Today, we introduced The BoF 500 Class of 2026: 100 new members added to our ever-growing index of people shaping the global fashion industry. This year’s BoF 500 cover stories feature Miuccia Prada, Marc Jacobs, Givenchy’s Sarah Burton and Issey Miyake’s Satoshi Kondo, examining the ineffable creative quotient that turns clothes into things of desire. But creativity is just one part of the fashion equation. It is not something managers can simply turn on like a light switch. Designers also need sufficient time and resources, and teams that know how to translate their visions into commercial products — not to mention the best factories, strong retail networks and so on — to make a fashion business tick.Recently, Marc Jacobs has been grappling with some big changes at his namesake brand, opening a new chapter under new owners WHP and G-III which closed a deal to acquire the Marc Jacobs business from LVMH in September. Over the summer, Jacobs met with BoF contributor Eric Wilson in New York to discuss life after LVMH — and whether he can work with his new business partners without losing his soul. The full story is out on BoF on Oct. 7. After the cover shoot, Jacobs sat down with Imran Amed to talk about what’s next for his business and reflect on the ongoing fashion slump. “What I see is a bunch of non-creative people thinking that this all hangs on a creative person,” Jacobs says. “And I think it's just a big mistake.” Key Insights: <ul><li>The LVMH ceiling: Jacobs is candid that LVMH's backing came with a ceiling. “We might have a tote bag that's successful and we might have our show that's been applauded … [but] LVMH was not going to open stores or pour money into this place,” he says. Under his new owners WHP and G-III, he sees uncertainty paired with possibility: “There's an opportunity for something to change and grow, which certainly wasn't the case if we remained at LVMH. It would have just been a maintenance program, which is all that's really been in the past decade plus.”</li></ul> <ul><li>Changing the designer as a fix: Asked about last year’s wave of creative changes across the industry, Jacobs pushes back on the idea that just swapping out a designer fixes everything. “You can put a different logo over a designer's head or you can change the store that clothes are available in, but there’s an exhaustion, I think, from all of this stuff. And I don't know that the world even knows who's where at any given point,” he says.</li></ul> <ul><li>Instinct over advice: Jacobs resists offering advice to emerging designers, instead emphasising lived experience: “You do your best to trust your instincts and to go with your instincts in the gut ... I've been up and down and out, and I just never lose this desire to make things and be a part of this fashion world.”</li></ul> Additional Resources:<ul><li><a href="https://www.businessoffashion.com/people/marc-jacobs/" rel="noopener noreferrer" target="_blank">Marc Jacobs | BoF 500 | The People Shaping the Global Fashion Industry</a> </li><li><a href="https://www.businessoffashion.com/articles/news-analysis/introducing-the-bof-500-class-of-2026/" rel="noopener noreferrer" target="_blank">Introducing The BoF 500 Class of 2026</a> </li><li><a href="https://www.businessoffashion.com/articles/creative-class/designer-cover-interviews-miuccia-prada-marc-jacobs-sarah-burton-satoshi-kondo/" rel="noopener noreferrer" target="_blank">Miuccia Prada, Marc Jacobs, Sarah Burton and Satoshi Kondo Are 2026’s BoF 500 Cover Stars</a> </li><li><a href="https://www.businessoffashion.com/reviews/fashion-week/marc-jacobs-approaches-new-era/" rel="noopener noreferrer" target="_blank">Marc Jacobs Approaches a New Era </a></li></ul><hr> Hosted on Acast. See <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> for more information.

Today, we introduced The BoF 500 Class of 2026: 100 new members added to our ever-growing index of people shaping the global fashion industry. This year’s BoF 500 cover stories feature Miuccia Prada, Marc Jacobs, Givenchy’s Sarah Burton and Issey Miyake’s Satoshi Kondo, examining the ineffable creative quotient that turns clothes into things of desire. But creativity is just one part of the fashion equation. It is not something managers can simply turn on like a light switch. Designers also need sufficient time and resources, and teams that know how to translate their visions into commercial products — not to mention the best factories, strong retail networks and so on — to make a fashion business tick. Recently, Marc Jacobs has been grappling with some big changes at his namesake brand, opening a new chapter under new owners WHP and G-III which closed a deal to acquire the Marc Jacobs business from LVMH in September. Over the summer, Jacobs met with BoF contributor Eric Wilson in New York to discuss life after LVMH — and whether he can work with his new business partners without losing his soul. The full story is out on BoF on Oct. 7. After the cover shoot, Jacobs sat down with Imran Amed to talk about what’s next for his business and reflect on the ongoing fashion slump. “What I see is a bunch of non-creative people thinking that this all hangs on a creative person,” Jacobs says. “And I think it's just a big mistake.” Key Insights: The LVMH ceiling: Jacobs is candid that LVMH's backing came with a ceiling. “We might have a tote bag that's successful and we might have our show that's been applauded … [but] LVMH was not going to open stores or pour money into this place,” he says. Under his new owners WHP and G-III, he sees uncertainty paired with possibility: “There's an opportunity for something to change and grow, which certainly wasn't the case if we remained at LVMH. It would have just been a maintenance program, which is all that's really been in the past decade plus.” Changing the designer as a fix: Asked about last year’s wave of creative changes across the industry, Jacobs pushes back on the idea that just swapping out a designer fixes everything. “You can put a different logo over a designer's head or you can change the store that clothes are available in, but there’s an exhaustion, I think, from all of this stuff. And I don't know that the world even knows who's where at any given point,” he says. Instinct over advice: Jacobs resists offering advice to emerging designers, instead emphasising lived experience: “You do your best to trust your instincts and to go with your instincts in the gut ... I've been up and down and out, and I just never lose this desire to make things and be a part of this fashion world.” Additional Resources:Marc Jacobs | BoF 500 | The People Shaping the Global Fashion Industry Introducing The BoF 500 Class of 2026 Miuccia Prada, Marc Jacobs, Sarah Burton and Satoshi Kondo Are 2026’s BoF 500 Cover Stars Marc Jacobs Approaches a New Era Hosted on Acast. See acast.com/privacy for more information.

Today, we introduced The BoF 500 Class of 2026: 100 new members added to our ever-growing index of people shaping the global fashion industry. This year’s BoF 500 cover stories feature Miuccia Prada, Marc Jacobs, Givenchy’s Sarah Burton and Issey Miyake’s Satoshi Kondo, examining the ineffable creative quotient that turns clothes into things of desire. But creativity is just one part of the fashion equation. It is not something managers can simply turn on like a light switch. Designers also need sufficient time and resources, and teams that know how to translate their visions into commercial products — not to mention the best factories, strong retail networks and so on — to make a fashion business tick.Recently, Marc Jacobs has been grappling with some big changes at his namesake brand, opening a new chapter under new owners WHP and G-III which closed a deal to acquire the Marc Jacobs business from LVMH in September. Over the summer, Jacobs met with BoF contributor Eric Wilson in New York to discuss life after LVMH — and whether he can work with his new business partners without losing his soul. The full story is out on BoF on Oct. 7. After the cover shoot, Jacobs sat down with Imran Amed to talk about what’s next for his business and reflect on the ongoing fashion slump. “What I see is a bunch of non-creative people thinking that this all hangs on a creative person,” Jacobs says. “And I think it's just a big mistake.” Key Insights: <ul><li>The LVMH ceiling: Jacobs is candid that LVMH's backing came with a ceiling. “We might have a tote bag that's successful and we might have our show that's been applauded … [but] LVMH was not going to open stores or pour money into this place,” he says. Under his new owners WHP and G-III, he sees uncertainty paired with possibility: “There's an opportunity for something to change and grow, which certainly wasn't the case if we remained at LVMH. It would have just been a maintenance program, which is all that's really been in the past decade plus.”</li></ul> <ul><li>Changing the designer as a fix: Asked about last year’s wave of creative changes across the industry, Jacobs pushes back on the idea that just swapping out a designer fixes everything. “You can put a different logo over a designer's head or you can change the store that clothes are available in, but there’s an exhaustion, I think, from all of this stuff. And I don't know that the world even knows who's where at any given point,” he says.</li></ul> <ul><li>Instinct over advice: Jacobs resists offering advice to emerging designers, instead emphasising lived experience: “You do your best to trust your instincts and to go with your instincts in the gut ... I've been up and down and out, and I just never lose this desire to make things and be a part of this fashion world.”</li></ul> Additional Resources:<ul><li><a href="https://www.businessoffashion.com/people/marc-jacobs/" rel="noopener noreferrer">Marc Jacobs | BoF 500 | The People Shaping the Global Fashion Industry</a> </li><li><a href="https://www.businessoffashion.com/articles/news-analysis/introducing-the-bof-500-class-of-2026/" rel="noopener noreferrer">Introducing The BoF 500 Class of 2026</a> </li><li><a href="https://www.businessoffashion.com/articles/creative-class/designer-cover-interviews-miuccia-prada-marc-jacobs-sarah-burton-satoshi-kondo/" rel="noopener noreferrer">Miuccia Prada, Marc Jacobs, Sarah Burton and Satoshi Kondo Are 2026’s BoF 500 Cover Stars</a> </li><li><a href="https://www.businessoffashion.com/reviews/fashion-week/marc-jacobs-approaches-new-era/" rel="noopener noreferrer">Marc Jacobs Approaches a New Era </a></li></ul> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer">acast.com/privacy</a> for more information.

Marc Jacobs: 'I Don't Think That The Creative Is to Blame'

For years, follower count was the clearest shorthand for a creator's value — more followers meant more reach, more brand deals, more money. But social media doesn't work that way anymore. TikTok's For You page, Instagram's suggested posts and other algorithmically curated feeds mean creators can reach huge audiences without those people ever following them. At the same time, affiliate marketing platforms like LTK and ShopMy are giving brands a much clearer picture of who actually drives sales, with smaller creators often outperforming bigger names.  In this episode, senior correspondent Sheena Butler-Young talks to BoF US Editor Diana Pearl about how brands and creators are rethinking the value of an audience, and where creator value is headed next. Key Insights: <ul><li>A huge following no longer guarantees cultural weight. Pearl points to the gap between raw numbers and actual impact: "You look at someone like Dixie D'Amelio, who has almost 54 million followers on TikTok... but I would not say [she is] as culturally relevant as someone like Alex Earle, who has not even 9 million followers on TikTok."</li><li>New platforms have made it possible to see exactly who is driving sales, not just who has the biggest audience. As Pearl explains, "ShopMy really changed that — they offer brands a lot more insight into which creators are actually driving sales, even if they're not running a paid partnership."</li><li>TikTok's For You page and Instagram's suggested posts have done more than any other shift to break the link between followers and visibility. "Those are the two primary factors that have really diminished the importance of follower count," she says, "because you can have someone with 300 followers who goes viral."</li><li>The single most important quality a creator can build today resists easy measurement. "Trust is the number one most important thing that an influencer or creator can curate today," Pearl says, "and that trust is not something that can necessarily be measured by metrics on a spreadsheet."</li><li>Chasing every viral trend is a losing strategy — consistency is what builds a durable audience. "Playing the long game is really the best strategy," she says. "Staying true to who you are — that's how you build that community. That is how you built that trust in that community."</li></ul> Additional Resources:<ul><li><a href="https://www.businessoffashion.com/articles/marketing-pr/why-follower-count-matters-less-than-ever/" rel="noopener noreferrer" target="_blank">Why Follower Count Matters Less Than Ever | BoF</a></li><li><a href="https://www.businessoffashion.com/articles/marketing-pr/not-all-creators-convert-heres-how-to-find-those-that-do/" rel="noopener noreferrer" target="_blank">Not All Creators Convert. Here's How to Find Those That Do. | BoF</a></li><li><a href="https://www.businessoffashion.com/case-studies/marketing-pr/influencer-marketing-reset-strategy-performance-case-study/" rel="noopener noreferrer" target="_blank">From Hype to Discipline: The New World of Influencer Marketing | Case Study | BoF</a></li></ul> <hr> Hosted on Acast. See <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> for more information.

For years, follower count was the clearest shorthand for a creator's value — more followers meant more reach, more brand deals, more money. But social media doesn't work that way anymore. TikTok's For You page, Instagram's suggested posts and other algorithmically curated feeds mean creators can reach huge audiences without those people ever following them. At the same time, affiliate marketing platforms like LTK and ShopMy are giving brands a much clearer picture of who actually drives sales, with smaller creators often outperforming bigger names. In this episode, senior correspondent Sheena Butler-Young talks to BoF US Editor Diana Pearl about how brands and creators are rethinking the value of an audience, and where creator value is headed next. Key Insights: A huge following no longer guarantees cultural weight. Pearl points to the gap between raw numbers and actual impact: "You look at someone like Dixie D'Amelio, who has almost 54 million followers on TikTok... but I would not say [she is] as culturally relevant as someone like Alex Earle, who has not even 9 million followers on TikTok."New platforms have made it possible to see exactly who is driving sales, not just who has the biggest audience. As Pearl explains, "ShopMy really changed that — they offer brands a lot more insight into which creators are actually driving sales, even if they're not running a paid partnership."TikTok's For You page and Instagram's suggested posts have done more than any other shift to break the link between followers and visibility. "Those are the two primary factors that have really diminished the importance of follower count," she says, "because you can have someone with 300 followers who goes viral."The single most important quality a creator can build today resists easy measurement. "Trust is the number one most important thing that an influencer or creator can curate today," Pearl says, "and that trust is not something that can necessarily be measured by metrics on a spreadsheet."Chasing every viral trend is a losing strategy — consistency is what builds a durable audience. "Playing the long game is really the best strategy," she says. "Staying true to who you are — that's how you build that community. That is how you built that trust in that community." Additional Resources:Why Follower Count Matters Less Than Ever | BoFNot All Creators Convert. Here's How to Find Those That Do. | BoFFrom Hype to Discipline: The New World of Influencer Marketing | Case Study | BoF Hosted on Acast. See acast.com/privacy for more information.

For years, follower count was the clearest shorthand for a creator's value — more followers meant more reach, more brand deals, more money. But social media doesn't work that way anymore. TikTok's For You page, Instagram's suggested posts and other algorithmically curated feeds mean creators can reach huge audiences without those people ever following them. At the same time, affiliate marketing platforms like LTK and ShopMy are giving brands a much clearer picture of who actually drives sales, with smaller creators often outperforming bigger names.&nbsp; In this episode, senior correspondent Sheena Butler-Young talks to BoF US Editor Diana Pearl about how brands and creators are rethinking the value of an audience, and where creator value is headed next. Key Insights: <ul><li>A huge following no longer guarantees cultural weight. Pearl points to the gap between raw numbers and actual impact: "You look at someone like Dixie D'Amelio, who has almost 54 million followers on TikTok... but I would not say [she is] as culturally relevant as someone like Alex Earle, who has not even 9 million followers on TikTok."</li><li>New platforms have made it possible to see exactly who is driving sales, not just who has the biggest audience. As Pearl explains, "ShopMy really changed that — they offer brands a lot more insight into which creators are actually driving sales, even if they're not running a paid partnership."</li><li>TikTok's For You page and Instagram's suggested posts have done more than any other shift to break the link between followers and visibility. "Those are the two primary factors that have really diminished the importance of follower count," she says, "because you can have someone with 300 followers who goes viral."</li><li>The single most important quality a creator can build today resists easy measurement. "Trust is the number one most important thing that an influencer or creator can curate today," Pearl says, "and that trust is not something that can necessarily be measured by metrics on a spreadsheet."</li><li>Chasing every viral trend is a losing strategy — consistency is what builds a durable audience. "Playing the long game is really the best strategy," she says. "Staying true to who you are — that's how you build that community. That is how you built that trust in that community."</li></ul> Additional Resources:<ul><li><a href="https://www.businessoffashion.com/articles/marketing-pr/why-follower-count-matters-less-than-ever/" rel="noopener noreferrer">Why Follower Count Matters Less Than Ever | BoF</a></li><li><a href="https://www.businessoffashion.com/articles/marketing-pr/not-all-creators-convert-heres-how-to-find-those-that-do/" rel="noopener noreferrer">Not All Creators Convert. Here's How to Find Those That Do. | BoF</a></li><li><a href="https://www.businessoffashion.com/case-studies/marketing-pr/influencer-marketing-reset-strategy-performance-case-study/" rel="noopener noreferrer">From Hype to Discipline: The New World of Influencer Marketing | Case Study | BoF</a></li></ul> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer">acast.com/privacy</a> for more information.

The Influencer Follower-Count Era Is Ending

In 2024, Milan prosecutors uncovered sweatshop-like conditions within the Italian supply chains of major luxury brands, revealing that workers faced degrading living conditions, low pay, and 15-hour workdays. Nearly two years later, despite brands strengthening internal controls, increasing audits, and restricting subcontracting, labour groups report little fundamental change on the ground. This week, BoF’s Sarah Kent and Sheena Butler-Young explore whether the luxury sector's response has addressed the root causes of this exploitation, or merely added layers of compliance to the same flawed business model. Key Insights: <ul><li>Luxury’s supply chain problems are structural, not isolated. The 2024 investigations exposed more than a handful of bad factories. Kent says exploitative suppliers had become an “open secret” within parts of Italy’s manufacturing ecosystem, enabled by a fragmented supply chain and commercial pressure for low prices, speed and flexibility. “Everyone knows, no one tells because it is convenient to have them exist,” says Kent. “At its heart, when you really press people, they say it’s because of the price brands are willing to pay for products and the speed and flexibility at which they want them produced.”</li></ul> <ul><li>Brands have tightened oversight but audits are creating new pressure on suppliers. Luxury companies have increased inspections, consolidated suppliers and restricted subcontracting. But because each brand often uses a different audit system, manufacturers can face overlapping checks and conflicting requirements at a time when margins are already under pressure. “It’s a time cost, a financial cost, and a big burden to have this quite diversified system of audits that’s hitting suppliers at the moment,” Kent says.</li></ul> <ul><li>Despite tighter controls, there is little evidence that conditions have meaningfully improved for workers. According to Kent, labour groups report little change on the ground, while the luxury slowdown and falling orders are adding more pressure to manufacturers. “ From what I understand from labour groups, there is not a sense that a huge amount has changed on the ground, and I think that's partly because it's quite a complex situation that isn't only linked to luxury supply chains,” Kent says. Without changes to commercial practices that shape working conditions, improvements could remain limited.</li></ul> <ul><li>Compliance alone cannot fix the economics that helped create the problem. For years, luxury positioned craftsmanship, quality and responsible production as part of what justified premium prices. The investigations exposed significant blind spots in that narrative, particularly where brands knew which factories were producing their goods but focused on product quality rather than labour conditions. “It is very interesting to me that for luxury in particular, which has long spoken about issues of labour abuse or environmental degradation as being a fast fashion issue, to have such apparent blind spots when it comes to its own supply chain,” Kent says.</li></ul> <ul><li>Industry-wide solutions remain limited by fragmented standards and voluntary participation. Efforts such as the Milan Protocol aim to create common standards and a database of vetted suppliers. But participation remains voluntary and limited geographically, while brands have struggled to align around a single auditing framework. Kent questions: “If everyone’s not on it, and everyone’s not using it, and they don’t have to be on it and they don’t have to use it, how useful is it?”</li></ul> Additional Resources:<ul><li><a href="https://www.businessoffashion.com/articles/sustainability/fashion-fixed-luxury-italian-sweatshops/" rel="noopener noreferrer" target="_blank">Has Fashion Fixed Its Italian Supply Chain Problems? | BoF</a> </li><li><a href="https://www.businessoffashion.com/articles/sustainability/luxury-sweatshops-italy-investigation-dior-armani/" rel="noopener noreferrer" target="_blank">Inside Luxury’s Italian Sweatshops Problem | BoF</a> </li><li><a href="https://www.businessoffashion.com/articles/sustainability/luxury-sweatshop-reckoning-armani-dior-italy-investigation/" rel="noopener noreferrer" target="_blank">Is Luxury Finally Set for a Sustainability Reckoning? | BoF</a> </li></ul><hr> Hosted on Acast. See <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> for more information.

In 2024, Milan prosecutors uncovered sweatshop-like conditions within the Italian supply chains of major luxury brands, revealing that workers faced degrading living conditions, low pay, and 15-hour workdays. Nearly two years later, despite brands strengthening internal controls, increasing audits, and restricting subcontracting, labour groups report little fundamental change on the ground. This week, BoF’s Sarah Kent and Sheena Butler-Young explore whether the luxury sector's response has addressed the root causes of this exploitation, or merely added layers of compliance to the same flawed business model. Key Insights: Luxury’s supply chain problems are structural, not isolated. The 2024 investigations exposed more than a handful of bad factories. Kent says exploitative suppliers had become an “open secret” within parts of Italy’s manufacturing ecosystem, enabled by a fragmented supply chain and commercial pressure for low prices, speed and flexibility. “Everyone knows, no one tells because it is convenient to have them exist,” says Kent. “At its heart, when you really press people, they say it’s because of the price brands are willing to pay for products and the speed and flexibility at which they want them produced.” Brands have tightened oversight but audits are creating new pressure on suppliers. Luxury companies have increased inspections, consolidated suppliers and restricted subcontracting. But because each brand often uses a different audit system, manufacturers can face overlapping checks and conflicting requirements at a time when margins are already under pressure. “It’s a time cost, a financial cost, and a big burden to have this quite diversified system of audits that’s hitting suppliers at the moment,” Kent says. Despite tighter controls, there is little evidence that conditions have meaningfully improved for workers. According to Kent, labour groups report little change on the ground, while the luxury slowdown and falling orders are adding more pressure to manufacturers. “ From what I understand from labour groups, there is not a sense that a huge amount has changed on the ground, and I think that's partly because it's quite a complex situation that isn't only linked to luxury supply chains,” Kent says. Without changes to commercial practices that shape working conditions, improvements could remain limited. Compliance alone cannot fix the economics that helped create the problem. For years, luxury positioned craftsmanship, quality and responsible production as part of what justified premium prices. The investigations exposed significant blind spots in that narrative, particularly where brands knew which factories were producing their goods but focused on product quality rather than labour conditions. “It is very interesting to me that for luxury in particular, which has long spoken about issues of labour abuse or environmental degradation as being a fast fashion issue, to have such apparent blind spots when it comes to its own supply chain,” Kent says. Industry-wide solutions remain limited by fragmented standards and voluntary participation. Efforts such as the Milan Protocol aim to create common standards and a database of vetted suppliers. But participation remains voluntary and limited geographically, while brands have struggled to align around a single auditing framework. Kent questions: “If everyone’s not on it, and everyone’s not using it, and they don’t have to be on it and they don’t have to use it, how useful is it?” Additional Resources:Has Fashion Fixed Its Italian Supply Chain Problems? | BoF Inside Luxury’s Italian Sweatshops Problem | BoF Is Luxury Finally Set for a Sustainability Reckoning? | BoF Hosted on Acast. See acast.com/privacy for more information.

In 2024, Milan prosecutors uncovered sweatshop-like conditions within the Italian supply chains of major luxury brands, revealing that workers faced degrading living conditions, low pay, and 15-hour workdays. Nearly two years later, despite brands strengthening internal controls, increasing audits, and restricting subcontracting, labour groups report little fundamental change on the ground. This week, BoF’s Sarah Kent and Sheena Butler-Young explore whether the luxury sector's response has addressed the root causes of this exploitation, or merely added layers of compliance to the same flawed business model. Key Insights: <ul><li>Luxury’s supply chain problems are structural, not isolated. The 2024 investigations exposed more than a handful of bad factories. Kent says exploitative suppliers had become an “open secret” within parts of Italy’s manufacturing ecosystem, enabled by a fragmented supply chain and commercial pressure for low prices, speed and flexibility. “Everyone knows, no one tells because it is convenient to have them exist,” says Kent. “At its heart, when you really press people, they say it’s because of the price brands are willing to pay for products and the speed and flexibility at which they want them produced.”</li></ul> <ul><li>Brands have tightened oversight but audits are creating new pressure on suppliers. Luxury companies have increased inspections, consolidated suppliers and restricted subcontracting. But because each brand often uses a different audit system, manufacturers can face overlapping checks and conflicting requirements at a time when margins are already under pressure. “It’s a time cost, a financial cost, and a big burden to have this quite diversified system of audits that’s hitting suppliers at the moment,” Kent says.</li></ul> <ul><li>Despite tighter controls, there is little evidence that conditions have meaningfully improved for workers. According to Kent, labour groups report little change on the ground, while the luxury slowdown and falling orders are adding more pressure to manufacturers. “ From what I understand from labour groups, there is not a sense that a huge amount has changed on the ground, and I think that's partly because it's quite a complex situation that isn't only linked to luxury supply chains,” Kent says. Without changes to commercial practices that shape working conditions, improvements could remain limited.</li></ul> <ul><li>Compliance alone cannot fix the economics that helped create the problem. For years, luxury positioned craftsmanship, quality and responsible production as part of what justified premium prices. The investigations exposed significant blind spots in that narrative, particularly where brands knew which factories were producing their goods but focused on product quality rather than labour conditions. “It is very interesting to me that for luxury in particular, which has long spoken about issues of labour abuse or environmental degradation as being a fast fashion issue, to have such apparent blind spots when it comes to its own supply chain,” Kent says.</li></ul> <ul><li>Industry-wide solutions remain limited by fragmented standards and voluntary participation. Efforts such as the Milan Protocol aim to create common standards and a database of vetted suppliers. But participation remains voluntary and limited geographically, while brands have struggled to align around a single auditing framework. Kent questions: “If everyone’s not on it, and everyone’s not using it, and they don’t have to be on it and they don’t have to use it, how useful is it?”</li></ul> Additional Resources:<ul><li><a href="https://www.businessoffashion.com/articles/sustainability/fashion-fixed-luxury-italian-sweatshops/" rel="noopener noreferrer">Has Fashion Fixed Its Italian Supply Chain Problems? | BoF</a> </li><li><a href="https://www.businessoffashion.com/articles/sustainability/luxury-sweatshops-italy-investigation-dior-armani/" rel="noopener noreferrer">Inside Luxury’s Italian Sweatshops Problem | BoF</a> </li><li><a href="https://www.businessoffashion.com/articles/sustainability/luxury-sweatshop-reckoning-armani-dior-italy-investigation/" rel="noopener noreferrer">Is Luxury Finally Set for a Sustainability Reckoning? | BoF</a> </li></ul> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer">acast.com/privacy</a> for more information.

Luxury’s Italian Supply Chain Reckoning Isn’t Over

Fashion's biggest wave of creative-director musical chairs is now a year or so in, and the early read is starting to emerge. Over a dozen major houses have brought in new leadership, and while the broader luxury market is still sluggish, the areas designers can actually move — product, image, storytelling — are showing real signs of life. On a global scale, Chanel is seeing an immediate commercial payoff under Matthieu Blazy, Gucci looks to be stabilising under Demna, and at Dior, Jonathan Anderson's vision is starting to take shape. In this episode, senior correspondent Sheena Butler-Young is joined by BoF's Chief Luxury Correspondent Robert Williams, who has spent the last few weeks on the ground in Milan and Paris covering the shows. Williams runs through the designer reboots at Chanel, Gucci, Dior, Celine, Loewe, Givenchy, Balenciaga and Saint Laurent — and separates the resets that are paying off from the ones still searching for a formula. Key Insights: <ul><li>Williams calls Chanel's revamp under Matthieu Blazy the standout of the cycle, with sales up around 16 percent in the first half of the year. "It's very easy to understand, to digest. It's very visually him, it's very Chanel," he says. The house’s next challenge, Williams says, is balancing the consistency Blazy has established with newness and innovation: :"There needs to be some kind of a formula... at the same time, they need to always make sure they're investing in having new ideas."</li></ul> <ul><li>After a polarizing debut in February, Demna's September show for Gucci clicked. "He was able to bring what he's really good at, which is documenting the way people dress in real life," Williams says, though he's candid that the product left a bit more to be desired: "I'm not sure that the product has caught up with the vision... the collection still has a little bit of a ways to go."</li></ul> <ul><li>At Dior, Jonathan Anderson has sharpened the brand's image quickly, but the clothes are proving trickier to land. Where previous collections felt overcomplicated to some, he sees progress this season: "It felt more cohesive to me and it felt refreshingly just pretty."</li></ul> <ul><li>At Celine, Michael Rider has taken a more evolutionary approach to the house after Hedi Slimane. Williams says Rider has brought “something looser, more playful … a bit more of a focus on design.” Loewe’s JackMcCollough and Lazaro Hernandez, meanwhile, also resisted a wholesale reinvention after Jonathan Anderson: “They've managed to keep the brand pillars going, but rather than the focus being so much about innovation and intellect, they've moved it to the body, to the senses,” Williams says.</li></ul> <ul><li>At Balenciaga, as reports mount that Pierpaolo Piccioli could already be on the way out, Williams argues the house got its strategy inverted: "They kept a lot of the merchandising plan, but they changed the message, the values."</li></ul> <ul><li>At Saint Laurent, with Anthony Vaccarello reportedly exiting after nearly a decade of laser-focused vision, Williams calls it one of the most compelling stories to watch: As luxury fashion became obsessed with relatability and lifestyle, “Vaccarello was running in the opposite direction" The opportunity, and the risk, lies in broadening that identity: "How to build on that without upsetting the apple cart is going to be really risky but also hugely interesting to watch."</li></ul> Additional Resources:<ul><li><a href="https://www.businessoffashion.com/briefings/luxury/fashions-designer-reset-kind-of-worked/" rel="noopener noreferrer" target="_blank">Fashion’s Designer Reset (Kind of) Worked | BoF</a></li><li><a href="https://www.businessoffashion.com/briefings/luxury/luxurys-mid-year-review/" rel="noopener noreferrer" target="_blank">Luxury’s Mid-Year Review | BoF</a></li><li><a href="https://www.businessoffashion.com/reviews/fashion-week/demna-gucci-spring-summer-2027/?recommId=1e53e9426c0b9a5429abcf0a29ca42e3" rel="noopener noreferrer" target="_blank">Has Demna Solved Gucci’s Identity Crisis? | BoF</a></li></ul><hr> Hosted on Acast. See <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> for more information.

Fashion's biggest wave of creative-director musical chairs is now a year or so in, and the early read is starting to emerge. Over a dozen major houses have brought in new leadership, and while the broader luxury market is still sluggish, the areas designers can actually move — product, image, storytelling — are showing real signs of life. On a global scale, Chanel is seeing an immediate commercial payoff under Matthieu Blazy, Gucci looks to be stabilising under Demna, and at Dior, Jonathan Anderson's vision is starting to take shape. In this episode, senior correspondent Sheena Butler-Young is joined by BoF's Chief Luxury Correspondent Robert Williams, who has spent the last few weeks on the ground in Milan and Paris covering the shows. Williams runs through the designer reboots at Chanel, Gucci, Dior, Celine, Loewe, Givenchy, Balenciaga and Saint Laurent — and separates the resets that are paying off from the ones still searching for a formula. Key Insights: Williams calls Chanel's revamp under Matthieu Blazy the standout of the cycle, with sales up around 16 percent in the first half of the year. "It's very easy to understand, to digest. It's very visually him, it's very Chanel," he says. The house’s next challenge, Williams says, is balancing the consistency Blazy has established with newness and innovation: :"There needs to be some kind of a formula... at the same time, they need to always make sure they're investing in having new ideas." After a polarizing debut in February, Demna's September show for Gucci clicked. "He was able to bring what he's really good at, which is documenting the way people dress in real life," Williams says, though he's candid that the product left a bit more to be desired: "I'm not sure that the product has caught up with the vision... the collection still has a little bit of a ways to go." At Dior, Jonathan Anderson has sharpened the brand's image quickly, but the clothes are proving trickier to land. Where previous collections felt overcomplicated to some, he sees progress this season: "It felt more cohesive to me and it felt refreshingly just pretty." At Celine, Michael Rider has taken a more evolutionary approach to the house after Hedi Slimane. Williams says Rider has brought “something looser, more playful … a bit more of a focus on design.” Loewe’s JackMcCollough and Lazaro Hernandez, meanwhile, also resisted a wholesale reinvention after Jonathan Anderson: “They've managed to keep the brand pillars going, but rather than the focus being so much about innovation and intellect, they've moved it to the body, to the senses,” Williams says. At Balenciaga, as reports mount that Pierpaolo Piccioli could already be on the way out, Williams argues the house got its strategy inverted: "They kept a lot of the merchandising plan, but they changed the message, the values." At Saint Laurent, with Anthony Vaccarello reportedly exiting after nearly a decade of laser-focused vision, Williams calls it one of the most compelling stories to watch: As luxury fashion became obsessed with relatability and lifestyle, “Vaccarello was running in the opposite direction" The opportunity, and the risk, lies in broadening that identity: "How to build on that without upsetting the apple cart is going to be really risky but also hugely interesting to watch." Additional Resources:Fashion’s Designer Reset (Kind of) Worked | BoFLuxury’s Mid-Year Review | BoFHas Demna Solved Gucci’s Identity Crisis? | BoF Hosted on Acast. See acast.com/privacy for more information.

Fashion's biggest wave of creative-director musical chairs is now a year or so in, and the early read is starting to emerge. Over a dozen major houses have brought in new leadership, and while the broader luxury market is still sluggish, the areas designers can actually move — product, image, storytelling — are showing real signs of life. On a global scale, Chanel is seeing an immediate commercial payoff under Matthieu Blazy, Gucci looks to be stabilising under Demna, and at Dior, Jonathan Anderson's vision is starting to take shape. In this episode, senior correspondent Sheena Butler-Young is joined by BoF's Chief Luxury Correspondent Robert Williams, who has spent the last few weeks on the ground in Milan and Paris covering the shows. Williams runs through the designer reboots at Chanel, Gucci, Dior, Celine, Loewe, Givenchy, Balenciaga and Saint Laurent — and separates the resets that are paying off from the ones still searching for a formula. Key Insights: <ul><li>Williams calls Chanel's revamp under Matthieu Blazy the standout of the cycle, with sales up around 16 percent in the first half of the year. "It's very easy to understand, to digest. It's very visually him, it's very Chanel," he says. The house’s next challenge, Williams says, is balancing the consistency Blazy has established with newness and innovation: :"There needs to be some kind of a formula... at the same time, they need to always make sure they're investing in having new ideas."</li></ul> <ul><li>After a polarizing debut in February, Demna's September show for Gucci clicked. "He was able to bring what he's really good at, which is documenting the way people dress in real life," Williams says, though he's candid that the product left a bit more to be desired: "I'm not sure that the product has caught up with the vision... the collection still has a little bit of a ways to go."</li></ul> <ul><li>At Dior, Jonathan Anderson has sharpened the brand's image quickly, but the clothes are proving trickier to land. Where previous collections felt overcomplicated to some, he sees progress this season: "It felt more cohesive to me and it felt refreshingly just pretty."</li></ul> <ul><li>At Celine, Michael Rider has taken a more evolutionary approach to the house after Hedi Slimane. Williams says Rider has brought “something looser, more playful … a bit more of a focus on design.” Loewe’s JackMcCollough and Lazaro Hernandez, meanwhile, also resisted a wholesale reinvention after Jonathan Anderson: “They've managed to keep the brand pillars going, but rather than the focus being so much about innovation and intellect, they've moved it to the body, to the senses,” Williams says.</li></ul> <ul><li>At Balenciaga, as reports mount that Pierpaolo Piccioli could already be on the way out, Williams argues the house got its strategy inverted: "They kept a lot of the merchandising plan, but they changed the message, the values."</li></ul> <ul><li>At Saint Laurent, with Anthony Vaccarello reportedly exiting after nearly a decade of laser-focused vision, Williams calls it one of the most compelling stories to watch: As luxury fashion became obsessed with relatability and lifestyle, “Vaccarello was running in the opposite direction" The opportunity, and the risk, lies in broadening that identity: "How to build on that without upsetting the apple cart is going to be really risky but also hugely interesting to watch."</li></ul> Additional Resources:<ul><li><a href="https://www.businessoffashion.com/briefings/luxury/fashions-designer-reset-kind-of-worked/" rel="noopener noreferrer">Fashion’s Designer Reset (Kind of) Worked | BoF</a></li><li><a href="https://www.businessoffashion.com/briefings/luxury/luxurys-mid-year-review/" rel="noopener noreferrer">Luxury’s Mid-Year Review | BoF</a></li><li><a href="https://www.businessoffashion.com/reviews/fashion-week/demna-gucci-spring-summer-2027/?recommId=1e53e9426c0b9a5429abcf0a29ca42e3" rel="noopener noreferrer">Has Demna Solved Gucci’s Identity Crisis? | BoF</a></li></ul> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer">acast.com/privacy</a> for more information.

The Verdict on Luxury Fashion’s Designer Reset

For a long time, upcycling sat on the fringes of the fashion industry, a tactic used primarily by small independent designers, niche sustainability labels and in one-off capsule collections. That's changing. At Paris Couture Week this spring, Swiss designer Kevin Germanier closed the season with a collection made entirely from excess inventory across seven LVMH-owned brands. Coach is turning used denim into new bags, and Uniqlo is remaking unsellable and used garments under its RE label. In this episode, senior correspondent Sheena Butler-Young speaks to senior editorial associate Shayeza Walid to explore why upcycling brands are increasingly marketing upcycling through creativity and individuality rather than sustainability alone, and what's really driving the shift from new EU regulations to a changing consumer mindset. Key Insights:<ul><li>Selling Creativity, Not Just Conscience: Walid points to a fundamental shift in how upcycling is marketed. It's no longer framed primarily as an environmental fix, but as a source of design distinction and story. "It felt like the term was becoming ubiquitous across marketing," she says, noting that upcycling has moved from something "relegated to a certain type of consumer or a certain type of brand" to being claimed by some of the industry's biggest names.</li><li>Regulation Is Quietly Doing the Heavy Lifting: Walid connects the timing of the boom to the EU's ban on the destruction of unsold goods, which came into force in July. She notes that Kevin Germanier's LVMH-backed couture collection was deliberately built from unsold stock, not deadstock fabric — a distinction he emphasised on stage. "It also means that they'll have to figure out sustainable and approved ways for using their excess stock, and upcycling is one of the methods for that."</li><li>Deadstock vs. Textile Waste — Not the Same Debate: Walid unpacks a live tension among practitioners: using deadstock fabric is being challenged by some critics as not addressing overproduction, since it still puts commercial value on excess production. "With deadstock, it's the same as using new fabric in the sense that they're rolls of fabric... that's not necessarily what upcycling is about," while brands like E.L.V. Denim work directly with used, discarded garments instead.</li><li>The Infrastructure Is Finally Catching Up: Sorting, collecting and sourcing — the industry's biggest upcycling bottleneck — is improving. Walid cites organisations like Fashion for Good working on AI-assisted sorting, and platforms such as Nona Source and The Materialist connecting brands to deadstock fabric. "There's a greater design interest in it now more than there's ever been," she says of the shift she's tracked through conversations with suppliers.</li><li>The Consumer Wants Range, Not a Label: Walid argues the audience for upcycled product has broadened well beyond the sustainability shopper. "You could have an upcycled Miu Miu product today, and maybe that says that you like high fashion... but also you think it's cool that your product is from an upcycled material," she says, describing a consumer who wants variety in their closet rather than to be defined by one aesthetic or ethic.</li><li>Scale Remains the Unsolved Problem: Despite the momentum, there are limits. Sizing and colour inconsistency frustrate wholesale buyers, the process is inherently slower than working with virgin material, and export bans on used textiles in countries like Bangladesh complicate sourcing. She also flags that upcyclers in the Global South — in markets like Kantamanto in Ghana — have done this sort of work for generations but remain largely excluded from the value chain brands are now building.</li></ul> <ul><li>Additional Resources:</li><li><a href="https://www.businessoffashion.com/articles/sustainability/inside-fashions-upcycling-boom-why-so-many-brands-are-doing-it/" rel="noopener noreferrer" target="_blank">Why So Many Fashion Brands Are Upcycling | BoF</a></li><li><a href="https://www.businessoffashion.com/briefings/sustainability/why-fashions-economics-work-against-sustainable-brands/" rel="noopener noreferrer" target="_blank">Why Fashion’s Economics Work Against Sustainable Brands | BoF</a></li><li><a href="https://www.businessoffashion.com/articles/sustainability/eu-ban-on-destruction-of-unsold-goods-news/" rel="noopener noreferrer" target="_blank">Can the EU Ban on Destroying Unsold Goods Actually Work? | BoF</a></li></ul> <hr> Hosted on Acast. See <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> for more information.

For a long time, upcycling sat on the fringes of the fashion industry, a tactic used primarily by small independent designers, niche sustainability labels and in one-off capsule collections. That's changing. At Paris Couture Week this spring, Swiss designer Kevin Germanier closed the season with a collection made entirely from excess inventory across seven LVMH-owned brands. Coach is turning used denim into new bags, and Uniqlo is remaking unsellable and used garments under its RE label. In this episode, senior correspondent Sheena Butler-Young speaks to senior editorial associate Shayeza Walid to explore why upcycling brands are increasingly marketing upcycling through creativity and individuality rather than sustainability alone, and what's really driving the shift from new EU regulations to a changing consumer mindset. Key Insights:Selling Creativity, Not Just Conscience: Walid points to a fundamental shift in how upcycling is marketed. It's no longer framed primarily as an environmental fix, but as a source of design distinction and story. "It felt like the term was becoming ubiquitous across marketing," she says, noting that upcycling has moved from something "relegated to a certain type of consumer or a certain type of brand" to being claimed by some of the industry's biggest names.Regulation Is Quietly Doing the Heavy Lifting: Walid connects the timing of the boom to the EU's ban on the destruction of unsold goods, which came into force in July. She notes that Kevin Germanier's LVMH-backed couture collection was deliberately built from unsold stock, not deadstock fabric — a distinction he emphasised on stage. "It also means that they'll have to figure out sustainable and approved ways for using their excess stock, and upcycling is one of the methods for that."Deadstock vs. Textile Waste — Not the Same Debate: Walid unpacks a live tension among practitioners: using deadstock fabric is being challenged by some critics as not addressing overproduction, since it still puts commercial value on excess production. "With deadstock, it's the same as using new fabric in the sense that they're rolls of fabric... that's not necessarily what upcycling is about," while brands like E.L.V. Denim work directly with used, discarded garments instead.The Infrastructure Is Finally Catching Up: Sorting, collecting and sourcing — the industry's biggest upcycling bottleneck — is improving. Walid cites organisations like Fashion for Good working on AI-assisted sorting, and platforms such as Nona Source and The Materialist connecting brands to deadstock fabric. "There's a greater design interest in it now more than there's ever been," she says of the shift she's tracked through conversations with suppliers.The Consumer Wants Range, Not a Label: Walid argues the audience for upcycled product has broadened well beyond the sustainability shopper. "You could have an upcycled Miu Miu product today, and maybe that says that you like high fashion... but also you think it's cool that your product is from an upcycled material," she says, describing a consumer who wants variety in their closet rather than to be defined by one aesthetic or ethic.Scale Remains the Unsolved Problem: Despite the momentum, there are limits. Sizing and colour inconsistency frustrate wholesale buyers, the process is inherently slower than working with virgin material, and export bans on used textiles in countries like Bangladesh complicate sourcing. She also flags that upcyclers in the Global South — in markets like Kantamanto in Ghana — have done this sort of work for generations but remain largely excluded from the value chain brands are now building. Additional Resources:Why So Many Fashion Brands Are Upcycling | BoFWhy Fashion’s Economics Work Against Sustainable Brands | BoFCan the EU Ban on Destroying Unsold Goods Actually Work? | BoF Hosted on Acast. See acast.com/privacy for more information.

For a long time, upcycling sat on the fringes of the fashion industry, a tactic used primarily by small independent designers, niche sustainability labels and in one-off capsule collections. That's changing. At Paris Couture Week this spring, Swiss designer Kevin Germanier closed the season with a collection made entirely from excess inventory across seven LVMH-owned brands. Coach is turning used denim into new bags, and Uniqlo is remaking unsellable and used garments under its RE label. In this episode, senior correspondent Sheena Butler-Young speaks to senior editorial associate Shayeza Walid to explore why upcycling brands are increasingly marketing upcycling through creativity and individuality rather than sustainability alone, and what's really driving the shift from new EU regulations to a changing consumer mindset. Key Insights:<ul><li>Selling Creativity, Not Just Conscience: Walid points to a fundamental shift in how upcycling is marketed. It's no longer framed primarily as an environmental fix, but as a source of design distinction and story. "It felt like the term was becoming ubiquitous across marketing," she says, noting that upcycling has moved from something "relegated to a certain type of consumer or a certain type of brand" to being claimed by some of the industry's biggest names.</li><li>Regulation Is Quietly Doing the Heavy Lifting: Walid connects the timing of the boom to the EU's ban on the destruction of unsold goods, which came into force in July. She notes that Kevin Germanier's LVMH-backed couture collection was deliberately built from unsold stock, not deadstock fabric — a distinction he emphasised on stage. "It also means that they'll have to figure out sustainable and approved ways for using their excess stock, and upcycling is one of the methods for that."</li><li>Deadstock vs. Textile Waste — Not the Same Debate: Walid unpacks a live tension among practitioners: using deadstock fabric is being challenged by some critics as not addressing overproduction, since it still puts commercial value on excess production. "With deadstock, it's the same as using new fabric in the sense that they're rolls of fabric... that's not necessarily what upcycling is about," while brands like E.L.V. Denim work directly with used, discarded garments instead.</li><li>The Infrastructure Is Finally Catching Up: Sorting, collecting and sourcing — the industry's biggest upcycling bottleneck — is improving. Walid cites organisations like Fashion for Good working on AI-assisted sorting, and platforms such as Nona Source and The Materialist connecting brands to deadstock fabric. "There's a greater design interest in it now more than there's ever been," she says of the shift she's tracked through conversations with suppliers.</li><li>The Consumer Wants Range, Not a Label: Walid argues the audience for upcycled product has broadened well beyond the sustainability shopper. "You could have an upcycled Miu Miu product today, and maybe that says that you like high fashion... but also you think it's cool that your product is from an upcycled material," she says, describing a consumer who wants variety in their closet rather than to be defined by one aesthetic or ethic.</li><li>Scale Remains the Unsolved Problem: Despite the momentum, there are limits. Sizing and colour inconsistency frustrate wholesale buyers, the process is inherently slower than working with virgin material, and export bans on used textiles in countries like Bangladesh complicate sourcing. She also flags that upcyclers in the Global South — in markets like Kantamanto in Ghana — have done this sort of work for generations but remain largely excluded from the value chain brands are now building.</li></ul> <ul><li>Additional Resources:</li><li><a href="https://www.businessoffashion.com/articles/sustainability/inside-fashions-upcycling-boom-why-so-many-brands-are-doing-it/" rel="noopener noreferrer">Why So Many Fashion Brands Are Upcycling | BoF</a></li><li><a href="https://www.businessoffashion.com/briefings/sustainability/why-fashions-economics-work-against-sustainable-brands/" rel="noopener noreferrer">Why Fashion’s Economics Work Against Sustainable Brands | BoF</a></li><li><a href="https://www.businessoffashion.com/articles/sustainability/eu-ban-on-destruction-of-unsold-goods-news/" rel="noopener noreferrer">Can the EU Ban on Destroying Unsold Goods Actually Work? | BoF</a></li></ul> Hosted on Acast. See <a href="https://acast.com/privacy" rel="noopener noreferrer">acast.com/privacy</a> for more information.

Why Upcycling Is Suddenly Everywhere in Fashion

This podcast will explore conversations that happen on The Business of Fashion, and the explore the impact that has— This podcast will explore conversations that happen on the Business of Fashion and explore the impact that fashion has on the wider world. In these episodes, you’ll hear stories from some of the most important fashion designers, get an introduction on how to start a fashion business, and hear talks from our annual gathering VOICES. As well, we’ll have unscripted, in-depth conversations with some of my favourite people from fashion and beyond. You’ll hear real stories from these experts, who will educate you with their expertise, and inspire you with their personal stories and journeys. All you need to do to get started is subscribe today. We’d love for your feedback. We’d love your feedback, so please do let us know what you’d like to hear, and thank you for listening.

To sign up to the Daily Digest newsletter click the link here: <a href='http://bit.ly/BoFnews'>http://bit.ly/BoFnews</a> 

For a limited time only we are offering our podcast listeners an exclusive 25% discount on an annual BoF Professional Member. To get 25% off your first year of an annual membership click the link here: <a href='http://bit.ly/2KoRRBH'>http://bit.ly/2KoRRBH</a>, select the annual package and then enter the invitation code PODCASTPRO at checkout. 

To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail <a href='mailto:podcasts@businessoffashion.com'>podcast@businessoffashion.com</a>. For all sponsorship enquiries, please e-mail <a href='mailto:advertising@businessoffashion.com'>advertising@businessoffashion.com</a>.

This podcast will explore conversations that happen on The Business of Fashion, and the explore the impact that has— This podcast will explore conversations that happen on the Business of Fashion and explore the impact that fashion has on the wider world. In these episodes, you’ll hear stories from some of the most important fashion designers, get an introduction on how to start a fashion business, and hear talks from our annual gathering VOICES. As well, we’ll have unscripted, in-depth conversations with some of my favourite people from fashion and beyond. You’ll hear real stories from these experts, who will educate you with their expertise, and inspire you with their personal stories and journeys. All you need to do to get started is subscribe today. We’d love for your feedback. We’d love your feedback, so please do let us know what you’d like to hear, and thank you for listening. To sign up to the Daily Digest newsletter click the link here: http://bit.ly/BoFnews For a limited time only we are offering our podcast listeners an exclusive 25% discount on an annual BoF Professional Member. To get 25% off your first year of an annual membership click the link here: http://bit.ly/2KoRRBH, select the annual package and then enter the invitation code PODCASTPRO at checkout. To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail podcast@businessoffashion.com. For all sponsorship enquiries, please e-mail advertising@businessoffashion.com.

This podcast will explore conversations that happen on The Business of Fashion, and the explore the impact that has— This podcast will explore conversations that happen on the Business of Fashion and explore the impact that fashion has on the wider world. In these episodes, you’ll hear stories from some of the most important fashion designers, get an introduction on how to start a fashion business, and hear talks from our annual gathering VOICES. As well, we’ll have unscripted, in-depth conversations with some of my favourite people from fashion and beyond. You’ll hear real stories from these experts, who will educate you with their expertise, and inspire you with their personal stories and journeys.&nbsp;All you need to do to get started is subscribe today. We’d love for your feedback. We’d love your feedback, so please do let us know what you’d like to hear, and thank you for listening.

To sign up to the Daily Digest newsletter click the link here:&nbsp;<a href="http://bit.ly/BoFnews" rel="noopener noreferrer">http://bit.ly/BoFnews</a>&nbsp;

For a limited time only we are offering our podcast listeners an exclusive 25% discount on an annual BoF Professional Member. To get 25% off your first year of an annual membership click the link here:&nbsp;<a href="http://bit.ly/2KoRRBH" rel="noopener noreferrer">http://bit.ly/2KoRRBH</a>, select the annual package and then enter the invitation code PODCASTPRO at checkout.&nbsp;

To contact The Business of Fashion with comments, questions, or speaker ideas please e-mail&nbsp;<a href="mailto:podcasts@businessoffashion.com" rel="noopener noreferrer">podcast@businessoffashion.com</a>. For all sponsorship enquiries, please e-mail&nbsp;<a href="mailto:advertising@businessoffashion.com" rel="noopener noreferrer">advertising@businessoffashion.com</a>.&nbsp;

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Welcome to 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.”<hr> Hosted on Acast. See <a style='color:grey;' target='_blank' rel='noopener noreferrer' href='https://acast.com/privacy'>acast.com/privacy</a> for more information.

Business

Arts

Fashion & Beauty

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.

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 <a href="https://acast.com/privacy" rel="noopener noreferrer">acast.com/privacy</a> for more information.

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The Business of Fashion Podcast

The Business of Fashion Podcast episodes

About The Business of Fashion Podcast

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