The Glossy Podcast

Glossy’s editorial team, like much of the fashion community, reunited with New York Fashion this past week, as the event returned by hosting a full schedule of IRL shows for the first time since February 2020.

Going in, we had some expectations about how the event would play out, as we’ve covered NYFW every season for the past several years. But as the world has turned upside down since we last hit a runway show at Spring Studios, for example, we also had some questions. For example, how would event organizers make showgoers feel safe, as the Delta variant is still a big cause for concern? And would the usual editors, buyers and influencers show up, with most every brand also showing their collection virtually?

On this bonus episode of the Glossy Podcast, editor-in-chief Jill Manoff and fashion reporter Danny Parisi break down what they experienced while show- and event-hopping this season. As they tell it, the event had highs and lows, plus a few surprises that hinted at the future of fashion week.

In his 13 years working on the events production side of IMG, Dominic Kaffka -- now svp of IMG Fashion Events -- has not only had an insider’s view of New York Fashion Week’s ongoing transformation, but he’s also had a hand in steering its course. 

For example, he spent the past two show seasons fueling the event’s digital acceleration by ensuring the show went on, so to speak, without physical shows. In September 2020 and February 2021, the bi-annual event was largely carried out virtually, due to the pandemic.

“We had 20-25 guests [per show] -- but for us, it was really important to not miss a full New York Fashion Week,” Kaffka said on the latest Glossy Podcast. “Most of our clients who chose not to do a live fashion show with guests came up with much more creative ways to present their collections. A lot of designers did lookbook shoots, a lot of designers produced very elevated fashion films on a cinematic level -- their budgets shifted from putting on a big show to putting on a big digital content production.” 

But now, he said, “People are shifting their budgets, their intentions and their planning back to live events.” 

Ahead of New York Fashion Week, which kicked off on Wednesday, Kaffka discussed how designers will strike a physical-digital balance this season and to what extent the event will be democratized moving forward.

“We have to be OK with riding the wave." That is the mantra Michael Preysman, founder and CEO of Everlane, has come to rely on throughout Covid-19.

In other words, Preysman has learned that, while the Everlane team can't control what challenges are thrown at the fashion brand -- which was founded with a focus on transparency and ethical sourcing in 2010 -- they can control the way that they respond.

From the initial waves of the pandemic to the Black Lives Matter movement to now the Delta variant, getting through the past year can be described as “running a sprint, and it turns out it’s a marathon,” said Preysman, on the most recent episode of the Glossy Podcast.

While the vaccine rollout evoked hope in many for the return of normalcy, Everlane has been honest about the fact that the resulting supply chain issues and labor shortages will take “another 3-5 years” to come back from, said Preysman. Until then, Preysman remains determined to maintain transparency regarding Everlane’s prices and direct-to-consumer business model, overall. 

“[Our] $100 cashmere is coming to an end in 2022, because the cost of cashmere is increasing, said Preysman.

However, the typical Everlane customer, who ranges in age from their late 20s to early 30s, is “willing to pay more” for the brand’s environmentally conscious and quality pieces, said Preysman. 

Everlane has also adapted the customer experience to be “seamless” online and offline, ensuring that “fitting rooms are the star of the [physical] space,” and that returns and shipping are made easy for customers. 

Looking at the bigger picture of sustainable fashion, Preysman remains outspoken that sustainability has “completely been greenwashed,” he said. 

"We try to avoid that word [sustainable] and use more factual statements, [like] organic, or clean water, etc.,” and to actively focus on reducing the brand’s carbon footprint. Everlane has done so by committing to the use of recycled materials and more efficient means of transport.

“What we're trying to show is that you can both … live a great life and have a low environmental impact,” said Preysman.

The word “suit” may elicit visions of measuring tape, tailors and brick-and-mortar stores filled with crisp jackets and slacks. However, as consumption evolves from being within the mall to on the computer, and from cashmere to casual, Sene, an apparel brand that started with a focus on being the Lululemon of suits, has adapted accordingly.

Since the brand launched in 2015, Ray Li, co-founder and CEO, has spearheaded Sene’s transition into an online purveyor of custom suits under the brand values of sustainability and inclusivity. In 2019, Li decided to close down Sene’s Los Angeles location and relaunch the brand on Kickstarter with a SmartFit Quiz to hone in on the custom sizing aspect of Sene. This changed the trajectory of the business, Li said.

“Our mission was always to make custom clothing possible for everyone,” he said on the Glossy Podcast. “But it was a very long journey to get here.”

After moving the brand fully online, Sene introduced its FlexTech Suit, a “custom suit [made of] athleisure fabric,” and soon after, its custom denim. Li, who sees a “$17 billion opportunity for custom denim,” plans to expand Sene’s denim selection with shorts and jackets. He also plans to introduce more athleisure styles like joggers. 

“Each time we enter a category, we want to feel like we’re making the best possible version of the product we have,” said Li. “We also want to price it at an off-the-rack price.”

With 25 years of experience at luxury brands like Burberry and Céline, Ulrik Garde Due’s reputation for revitalizing companies led him to his current position as president and CEO of Mark Cross, America’s oldest luxury accessories brand. 

“I saw a real opportunity in creating a lifestyle positioning," he said on this week’s episode of the Glossy Podcast. “[Not only with] women's accessories, but also [by] relaunching men's, which we [did] last year ... [and] creating more of a gifting destination for top-class quality and American luxury."

When the pandemic hit, however, “We went from this survival to contingency planning to then, as I like to call it, ‘thrival’ mode,” said Garde Due. “It was our job to start thinking of the opportunities that this pandemic created for the industry and for the luxury consumer, and look at the post-pandemic era and what was needed to get executed during the pandemic to be ready for that.” That meant focusing on developing Mark Cross’ wholesale and directly operated channels and catering to consumers in the U.S. and in mainland China, which Due sees as ”an ever-growing market share” opportunity. 

Mark Cross first began to cater to the preferences of the millennials and Gen-Z consumer demographics in the fall of 2019 by launching an “in-house vintage website.” Even more recently, the brand has reacted to the changes accelerated by Covid-19 by “investing heavily into the digital sphere.” That's included partnering with companies like Hero and a personalized delivery service. 

“Getting back to the [20]19 [sales] volumes, as well as enlarging our community, are the two main goals this year," said Garde Due.

To be able to say that you’ve been an influencer for almost half of your life is a feat -- even for digitally native Gen Zers. 

Multihypenate Amanda Steele, 22, has spent 12 years creating content for social channels including YouTube and also boasts the titles of fashion brand founder of Steele and working actress. 

“Most of my success came from me doing it so early,” said Steele, of her influencer career. “When it gets overly saturated, whatever platform you're using, it's just hard to get your content seen.” 

Steele, who launched her YouTube channel in 2011 with dreams to become a fashion designer, branched into makeup as the beauty industry took over social media. Now, as the founder of her own clothing line, Steele -- which she describes as “model-off-duty style" -- her aspirations in fashion have come full circle. The line includes “leather pants, so it’s edgy and sophisticated,” along with blazers and baggy jeans.

“It’s not super trendy,” said Steele. “But you can walk into a business meeting or you can go out with your friends or get brunch, all in the same outfit.”

Most recently, the creator has branched off into the acting world, starring in "Paradise City" on Amazon Prime. But this doesn’t undermine the power of social media platforms like YouTube, Instagram and TikTok, where she has about 6 million cumulative followers. 

“YouTube will always be there,” said Steele. “TikTok is where our brains are at right now, the short-form content. But now we have Reels, and we can do that on Instagram, too.”

As the power of social media has grown, public opinion has become paramount in determining the next ‘"it" girl. Style and reliability are key components, but what the public often fails to consider is the impact of the motor behind the superstar machine, specifically as it pertains to a stylist.

Law Roach, the fashion stylist to Zendaya and Celine Dion among his extensive résumé of A-listers, has proven the impact that refining one’s style can have on catapulting them to style icon status. Roach’s success in styling celebrities from TikTok to the silver screen -- see Addison Rae for the MTV Movie Awards and Anya Taylor Joy for both the Golden Globes and Critics Choice Awards -- is less formulaic and more “organic,” he said on the latest Glossy Podcast.

“I don't necessarily have a wish list,” said Roach, of who he’d like to dress. “I work with people when it feels good or [when] I feel there's something that I can help them achieve, or vice versa.”

Logistically, the process behind styling his star clients also varies based on each individual. While some clients are “heavily collaborative,” others “just want to be dressed,” said Roach. The “pop” and “finesse” that Roach brings to the table stem from his often unorthodox approach to fashion. For example, rather than pulling looks straight off of the runway, Roach deliberately utilizes vintage pieces from eBay, which he partnered with in June to “tell a story” through the looks that he curates.

“I live in this world that’s very fantastical and whimsical and dreamy,” said Roach. “I'm always trying to use those clothes to help say something or make people feel something.”

Platforms like Depop may be synonymous with virtual thrifting and sustainability today, but Nasty Gal, the online fashion retailer under the Boohoo group, is trying to tap back into its early associations with sustainability.

“Sustainable products have been what the business is built on” since it launched 15 years ago, said Kelly Byrne, Nasty Gal’s commercial director, on the latest episode of the Glossy Podcast. “Our vintage collections are still some of our fastest selling collections.”

Byrne, whose main task is to “ensure the business reaches its commercial goals,” has been at the forefront of Nasty Gal’s responses to changing trends over the past year. That's included adapting to the pushes for comfort and eco-consciousness within the fashion industry.

“We can react [to trends] in around 3-4 weeks,” said Byrne. For example, Nasty Gal quickly added casual items like sweatsuits to its online store in 2020. However, consumer preferences have begun to get “back to normal” since March 2021. “We’ve started to see a real uptick in those traditional summer categories,” like swimwear, footwear and dresses," she said. That brings "a lot of positivity” to the festival- and vacation-centric brand, she added.

Still, the brand plans to remain focused on circularity. “By the end of this financial year, 20% of our product offering will be more sustainably produced,” said Byrne. She hopes to increase that to 40% by the following year.

As she has experience as a founder -- of fashion brand Bow & Drape, launched in 2012 -- Aubrie Pagano, a general partner at venture capital firm Alpaca VC, is adept at identifying whether or not a founder is worth investing in. 

“It's understanding what your customer needs from the brand and how you can augment the brand with that founder voice,” said Pagano, on the latest Glossy Podcast.

Pagano founded Bow & Drape at a time when customization, whether of a Chipotle bowl or a T-shirt, was growing in popularity. “We were super excited about creating more personal, expressive fashion,” said Pagano. She set out to focus on the millennial demographic at the time. “[We] launched our sweatshirt that became an eponymous product,” she said, referring to Bow & Drape’s best-selling style that reads "Goal Digger" in gold lettering. It was sported by Serena Williams in 2015.

Although Pagano sold Bow & Drape in 2019, the seven years she spent growing it allowed her to experience the evolution of brands.

When Bow & Brand entered the retail space with companies like Bloomingdale’s and Nordstrom in 2015, “It was a symbiotic opportunity at the time,” she said. The brand gained a platform, while the retailers were able to engage customers in a new way.

Now, “The future of brands is omnichannel,” said Pagano. “It's going wherever your customers are, whether that's live commerce or retail, or online through a traditional PDP.”

As Pagano has shifted from founder to investor with Alpaca VC, she’s also found that tenacity and magnetism are key traits when gauging a founder’s potential.

“Alpaca is an early-stage fund focused on the intersection of the digital and physical worlds, where people are using technology to transform daily life,” she said. Pagano was drawn to the firm because of the team’s understanding of “the entrepreneur journey” and its “research-driven approach to how we invest in companies.”

One of the areas that Pagano has invested in at Alpaca is the “re-commerce space,” or the reuse of goods. It has to do with the fact that “consumers, especially Gen Z, are saying, ‘There’s too much stuff,'” Pagano said. Live commerce, returns and cross-border commerce are also areas that Pagano deems worthy of investment.

“The internet has allowed culture to atomize in such a way that you can speak very specifically to a very vertical audience,” said Pagano. “Speaking to a specific audience and having an affinity and community who you speak to is paramount.”

The move to working-from-home may have correlated with a rise in comfortable fashion, but as the work pants came off and sweatpants on, the desire for luxury brands did not falter.

“Jewelry and accessories were favored because so many people were on Zoom all day long, [and] the only thing that you could [use to] accessorize were earrings," said Ippolita Rostagno, co-founder and CEO of Ippolita, on the Glossy Podcast.

In addition, for Ippolita, the timelessness of the brand aligned with consumer desire for jewelry that can last beyond the pandemic. Rostagno, who founded the brand 20 years ago, said she focuses on “designing things that are relevant at this moment, but that, at the same time, have a classic enough feel that you know at the time of purchase you’ll love it 10 years from now.”

Whether it can be attributed to Zoom or Ippolita’s philosophy or both, the brand’s recent success cannot be denied. Ippolita saw a “very steep increase” in online sales to 10% of total sales, up from 2% before Covid-19.

“People have become much more comfortable with learning and making up their own minds, and therefore purchasing online,” said Rostagno. However, she said, "when you're in a store, you have that opportunity to think you're looking for something and find something else. And that is part of the retail experience that needs to be nurtured and come back.”

As for Ippolita’s retail presence, while the brand will continue to team up with retailers, like Neiman Marcus and Bloomingdale’s, "owning our own retail is the direction that we'd like to take the business,” said Rostagno.

Ippolita has seen success with trunk shows, which Rostagno attributes to the tangible experience that customers can have with the jewelry. “[That] was the motivating factor for completely redesigning the customer experience in my store that I opened in the middle of the pandemic, in Chicago,” said Rostagno.

Rostagno was inspired by the concept of a physical jewelry box when designing Ippolita's Chicago Store. “You’re walking into a felt box, and then all the walls are magnetic and the jewelry is out; there are no cases,” she said, of the store’s layout. “The idea is that a customer can walk up to the jewelry, try it on, look at it, feel it … ahead of having a conversation with a salesperson.”

In regard to Ippolita’s virtual presence, while many brands have chosen to use social media platforms like TikTok to spread brand awareness, Ippolita hasn't followed suit. “This is what women buy for themselves. This is not occasional jewelry, this is not what husbands buy for a woman’s birthday,” said Rostagno. “This state of mind, this sense of self-possession, is not something that is targeted to a young audience, so TikTok is not the right place to be telling this story.”

Instead, Rostagno sees places like Milan as the right setting in which to grow Ippolita. Montenapoleone, where Ippolita's next store will open, is “the street for luxury in Milan, and also in Europe,” according to Rostagno. She added that she feels “very confident” about the future success of the store.