    “[Modelling] nearly destroyed me. You pretend you enjoy it because everyone wants you to enjoy it. But the truth is, you'd prefer to be doing something else.”


    This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Muse to discuss her journey to the fashion runway, her reflections on fashion’s contribution to the climate crisis and why she sees self-care as a form of environmental activism.


    Key Insights:

    • While Muse is grateful for modelling career, she said it caused immense strain on her mental health. “It's been a blessing in so many ways, but it also nearly destroyed me. It really nearly destroyed my mental health,” she shares. “What's hard about modelling is people are judging you all the time on what you look like … They don't even judge you on what you wear. It's just purely what you look like.”


    • The model first tapped into her passion for environmental activism after being invited to a charity lunch where she learned that textile materials were grown in soil by farmers. “Working at the centre of this industry, working with all the most amazing fashion houses that we've all heard of, how is nobody talking about the farmers who grew our clothes for us?” she says.


    • She also sees her own self-care as part of her activism. “How can I take the best care of my being so that my being can be in the best shape that it can be, to be in service to the other beings around me who are human, to the other beings around me who are non-human, and to the biggest being of us all who is the earth?”


    • Muse recognises the need for governments to support organisations like DIRT, she also insists there is a level of personal responsibility for those privileged enough to make sustainable choices. “If you're like I am, and you're one of those lucky people who has money in your pocket right now, it is your responsibility to spend it with sustainable businesses who are making things in a more responsible way,” she says.


    • Why Big Brands Are Pushing Back Against Sustainability Regulations
    • The Problem with Sustainability Data
    • The BoF Podcast | Ending Climate Colonialism in Fashion


    Hosted on Acast. See acast.com/privacy for more information.


    Kevin Macdonald Probes John Galliano’s Soul Feb 16, 2024
    Show notes

    In the world of high fashion, few names have commanded as much attention — and controversy — as John Galliano.


    Throughout the 1990s and 2000s, his sensual designs and runway theatrics earned him worldwide acclaim.But Galliano’s career imploded in 2011 when a video of him emerged using antisemitic slurs. In a new documentary, “High & Low: John Galliano,” BAFTA-winning director Kevin Macdonald examines Galliano's meteoric rise, scandalous downfall, and the role of forgiveness and redemption.


    “If there's one thing that people could take away from the film, it is [that] things are never that simple. The grey predominates in life and in morality,” says Macdonald.


    This week on The BoF Podcast, BoF editor-at-large Tim Blanks sits down with McDonald to discuss the phenomenon of cancellation and his own feelings about Galliano after completing the documentary.


    Key Insights


    • Alongside archive footage and interviews with industry insiders, the film features extensive conversations with Galliano himself. Macdonald says Galliano seemed to forget the series of events and antisemitic remarks he said. “I think he genuinely blotted that out. I don't think he's pretending not to remember. I think that it's a sign of him creating a story for himself about things that have happened … to get by,” Macdonald says.


    • According to Macdonald, Galliano does not expect total forgiveness but hopes for understanding. “He knows some people will never forgive him for the antisemitic comments he made, but he wants people to understand who he is and where that came from and what part it had in the way it played in his life.”


    • Macdonald attributes the attention the film has received prior to its release to nostalgia for a bygone era. “I think there's a romance about this past where people were misbehaving and being creative geniuses and led to crash and burn and didn't have to answer to HR,” he says.



    High & Low – John Galliano opens in cinemas on 8th March 2024.



    Additional resources

    • John Galliano: ‘I Feel Much Freer’
    • John Galliano: Fashion’s Greatest Showman Turns Ciné-Auteur
    • A Penitent John Galliano Talks to Charlie Rose About Childhood, Addiction and McQueen's Suicide


    Hosted on Acast. See acast.com/privacy for more information.


    Pat Boguslawski Is the Secret Weapon Behind John Galliano’s Fashion Drama Feb 09, 2024
    Show notes

    Pat Boguslawski is setting the fashion world in motion.


    The Polish movement director at Maison Margiela is the creative mastermind behind some of fashion’s most memorable runway moments. From German model Leon Dame’s viral runway stomp in 2020 to the seductive strides of corseted characters in John Galliano’s triumphant 2024 Maison Margiela couture show, Boguslawski is redefining the role of the model and bringing back the spectacle of the show.


    “I always tell the models that it's better to give more than to give less,” he told BoF editor-at-large Tim Blanks, on this week's podcast.


    Key Insights


    • Growing up in Poland in the nineties, Boguslawski devoured fashion content on TV and in print. But as he watched everything turn into a product, he felt the storytelling essence of fashion diminish. “I started doing my job because I got bored. I just didn't like the direction we were going towards. … I promised myself that I'm gonna start bringing that energy back to fashion and create major runway moments.”


    • Boguslawski is a multi-faceted creative. He started training as a dancer at age 15, transitioned to modelling and also studied drama and acting for four years before shifting to movement direction. “I'm so grateful that I was so curious because now I kind of use everything that I did in the past at my job,” he says.


    • Directing the movement for the 2024 Maison Margiela couture show, Boguslawski encouraged the tightly-corseted models to channel their pain and discomfort into their characters. "I remember saying, 'Use that pain, use that suffering in your character. Just use whatever you're feeling right now. … Don't try to be perfect. Just let me see the suffering,'" he recalls.


    • For Boguslawski, a connection with the audience is a key part of the show. “I like when the audience feels intimidated. It's exciting and I love the adrenaline that comes with it.” He recalls the impact of his direction during a rehearsal before the show. “I remember we were watching the main rehearsal and they were wearing their own clothes and the corsets. The whole rehearsal got a standing ovation by everyone who was in the room.”


    Additional resources

    • Different Takes on Future Perfect at Fendi and Maison Margiela
    • A Dream of Defiance at Margiela



    Hosted on Acast. See acast.com/privacy for more information.


    Brandice Daniel on Making Room for Diversity in Fashion Feb 02, 2024
    Show notes

    As founder of Harlem’s Fashion Row, Brandice Daniel is a change agent. For more than 15 years, she has been working to bridge the gap between the fashion industry and Black and Latinx designers who often don’t come from famous fashion schools like Parsons or FIT.


    Following the surge in interest in diversity, equity and inclusion following the murder of George Floyd, there are growing headwinds which are stalling progress.


    “We've regressed so far, so fast. It is really disappointing, especially in an industry that is supposed to be cutting edge … How can you be innovative without addressing DEI?” she says.


    This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Daniel to discuss how the industry can foster real change.



    Key Insights:


    • Harlem’s Fashion Row was founded in 2007 — long before DEI became a corporate buzzword — after Daniel noticed how little diversity there was at US department stores. “[I] realised that less than 1 percent of the designers that were on those websites at the time were designers of colour, however … African-Americans were spending $22 billion a year on apparel. And that was when I really got my aha moment.”


    • 2020 was a pivotal year for Harlem’s Fashion Row. After George Floyd’s murder sparked global conversations around racism and representation, more fashion and retail brands opened the door to diversity. “It was very easy to tell during those days who was wanting to do very performative work versus who actually was interested in doing the work,” Daniel explains. “The companies who were doing the work before 2020, they are still doing the work.”


    • Still, despite the momentum that 2020 brought, she’s been disappointed in the lack of long-term action. “We've regressed so far, so fast. It is really disappointing, especially in an industry that is supposed to be cutting edge … How can you be innovative without addressing DEI?” she says.


    • When it comes to finding your sense of purpose, Daniel believes in focusing on your goal, rather than the nitty-gritty of the process of achieving it. “Don't worry about the how. Just worry about the what and the why. If you focus on the what and the why and just allow the how to unfold as you just take one step forward, you will see that so many incredible things will happen.”



    Additional Resources:

    • UK Fashion Industry Isn’t Making Progress on Leadership Diversity, Report Finds
    • A New Lawsuit Puts Fashion’s Corporate Diversity Efforts in the Crosshairs
    • Protecting Fashion’s DEI Efforts During Market Disruption

    Hosted on Acast. See acast.com/privacy for more information.


    Ending Climate Colonialism in Fashion Jan 26, 2024
    Show notes

    The fashion industry is responsible for up to 8 percent of global greenhouse gas emissions. But the most profitable fashion companies are often headquartered in the countries that have historically generated more emissions, while the nations with a smaller carbon footprint often find themselves more severely impacted by extreme weather driven by the climate crisis.


    “The industry is structured in a way that's very colonial … it's the rich countries that are reaping all the rewards and benefits, and it's the poor countries that have kept this industry profitable,” says Ayesha Barenblat, the founder and CEO of Remake, a non-profit that advocates for sustainable practices in the fashion industry.


    This week on The BoF Podcast, BoF chief sustainability correspondent Sarah Kent sits down with Barenblat, sustainable fashion designer Sammy Oteng and Vidhura Ralapanawe, executive vice president at manufacturing company Epic Group at BoF VOICES 2023 to discuss how to end climate colonialism in the fashion industry.


    Key Insights:


    • In fashion, the climate crisis appears in colonial structures that perpetuate unequal distributions of power and profit. According to Barenblat, companies act as “glorified marketeers, telling production nations how to deal with the climate crisis. They're setting science-based targets, but they're not paying for it … let's flip the script and actually have a conversation around the people who create value for this industry and how we centre them in the conversation.”


    • Countries in the global South have become dumping grounds for low-quality clothes from the global North. An estimated 40 percent of the textiles that arrive in Ghana are discarded as waste, however the true scale of excess garments is unknown. “We don't even know how much we are producing in terms of fashion. We say 100 billion to 150 billion [garments produced each year], that's a 50 billion gap,” explains Oteng. “Until we understand a problem that we have, we can't move on to having … that one solution.”


    • Alongside climate mitigation, it is important to also address climate adaptation. “Every brand and retailer wants to talk about mitigation because they want to make money off the climate crisis, but our communities need climate adaptation resources,” says Barenblat, adding that philanthropic contributions are not enough. “What we want are equitable ways to make these communities whole … we can't just sit around and have conversations anymore.”


    • The fashion industry needs to halve its emissions by 2030 to meet global climate goals, a timeline that is already unrealistic. As Ralapanawe says, “We haven't even started. There's no way that any brand or any manufacturer will hit their 2030 targets now.”


    Additional Resources:

    • The Year Ahead: Why Fashion Can No Longer Ignore the Climate Crisis
    • The Multi-Billion-Dollar Question for Sustainable Fashion
    • Sustainability Comes At a Cost. Fashion Isn’t Paying.



    Hosted on Acast. See acast.com/privacy for more information.


    Matthieu Blazy’s Creative Alchemy at Bottega Veneta Jan 19, 2024
    Show notes

    Matthieu Blazy has been a quiet but powerful force in the fashion industry for years, having worked under powerhouse designers like Raf Simons and Phoebe Philo. But in 2021, he earned that status on his own when he was named the creative director of Bottega Veneta. Since then, he’s developed a reputation for pushing creative boundaries; BoF editors named his carnivalesque Autumn/Winter 2023 collection, which featured tank tops and jeans made of leather, as their favourite show of the season.


    “I was very interested in this idea of boring clothes. How can we push it so it really becomes something precious and luxurious?” Blazy says.


    This week on The BoF Podcast, Blazy sits down with BoF editor-at-large Tim Blanks at BoF VOICES 2023, where he opened up about his creative processes and work at Bottega Veneta.



    Key insights:


    • For Blazy, collaboration and a close connection with his teams are paramount for creativity. Before taking the creative helm of Bottega Veneta, Blazy spent four years at Maison Martin Margiela. “The way I work with the team is quite emotional. … When I arrived at Margiela I took my office out of the studio and I put it inside the atelier. It was nice because it was not just me thinking on my own. We were actually making it together,” he shares.


    • Whilst Blazy recognises the power of technology in fashion, at Bottega Veneta, he still puts the emphasis on craftsmanship first. “When you make something by hand, it will always have a little mistake, which is not a mistake, which is part of the process. … so when you go to the store, you won't find twice the same product. You have the idea of a theory, of course, but it's never the same. One artisan cannot finish the work of another artisan.”


    • As a global brand, Blazy hopes customers around the world will be able to see themselves in Bottega Veneta under his creative direction. “Fundamentally I want [global customers] to also find something where they also recognize themselves in the story that is not just Italian.”



    Additional resources:

    • Who Is Matthieu Blazy, Bottega Veneta’s New Creative Director?
    • Bottega Veneta: Everything Old Is New Again
    • Bottega Veneta’s Everything, Everywhere Essence Strikes Fashion Gold


    Hosted on Acast. See acast.com/privacy for more information.


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