Cloud of Fashion "The Futures of Fashion" AW2122

NEWSPAPER #7 / OCTOBER 2020

CLOUD OF FASHION

THE FUTURES OF FASHION

https://www.mackent.com.tw/en/

N E W S PA P E R # 7

Analyses & strategies for a whole new world...

In Chinese, the word crisis has a dual significance, meaning both danger and opportunity. Ironically, the Covid 19 virus that came to us from Wuhan may remain in our memories as the event that triggered a revolution and laid the groundwork for a new era.

The pandemic shattered all existing frameworks and certitudes - destroying the weakest and forcing all the rest to accelerate changes already underway. We were beginning to think about tomorrow-now the time has come to roll up our sleeves, take action and change.

Mindful of this historic moment, last June Première Vision initiated a wide-ranging series of discussions, bringing top experts together in Digital Talks and interviews, to provide all industry players insightful analyses and strategies to navigate this new world. In this expanded edition of the Cloud of Fashion newspaper, we are making this content available to all, and draw up an initial assessment, fulfilling the historic mission of Première Vision: a unique meeting point, an exclusive laboratory of ideas and experiments to build, together, the futures of fashion.

Gilles Lasbordes General Manager, Première Vision

© Ricardo Gomez

N E W S PA P E R # 7

Contents

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36

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with Pascal Morand / Philippe Pasquet

with Gel Egger / Isabelle Lefort Amélie Pichard / Marie Demaegdt

with Pascaline Wilhelm

Imagining and building tomorrow

More eco-friendly than ever

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The new rhythms of fashion with Pierre Mahéo / Nellie Partow

The trends of a season, and of those to come

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A radical shift in consumer desires and behaviors with Serge Carreira / Géraldine Dormoy / Katell Pouliquen

Things to remember, things to watch

68 Thanks to...

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The triumph of digital with Adrien Garcia / Gilles Lasbordes

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N E W S PA P E R # 7

Imagining and building tomorrow with Pascal Morand / Philippe Pasquet

Our first guest is Executive President of the Fédération Française de la Haute Couture et de la Mode. The second is Managing Director of GL events Exhibitions and CEO of the Première Vision Group. Key players in the fashion universe, they sat down with us for a 360° assessment of the industry’s situation, and the various avenues it could envision to reinvent itself. Their expertise provides a starting point to our analysis and discussions, to imagine and build tomorrow’s fashion industry.

© Stephen Doherty - RedBloom

© Réjean Peytavin / Picture Aurore Batisse゙

I M AG I N I N G A N D B U I L D I N G TO M O R R OW

The solution lies in innovation

Fashion is going through some difficult times, Philippe Pasquet - I completely agree with largely as a result of the Covid crisis. How do the points made by Pascal. The entire industry both of you assess the situation? is affected - all sectors and around the world.

This crisis is unprecedented in its depth and Pascal Morand - We are living through an scale, and business losses will not be recouped, extremely complicated period, especially for SMEs even by digital. We are seeing a strong recovery and VSEs, even with assistance from the state. in China, especially in the luxury goods sector, Yet this moment also represents a real opportunity which is offsetting the difficulties stemming from because it forces us all to innovate. We need to a halt in tourism with strong local consumption. get things moving again, something that many But the crisis is not over yet and we cannot rule companies are working on, especially in the out new upheavals in the future. Beijing went digital realm, where we’ve seen an extraordinary back into lockdown at the beginning of July. acceleration. As for the rest, the situation today The situation remains volatile and a lack of varies greatly from one market to another. China visibility is part of the very nature of this health and Korea are recovering, Europe and Japan are crisis. …/… in an intermediate zone, the American market remains very sluggish, and the porosity between different areas makes everything difficult.

The situation is unprecedented, especially given that there are particular psychological components to it. We go out less, so naturally we dress up less, which has a direct impact on our industry.

“We have to actively work on transforming the existing models.”

Pascal Morand

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.../... The health situation has had a tangible impact this September, making it difficult to organize the fashion weeks. What solutions are you putting in place?

PM - Each fashion week has its own characteristics.

The one in Milan remains quite specific because it brings together mostly Italian brands, which can hold shows without traveling very far.

In Paris, on the other hand, half of the houses that show are foreign and will find it very difficult to travel. We think that only local brands will decide to show, or not, depending on how the health situation evolves and the results of their recent digital experiments.

The online fashion week, which we set up last June, was extremely well received and represents a huge transformation. We are currently coming up with a calendar that brings together physical venues and a digital program, and boosting the features of our platform by joining forces again this year with partners such as Canal+ to increase our visibility.

“ Digital will never replace the show itself because it doesn’t offer the same approach to the product nor the same relationship between buyers and sellers.”

Philippe Pasquet Do you think the virtual presentations could become permanent?

PM - As I was mentioning, the feedback has been very favorable and everyone wants to be part of the platform again. It’s a new way of doing a show -quick, easy- however, it cannot replace a physical event. We are moving towards hybrid formats, meaning physical shows filmed with or without an audience, live-streams, video broadcasts, strictly physical events, etc. All this invites us to rethink the very concept of the fashion show. For a creative brand, it’s a way to present both products and an imaginary vision.

In video, you can’t exactly make out the color contrasts, the density of the materials - and viewing collections in the showroom is still a necessity.

On the other hand, digital technology is perfect for communicating an imaginary vision. What’s more, it opens up an entirely new potential for creative expression. Lastly, on the media end, we’ve had good feedback regarding digital events, even though physical fashion shows, relayed on Instagram, have a stronger impact.

speeded up the hybridization of our operations - fostering a richer dialog between our physical and virtual events. Digital technology helps create more effective in-person meetings at the shows, because the contacts are nurtured throughout the year. And digital helps us inform our community throughout the year. All this requires us to think about improving our overall offer, both digital The crisis is also affecting the traditional and physical. The way we think about trade organization of trade fairs, which are a key shows will change - the formats, the content, meeting place for suppliers and buyers. What the interaction between international and local operations. Première Vision, fortunately, is solutions have you put in place? very familiar with facing such challenges. .../...

PhP - The issues are different from those of fashion weeks but the facts remain the same.

The trade shows have all been at a standstill since the end of February. There has been resumption in China for about two months and we’ re now starting up again in Europe with Made in France Première Vision. Other events are planned for the fall in Europe, but nothing in the United States or Latin America. Of course nothing is absolutely fixed. We faced the situation by expanding our digital services, which we already offer via our Marketplace, with webinars for our editorial content, enriched product catalogs, and online match-making between buyers and suppliers. However, we know that digital will never replace the trade show itself; it can’t offer the same approach to the product nor the same relationship between buyers and sellers.

Trade shows will resume, but this crisis has vastly

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.../... Covid 19 arrived amidst a prevailing economic crisis. The sector needs to reform itself, to move into a new era. What do you think are the most pressing changes that need to be made?

PM - Digitalization is, in my opinion, the main challenge. It’ s a new industrial revolution that will profoundly transform our lifestyles.

The second challenge is that of sustainable development, where progress is difficult to measure. The Federation is obviously very involved in this issue. First of all, there is the critical issue of overproduction - even though the brands we represent are at levels 1,000 times lower than the fast-fashion companies. The future lies in more thoughtful production and fashion houses have to transform their management methods and reduce their stocks. But this raises a series of very hard questions. How, from an ethical standpoint, can we stop working with countries like Bangladesh, where we know the economy is heavily dependent on textiles? How can we objectively assess environmental performance?

For example, the impact of a brand that decides to produce small-scale series in France? And how do we define the sustainability of a product?

There are real methodological challenges and much remains to be done to define reference frameworks, and objective criteria.

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PhP - It’s important in this discussion to avoid taking an overly Western viewpoint. We talk about limiting production, but fashion is driven largely by Asia, with new generations with a new capacity for consumption and a real appetite for it. This doesn’t eradicate the major issues at stake regarding sustainable development, and the enormous challenges posed by sourcing and distribution issues. But I don’t really believe in the world of tomorrow - because that world was already in the pipeline yesterday. The crisis is primarily a catalyst for trends that were already emerging before Covid. Relocation is obviously a key issue. There is a lot of talk about rebuilding

© Julien Martin / #monsieurjulienmartin

textile industries in France, which requires colossal investments and the need to make these production systems competitive. Is this realistic?

It inevitably means higher prices, is the public ready for that?

Effectively, brands need to change quickly. What issues need to be addressed?

PM - E-commerce, and more globally, innovation.

Which is not to be confused with creation. Let’s recall what constitutes innovation: a new use and a new business model.

“We need to find systems that don’t kill off the richness of the offer, but help the various players to anticipate better.”

Philippe Pasquet

Suppliers must develop the necessary reactivity, while finding an economic balance to solve the problems of inventory financing and risk management, problems common to all creative endeavors.

The fashion world of tomorrow broadly addresses the motto of “consume less but consume better”.

Is the economy of fashion facing an inevitable slow down?

PM - What does “consume less” mean? In 2019, fashion consumption accounted for 3.5% of French GDP. Will that share decline? Will prices go up? And how will people who don’t have the means react? There is a quest for meaning in society, an aspiration for artisanal savoir-faire, but we must also deal with an economy of scale.

All of this requires some moderation.

New ways of producing, new demands....

How should suppliers - your exhibitors respond to all the new ways of imagining fashion?

PhP - The period is painful but interesting.

We are in a very long and globalized industrial chain, with lots of small players. Upstream players have little visibility and, as a result, a natural desire to reduce risks. We need to find systems that don’t kill off the richness of the offer, but help the various players to anticipate better, which leads to more collaboration between sellers and buyers.

PhP - This aspiration means fewer pieces but higher quality. Première Vision is in line with this philosophy, as we have always been positioned in a market segment that focuses on quality.

But be careful of the Western prism, which does not fully reflect the global market. According to the forecasts, in 2025, China will become the leading consumer market for fashion and it is this market that will set the tone. Nevertheless, the debate around slow fashion exists. It has been fueled by some designers and will perhaps give rise to a new organization, some thinking about the number of collections. …/…

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Faced with such radical changes, what role can the Fédération Française de la Haute Couture et de la Mode and the Première Vision Group play?

PhP - Trade shows, like fashion weeks, are a crossroads of different businesses and an industry showcase. Our role transcends a strictly economic sphere. Première Vision plays a key role in the relationships that are forged between the upstream and downstream sides of fashion.

We develop, via our digital and physical events, a better relationship between these two worlds, which is crucial for the industry’s effectiveness and its future.

PM - The Federation finds itself in a paradoxical situation. The leadership of our fashion week is connected to Paris, a physical and immensely symbolic place. Now our fashion week has to assert itself in the virtual realm. But even in that virtual world, the idea of place has to remain essential and we are working on that.

What do you think fashion will look like in ten years?

PhP - These days, it seems risky to me to try to look ahead ten years when we still don’t know what next week will be!

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PM - One thing is certain, fashion will always be there. The prevailing trends? The whole concept of the brand, the notion of an experience - both sensory and intangible. The aspiration for uniqueness, identity, personalization. There will also be a need to restore actual physical sensations, with places that convey identity and pleasure.

Because fashion will always be about pleasure.

+ To learn more, watch the replay of our Digital Talk: The new rhythms of fashion.

With Pascal Morand - Executive President Fédération de la Haute Couture et de la Mode Pierre Mahéo - Founder -Officine Générale, moderated by Karine Porret - Journalist HERE

“Digitalization constitutes (...) the main challenge.

It’s a new industrial revolution that will profoundly transform our lifestyles.”

Pascal Morand

The post-Covid fashion market in France, Germany, Italy and the UK.

The report from the IFM-Première Vision Chair in 5 key take-aways • 58% of Europeans are in favor of local production for fashion products, in line with behaviors already observed in the food sector.

• Eco-responsible products appeal to a large majority of consumers. 64.1% of Europeans, a percentage that reaches 66.1% in France and 76.2% in Italy.

• The climate of uncertainty is leading 42% of women and 30.4% of men to reduce their fashion spending. On the other hand, 13% of women and 17.1% of men say they want to buy more, reflecting the “revenge shopping” phenomenon.

• 83.7% of European consumers plan to prioritize timeless products and 47.3% are ready to buy more expensive but higher quality products.

• There’s a growing interest in second-hand products. 30.8% of Europeans would like to buy second-hand products in the coming months.

In France, this percentage rises to 54.1% of 18-35 year olds.

+ To learn more about the study’s results, watch our Digital Talk: Fashion Markets in Europe post-Covid.

With Gildas Minvielle, Director of the Economic Observatory of the French Institute of Fashion (IFM) HERE

N E W S PA P E R # 7

The new rhythms of fashion with Pierre Mahéo / Nellie Partow

Ever more and ever faster! The health crisis brought the fashion race to an abrupt halt, intensifying an already existing debate around the industry’s need for a more natural and healthy rhythm. And more and more designers and consumers are calling for this revolutionary change. Our analysis and explanations by designers Pierre Mahéo of Officine Générale and Nellie Partow, of Partow, both of whom participated in our Digital Talks.

© Farida Le Suavé - Coup de foudre, 2019 / ceramic, wood and flowered twill / Courtesy Farida Le Suavé & Galerie Maria Lund

© “Aazaard” by Jimmie Durham / Courtesy of the Artist and Collezione Giancarlo e Danna Olgiati, Photograph © Deniz Güzel.

It’s an unprecedented crisis disrupting the entire planet, jeopardizing all sectors of the economy - and the fashion industry in particular. In the face of the pandemic, the industry is rising to the challenge by accelerating awareness and underscoring the urgent need to find solutions to the issues it is raising. Fashion today has its back against the wall, particularly in regards to the fundamental issue of its rhythms, long regarded as outmoded, as Lucien Pagès, director of the eponymous communications agency, reminded us last July: “The entire sector feels caught up in a spiral of too much and too fast. Too many clothes, events, capsules and collections - up to eight in a single year! The fashion industry is profitable and tends to take things as far as they can, more in response to a sales dynamic than a need to create more.

We feel swept up in a headlong rush, with no chance to think and anticipate. This issue isn’t new. When he left Dior in 2015, Raf Simons was already decrying this state of affairs.” .../...

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“More than ever, there’s a demand for integrity on the part of fashion enthusiasts.

A demand for transparency, coherency and responsibility.”

Serge Carreira

Many designers are now geared up and ready to call for a new more human rhythm, one more in line with the natural creative process.

With, at its core, a new way of thinking about clothing, following the example set by Véronique Nichanian at Hermès, who has always favored a long-term approach. The idea of creating clothes that last, garments as objects that transcend trends. All this obviously contradicts the current calendars, as Pascal Morand, Executive President of the Fédération de la Haute-Couture et de la Mode, and a key speaker at our conferences, reminds us. “The current system revolves around the springsummer collections arriving in February and exiting at the end of May to make room for the fall collections, to which are added the winter collections starting in September. All of this contributes to a constantly renewed offer, especially in fast fashion, where the system is even further multiplied.”.../... © Dorian Gaudin / Image courtesy DITTRICH & SCHLECHTRIEM, Berlin / Picture Jens Ziehe

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+ Watch the replay of our Digital Talk: The new rhythms of fashion.

With Pascal Morand - Executive President Fédération de la Haute Couture et de la Mode Pierre Mahéo - Founder -Officine Générale, moderated by Karine Porret - Journalist HERE

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T H E N E W R H Y T H M S O F FA S H I O N

Faced with this senseless misalignment, some houses are already mounting a response. Antony Vaccarello - for Saint Laurent - chose last April to break away from the official fashion show calendar and present his collections according to his own creative pace. Later that May, some forty key players in the fashion industry, including Dries Van Noten, Tory Burch, Marine Serre, Marie Katrantzou, department stores such as Bergdorf Goodman in the United States, Lane Crawford in Asia and Selfridges in Great Britain, signed an “open letter to the fashion industry” to bring the collections back into line with their seasonality, rather than holding them six months in advance.

+ To learn more about the New Fashion Calendars, watch the replay of our Digital Talk.

In partnership with Vogue Business with Michael Jaïs, CEO Launchmetrics, Charlie Smith, CMO Loewe, Nicolaj Reffstrup, Founder Ganni, Kati Chitrakorn, Retail and Marketing Editor, Vogue Business HERE

The letter is a timely reminder of what consumers want - no, they don’t necessarily don’t want a pair of shorts in February and a down jacket in the middle of August - but it also addresses sustainability. Because the pace of fashion opens up a Pandora’s box of questions. How many collections per year should there be? With which clothes? More virtuous creations? And should upcycling be integrated? By questioning the system in order to produce less but better, to avoid waste, to travel less and present the collections differently, the industry’s entire economy has to write a new story, one that’s about virtuous and desirable fashion. Which in any case is what a growing number of consumers want, as Serge Carreira - Head of Emerging Brands at the Fédération de la Haute Couture et de la Mode and Senior Lecturer at Sciences Po Paris - pointed out for Première Vision: “More than ever, there is a demand for integrity on the part of fashion enthusiasts. A demand for transparency, coherency and responsibility that adds to an ever strong appetite for novelty.”

Clearly, this is a major challenge for the sector, and all the players are concerned. LB.

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“ The pace of fashion opens up a Pandora’s box of questions.

How many collections per year should there be? With which clothes?”

Lydia Bacrie, journalist

Pierre Mahéo Founder of Officine Générale www.officinegenerale.com

“The whole question of the rhythm of fashion leads straight to the issue of fashion shows and collections. Given the pandemic, I think it’s important first of all to salute the role played by Paris, which has retained its position as the capital of fashion. We saw it with the Fashion Week in July, and all the houses, large and small, which managed to show their collections. This proved that we can cope with such a challenging situation.

Of course, we all missed the traditional fashion week - the work with the teams, the production, the music, etc. But the biggest frustration was not being able to show, physically, the clothes, the fabrics. You can make films, photos, videos; but nothing can replace the experience, the feel of a fabric. To remedy this, we created fabric books that we sent to our customers in different countries.

Yet the importance of the fashion shows doesn’t address the issue of the number of collections and the time spent producing each one. Karl Lagerfeld used to say, “You have to wait nine months to make a child. I don’t see why people would come to a fashion show and want the garment immediately.” You have to respect the time frame of all the various industry players. We show the collection, then we sell it, then we produce it.

There was a big debate three years ago around the whole “see now, buy now” phenomenon. The idea sounded like a revolution, but the impact on sales was very minimal. “I want it now” is something my 11-year-old daughter would say. If we’re any older than that, I think we can wait. The level of desire for certain items can be enormous, waiting is always a very good thing.”

+ Discover the full interview with Pierre Mahéo in our Digital Talk: The New Rhythms of Fashion.

HERE

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L E S N O U V E AUX T E M P OS D E L A M O D E

Nellie Partow Founder and artistic director of Partow partow.us

+ To learn more, watch the replay of our Digital Talk: Considering the future of fashion in America.

With Steven Kolb - President and Chief Executive Officer Council of the Fashion Designers of America (CFDA), Nellie Partow - Founder and Artistic Director of Partow, Karine Porret - Journalist HERE

T H E N E W R H Y T H M S O F FA S H I O N

“We live at a time when tenacity has become the driving force to work and overcome the challenges we face. Designing my latest collection during the lock-down was one such example... We tried to juggle between the closings - and re-openings - of the Italian and American factories and had to deal with their limitations, and their deadlines, because their calendars had been totally turned upside down. Manufacturing the collection was also a real challenge. We had to select the materials virtually - even though the actual experience is so eminently physical and tactile,

the very essence of my job as a designer.

We developed a close collaboration with suppliers who were able to work, using virtual platforms to move forward. But this experience also gave me time to think. I thought a lot about how fashion works, and in particular about the wastefulness in production methods.

There’s just no reason today to multiply the offer. Our fashion house stands behind this firm belief: we create carefully honed collections four times a year and produce on demand.

We’re always learning and adapting. We will continue to reflect on all this as we celebrate the brand’s 10th anniversary. I wanted to become a designer to empower people through clothing. I created my business on my own, f rom scratch. Now I want to speak about diversity and inclusiveness. My goal is to give the best of myself to become an example and give support to the younger generations, with one absolute conviction: even in the Covid era, even in adversity, there is always a way.”

“ Even in adversity there is always a way.”

025 © Maria Koshenkov

N E W S PA P E R # 7

The triumph of digital with Adrien Garcia / Gilles Lasbordes

Digital’s omnipresence in the world of fashion is necessitating a total reconfiguration of the sector. But it’s also a founding matrix that can generate enormous opportunities. Two experiences in particular make this case. The launch of the Réuni brand is recounted by founder Adrien Garcia, who leveraged the full potential of digital at every stage of the label’s development. Gilles Lasbordes describes the development of the Première Vision Marketplace, reminding us just how much this platform has transformed and deepened the relationships between suppliers and fashion houses.

Š Strecker/Spiess, Understanding Art & Research, University of Applied Arts Vienna

Š Danielle Klebes

T H E T R I U M P H O F D I G I TA L

It’s an upheaval on par with the industrial revolution that swept the world at the end of the 19th century. Digital technology has been making inroads since the early 2000s, and is now shaking up and reconfiguring all industries, including fashion. Digital permeates every corner of the sector, leading to profound changes in how clothing is designed, produced, distributed and promoted. The Première Vision Marketplace, launched in 2018, is well placed to observe the many transformations already implemented by suppliers in the privacy of their workshops. It also illustrates the extent to which their relationships

+ To learn more about the Triumph of Digital, watch a replay of the Digital Talk: Working in a Digital World.

With Gilles Lasbordes, General Manager of Première Vision – Adrien Garcia, co- founder of Réuni, moderated by Karine Porret - Journalist

with buyers can be strengthened by an ongoing connection, accelerating and streamlining the efficiency of their discussions and interactions.

A quick overview of fashion houses likewise attests to the magnitude of this revolution. All of them - from large international luxury groups to small independent brands - now position digital at the core of their strategies. Digital allows them to address a new generation which prefers to shop online, to expand their communities around the world or, very simply, to be part of this new emerging world. A few pioneering companies (Hermès, Burberry, etc.) jumped into the adventure in the 2000s with the creation of e-commerce sites. They then kept pace with new developments: the explosion of social media starting in 2004 (with Facebook, Twitter, etc.) and then their rise to prominence with the ongoing emergence of new players, such as TikTok or Instagram. These platforms offer multiple ways to communicate, discuss and discover products, but they also provide an opportunity to showcase a brand’s legacy and values...a challenge all companies must rise to.

With its many advantages, digital technology is also successfully changing how people view it - a transformation amplified by the recent health crisis.

Digital is no longer a necessary evil, but a matrix of forces harboring tremendous opportunity. One demonstration of this is provided by Adrien Garcia who launched the Réuni brand using digital tools at every stage of its development, and another by Gilles Lasbordes, Managing Director of Première Vision, who takes us behind the scenes of the Marketplace to reveal the profound changes it has brought about and assists. Two different experiences for how to think and build tomorrow. LB.

HERE

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T H E T R I U M P H O F D I G I TA L

Adrien Garcia Co-founder of Réuni https://reuni.co/ This young fashion enthusiast recently launched his own brand, overturning all the rules about design, production and distribution along the way. A concept that was only made possible by his thorough fluency in digital tools.

Introduce us to Réuni, which sounds like much more than a fashion brand...

It’s a team effort, as I created it together with Alice Bailly, our artistic director, and Julien Garcia, who is in charge of marketing, logistics and customer service. Réuni reflects our shared passion for fashion, and our refusal to create yet another ready-to-wear brand. We wanted something different, so we decided to rethink the entire model. Instead of searching for inspiration, we begin by asking our clients what they want by sending out a questionnaire on our social media. What garment most inspires you? How should it be produced? We work with these specifications, while continuing the dialogue with our community. When we arrive at a project that we think is right, we create a campaign and begin taking pre-orders - again through social media-before ordering our production.

This process resolves most of the difficulties the fashion industry faces: our clothes are in line with what our consumers want, we can evaluate our production and stock, we don’t need sales to dispose of unsold items, etc.

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You came up with the idea for Réuni after a number of work experiences. Tell us a little about your career path.

I went to a hotel school prior to studying for a business degree, and then I worked for the Maison Ducasse and Pret A Manger. When I was 28 I decided to follow my dream and go into fashion. I enrolled in the Studio Berçot, I worked for big brands and I created the “Entrepreneurship in Fashion” podcast, which gave me a chance to meet and talk with a range of industry professionals. At that point I realized that the traditional models were having a hard time functioning. In my view, French schools develop creativity but not enough business savvy, especially in today’s internet age. I’m amazed by the open-mindedness of tech entrepreneurs - by their imagination and pragmatism. The fashion world has to shake off the weight of habit and tradition and usher in a new era.

“The fashion world has to shake off the weight of habit and tradition and usher in a new era.”

The Réuni cardigan and coat Picture ©Benoit Auguste

terms of functionality or the detail of a cut. To do this, we call upon designers who work with us for the duration of a given project - Tilmann Wröbel for our jeans, and star pattern designer Michaël Gunter for our coat. Then we put a lot of work into our photo shoots, which we upload to our social media, which help define a specific look, our style. We think people today want well-made clothes, in quality materials that are well sourced, Starting this kind of project requires financing. in a price range that fits their budget.

How did you get it?

And in terms of distribution?

Thanks to our online pre-ordering system, the capital outlays are quite low. As people pay We have no plans to open a store. We sell only on upfront, this money allows us to fund the raw the internet and we produce according to our prematerials, the manufacturing workshops... Our orders, adding just an extra 15% to cover possible cash flow is always positive - that’s one of our size exchanges. But each product is re-edited the strong points when compared to traditional brands. following year, with improvements based on buyers’ They sometimes have to wait up to seven or eight feedback. On the logistics side, we deliver by bike months to recoup their investments, from the time courier for Paris, by Chronopost for anywhere it takes a designer to create the collection to the else in France and abroad. And we use a service moment the collection is in store. To finance our called RePack, which has perfected a system of first garment - a winter sweater which we sold reusable envelopes that are sent back to a logistics 750 of - we used the Ulule platform, which served center to be washed and reused. as a guarantor and helped us to start developing our community. We are continuing the adventure Who is the target Réuni woman? And how do on our own site, but our model is still effectively you develop your community? based on crowd funding.

Thanks to all the exchanges we have on social Your brand is a textbook case. Let’s try to media via our questionnaires, we know that breakdown its fundamentals, starting with 50% of our customers live in Paris, and that they this idea of co-creation. Doesn’t that put the represent all generations, although the average age brakes on your imagination? is about 40 years old. Our community is built by word of mouth, and women are truly enthusiastic We aren’t looking for absolute creativity, as a more about the quality of our clothes and the spirit of couture - oriented brand would. We want to make the brand. The pre-order system via social media good-looking, well-cut products, with a certain puts us very far from fast-fashion, and it has resomething that makes them special, whether in introduced the idea of expectation. And desire.

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L E S A C R E D U D I G I TA L

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T H E T R I U M P H O F D I G I TA L

Gilles Lasbordes General Manager of Première Vision marketplace.premierevision.com Created in 2018, the Marketplace enables Première Vision’s partners to avail themselves throughout the year of the services offered by the shows. This valuable tool helped companies speed their transformation to digital. It has also been an invaluable asset during the pandemic, allowing buyers and suppliers to continue interacting in spite of the health crisis. Here, a review of its current state with Gilles Lasbordes, General Manager of Première Vision.

What were your initial goals for the Première Vision Marketplace?

The project was launched in 2018 with one goal in mind: to provide sellers and buyers an additional service in a period of rapidly multiplying collections - requiring ever more interactions with the markets. In light of that, the physical show no longer sufficed. In-person meetings needed to be supplemented with virtual appointments.

Now, the Marketplace prolongs the role played by the show, 365 days a year.

You’ve been actively working on its development for two years now. What new services have been added?

We began this adventure by creating a fabric catalog, presenting all of our partners’ collections.

We soon added the ability to order sample meters for prototypes, and an online payment system.

Then we expanded the offer to other products: leathers, denim, accessories, textile designs, etc. All this was accompanied by a major expansion of our online editorial content, where we regularly publish fashion information that’s vital to the industry.

So now the Première Vision Marketplace is an ecosystem that reflects the physical show, championing the same values and the same approach. It’s a place to interact, buy and sell, as well as discover new products, innovations, creations and emerging trends. .../...

“ The Première Vision Marketplace of tomorrow will be even more sophisticated and powerful.”

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T H E T R I U M P H O F D I G I TA L

We set up a Digital Show bringing together a wide variety of content - webinars around the future of fashion, fashion information including It’s been overall positive - sometimes even photos of the products we received, digital enthusiastic - but we do occasionally see a forums so everyone could locate the materials certain resistance due to a lack of familiarity selected by our fashion department. It’s actually with digital technology. We are aware that, an optimized restitution of the services found with its Marketplace, Première Vision is at the physical show. playing an informative role by encouraging and assisting our partners in their digital transformations. In the past two years, we have successfully brought together more than 80% of the weavers, some 1,600 exhibitors have created their online stores, and the platform features over 40,000 products, attracting a total of 130,000 unique visitors.

This strong growth also corresponds to the growing interest of buyers, both major luxury houses and independent labels.

What feedback have you gotten from your partners?

The Marketplace has provided a critical advantage during the pandemic. Is it continuing to play a key role?

The concept was fairly visionary, but we hadn’t anticipated the situation we’re in now! During the lockdown, we made the platform free of charge for all our exhibitors, that way they could present their collections. With the health environment creating travel limitations, we rethought the broad outlines of the September show and presented our new proposal to our exhibitors. The idea was to do a hybrid show where customers could do their sampling online and set up virtual meetings with suppliers.

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© WHITE-RED SURFACE © Roberto Lucchetta courtesy Gal

The platform looks more and more like the tool of tomorrow. How do you see its role five years from now?

The fundamentals are in place, but a strong development and a greater sophistication are expected.

The product presentations will evolve, to feature more video especially; the quality of the catalogs should also improve - to become more cuttingedge and address more specific needs. The overall spirit will be even more community-based, thanks to increased interactions and online exchanges.

llery Contempop.

Digitization will not replace the physical show.

How do you envision the new ecosystem?

Our show will become more and more hybrid, designed as a fusion between the physical and the virtual. In parallel to our digital development, we will be increasing the amount of events specific to the physical show, putting the emphasis on bringing people physically together. One thing is certain, the rise of digital will further strengthen the desire, and the need, to see each other.

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To learn more, watch our Digital Talk: How are DNVBs responding during the pandemic? In partnership with Fashion Network.

With Astrid Legmann, co-founder Mister K. Julia Faure, co-founder of Loom Charlotte Dereux, co-founder of Patine, moderated by Olivier Guyot, editor-in-chief of Fashion Network.

HERE

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N E W S PA P E R # 7

More eco-friendly than ever with Gel Egger / Amélie Pichard / Isabelle Lefort / Marie Demaegdt

An ineluctable shift to eco-responsibility is underway, and it’s transforming every sector of the economy, starting with fashion.

Against this backdrop, the wide-ranging examination launched by Première Vision helped create an overview of the many advances being made, and to share the experiences of the industry’s key players. From Gel Egger, Material Research & Development Coordinator for Salvatore Ferragamo to Amélie Pichard, creator of her eponymous brand, to Isabelle Lefort, co-founder of Paris Good Fashion, to Marie Demaegdt, who promotes European linen production - four points of view to carve out a path for the future.

Š Jamie North, Rock Melt (2015) by the National Gallery of Victoria, Melbourne. Š/ commissioned Franck Gervaise

M O R E E C O - F R I E N D LY T H A N E V E R

No future without eco-responsibility

Petit Bateau is expanding its eco-f riendly tutorials to learn how to give household items a second-life. UNIQLO is launching RE.UNIQLO, an initiative aimed at collecting the brand’s clothes to give them a new life. As a result of this operation, launched last year in Japan, UNIQLO will be introducing its first recycled down jacket this 9 November. This fall season, signs are more than ever converging and multiplying. Not a day goes by without an independent company or a major luxury group announcing their own new eco-friendly advances.

We are already familiar with the pioneers who have been working on the issue for years-now the entire industry is lining up, with statements firmly indicating their convictions.

It was merely a year ago that François-Henri Pinault, CEO of the Kering group, announced the launch of a major initiative to limit the impact of fashion on the earth’s climate, biodiversity and oceans, signed by his own group as well as Chanel, Burberry, Prada, Hermès, Armani, Zara and adidas.

A few weeks later, LVMH kicked off its Life program to showcase the group’s social responsibility achievements, and outline its commitments in terms of raw materials and animal welfare. Last May, some forty industry players signed an “open letter to the fashion industry” with the aim of rethinking the organization of collections, especially in terms of their seasonality and number.

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Watch a replay of our Digital Talk: Is sustainability achievable for everyone?

With Rabia Farhang Founder of the BGood Collective Johanna Masket -Cofounder of the BGood Collective moderated by Karine Porret - Journalist HERE

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© Jamie North, Rock Melt (2015) / commissioned by the National Gallery of Victoria, Melbourne.

© Franck Gervaise

A revolution is unquestionably underway, amplified by the pandemic, which has demonstrated the need to move even faster in response to increasingly demanding consumers.The entire industry is working on this, supported by the upstream fashion industry, whose extraordinary speed of innovation in supplying designers with raw materials that are just as ecofriendly as they are creative, is to be commended.

The fact remains that we are only at the beginning - or nearing the end of the beginning! - of this change to a new era, and the future is far from fully mapped out. As Pascal Morand, Executive President of the Fédération Française de la Haute Couture et de la Mode and Philippe Pasquet, CEO of the Première Vision Group,

reminded us during their extensive interview (found on p.6 of this issue), many questions are yet to be resolved. How do we raise awareness among a young generation of Chinese who, for the moment, plan on consuming at the same level as their parents? And how will countries such as Bangladesh, whose entire economy is largely dependent on the fashion industry, manage this change without putting thousands of impoverished workers out on the streets?

These are all crucial questions for a revolution that aims to be global, ecological and humanistic at the same time. Crucial questions that four representative fashion players try to answer for us, by sharing their own experiences. LB.

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M O R E E C O - F R I E N D LY T H A N E V E R

Gel Egger Material Research & Development Coordinator - Salvatore Ferragamo www.ferragamo.com

“Our commitment to sustainability didn’t start with the pandemic. It has always been a goal of the Ferragamo family, but recent events and the interest in eco-responsibility have confirmed our position. We have been using leather since the company was founded. For several years now, we have been choosing skins produced in a responsible manner, gradually reducing the use of traditional materials to favor those made sustainably. It’s also part of our tradition at Ferragamo - part of its culture of experimentation and creation - to look for and find alternative solutions.

“ Sustainability is part of the heritage of our fashion house.”

+

See the full interview with Gel Egger by watching the replay of our Digital Talk: Sustainable at heart, with Salvatore Ferragamo.

HERE

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We favor chemical-free materials in order to conserve water, also knowing that such materials will last and be used for a longer period of time.

We have also always believed in the value of craftsmanship. We produce locally but require that our partners - especially the tanners - take into account contemporary concerns. We make sure that all the water they use is cleaned before being discharged, so it can be reused. The circular economy is now one of our most pressing priorities - and this involves working even harder to achieve manufacturing and creative excellence. Leather can last a very long time. If a garment is beautiful and well made, the person who owns it is proud of it. Proud to wear it, and proud to keep it.”

Isabelle Lefort Co-founder of Paris Good Fashion A journalist who spent five years working with Jacques Attali at Positive Planet, Isabelle Lefort created the Paris Good Fashion association - which Première Vision is partnering with - in 2019. parisgoodfashion.fr

“In 2019 we created the Paris Good Fashion association with an ambitious and exciting goal: to make Paris the capital of responsible fashion in 2024. At the time, Kering was the only one communicating on this topic, though LVMH and some other groups were pursuing an ecoresponsible approach. The association-created under France’s 1901 law and thus politically independent - brought all the players to the table in the conviction that everyone needs to be able to speak freely, to create collective intelligence and share best practices. We brought together some 50 companies and organizations that are now members of Paris Good Fashion. Each of them participates in one or even several working groups. In partnership with Première Vision, we created several different work groups – dedicated to animal welfare, Tech For Good, and support for young brands. We are also working together to examine the future of fashion events. What can we do to ensure the decorations are reusable?

What needs to be done so that these events have positive results in terms of business and jobs, while still respecting biodiversity?

All these efforts are contributing to the massive increase in awareness that we are seeing. Sustainable development is now central to all business models, and Paris is at the center of this thinking. It’s no coincidence that in 2019 we saw the birth in the capital of both Paris Good Fashion and, six months later, the Fashion Pact. Paris is the epicenter of international fashion. It’s here that designers from all over the world choose to show their collections.

Building on these early results, we’ve launched numerous new initiatives, especially a broad sounding of citizens, because there can’t be truly systemic change without consumer support.

With the Civic Tech Make.org, we’re going to analyze proposals submitted from over 100,000 people to work on even more concrete solutions.

We’ve uploaded a self-diagnosis drawn up by the Sidièse agency to our site, for each fashion house to evaluate its practices. .../...

“ Tomorrow’s fashion has to be 200% creative and circular.”

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M O R E E C O - F R I E N D LY T H A N E V E R

…/… At the same time, we launched a Paris sustainable-fashion map, with over 300 locations already listed. In 2021, we’ll expand our scope to the Greater Paris region. And we are going to invite other capitals to do the same thing, because we know that consumers are still struggling to figure out where to buy eco-friendly clothing.

The current health crisis has strengthened our convictions – we need to go faster and we have to go further. How can we produce more equitably? How can we stop the waste?

How much of the industry can be relocated to France? We’re working on all these issues, and we know that consumers are expecting a major transformation. In the internet age, everyone becomes quickly aware of harmful practices. And anyone who doesn’t comply with the rules can see their business disappear in a matter of months. But young people shouldn’t be mistaken for an ascetic sect. The desire to please, the need to get dressed, these are an integral part of their lifestyle - and ours!

Aesthetics, a taste for beauty and a love of creation are fundamental impulses. Industry practices need to be revamped so we can enjoy fashion’s creativity without any guilt.

Tomorrow’s fashions have to be 200% creative and circular, with a positive impact on both the planet and people. Fashion is a part of beauty – and fashion can also save the world.”

+ Hear more from Isabelle Lefort by watching a replay of our Digital Talk: Can fashion really be sustainable?

HERE

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AmĂŠlie Pichard

Founder of the eponymous accessories brand ameliepichard.com

+ Hear more from AmĂŠlie Pichard by watching a replay of our Digital Talk: Can fashion really be sustainable?

HERE

M O R E E C O - F R I E N D LY T H A N E V E R

“A creative commitment is a huge undertaking, and my philosophy is to stick to it, observe the results and revise my practices as I discover new things. For example, I learned a lot when Pamela Anderson asked me to design a line of accessories with her in 2015. That’s when I realized that being vegan and being eco-responsible were two very different things. It’s quite simple to produce clothing without using silk or wool. But making shoes without leather, with a material that looks the same yet isn’t plastic, was really difficult five years ago. And it’s just as complicated today.

We have to choose our options on the basis of what’s possible. For example, I wanted to produce my bags and shoes in France. I travelled all over the country and finally started working with small Parisian craftsmen... then one after another they all closed up shop. There are very few manufacturers left today, and all of them prioritize large orders. It is impossible to work with them if you are a small independent company.

After I realized that, I turned to Spain, then Italy.

I changed factories 16 times in 9 years and today I manufacture my leather bags and shoes in Portugal. Accepting reality doesn’t prevent me from fighting to change what can be changed. My goal since 2015 has been to put things right. I gave a lot of thought to this race for newness that just exhausts us all. In the end I realized that I never satisfied anyone by wanting to satisfy everyone, in Japan, in Miami, in Russia or wherever. And I had neither the means nor the desire to produce multiple collections. So I decided I would talk directly to my clients. Sometimes they ask me to bring back a bag they I designed three years ago, which shows that they aren’t really obsessed with having the latest model. In fact it’s the opposite, they need time to digest, time to project, time to crave something. Which is exactly what I hoped to bring about by this direct relationship with them. I think the process is altogether much healthier. My products come out when they are ready and perfect. It takes the pressure off, not only for me but my partners too. I can work with craftsmen that I hunt down all over the world.

For example, the most gorgeous rattan weaving is made in the Philippines. The material comes from there, the weaving is done there, the artisans didn’t want to industrialize and preferred to keep their traditional know-how. It’s a real joy for me to collaborate with them...”

“My goal since 2015 has been to get things back in place.”

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3 Questions for…

Marie Demaegdt Textile & Sustainability Manager, CELC - European Confederation for Linen and Hemp http://news.europeanflax.com/celc/

1/ Linen is THE ecological material par excellence.

What are some of its main advantages?

European linen grows without irrigation, is GMO-free, and creates zero waste. It’s doesn’t alter the soil or rivers because producers - all of whom follow best practices - cultivate it using a system of rotation that favors biodiversity.

It’s truly one of the most virtuous plants! The industry is primarily European, with 85% of the world’s fiber production coming from Western Europe, and two-thirds in France. On a line running from Caen to Amsterdam, around 12,000 people are employed in the cultivation and production of linen fiber. This number is on the rise, as the land area has doubled over the past ten years to meet demand. The industry is both environmentally friendly and socially responsible. Linen is produced in compliance with particularly strict European standards.

Finally, in terms of traceability, the sector has established two certifications, European Flax® and Masters of linen®, which are awarded to companies following an audit.

2/ Linen is also increasingly high-performance.

W hat do you see as the leading areas of development?

Linen is naturally heat-regulating and breathable.

New advances in R&D have helped to boost its performance qualities, so it can be positioned in some

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unexpected sectors. Known for a lack of elasticity and being difficult to knit, linen fiber can now be spun in a way that is adapted to knits . The resulting linen jerseys have a particular esthetic look, due to the yarn’s irregularity, as well as a new suppleness and elasticity thanks to the natural wrinkle-resistance of knit constructions.

Linen tee-shirts don’t compete with cotton items, but rather update the offer by inspiring new creative proposals, even interpreted in polo and sweatshirt versions. The possibilities are equally vast in denim and outdoor versions, or when linen is blended with wool, cashmere or silk. These wintry blends with new handles and drapes also open up new creative avenues.

3/ How do designers view this fabric?

More and more designers are turning to linen, such as Jacquemus, obviously, where 30% of the fashions in the last autumn-winter show were made of linen. Prada, Acne Studios, and designers strongly committed to sustainability - Stella McCartney, Gabriela Hearst, etc. - use it regularly. Vanessa Bruno uses linen in her accessories, including multiple versions of her famous tote. And linen continues to appeal to brands that embody luxury and elegance Hermès, Armani, Loro Piana, etc.

+ To learn more, watch the replay of our Digital Talks: Is sustainability achievable for everyone?

With Rabia Farhang Founder BGood Collective, Johanna Masket - coFounder BGood Collective, Karine Porret - Journalist HERE

Can science save fashion for the best?

With Amanda Parks Chief Innovation Officer Pangaia, Karine Porret - Journalist HERE

Facing a global crisis and thinking about tomorrow?

With Alix Pollet - Brands BU Director Safilin, Matteo Mantellassi - CEO Manteco, Karine Porret Journalist HERE

Can leather be sustainable?

With Carine Montarras - Product Manager Première Vision Leather, Nathalie Elharrar - designer, teacher and consultant, Jérôme Verdier - President of the Alran tannery and Président of the FFTM (Fédération Française de la Tannerie Mégisserie), Karine Porret - Journalist HERE

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N E W S PA P E R # 7

A radical shift in consumer desires and behaviors with Serge Carreira / Géraldine Dormoy / Katell Pouliquen

Consumer desires are undergoing profound changes - and fashion labels must address them if they are to remain desirable. Serge Carreira, Head of Emerging Brands Initiative at the Fédération de la Haute Couture et de la Mode and lecturer at Sciences-Po Paris, perfectly sums up the major questions brought to light. The experiences of journalist Géraldine Dormoy and Marie Claire’s Editorial Director, Katell Pouliquen, round out our analysis - for a precise assessment of the situation, and valuable ways for fashion to reinvent itself.

Š Laura Moriarty

© “Omphalos” Juliette Minchin / courtesy Galerie Guido Romero Pierini / picture Wilfried Gremillet

A R A D I C A L S H I F T I N C O N S U M E R D E S I R E S A N D B E H AV I O R S

Serge Carreira Head of Emerging Brands Initiative at the Fédération de la Haute Couture et de la Mode and lecturer at Sciences-Po Paris

Consumer desire is undergoing great changes, And it is not limited to the type of textile; the exacerbated by the recent context. How would entire chain must adapt, from agriculture for you define it? the raw materials to technological innovations for the recycling of materials to the energy More than ever, consumers are demanding consumption in stores. Most fashion houses integrity. They want transparency, coherence and need to adopt a global strategy. And it is not responsibility. This demand goes hand-in-hand just a question of image. with a sharp appetite for innovation. Fashion has to rhyme with fairness, authenticity and creativity. Already we are seeing that consumers are increasingly selective, moving away from brands and labels that they perceive as not being in line with these new expectations.

Has the virus simply accelerated matters or has it also shone a spotlight on them?

“Fashion must be fair, authentic and creative.”

Although it can appear to be an investment, it is The acceleration is the result of this raising of awareness. also a way of rationalizing systems and generating Having this enforced pause led each and every one savings in the long term. Indeed, fashion houses of us to reconsider our surroundings. There is a quest hold the key to their own development, as their own for meaning, a need for the usefulness of things. interests coincide with those of consumers. .../...

Eco-responsibility now seems an essential, inescapable parameter. What does it change in the production chain and how must fashion houses transform to adapt to it?

Environmental responsibility will progressively impose itself as one of the determining criteria in the consumer decision-making process. It is getting stronger and is here to stay.

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A R A D I C A L S H I F T I N C O N S U M E R D E S I R E S A N D B E H AV I O R S

…/… Upcycling is also a growing trend. How can labels adapt and counter this?

There is no opposition to it, the question of recovering unsold stock and waste is crucial. In addition to the regulatory constraints, simply destroying items, which was a way some fashion houses chose to eliminate surplus stock, is no longer acceptable, as certain recent scandals have proven. Upcycling is a creative and responsible production process but it is not the only one. It is experiencing great success and designers, such as Marine Serre for example, have made it one of their signatures. Houses also adopt it to experiment with new ways of creating, like Weston with its project to repair old models. In contrast, some labels are focusing on other means of responsible development: innovative fabrics, natural fibers...

In addition, there is another g rowing movement, the desire for a more moderate consumption. How must the fashion world adapt?

One of the difficulties is that the word “fashion” includes both designer labels and fast fashion, despite the fact that their two models are diametrically opposed. Fast fashion is based on high volumes and low prices – regardless of the social and environmental cost, at times – and the acceleration of cycles. Whereas for the most part, designer labels produce locally, in smaller volumes compared to the giants of fast fashion, with long development and design times. Global production must be substantially reduced and that mainly means fast fashion’s output.

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To find out more about fashion consumption and new behaviours, watch a replay of the Digital Talk: with Serge Carreira.

HERE

What’s more, fashion addicts still exist. Will their number decline? Changing behavior is also a question of education. Who is responsible for this aspect, in your opinion?

There is still a strong appetite for fashion, particularly with the young generation. It is not a question of reducing growth but rather ensuring the emergence of a more selective, more committed and more thoughtful form of mass consumption. The new ways of “doing fashion” will guide behavior.

A number of houses are working on this transformation, but isn’t there a shortage of communication about it? Does the consumer know today what they are really buying and towards which companies to turn to be in harmony with their convictions?

Fashion is also attractive because it is synonymous with the avant-garde. Is it not strange to see fashion overwhelmed by certain developments that it had probably not anticipated?

The current transformations are unprecedented.

From digital to new consumer expectations, a Just like for the food industry, transparency is number of nascent phenomena are accelerating. everything. Labels will have to conform to these Some players can find themselves left behind. The demands. The challenge for them is to find the collapse of certain American distributors, well before right tone in order to share information about the crisis, shows that this was already underway. the traceability of products while keeping the Some designers, in particularly, are already up to dream alive. speed on the challenges of today. .../...

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A R A D I C A L S H I F T I N C O N S U M E R D E S I R E S A N D B E H AV I O R S

…/… In any case, many designers share this desire for change, notably in terms of the rhythms of collections…

The resonance of this question differs according to whether the fashion house has its own distribution network or not. In addition to the need to further rationalize the supply chain, with longer development times for the design aspect, one of the major problems is the lifespan of collections in shops. The dates of sales have been brought forward in recent years, notably in the United States and online, and this has considerably reduced the length of time a product is sold at full price. This generates a constant demand for new items to replace those that were discounted a few weeks after delivery. The idea that products can remain at full price for a number of months is just starting to be imposed by a growing number of fashion houses.

But the sales are something everyone looks forward to!

Retailers have created this almost addictive dependence on discounting in their clients, with the incessant need to make room for new arrivals of stock. We need to rehabilitate the value of the product, its “fair” price. It needs to be revalued. The success of limited editions and strong products shows the consumers are ready to pay when the perceived value is high.

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The question of diversity, which is a major subject of discussion in society these days, was for years mostly avoided. Did fashion not miss out on a major movement?

Already in the last few years, the sector had started transforming its approach to respect and diversity.

No doubt, there is still much to do, whether in terms of parity, equality or visibility of diversity.

Primarily, it means changing mentalities. From this point of view, the young generations are the pioneers.

“If fashion is a dream it is because through creation it is able to reflect its era.”

Serge Carreira

They are active on the question of gender, acceptation of sexual orientation and respect for diversity. More than just well-meaning words, consumers want to see actions from labels as well as the media and advertisers.

Has fashion experienced such disruption in the past? Do you think it is capable of adapting?

If a historical parallel were to be drawn, we could compare the current period with the 1920s when everything needed to be rebuilt on the ruins of the First World War. It was a period of innovation, experimentation and creation that accompanied and amplified the changes in lifestyles and behaviors at the time. Modernism was a radical change compared to the world inherited from the 19th Century.

Do you think these essential developments are compatible with what we all love about fashion, namely its creativity? It is a driver or a brake?

Can fashion still make us dream?

I would say even more so. If fashion is a dream it is because through creation it is able to reflect its era. Obviously, we are seeing ruptures of certain pre-established orders but that should indeed be the impetus that drives the imagination of designers. Only those that can demonstrate their agility by integrating the challenges of our times will continue to be desired.

What is the future of fashion, in your opinion?

We cannot ignore that in the short-term things are going to be extremely difficult. However, I believe that what is happening is an exceptional opportunity for houses that truly endorse strong values of creation to find new opportunities.

© Aron Demetz

A R A D I C A L S H I F T I N C O N S U M E R D E S I R E S A N D B E H AV I O R S

Géraldine Dormoy Journalist, columnist and blogger @geraldinedormoy

“For many years I was editor-in-chief of the Styles website for L’Express, and I’m a columnist for Marie Claire. I created my Café Mode blog in 2005 and I did that till 2017, when I started devoting more time to Instagram and my newsletter. Over the years, my audience has grown, but the spirit has stayed the same.

It brings together a largely female community, of all ages, about a third of whom live in Paris and the broader Ile de France region. The discussions I’ve had with them over the past 15 years have really demonstrated how much their desires have changed. Women are extremely enlightened consumers. The collapse of the Rana Plaza in Bangladesh (Editor’s note: causing the deaths of 1,100 textile-industry workers) sparked a growing trend, and climate change now makes the issue a top priority. Women have an enormous appetite for sustainable fashion. There’s a lot of talk about the digital revolution, but the sustainable revolution is just as fundamental, and in any case is largely driven by digital technology. Women consumers are much more informed, you really can’t fool them anymore. They insist on a relationship of equality with brands, amplified by social networks that give a voice to individuals. The balance of power has changed, today brands can’t just provide quality products; they also have to convey a set of values.

“ Zero tolerance for insincerity.”

If they aren’t perceived to be sincere or are caught in wrongdoing, the punishment on social media is swift and very harsh. On the other hand, we see the idea of ‘love brands’ emerging, those brands “that we love with love” and want to be part of. Gucci has succeeded in this this very well, and so has Sézane. Their strengths are rooted in a strong social media presence, a universe spread over a multitude of spheres (Instagram, TikTok, the site, the stores). All this shows that a desire for loyalty remains. But a zero tolerance for insincerity.”

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L E S N O U V E AUX T E M P OS D E L A M O D E

© Naohiro Maeda

Katell Pouliquen Editorial director of Marie-Claire, co-author with Nathalie Dolivo of “Retro-Cool, How Vintage Can Save The World” (Editions Flammarion).

A R A D I C A L S H I F T I N C O N S U M E R D E S I R E S A N D B E H AV I O R S

In your book, you point to a powerful trend to reject the standard, globalized uniform that that has been countering the consumer frenzy really dulls style and the streets. we’ve witnessed in recent decades. How would you define it?

Your book was published at the end of 2018. Are you seeing a further escalation of this trend?

We conducted an extensive survey before writing our book and many signals pointed to a desire Absolutely. Our book came out a little ahead to slow down, a desire felt by many consumers. of the movement; it documented its inception, It’s a major shift, which is still growing, and it but since then the tide has grown immense. affects all kinds of consumers - urban or not, Especially because of the lock-down and the young or not so young, people cutting back on ensuing economic situation. According to the new purchases for economic reasons, and others Kantar consultancy, Vinted, a specialist in the trying to limit their own environmental impact. sale of second-hand clothing, is now the fourth What they all share is a desire to restore meaning largest e-commerce fashion-player in France. And to objects. There is, effectively, a desire to put an audiences for eBay and Rakuten rose sharply in end to the frenzy sometimes generated by fast the second quarter, according to Médiamétrie. fashion and the dizzying wave of trends. More Vintage has definitely caught on! fundamentally, there’ s a desire to stand out, Do you think the fashion world has sufficiently heard this message? Which initiatives do you think best align with this shift?

The industry has to address the vintage issue because of the exponential figures I mentioned.

This is a part of the business that is escaping them, so they have to think differently. Many stores, from Sézane to Selfridges, are now broadening their offer to include vintage. Luxury houses are also looking with particular interest at the richness of their “heritage”, assigning it even more value than before. Beyond that, the overall thinking in the industry, regarding fashion shows for example and the number of collections shipped each year, is moving generally towards a greater appreciation of time. Rediscovering the importance of time - even the time to desire an item of clothing before buying it - is obviously beneficial.

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N E W S PA P E R # 7

The trends of a season, and of those to come with Pascaline Wilhelm

Fashion Director of Première Vision, Pascaline Wilhelm and her team detect and decode the major trends destined to infuse the coming seasons. Their vital, forward-looking analysis serves as a crucial barometer for the entire industry. Here she provides a preview look at some of her initial findings.

Š Mark Handforth, After Nature (Violet Orange) / Courtesy the artist and Galleria Franco Noero / Picture by Sebastiano Pellion Di Persano

© Mark Handforth, Silver Branch (2016) / Courtesy the artist and Galleria Franco Noero / Picture by Sebastiano Pellion Di Persano

We’ve been expecting it for years now - promising this time it was really on its way... and now, in spite of the unfavorable environment, the fashion industry has unquestionably taken a decisive step forward, positing it firmly in a new era. And the industry’s upheaval is due first of all to a new way of envisioning the digital universe. The days when the world of digital technology was at odds with the real world are over. Today, they are worked together in a skillful balance, each serving to enrich and enhance the other. Images can reinforce, strengthen and help reveal how products feel. Software discloses the concrete reality of projects, to help us anticipate the expected results; and digital tools can multiply and speed-up discussions and meetings.

062 ©Naohiro Maeda

THE TRENDS OF A SE ASON, AND OF THOSE TO COME

Just as critically, ecological concerns infuse the entire creative process. The new color palettes proposed by chrome-free tanned leathers increase the number of creative developments - technology is giving rise to new generations of hybrid, high-performance, sustainable materials and more. And lastly, this ongoing revolution could not exist without the boldness and open-mindedness of the entire industry, particularly the upstream fashion sector, which has undergone a remarkable transformation in order to provide designers new fields for experimentation. The proof is in the full panorama of Autumn/Winter 21-22 trends, detected in preview by Pascaline Wilhelm.

A breakdown.

It’s not easy in this difficult context to spot emerging trends. How did you go about gathering your information?

It was quite a tour de force that bolstered the ties between the Première Vision teams and fashion experts across the globe. We couldn’t meet in person, but everyone participated, sharing their convictions in terms of ideas, colors, shapes etc.

We worked on an initial set of leading ideas that we shared remotely with our exhibitors, holding webinars in seven languages so that all our partners - including workshop technicians and craftsmen who are not necessarily Englishspeaking - could benefit from our information, in their own language and at the right time. The rest, however, was complicated. Some companies had difficulties reopening, others continued to operate but had supply problems, etc. Yet we have seen, everywhere, a strong creative energy to offer markets truly new ideas and products, in step with emerging trends. .../...

“Materials that sensually and generously envelop the body, with thermal, hybrid wool and synthetic wovens that are fabulously soft.”

Pascaline Wilhelm

+ To learn more about the AW 21-22 season’s trends, watch replays of the seminars by the PV Fashion Team: Season Trend Tasting.

HERE

Colors Trend Tasting.

HERE

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THE TRENDS OF A SE ASON, AND OF THOSE TO COME

.../... Given the situation, a desire for reassurance seems natural...

In such a multifaceted world, we see a desire to get back to our roots, to focus on safe values, without taking any visual risks. We felt a touch of nostalgia everywhere, but the temptation to turn back to the past has in no way diminished inventiveness or a desire to rework styles and colors in new and original ways. Softness - a bulwark against external aggression - is visually expressed by very original muted chinés and blurry effects. Materials are sophisticated and familiar to all - Shetlands, Prince of Wales - but now they have thermal and breathable qualities that make them ever so modern.

brass, shine, and sumptuous jacquards and velvets.

It’s as if fashion were offering two ways to express oneself, inviting a rich and passionate lightness.

Nature has been everywhere the last few seasons.

Does it continue to set the tone?

It retains all its influence but is interpreted with a new take on authenticity, perhaps with more ruggedness. Inspiration comes from pebbles and nuggets with incandescent materials, there’s a play on tactile and visual unevenness with artificially abraded, torn materials that shake up classic tailoring.

This is a new and very interesting approach. The tailored grows casual while the casual becomes sophisticated, with a huge wealth of materials.

Is a desire for protection, which has been quite What are we seeing in terms of colors? present in recent years, growing even stronger?

We’re seeing the emergence of fairly clear-cut It’s still important but now we are looking for positions with rich and contrasting harmonies. ways to protect ourselves with softness, with There’s an anti-gloominess activism, with very kindness. Caring is the antidote to the harshness sensitive natural hues, warm earth tones, shadowy of the world, although we still feel the need to tones, graduated shades, patinas producing color isolate ourselves symbolically from reality. In effects whose power is enhanced by the use of practice, this results in materials that envelop the light. At the same time, there are also very strong body in a sensual and generous way, with weaves colors, including a wide range of reds that will that create hybrid mixes of wool and thermal make the season come alive with real panache. synthetics that are enormously soft; leathers that are at once thick, puffy and extremely light.

Protection is never aggressive - it’s welcoming.

Here again, comfort is meant to be smart, with perfectly mastered high-tech processes.

You also noted an increase in fantasy, a desire to celebrate...

Opulence is making a big comeback, with a certain ambivalent dichotomy. It can be joyful and eccentric with incursions into parallel and virtual worlds that open the door to a new imaginary universe, but it’s also rich and ornamental with

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Any particular clothing cuts?

Autumn-winter 21/22 marks the return of more tailored constructions. A search for balance, new asymmetries in the shape of garments, with an offbeat use of materials and a taste for bulges and protrusions inspired by the virtual world. There’s an interesting play on shapes: a pocket turns into a tote bag, heels rise up to become actual platforms, bags look really inflated, and accessories are more visible. In short, we expand, we get noticed! These powerful trends are going to gain ground at the expense of sport looks, a universe which is losing its influence. This testifies to the increasing importance of technology. Today, performance is an obvious fact, it’s everywhere - it doesn’t need to affirm itself and be seen.

© Puzzle, 2007 © Gil Heitor Cortesão

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More trend decodings and product selections from the Première Vision fashion team: HERE

N E W S PA P E R # 7

Things to remember, things to watch Deeply felt convictions, questions... at the close of this cycle of meetings and Digital Talks launched by Première Vision, several strong ideas are emerging as certainties, helping to steer - or rather strengthen - strategic developments already at work. One thing is for sure - the world currently being built comprises three major revolutions. Digitalization has now permeated every corner of fashion, with the massive growth of e-commerce radically transforming consumer behaviors and distribution methods. But though we may today be celebrating the triumph of digital, that doesn’t mean we erase the past. Digital invites all industry players to rethink the meaning and function of the show - that real, physical coming together that is so awaited, and so applauded. The time has come for a physical/virtual hybrid, with the potential to 066

open the field to myriad experiments.

The last revolution is that eco-responsibility has emerged as THE cardinal value of the new century, driven by an overarching desire - on the part of both consumers and industry players - to think about fashion in a virtuous and human-centric way, with precision, authenticity and creativity.

What now remains is to combine all of this and exploit the multiple effects of these transformations, while remaining open to all that these revolutions can bring us, much of which we still ignore. We have to build as we go, and Première Vision intends to take up the challenge by constantly anticipating the profound underlying changes that will continue to transform our world. Our mission is to help you spot the dangers and seize the opportunities... which is why we’ll be back in touch soon for what’s next!

Watch replays of the full program of the Digital Talks: The new rhythms of fashion.

With Pascal Morand- Executive President of the Fédération de la Haute Couture et de la Mode, Pierre Mahéo-Officine Générale Owner, Karine Porret-Journalist HERE

Can science save fashion for the best?

With Amanda Parks Chief Innovation Officer Pangaia, Karine Porret - Journalist HERE

The New Fashion Calendar In partnership with Vogue Business.

With Michael Jaïs CEO Launchmetrics, Charlie Smith CMO Loewe, Nicolaj Reffstrup Founder Ganni, Kati Chitrakorn Retail and Marketing Editor Vogue Business HERE

Facing a global crisis and thinking about tomorrow?

With Alix Pollet - Brands BU Director Safilin, Matteo Mantellassi - CEO Manteco, Karine Porret - Journalist HERE

Considering the future of fashion in America.

With Steven Kolb-President and Chief Executive Officer Council of Fashion Designers of America (CFDA), Nellie Partow-Founder, Creative Director, Karine PorretJournalist

Fashion markets in Europe postCovid.

With Gildas Minvielle - Director of the Economic Observatory Institut Français de la Mode, Karine PorretJournalist HERE

Working in a digital world.

With Gilles Lasbordes - General Manager Première Vision, Adrien Garcia - Co-founder Réuni, Karine Porret - Journalist

HERE

HERE

Can leather be sustainable?

With Carine Montarras - Product Manager Première Vision Leather, Nathalie Elharrar designer, teacher and consultant, Jérôme Verdier - President of the Alran tannery and Président of the FFTM (Fédération Française de la Tannerie Mégisserie), Karine Porret - Journalist HERE

HERE

How does DNVB respond to a pandemic?

In partnership with Fashion Network. With Astrid Legmann Co-founder Mister k., Julia Faure Co-founder Loom, Charlotte Dereux Co-founder Patine, Olivier Guyot editor in chief Fashion Network HERE

HERE

Fashion consumption and new behaviors.

With Serge Carreira - Head of Emerging Brands Initiative Fédération de la Haute Couture et de la Mode, Karine Porret - Journalist

Sustainable at heart, with Salvatore Ferragamo.

By Gel Ceccarelli Material Research & Development Coordinator Salvatore Ferragamo, Karine Porret Journalist

Can fashion really be sustainable?

With Isabelle Lefort, co-founder of Paris Good Fashion, and Amélie Pichard, founder and owner of her accessories brand and Karine Porret - Journalist HERE

Is sustainability achievable for everyone?

With Rabia Farhang Founder BGood Collective, Johanna Masket - Co-Founder BGood Collective, Karine Porret Journalist HERE

Season Trend Tasting.

By Lucie Jeannot, Première Vision Fashion Team HERE

Colors Trend Tasting.

By Manon Mangin, Première Vision Fashion Team HERE

2020 upcoming shows Denim Première Vision 24 & 25 November 2020

HERE

Première Vision Shenzhen 25-27 November 2020 Shenzhen Convention & Exhibition Center (Futian) Blossom Première Vision 9 & 10 December 2020 Carreau du Temple-Paris

HERE

Our thanks to: Delphine de Canecaude and the entire Étoile Rouge team for their help in creating this Cloud of Fashion #7 and to all those interviewed.

Editorial Staff Claudie Le Souder Publisher Communication Director Première Vision c.lesouder@premierevision.com Elsa Séris Editor-in-chief e.seris@premierevision.com Lydia Bacrie Executive editor lbacrie@gmail.com The images have been selected by the Première fashion team Vision to illustrate the major trends of the season.

Press Contacts Première Vision Press office Igor Robinet-Slansky T. +33(0)1 70 38 70 30 M. +33(0)6 42 06 31 02 i.robinet@premierevision.com 2ème Bureau Marie-Laure Girardon Sylvie Grumbach T. +33(0)1 42 33 93 18 | m.girardon@2e-bureau.com Monet + Associés Véronique Bourgeois T. +33(0)4 78 37 34 64 vb@monet-rp.com Visitor contacts See the list of our offices around the world here: HERE

OCTOBER 2020

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