Apparel Magazine | May 2019

$ 9.00

MAY 2019 I VOL 52 I NO 05

CELEBRATING 20 YEARS pg.4 EXPO RIVA SCHUH pg.8

editor ’ s note

IS RENTING THE ENEMY OR THE SOLUTION? A new wave of consumers know they have too many clothes and are choosing to be more conscious with their purchases. Despite this, they still crave buying and wearing new pieces that taunt them in newsletter blasts and sponsored Instagram posts. Retail is facing a huge gap in revenue with the rise of renting. With ever growing sites like Rent the Runway have over ten million users, how can mainstream retailers compete?

The era of Instagram has brought with it millions of micro trends that change in a nanosecond and consumers living solely through the lens of their smart phone. Clothing is no longer cherished, it’s simply a temporary element of a photo barely hanging on by the number of likes it receives. Will it go back on the hanger in the wardrobe or the store? Mintel reported one in five UK clothing consumers admitted to purchasing a garment, wearing it and then returning it. This led to returns being as high as 50 percent of everything sold.

Should retailers add a rent section or subscription box to their offering? Some traditional large scale retailers have also taken note with Home

Depot, for example, renting out bolt cutters, nail guns, interior scaffolding and other items that tradesmen commonly own but DIY enthusiasts may need once.

Many vertical local brands are adding a subscription offering, cutting out leaving the house entirely. What does subscription and rent culture mean to the future of Kiwi retail? Email me your thoughts at caitlan@reviewmags.com.

ON THE COVER:

www.taylorboutique.co.nz

Outside of China, Visa Inc. owns a 50% market share of global card payments.

43% of millennials say they prefer brands to reach them via email, compared to just 33% of Gen-Z.

On average, Gen Z use their smartphones 15.4 hours per week— more than any other device.

2 I May 2019

By Fiona MacCarthy Walter Gropius was the founder of one of the most revolutionary art houses in history, Bauhaus. The story of Gropius’s life, influence and triumphs are told in vivid detail by one of the world’s most renown biographers, Fiona MacCarthy. Bauhaus combined fine arts with craft and was beloved for the unique way it approached design in both their publications and teachings. The world we live in today, and the art around us, is still influenced

by Gropius and his immense work with Bauhaus. This book will take readers back to where it all began.

By Mary Beard This thought-provoking manifesto is released a year after the #MeToo movement took the world by storm.

Shocking revelations were bought to light and women have been since empowered to demand fair treatment, and along with the movement’s allies are calling out all those who say otherwise. This genderagenda is being revisited in Beard’s newest release, with new material on the definition of consent and how society is moving forward as discussion are being looked at from new angles.

Choked

By Beth Gardiner Sustainability is more than just a consumer trend; it is a focus which stems from a potentially world-altering issue: pollution. This book travels to some of the most polluted areas of the world and asks the scientists involved in transforming our understanding of air pollution how we could have allowed our planet to become this far gone.

From commercial pressures to political agendas this book explores modern-day polluters and offers real-world solutions to this growing problem. If you are looking for a breath of fresh air, this press reporter is about to serve you with the changes you will need to make to get it.

The Heavens

CHAIRMAN

Peter Mitchell ISSN 1171-2287 PUBLISHER Tania Walters - tania@reviewmags.com Suite 9, Level 3, 20 Augustus Tce, Parnell, Auckland, New Zealand Box 37 140, Parnell, Auckland, New Zealand ADMIN/SUBSCRIPTIONS Kieran Mitchell - kieran@reviewmags.com PO +64 9 304 0142 NZ Apparel is published monthly under licence by Review Publishing Co Ltd. Please direct all EDITORIAL DIRECTOR Sarah Mitchell - sarah@reviewmags.com enquiries and correspondence to NZ Apparel. The opinions and material published in this edition EDITOR Caitlan Mitchell - caitlan@reviewmags.com of NZ Apparel are not necessarily those of the publishers unless specifically stated. All material appearing in NZ Apparel is copyright and may only be reproduced with the consent of the CONTENT MANAGERS Caroline Boe - caroline@reviewmags.com publisher. Copyright 2018 NZ Apparel Magazine.

EDITORIAL TEAM Ed Scott GRAPHIC DESIGN TEAM

Walter Gropius

Women & Power

the numbers ...

There are almost 200 million more active Facebook users now than there were this time last year. 2.7 billion people use at least one of the company’s core products.

fashionable reads

Chris Glavovic Raymund Sarmiento Ciaran Carroll

By Sandra Newman Acclaimed author Sandra Newman presents a story of love, politics and alternate universes. Kate and Ben fall in love in New York 2000, where there is no war, strong community and even a female president. But when Kate goes to sleep, she awakes in a world vastly different to her own. Now in London 1593, Kate must battle her way back to her tender life with Ben and ensure that her moment amongst history does not stand in the way of her future.

This beautifully engaging new novel presents a story about what we have lost, and what we may never be able to save all through the mode of a timeless love story.

fast five

CELEBRATING 20 YEARS Surviving 20 years in the fashion industry is no small feat and this year taylor designer Vicki Taylor has accomplished just that. From humble beginnings in a small store on Jervois Rd, taylor now boasts five boutiques around New Zealand, including renowned luxury concept store The Shelter.

To celebrate this impressive milestone, Taylor has reproduced five of her most popular shirt styles from the past 20 years which will be available to purchase exclusively online and in all taylor stores from Thursday 23 May. Produced in very limited quantities, the shirts will be locally hand embroidered with a serial edition, making each one something to truly treasure. Alongside this, Taylor will be taking a trip down memory lane and exhibiting an installation of 20 retrospective shirts at The Shelter from 23 May – 3 June.

MAKING HISTORY The fashion industry is continuing to move towards a more inclusive and open-minded future. Sports Illustrated, one of the world’s most influential fitness wear publications, has diversified its line-up of models for their latest issue. 21-year-old Halima Aden will be the first model to ever wear a sports hijab and burkini in the pages of the magazine, signalling a changing time for both the publication and the wider fashion industry.

The extensive editorial was shot by photographer Yu Tsai and took place in Aden’s home country, Kenya, where she lived in refugee camps until making her way to America at age seven. This is not the first record-breaking moment for the young model, as she was also the first hijab-wearing high fashion model on a selection of runways when she was only 19.

While the moment is iconic and expected to

4 I May 2019

have a strong ripple effect throughout the fashion and publishing industry, it does not go unnoticed that much of the world has been slow to pick up on this inclusive attitude. Burkinis were banned in 2016 by a selection of popular French cities, including the tourist hotspots Nice and Cannes. The move spoke to both the ever-present Islamaphobia in many communities as well as the narrow beauty standards for women. While it is disappointing that there are many places in the world still closed off to the immense potential for the fashion industry, when it comes to diversifying their looks, celebrating moments of growth such as this is extremely important.

DURST TECHNOLOGY DRIVES DIGITAL REVOLUTION Cost-effective and the ability to provide over ten million linear metres a month, Bliss Impex has invested in four Durst Alpha systems in a digital revolution that will double their volume and turnover within five years. Bliss Impex is an international manufacturer of synthetic textiles, printing fabrics and apparel fabrics.

This new system is expected to completely replace their current methods within three years. “This is the future,” said Ekansh Jain, Director of Bliss Impex. “Durst’s cost-effective and proven technology in a price-sensitive market is revolutionising our business. The machines are incredibly flexible with no limitations on colour.

We can print on an endless list of materials with the Alphas, including many that used to need pre-coating. The quality gives us a competitive edge; the sharpness and brightness really stand out.

Buyers and designers are most impressed and are even asking for digital printing.”

As the demand for ridiculously fast turnovers are everincreasing, the four Durst production system allows brand owners and designers the benefits of orders being processed and delivered within two days instead of 15-30 days. Boasting almost no wastage, no colour limitations and GOTS-certified inks; Bliss Impex is a technology revolution for production.

Jain added that the new technology opens a whole new world of opportunities. “H&M needed to print on sushi voil for a lady's garment and we completed the 300,000 linear metre order within 20 days,” he said. “It couldn’t have been done conventionally in that timescale because we needed many colours and lots of merging. The incredible quality speaks for itself. This is a seismic shift in the industry as people are being educated to the benefits of digital. This has been a real partnership approach with Durst, which provides world-class support and service. It could be in as little as three years that our unit here runs completely on digital.” The managing director of Durst India, Rajiv Verma, said that Bliss Impex is a first-class example of how production requirements for short-run orders, high quality, fast delivery and the ability to quickly respond to market trends are driving the digital transformation. “Digital is the future,” added Verma. The four Durst machines at Bliss Impex are part of a €6m investment in a temperature-controlled digital production centre which has 300 employees and a turnover of €17.5m.

Freephone: 0508 243 629 www.propress.co.nz apparelmagazine.co.nz

I5

fast five

END OF THE MALL ERA Mall shopping may be entering a slump in the US, as excessive store closures and limited openings have been announced for 2019, overtaking numbers from the previous years.

According to data from Coresight Research, US retailers are set to shutter almost 5,600 stores and open only 2,640 in 2019. In 2018 there were 5,864 closures and 3,239 openings, demonstrating the increased strain on the industry.

Concern has been raised for mall owners following this decline, as tenancies may be harder to fill as the industry shifts away from openings in these areas. In addition to retail closures, additional research suggests that customers are also straying from

6 I May 2019

malls. Data analytics firm Thasos released information showing a fall in foot traffic from August of 2018, with approximately five percent less consumer engagement in these locations.

The founder and CEO of Coresight, Deborah Weinswig, released a statement which confirms the downward trajectory for this area of the industry.

“I expect store closures to accelerate in 2019, hitting some 12,000 by year end,” she shared. “The slowdown we saw in 2018 seems to have been a brief respite in what’s a steady, long-term trend.”

Brands with heavy closures include Victoria’s Secret, Gap and Payless ShoeSource all of which, according to Weinswig, were unsurprising.

EARTH DAY COLLABORATION Sustainability has been the focus for many brands in 2019, and with Earth Day taking place this month the industry has been handed an opportunity to further engage with the trend and focus on their environmentally friendly consumers.

Sportswear brand Nike has taken advantage of the occasion with a collaborative new venture, further cementing themselves as a leading ecofriendly brand to their consumers. The company has teamed up with Steven Harrington, a conceptual painter based in the city of Los Angeles for a limited edition capsule collection. Harrington is best known throughout the industry for his contemporary aesthetic which combines playful imagery with cultural commentaries and contemplative observations. The collaborative

collection has been dubbed the Nike Flyleather and includes artistic variations on an Air Force 1 sneaker, a blazer and cortez. In keeping with Earth Day, the materials used in the creation of these products consists of 50 percent recycled leather which are combined with synthetic fibres and a hydro processor.

For the new range, Harrington had to look to his own artistic integrity and be mindful of adapting his work to fit the beloved brand. “I took the notion of footwear completely out of my brain. Working with footwear is a really tricky thing, especially when it’s Nike, which sets a high bar.” The collection was previewed at Harrington’s latest exhibition, Magic Hour, and will be sold via Nike’s e-commerce app SNKRS.

apparelmagazine.co.nz

I7

footnotes

SUSTAINABILITY TAKES CENTRE STAGE AT ITALIAN EXPO The question of sustainability in the footwear industry is to take precedence in June at the annual Expo Riva Schuh in Riva del Garda, Northern Italy.

The opening ceremony, scheduled for 11am on Saturday the 15th, will consist of talks exploring the sustainability of production – both as it pertains to the fashion industry as well as more generally – in an increasingly eco-conscious retail and consumer market.

The expo will run until the 18th of June in tandem with the redesigned Gardabags expo, centred around the bags and accessories industry. This is the first time the two events will have taken place in parallel, with both being hosted at the Riva del Garda Exhibition Centre. Some of Expo Riva Schuh’s operations will also take place at local hotels, as well as the waterfront Riva del Garda Congress Centre.

“The combination of the two events ensures a comprehensive exhibition experience for buyers, with a truly 360-degree view across the available

range of accessories,” said Giovanni Laezza, manager of Riva del Garda Fierecongressi which owns and operates both the Exhibition and Congress centres. Laezza went on to observe that the event has already attracted “a significant number of Italian manufacturers, a sound growth compared to previous editions, along with Asian and European manufacturers.”

In addition to hosting the 70 exhibitors of Gardabags, Pavilion D will host the new HangarD, a multi-functional space for events, interviews and B2B dedicated meetings. “We have set out to especially enhance the visual side of the new space,” said Carla Costa, head of Riva del Garda Fierecongressi Trade Fair Area. “Hanging lighting, shapes, spaces and materials have been harmonized in a concept that enhances fashion trends and fosters the pooling of supply and demand.”

For more information, visit exporivaschuh.it

HONOURING THE LEGEND To commemorate the life and legacy of David Bowie, Vans has created a limited-edition collection for adults and toddlers. The unisex range explores Bowie’s most influential works and many colourful personas from Space Oddity to Black Star. Vans focused on key eras and remarkable moments of Bowie’s life for each style.

Starting with Bowie’s first hit single Space Oddity from 1969, Vans dedicated their iconic Classic Era style reliving the varying hues of blue and green and cylindrical shapes. This version of Vans’ Era style is finished with a black sole accented with the album name on the medial.

Next in the line-up is the Slip-On 47 V, which was reimagined to boast wild fuzzy checkerboard uppers reminiscent of the coat seen on Bowie’s Hunky Dory album artwork. This is paired with yellow suede uppers and is finished with his moniker on the pull-tab.

8 I May 2019

Rolling into Bowie’s glam rock alter-ego Ziggy Stardust, the Sk8-Hi Platform 2.0 boasts a bold red patent leather with an embossed Bowie lettering and black platform sole. This style will also be offered in an extended size range paying homage to Bowie’s inclusive nature.

Aladdin Sane takes centre stage for the reimagining of Vans’ Old Skool with a pearlescent pebbled leather upper with the iconic red and blue lightning bolt. This is also available for toddlers in the Sk8-Hi Zip and Old Skool V style.

Bowie’s last album Black Star is the hero of Vans’ Classic Slip-On utilising a combination of canvas and suede uppers, it highlights a vinyl star while the tonal black outsole includes an embossed star. The footbed tributes Bowie with a galaxy of stars to complete the finishing piece in the collection.

5 minutes with

Eddie Long NEW ZEALAND COUNTRY MANAGER, CONVERSE “Converse has been around for over 100 years,” Eddie Long explained. “So we have been with some consumers most of their life.”

The iconic Converse brand is something that can be picked from a mile away. The classic Chuck Taylor shoe that has been worn and loved by generation upon generation has only recently been tweaked, but only to include a more comfortable Ortholite sock liner. “Other than that, it is the same construction that has made the Chuck Taylor the icon that it is for many years,” Long added.

“With the onset of social media, the market place is truly becoming global. The major trends tend to connect on a global level, and they make their way to New Zealand extremely quickly.” Staying true to the diversity of their customer base, Converse has been working hard to encourage connection through fashion, music, art, photography and sport with their global community of creatives called #converse_X_. “We hold events which enable these creatives to network and share ideas, along with hosting workshops which support their passion for content creation. We will continue this journey with these creatives and others while continuing to extend the platform globally and enabling once in a lifetime opportunities.”

“We have recently made a move back into Basketball. We started this through a collaboration series with globallyrenowned stylist Don C. He fell in love with the Converse ERX from the archives and set about giving this iconic basketball sneaker a cosmetic overhaul.” Long explained that Converse then moved quickly to develop a range of performance-driven basketball shoes that was supported by Nike designers, Eric Avar, and Nike technology React which helped to deliver an aesthetically pleasing and highly technical product. “All designs ensure we maintain a relationship with our all-important history, but are executed in such a way to ensure we are in tune with the current requirements of the consumer.”

Converse are holding their cards close to their chest but Long shared with Apparel that Kiwis can expect to see more collaborations in the near future, as well as some exciting new relationships. On top of this, despite the footwear pallet being black and white for some time now, Converse is excited to be bringing more colour to their range from July onwards.

meet the buyer

Hannah Crump BUYING LEAD, MERCHANT 1948

Hannah Crump is your typical Kiwi girl. Born in Christchurch, she moved around a lot when she was younger as her Dad’s job took him around the country, as well as to the United States. “I think this made me quite a shy child as I tended to hold back from making lots of friends when I knew we would be moving on again soon.”

She has always loved fashion and remembers her mother making her clothes as a child – “looking back at the pictures, her styling was unique, to say the least,” said Crump. “These days my styles are much more toned down. I love classic pieces that have something special about them like a unique cut, quirky buttons or a print that makes me laugh.

I like to invest in quality items that will last me years and go with lots in my wardrobe. In saying that – I somehow still can’t resist a bit of glitter here and there.”

Crump’s creative flair lead her to attend AUT, where she studied graphic design. While she enjoyed her course, Crump felt that she wanted to do something that harnessed her analytical skills more and buying seemed to be the perfect fit. “Buying was perfect as we’re so involved with the product development but also need to manage large budgets and sell through – the best of both worlds.”

After leaving University in 2010, Crump landed a role at Overland which led her to cover a wide variety of jobs before being promoted to her current position as buying lead. Her primary focus is the women’s range for Merchant 1948, but she also oversees the rest of the Buying team and supports the wider range build.

Her day to day tasks as buying lead involves answering large quantities of emails in the morning, followed by reviewing budget, stock inflow and orders spreadsheets. “When we’re in the height of the seasonal luying period, you can usually find me sitting on the floor surrounded by piles of shoe samples, and once the range is mostly bought, I’m more likely working through things like catalogue

briefs, range presentations and monitoring trade.”

Crump notes that retail is constantly evolving and changing, which means that no two days are the same – “you’re always kept on your toes.”

Balance and versatility are what Crump names as two of the key fundamentals of putting together a successful footwear range. “You’ve got to get the balance right between fashion items that may not get as much sell-through but will add interest to the range and core product that churn through units every week. The more you get to know the brand and customer you’re working for, the better you get at picking these items,” explained Crump. “Kiwi customers like their shoes to suit lots of different situations. We like to incorporate removable features into our ranges so that styles can do double duty as ‘wow’ items and basics. A comfortable last and sturdy block heel also never go amiss.”

As part of her role, Crump must be one step ahead of trends. She mentions the rise of athleisure wear as having a significant impact on the footwear industry in recent years. “Everything comes in cycles but one of the biggest impacts in the last few years has been the rise of athleisure.

It’s now acceptable to wear sneakers to the office or even to formal occasions – there were definitely a few pairs on the Met steps this year.”

“We’re lucky that we have our own production plant that can produce unique products

Everything comes in cycles but one of the biggest impacts in the last few years has been the rise of athleisure. It's now acceptable to wear sneakers to the office or even to formal occasions - there were definitely a few pairs on the Met steps this year.

for our brand that you won’t find elsewhere. This led to us developing Deuce Sneakers under the Overland umbrella, with $5 from every sneaker purchase going towards the Young Hearts Project, empowering and inspiring youth in both New Zealand and Australia.”

Crump gets her inspiration for buying from her love of design, architecture and nature. “In an industry like fashion, you’re constantly looking at what’s new or what’s next. It doesn’t have to be fashion itself that gives you direction – anything can be adapted to make a great product.”

In the future, Crump hopes to still be learning from the Overland family who she credits for teaching her to make the most of everything opportunity. “I started as a part-time sales associate, and now I get to decide what they’re going to sell.

It’s super easy to second guess yourself and what you can do, but you don’t know what you can achieve until you put your hand up to do it,” she said. “The great thing about working somewhere like Overland is that you’re also constantly surrounded by inspiring people. We have a fantastic culture that encourages everyone to do their best, think outside the box and make the most of every opportunity.”

10 minutes with

Sally-Anne Moffat

A career in the fashion industry does not always follow a straight line, and industry elite Sally-Anne Moffat knows all about the twists, turns and change in directions one can encounter.

Moffat sat down with Apparel Magazine to discuss her journey through the industry and share advice for emerging talents looking to immerse themselves in a high energy and limitless career in fashion.

“I have always been in fashion,” said Moffat. She began her career selling shoes at a retail offering after school and throughout her career has worked as a buyer, visual merchandiser, retailer and now as a stylist.

Her industry education was not with any institution or university; rather it came from learning on the job. “I did not go to school because I knew I didn’t want to make clothes; I wanted to be amongst them,” explained the stylist. “Instead I became absorbed in the industry. I lived it, breathed it and was a part of it.”

Moffat expressed to Apparel Magazine her belief that while formal education has its place, there are parts of the industry you can only truly understand once you have been a part of it. “It is the difference between doing your practical and theory licence. You can do the theory part, but until you get behind the wheel of a car you are not really going to be able to do anything. It benefited me because it was such complete and absolute absorption,” she explained. Moffat would describe her immense experience in all aspects of the industry as her most valuable asset. Her experience as a buyer taught her how to predict trends and read forecasts, her experience in retail taught her how people shop, their

basics to x-factor wardrobe ratios, and so on. “I have learnt that it is not my opinion that is valuable to any employer or collaborator, but my experience.” While each of her roles in the industry served a very unique purpose, Moffat explained that the knowledge has been highly transferable and strengthened her ability to move around the industry. “Each role I have worked in has been a different aspect which makes up the whole world of fashion,” she said. “If it were a pie I have worked all across the different segments, so I have a better understanding of the whole and what each aspect needs.” Overall, while each role has a specific set of duties and restraints, they are all branches of the same tree and understanding the intricacies of one position will benefit you as you move over to another.

Moffat is currently heavily involved in the world of styling and spoke to the profound change this specific area of the industry has undergone in the last few years. “Back in the day working as a retailer or a visual merchandiser I would be giving suggestions on how clothes should be presented, or how a model should be composed. So, I was basically styling, but we really had no word for it,” she reminisced. Moffat was able to gain experience as a stylist through her previous roles, and now that the position is recognised as a standalone career, she has been able to carry over that experience. For those looking for a way to break into

different areas of the fashion industry, Moffat was able to pass along some advice. “Immersing yourself in the industry is the best way of getting the experience you need,” she declared. However, Moffat conceded that the industry is very different now than the way it was when she began her career, and opportunities for growth and self-improvement are less readily available. “I feel sorry for retailers who work in these big chains where someone in head office decides what all the displays look like,” she asserted.

“I am so happy that I worked in fashion in a time that we weren’t dictated to.

We were given the chance to learn, grow and be nurtured.”

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25/07/18 9:27 AM

The Savage X Fenty strategy: how Rihanna is slaying the lingerie game

edited

While Rihanna hasn’t released a solo album since 2016, her net worth is reportedly $260 million.

She’s kept busy (and wealthy) catering to the diverse sizes and skin tones left out by the fashion and beauty industry.

Her hotly-anticipated Savage X Fenty collection first dropped nearly a year ago. The brand initially consisted of 90 pieces that sold out online within a month. Now, it’s expanded to over 800 styles currently retailing on the US site. With the women’s lingerie market expected to be valued at $19.8 billion by 2024, it looks like we will be seeing Savage X Fenty (and competitors) continue to grow.

So what can retailers learn from Rihanna to prepare for this growth? Here’s the product, promotional and pricing strategies behind the Bad Gal’s label that’s disrupting the lingerie market.

SIZE INCLUSIVITY Savage X Fenty hasn’t even had its first birthday; yet, its presence has been a wake-up call to underwear retailers worldwide. Unsurprisingly “one size fits most” is a complete myth, and those that still subscribe to this outdated ideal could risk damage to their business and brand image.

Brands not catering to this market are missing out on a significant opportunity.

The solution, as Savage X Fenty demonstrates, is not always segregating these sizes into diffusion lines. At the essence of all Rihanna’s businesses is the notion of inclusion and her lingerie encompasses this with extended sizing so women of all shapes can shop the same or similar product on one site. Yes, those tiger print panties are available in XS and 3XL. Though still a niche category, since Savage X Fenty burst into the scene, there has been a 34 percent increase in the number of size-inclusive lingerie styles across the UK and US combined. Retailers are finally understanding that there needs to be a greater representation of sizes across products and in advertising.

Last year, there was a clear uptick in the number of lingerie styles after September, coinciding with the celebrated Savage X Fenty runway. Rihanna favoured baby bumps over angel wings and was praised for the diverse casting of models she sent down the catwalk. Now this is how you put on a show.

services in retail, Savage X Fenty also promotes a VIP program, giving members access to free shipping, special discounts and packages of exclusive styles curated by the singer.

NEW NEUTRALS

Rihanna’s music and aesthetic resonates with a younger audience, and Savage X Fenty’s pricing won’t break Millennials’ banks. The majority of the range sits between the $20-40 price bracket with 32 percent priced under $20. Wearing the same panties as Rihanna for under $20? Bargain.

The average price of underwear categories across the US market reveals Savage X Fenty's competitive pricing strategy for core items. In the mass market, thongs are sitting at $23 for briefs, $24, t-shirt bras $45 and bralettes at $36. This prices Savage X Fenty lower than the market average for these classic shapes.

The Savage X Fenty discounting strategy involves site-wide offers with deeper discount percentages for VIP members. VIP members are also emailed exclusive deals, most recently “2 for £29” bras and bralettes. Majority of discounts offered to non-VIP members are between 20-30 percent on the UK & US site.

“All I wanna see you in is just skin” Rihanna sung. And she means every shade of skin. Savage X Fenty lingerie offers many flesh-colored hues providing options for women of all skin tones.

Nudes and skin colors currently make up 19 percent of the Savage X Fenty range retailing on the US site, including some recent additions. A new Instagram-promoted campaign, New Neutrals, has been launched adding the tones ‘honey’ and ‘brown sugar’ to several products.

SO, WHAT’S NEXT?

TURNING THE NAVY INTO VIPS Unlike most new brands starting out, Rihanna hasn’t had to build up a customer base. She already has one: the Navy. That’s the collective name given to her fanbase. Rihanna adds a personalized touch to her brand marketing to ensure her fans are engaged.

She appears among the cast of diverse models in her campaigns, communicates to followers about new products via Instagram stories. And also offers a shoppable range of her favourite products on the website. Following the rapid growth of subscription

12 I May 2019

TARGETED PRICE POINTS

The Savage X Fenty site ticks the boxes for global reach shipping to 210 countries; however, it is continuing to build its wholesale presence to reach an even broader audience. In the UK, the brand has an increasing presence on Zalando, which in the last three months grew the lingerie investment by 43 percent compared to 3 months prior. As of January, ASOS in the UK and US started stocking the label, with the majority of SKUs selling out within a month on average. While Savage X Fenty hosted several pop-ups last year, it is yet to be confirmed whether a permanent space is on the cards.

Watch this space.

For Rihanna’s next business venture, it’s been reported she is in talks with LVMH on creating a luxury fashion line. Though we don’t know if this collection will also be size-inclusive (an opportunity – plus size only makes up 0.6 percent of luxury product in the UK & US), with Rihanna at the helm, it’s sure to shake up the market.

success under 30

Grace Stratton

Grace Stratton is revolutionising online shopping for one of the biggest, but most underrepresented, communities in New Zealand.

Having cerebral palsy, Stratton understands the immense difficulty many Kiwis face just getting dressed in the morning and saw a gaping hole in the fashion industry regarding the procedures in place to help these consumers shop better. “I kept buying things online, and they would come to my door, and were not what I expected them to be,” she explained.

Clothing with concealed zips, buttons or hookin-eyes presents an issue for disabled consumers as they can make independent dressing almost impossible. “The process of physically getting dressed is something which a lot of people take for granted as these things are a minor part of their day. But for people with disabilities, the process is much more in-depth and they have to think a lot more about it. That one little thing would stop me from being able to wear an item and put it on independently.”

Stratton saw this gap in the market as an opportunity to help not only herself but her whole community. By creating an e-commerce platform, along with her business partner Angela Bevan, the entrepreneur positions products in a targeted manner which has opened the world of designer shopping to a host of previously unaccommodated consumers.

When creating the e-commerce platform All Is For All, Stratton carefully considered her consumer and made layout decisions based on their unique needs. The way the online store categorises their clothes is through accessibility, rather than aesthetic or season. This allows their customers to filter the items that

are appropriate to them and be confident in the suitability of the products they buy. “It provides a different form of transparency,” she said. People with disabilities face a diverse range of obstacles and while All is For All does not necessarily solve these problems, it endeavours to make them more accessible to the customer. “We talk about ethical sourcing and production as transparency and this is just another facet of that.” Stratton is also committed to ensuring that this accessible angle of her platform does not come at the price of the shopping experience. “Our foremost value and what we want to achieve is that the person with the disability, the customer, actually gets the full brand experience,” she added. The store works closely with each brand to ensure that their consumers get the same joyful experience in receiving a designer package as they would if they had shopped on the label’s original website. “The whole point of our service being that the consumer wants the same experience, they just need to be a little more accessible.”

For Stratton, the use of an e-commerce platform as opposed to a traditional bricks and mortar store was the perfect medium for her business. “The customer we service struggles with bricks and mortar shopping,” she explained. “When going to a store, for a person in a wheelchair, things like reaching for clothes, navigating the store, using a changing room are all things that prove difficult. Online shopping is just an easier form of being a consumer.” A digital retail alternative presented Stratton with the opportunity to not only appeal to her niche consumers but also, being only 19 years old, the ability to make

her idea into a reality without undergoing heavy financial strain. “The undertaking of a bricks and mortar establishment would be more than I could handle myself at this age, and we currently do not have a financial backer,” she revealed. However, the potential of a bricks and mortar holding in the future is something that Stratton finds highly enticing. “Our whole mantra is about accessibility; we would look at what a bricks and mortar store is at the moment and how we can improve that so more people can experience tangible shopping in an enjoyable way.”

Stratton expressed her pride in the New Zealand fashion industry following a series of excellent responses to her new business. “We know the fashion industry here is stretched. These brands have been very gracious to meet with us, and almost everybody has been positive about the project,” she shared.

Stratton hopes that this endeavour will help to change some of the statistics and misconceptions surrounding disabled people in New Zealand.

Only 25 percent of disabled people are employed, compared to 73 percent of non-disabled people.

With the growing understanding of cognitive fashion, we understand that dressing the part can be a key factor in many people’s success. “If you go to a job interview in an outfit that you love and that you feel confident in, you are more likely to nail the interview.” By making designer brands accessible to these New Zealanders, this entrepreneur is helping open doors which have previously been closed. “We want to help to change these statistics and make the public realise that people with disabilities are actually among them and we are not just in the corner somewhere.”

Our whole mantra is about accessibility; we would look at what a bricks and mortar store is at the moment and how we can improve that so more people can experience tangible shopping in an enjoyable way.

NEUW DENIM

Warhol Coat

Classically structured, this tweed check blazer

by Neuw Denim is sprinkled with elements of bright Positano Orange. Its sophisticated style boasts a slightly-fitted bodice with a double vent back all of which is crafted in a chunky wool blend.

essential stock

OKEWA

Domed Raglan Coat

Made from recycled plastic bottles, Okewa's Domed Raglan Coat is completely seam sealed and waterproof up to 10,000mm. All garments by Okewa are made with longevity, practicality and style in mind; for example, the inner phone pocket or the raglan sleeve to fit layers underneath. Inspired by a clean aesthetic with a bit of fun on the back in the form of a contrast stripe across the back storm flap.

MINA

Hailstone Coat Made in Auckland, New Zealand, the Hailstone Coat by Mina pairs 98 percent Turkish Wool with 100 percent Cupro cream lining. Details include 100 percent recycled cotton cream buttons to match the lining, and cream top stitching down the centre back seam.

This lightweight trans-seasonal wool coat with its timeless silhouette is a staple piece for any wardrobe.

NOM*d

Bone Dinner Coat This ivory wonder is made of stretch wool gabardine and is made in New Zealand.

The tailored knee length coat is fully lined and features a rubber and gunmetal clasp closure with an adjustable slide at the waist. NOM*d is known for classic tailoring in a subtly manipulated and androgynous form paired with modern elements.

TAYLOR

Originate Coat The oversized statement coat you’ve been waiting for, taylor's Originate Coat is sure to become your go-to winter warmer.

Crafted in a beautiful, comforting wool and featuring a smooth dropped shoulder line with wide sleeves and contrast buttons, this coat effortlessly completes any taylor outfit.

14 I May 2019

NOT FOR YOU

Wadded Coat

Screen printed with their iconic NOT FOR YOU branding, this loose fitting coat is one of the Wellington-based label's premium pieces. This elongated top coat has a vibrant yellow lining, and can be personalised to a variety of colourways.

C&M CAMILLA AND MARC

Talli Coat

WYNN HAMLYN

Siblings Camilla Freeman-Topper and Marc Freeman have operated their luxury fashion brand in Australia for over a decade. With an extensive range of longline coats and blazers, this particular teddy coat is a great example of their philosophy which centres around offering high-end design and construction with a simplicity in design. This slightly oversized faux shearling coat is fully lined and adds flare to any outfit.

Halluncinogène Wool Coat in Camel

Made from 100 percent wool in New Zealand, this camel coat is part of Wynn Hamlyn's Halluncinogène collection. In this, Hamlyn explored the CIA in the 1960s and looked into the controversial examinations of the US Government's enquiries into LSD. Coats like these were the hallmarks of bureaucratic uniforms. This coat features a hand-made toggle which touches on the psychedelic side of the story.

KOWTOW

Overcoat

Kowtow continues to lead the pack when it comes to sustainable and ethical fashion. Now, the Wellingtonbased label has launched its first line of winter coats made from ZQ certified merino wool and certified Global Recycle Standard recycled nylon. Each piece is fully lined with cupro and is finished with tagua nut buttons. The Overcoat by Kowtow is available in two colour-ways, Black and Sepia

STOLEN GIRLFRIENDS CLUB

Menace to Society Coat TWENTY-SEVEN NAMES

Francesca Coat

Made in New Zealand, this green number is made from 80 percent recycled wool and 20 percent viscose which was milled in China.

The leftover wool and yarn are re-spun and dyed before being woven with the viscose. The lining is 100 percent Bemberg which was milled in Japan. Made from a renewable resource, Bemberg is known as a by-product of the cotton manufacturing industry and features anti-static, anti-cling properties. The Tagua buttons are made in Italy and are Oeko-Tex certified.

This unisex coat from Stolen Girlfriends Club was inspired by the photography book 'The Others' by Derek Ridges which follows London club kids in the 1980s. Mixing military and punk, the coat is a 50/50 Wool Poly Herringbone blend and boasts a loud patch on the arm reading: "Fuck the real world, I'm an artist".

apparelmagazine.co.nz

I 15

emerging designers

Emerging designers you need to know SHEENA TAIVAIRANGA Emerging Designer Sheena Taivairanga’s strong sense of perseverance has seen her career in fashion flourish, as she has refused to allow any obstacle to stand in the way of her dream career. Taivairanga’s first application to study fashion at AUT was declined, so she entered the workforce as a way to provide for herself and her family. “It was my husband who encouraged me to go back and finish what I had started,” she shared.

Taivairanga completed a certificate in Applied Design to Fabric at AUT, in a time before they offered their more comprehensive textile degree, and then moved on to Whitecliffe College of Art and Design where she attained a Fine Arts degree in Fashion. “This was when I really started making a mark on the industry,” she explained. “It was the launching pad for my brand, Sheenz, and confirmation that perseverance helps to achieve goals.”

Taivairanga’s most recent collection is inspired by this idea of perseverance and the empowerment of women. “There are so many stories that have inspired me in the last couple of months,” explained

the emerging designer. Watching strong Pacific and Maori women pursuing their dreams and paving the way for the next generation inspired Taivairanga to create a collection that reflected this commitment towards creating a better life. In the world of fashion, Taivairanga is inspired by the designers Issey Miyake, Kate Sylvester and Juliette Hogan. “I learnt about each of these designers at a different milestone in my life,” she revealed.

Taivairanga worked with both Sylvester and Hogan as an intern and casual employee and learnt a unique selection of skills with each venture. “One of the things I learnt was seeing what teamwork really looks like,” she elaborated. “As a designer having complete trust in your team to execute your vision from start to finish is an amazing experience to see and be part of.”

Taivairanga is currently looking for opportunities to participate in local events, such as New Zealand Fashion Week, for her ready-to-wear brand. “My next step is to create more brand awareness and find local stocklists or pop-up stores to work with.”

PHOTOGRAPHER: EDWARD CHARLIE

ALANI MCKENNA Hailing from Hawkes Bay, Alani McKenna has created her own textile business to contribute to the New Zealand fashion industry in a new and creative way. Her company, Alani McKenna Textiles, presents bespoke textiles which can be used by designers or individuals looking for soft and personalised presentations. “I had my first experience working in fashion and textiles for Rowan McLennan Design in Napier,” shared the entrepreneur. It was here that she grew a love and appreciation for the field of textile design, and found her career moving from being garment to fabric focused. “I always thought I would end up doing fashion, but I love the combination of designing and making the fabric as well as the garment.” Having found her passion in the textile industry, McKenna went on to complete an honours degree in Textile Design at Massey University in 2014 and has continued to develop her skills since her graduation.

Through her company, McKenna has created a selection of wedding pieces including floral prints, custom embroidery and personalised

banners. “I start with the illustration and graphic design, then print and sew the garment or product,” explained McKenna. “I love to have the creative direction of the entire process from start to finish.” Her skills as a designer include screen printing, dying, fabric manipulation and digital design, which have all contributed to her creations at different times. Natural forms, textures and materials inspire McKenna, and her latest project has been a series of floral screen prints, which include magnolia, chrysanthemum and protea multi-layered coloured prints. When creating her collections, McKenna is always sure to keep in mind the use of each design and its purpose beyond its construction.

“The physical use of the end product needs to inform the design, and vice versa, they should develop in tandem.”

McKenna currently sells her designs online, and in a selection of markets, however, she is eager to expand her services to help her meet new clients. “I would like to set up my own studio space where I can consult and create,” she shared.

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AUTUMN ROSE SANDERS

SOPHIE SCALLY

WHITECLIFFE

Sophie Scally grew up surrounded by fashion.

Her parents import fashion accessories and sell them all over the country, and through this, she has always had a natural flair for fashion. It was brands such as Céline, Ellery and Issey Miyake that inspired her to pursue her love of fashion and she enrolled at Whitecliffe College of Arts and Design, graduating in 2017.

Scally uses textiles and fabrication to juxtapose conventional ideas of masculinity and femininity, a practice which features heavily in ‘Formation,’ her end-of-year minimalist collection inspired by New Zealand’s Waitomo region and glow-worm caves. While Scally presented eight looks, there is one which she is particularly proud of.

“The highlight of my collection would be my final look, a one-shoulder dress layered with flounces. My garments are designed for women that feed off simplistic work apparel; an attire prepared to adapt to any arising circumstances.”

For her graduate collection, Scally chose to develop a brand around her initials – SS. “Starting this brand will give me the opportunity to not only make beautiful clothing but to look at it in terms of a business,” she said.

“My decision to invest in a brand as part of my practice last year creates an identity platform and communicates to the industry my dreams of operating my own brand after getting years of industry experience. The brand’s ethos has organically developed from my subconscious desires as a woman.”

“My garments are constructed with couture methodology, designed for women that feed off simplistic work attire; apparel prepared to adapt to any arising circumstances. I hope to put forward a powerful and innovative contribution to the future of fashion.”

Scally wants to get industry experience before she can confidently pursue her dream of owning her own label. She works with factories, both in New Zealand and overseas, making sure all the garments are made perfectly and on time. “I’m embracing all the opportunities I have been given,” she said. “From gathering this invaluable experience, I plan to pursue a fashion career overseas, hoping to work for high-end designers like Celine.”

This emerging designer studied fashion design at Massey University and was first inspired to enter the field by her grandmothers. “I know it is a cliché to say it’s in my blood but both my grandmothers were extremely talented on the sewing machine,” related Sanders. “One makes exquisite patchwork quilts, and the other would create the most beautiful embroidery from scratch and make tapestries of handmade textures.” Sanders moved from admiring the work of her grandparents to creating designs of her own. Her most recent collection, Capsule Assembly, is inspired by the handcraft production practices she witnessed as a child as well as the natural world. “By using handcraft techniques and sustainable fabrics, I am able to create sustainable clothing that is timeless and can be treasured forever. Thus strengthening the relationship between myself and the natural world around me.”

Sanders developed a natural dye,

dubbed Sunshine Yellow, which is organic and made primarily from turmeric.

“By using my fabric as a canvas, I imprinted my depiction of nature onto my garments and lastly I also hand knitted aspects of most of the garments,” explained the designer.

These processes took a great deal of time, as is the trade-off for handcrafted clothing.

However, Sanders insisted that this was an equally important part of the process.

“I believe that slowing down the fashion industry is one of the most crucial parts of making fashion more sustainable for our future.”

Sanders is currently interning at LIMB in Melbourne and hopes to continue to diversify her skill set to allow her to continue creating heartfelt designs and pushing her positive slow fashion message. “It is so easy to get wrapped up in the fast fashion industry, and it’s so easy to skip important steps to get to the end product,” she acknowledged “I believe that people are quickly coming around to the idea of slow fashion and would like more exposure to it. People are prepared to buy better and buy less, but not all are prepared for the lifestyle change that comes along with it.”

PHOTOGRAPHER: MIGHTY SQUID STUDIO

KATRINA CHADWICK Fashion retail was Katrina Chadwick’s first industry experience where she worked for over ten years.

However, she was determined to expand her engagement with the industry, so she created her label Sons and Daughters after graduating with a Diploma in Fashion from Sew Tech Fashion Academy. “I have had a passion for fashion since I can remember,” shared the emerging designer. “My passion is to see people freely express themselves through creativity and get their identity across through their creative gifts.”

Chadwick is excited to launch her brand’s first collection in the coming months and is also developing an online store for the label. “The highlight for the collection I’m currently working on is that it is all me. I’ve had the time to process what I want this to really be creatively,” she explained.

“It is a big challenge to start a higher-end brand with street influence in the New Zealand market.

But I do love a good challenge.” The collection

brings together casualwear with more upscale outfits by combining jersey fabrics with sequin embellishments. “I’m wanting a high-end street feel, and I love to play with textures.” Chadwick wants to see this new hybrid style become a look of choice for Kiwis as well as potentially penetrate an international market further down the line.

Chadwick has no shortage of inspirations, but topping her list is her faith as well as the kindness she finds in the world around her. “The beauty of the world around us and interactions with the people in my world and the ones I meet every day, it all inspires and influences me.” These inspirations led Chadwick to dive headfirst into the industry with the development of her brand. Looking ahead, the emerging designer has no plans to slow her ambitions and is already looking at launching a unique second collection for Sons and Daughters.

“I’m doing things a little different with this next collection and trying a much larger inter-seasonal line.”

apparelmagazine.co.nz

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colour trending

ALEXANDER MCQUEEN Resene Roadster

BALENCIAGA Resene Yes Please

HILLIER BARTLEY Resene Green Smoke

THE SH key trending category from Fall 2019 were textiles of a shiny nature.

Unlike glitter, these gleaming fabrics pushed their looks to the next level.

Alexander McQueen’s finale look of its Fall 2019 ready-to-wear collection featured a bold red satin avant-garde garment in a colour close to Resene Roadster. This material was a

18 I May 2019

staple in the show alongside some other reflective textiles.

This bold cyan look was not out of place at Balenciaga’s Paris Fashion Week show. Showcasing their Fall 2019 ready-to-wear range, the show opened with clean suiting in a variety of greys and blacks which quickly turned to an exciting palette of yellows, pinks, and blues like this cyan look

similar to Resene Yes Please.

Hillier Bartley brought pops of colours and patterns to their Fall 2019 collection. With languid proportions, drapes, folds, knots and ties; the range featured a welcomed palette of white, red and beige.

Standing out like a sore thumb, these playful punkesque pants boasted a look-at-me colour like Resene Green Smoke.

CHANEL Resene Pink Ribbon

KWAIDAN EDITIONS Resene Hive

HERMES Resene Karaka

TALBOT RUNHOF Resene Kryptonite

HINING A Winter wonderland was Chanel’s Fall 2019 show at Paris Fashion Week. Bringing the ‘80s back, Chanel’s looks oozed luxurious ski bunnies like this monochrome look in a hue like Resene Pink Ribbon.

1970 collars ruled the runway at Kwaidan Editions’ ready-to-wear show at Paris Fashion Week. The Fall range erupted with longline lapelled coats, turtle necks and a minimalist ‘70s over wash. This exciting

print look in a colour close to Resene Hive was a highlight of the collection.

Hermès honoured their house dress code and did what they did best. However, this jacket in their Fall 2019 show injected a touch of utilitarian.

Made of a semi-gloss leather in a hue like Resene Karaka; the piece features oversized pockets finished with a braided stitch detail. The same leather was

omnipresent throughout the collection at Paris Fashion Week.

Filled with lavender, hot pink and a green close to Resene Kryptonite; Talbot Runhof showcased a playful collection using shiny fabrics. As seen at Paris Fashion Week, this Fall 2019 ready-to-wear collection was packed with feminine looks that were loud, chic and ultimately, relaxed.

trade talks

Moving up the Retail Ladder

Careers in retail are often misrepresented by misinformation that leads people to believe there are no opportunities and no money in the industry. However, retail jobs provide the perfect space to grow a vocational set of skills amidst a bustling trade.

Working in retail teaches essential skills and connects people to a broad and dynamic network of connections. On top of this, the financial opportunity in retail is matched by the effort one is willing to put in. While this may sound like a challenge for some, the skills acquired in the industry will help develop a keen eye for sales opportunities and the ability to work with people towards a mutually beneficial outcome.

Sadly, retail is often seen as an unskilled profession. “Retail provides extremely transferable skillsets, so you are able to move between businesses, and even between countries. There are a huge range of roles available and working in the retail sector is not a low-skilled occupation,” explained Greg Harford, Interim Chief Executive of Retail NZ. Navigating through roles within the industry teaches one to be adaptable and quick-thinking. Few professions can give the same first-hand experience that retail can offer. The benefit of being adaptable is that you can work anywhere—no matter the job.

Retail is also about connection—meeting people and finding out ways in which both parties can help the other. Vicki Taylor from The Shelter and taylor boutique added that you reap what you sow. “As it is about dealing with people, the more you put in, the more you get out of it. If you give out energy, people want to be around you and gravitate to you and want your advice, so

you, therefore, become a great retail person,” said Taylor. “Retail is one of the most challenging and rewarding careers. It is for people who love variety, as no two days are ever the same. You never know who will walk in your door next—it may be your best client, it may be someone totally new, or it could be an international celebrity visiting the city.”

The idea that retail will not lead to any financial gain is also a myth. Harford continued to share that the retail industry turns over more than $92 billion a year and is a cornerstone of the economy, breathing life into town centres and keeping communities alive. On top of this, with larger businesses moving increasingly towards vertical structures, roles are often filled from within, offering the opportunity to move up the ladder in terms of function and paygrade. We spoke to Chantel Poasa, the recruitment manager of Farmers, who said a career in retail provides many diverse skills.

“In any given day, you are a finance manager, a customer manager, a people manager, a supply chain manager and a compliance manager,” Poasa said. “No day is the same as the last, and there are so many opportunities to make a real difference. If you are a driven, motivated person who doesn’t mind rolling their sleeves up and getting involved in all aspects of the business, then you can have a fulfilling and long-term career in retail.”

Retail is one of the most challenging and rewarding careers. It is for people who love variety, as no two days are ever the same.

meet the buyer

Rob Taurima FARMERS CHILDRENSWEAR

The childrenswear Merchandise Manager for Farmers Department Store, Rob Taurima sat down with Apparel Magazine to discuss the complexities of this sector of the fashion industry, as well as the group’s plans to rejuvenate their holdings in the coming years.

Taurima has been with Farmers for almost twenty years and has spent time in a variety of different departments. He communicated that the skills you attain in one area are very transferable and have given him a unique understanding of buying. “Toys was an area I worked in for many years, and there have been a lot of parallels between this and the childrenswear sector,” he shared. “Toys is almost more fashion and fad based than clothing. Kids can be very fickle; they will drop something in toys almost overnight, which can be difficult to invest in.” This understanding of what kids look for has helped Taurima understand the childrenswear sector at Farmers and see where changes need to be made. “Kids have more access to pop culture now, so they are coming to terms with what their preferences are a lot earlier than previous generations,” explained Taurima. “Generally, and historically, we have stuck to what works, those classic designs, and that is what we are challenging.

We are looking to broaden our perspectives a bit.”

The brand intends to make these changes by looking ahead to trends such as upcoming films, games releases and celebrities, all things kids engage with and will be searching for once the fad takes hold.

However, Taurima also communicated that this new focus would not mean the elimination of the store’s prior focus on more traditional children’s wear. “It is a balancing act,” he said. “We will not be flipping to a totally seasonal business with new ranges every six months because, especially in kidswear, there are core shapes and looks that tend to be timeless.”

Changes are also expected to be seen in the group’s handling of the immense variety of ages their childrenswear department caters to. The age bracket for the Farmers childrenswear consumer ranges from newborns to age 14, with a plan to push forward into 16 in the coming seasons. “Part of the changes we are going through is putting a much bigger distinction between what we would offer the younger age brackets to the older ones,” said Taurima. “For the older kids we haven’t really moved on from the more juvenile and cutesy styling

into more ‘mini-me’ styling, and that is what we are trying to achieve.” This refocusing is relevant both for the company’s house brands and will be affecting the way they look at potential stock listings. The changes mean a new perspective on what is stylish for kids, looking beyond tropes which have become overused and unenthralling. “We want the boys to look cool and suave without giving them too much attitude, we want to give them time to be kids,” Taurima clarified. “For the girls, it is about having mums and older sisters to look at the products and think, I wish they did that in my size.” The rejuvenation of their childrenswear sector aims to attract and retain consumers who see themselves represented by the company and will stay with them into adulthood.

A part of making these changes, and a particularly important thing for brands looking to enter the Farmers holding to remember, is finding that balance between stylishness and what is age appropriate.

“These things need to be modern and contemporary but age-appropriate, and that is the balance we are trying to strike,” emphasised Taurima. A part of marketing a children’s wear label is remembering that the core consumer, particularly in the 0-7 range, is still the parent. “While we do need to appeal to the child, we do think of the parent first,” he said. “The main thing that makes a customer shop at Farmers, I would hope, is trust. If something goes wrong trusting that Farmers will look after you, trusting the product, trusting the quality and that resonates a lot in what we do. In terms of choosing brands, it is very much a decision maker for us.”

When looking at new brands to stock, there are several features which Taurima is hunting for. “The New Zealand made thing is always something we would like to do, as it is quite a romantic

Customers are sick of being told that their girl must wear pink and their boy must wear blue. They want to decide that for themselves and need a bit more variety than skateboards and fire trucks for boys and butterflies and ponies for girls.

concept for most Kiwis”. However, he also shared the difficulty in partnering with most New Zealand made companies as more often than not the human resources behind them is not enough to fuel such a large order. “The small kiwi brands you see, most of them are not able to produce on the scale we need.

While their brand may work for a single door retailer, it does not work for Farmers.” New Zealand made or not, the most important thing for Taurima, and for Farmers, is finding a brand with cut-through.

“If customers are asking us for a brand and we don’t have it, that is a very compelling reason for us to try and stock that brand.” This point of difference varies for every brand: media presence, a strong social message or a resonating sustainability piece can all drive customer appeal, and there is nothing more convincing for a retailer than an existing and passionate consumer base.

Overall the call from customers is for change, and Taurima and his team are ready to make it.

“Customers are sick of being told that their girl must wear pink and their boy must wear blue. They want to decide that for themselves and need a bit more variety than skateboards and fire trucks for boys and butterflies and ponies for girls.”

Farmers are looking to breathe life into their childrenswear sector, presenting an extraordinary opportunity for brands looking for a substantial retail opportunity. “We have had quite traditional handwriting and mindsets in the past, and we want to change the narrative a bit, both in terms of our house brands and those outside brands we stock.”

radar

Child & Baby ITSY BITSY BABY GEAR After finding out she was pregnant with her third baby, Letitia Klopper decided to get behind her beloved sewing machine and start making some cute accessories for her new baby boy. When friends and family saw her creations, it quickly turned from hobby to business venture and Itsy Bitsy Baby Gear came to fruition.

The name came about as her two older children loved singing ‘Itsy Bitsy Spider’ and it caught on.

“I like to make my own unique products that are not just trendy but functional,” said Klopper. “I design and make things that I have needed and liked while my children were smaller.”

Currently, her top seller is beautiful padded Play Gyms that are available in a wide variety of fabrics, colours and patterns. Second to this are the Baby Nests and dribble bibs (a must have for any mum). Alongside these popular products are

also a range of Feeding Pillows and Nappy Clutches.

All of the products available in the Itsy Bitsy Baby Gear range are designed and made in Wellington, New Zealand. The product range focuses on younger babies from newborn to 18 months.

Although a lot of her products are custom made, Klopper does stock pre-made products ready to purchase and would love to work with other New Zealand brands on collaborations.

The best part about her job? Getting to see babies and mothers happy and enjoying her products. “It’s so wonderful to hear all of the positive feedback and I love that I am able to be creative and work from home so that I can spend time with my family.”

Klopper would love to open her own boutique in Wellington in the near future. “There are so many other great brands out there, but I definitely know that a lot of love and quality workmanship goes into

my products, and although they are handmade, they are still very affordable.”

If you would like to collaborate with Itsy Bitsy Baby Gear or would like to stock the handmade range in your store, please contact info@itsybitsybabygear.com.

their gumboots while cleaning their teeth are just some of the comments that we love to hear. It’s also great when parents tell us that their second or third child is wearing a raincoat that they purchased for their first child.”

Currently stocked in stores around Australia and New Zealand, Nagle and her team love developing working relationships with other small boutiques and being a part of their story. A fun new summer range is also in the pipeline.

The biggest challenge is ensuring that sizing is consistent. “As a parent it can be frustrating when sizes are inconsistent, so we work hard to ensure designs are well-fitting and comfortable. Working from home is also a challenge as it is hard to escape the washing pile!”

For parents looking for timeless, colourful outerwear for their children, French Soda is the answer.

If you would like to stock French Soda in your store, please contact info@frenchsoda.com.au, the team would love to hear from you.

FRENCH SODA Passionate about children and the outdoors, former teacher Ashlee Nagle purchased children’s outerwear brand, French Soda in August 2018. French Soda produces a range of outerwear garments to ensure that the weather doesn’t get in the way of children having fun outdoors. “Our designs combine the important aspects of colour, style, and functionality so that little ones not only look good but are ready to explore and learn outdoors,” said Nagle. Key to the range’s design is its comfort and durability, and the most popular product in the range – a classic yellow raincoat. “We work with a designer in Melbourne to develop all of our products and have small production runs working with small manufacturers.” Both the gumboot and raincoat range are classic cuts and styles that feature solid colours and some nautical elements.

“Seeing children playing in our products or hearing that they insisted on wearing their raincoat to bed or

22 I May 2019

BURROW AND BE While working full time as a packaging designer for a small business, Catherine Melo found herself not being able to give the best of herself to either her children or her job and wanted to do something that gave her the flexibility that she needed. All of her previous roles, and experience lined up in a way that designing, printing and selling bedlinen, baby wraps and apparel seemed like a great choice. In 2013, Melo started researching and planning, and in April 2014 had product ready to sell as part of her new brand Burrow and Be. “I wanted a name that evoked the ideas around warmth, safety and home, A burrow was a great combination of these especially as it’s the home of cute bunnies which have always been strong characters in children’s stories,” said Melo. “The be is about being yourself. Burrow into your space and just be you, be happy, be playful, be silly, be unique.”

Since launching clothing last year, Melo has developed a production cycle that features a core ‘essentials’ range that are everyday practical pieces.

Alongside this, there is a seasonal drop where Burrow and Be collaborate with designers to create pieces that surround a theme or tell a story, with beautiful detail and one off fabric designs. “I love that we collaborate with other artists to create new and interesting designs. These collaborations can influence the style of our garment designs also.”

Burrow and Be is really a reflection of Melo herself. “I have grown the brand with values and meaning that are true to my everyday life. From the outside, I like to think our style is classic yet sophisticated.” The team use unique colours that can work in harmony with the modern parent and home, and the print designs are all unique and original.

Designed specifically for the Burrow and Be range by Melo, or in collaboration with other artists and designers locally and around the world.

“The design and end product is only one part of the brand.

Other areas such as ethical production, sustainability and growth not at the expense of others are also high up on our brand values.”

It is really important to Melo that products within the range are true to the brand’s values and of the highest quality. “When using organic and sustainable materials it is often hard to find manufacturers that will produce what we need in the quantities we can currently order. We have some products on a wishlist that, until we can find the right business to create them, with the right materials, we won’t compromise our values.” Originality in design is also important, with all of the prints and patterns being illustrated

exclusively for the brand. “Often with a vision in my head I work with different illustrators to create the look I am wanting.”

Since launching, the product range has expanded and over time the ‘Essentials Baby Clothing’ range has been hugely popular as well as the new muslin bunny comforters.

All of the products are designed here in New Zealand and are made around the world. The size range in the offering has previously gone up to a size 8, however next summer it will only go to 5 as the prints and styles seem to work best with the younger age group. However, Melo believes there is room for a new range for older children.

Overall, the general design aesthetic of the brand is classic, whimsical and sophisticated, with a touch of Scandinavian simplicity. However, as they work with different illustrators and designers, the style does change from season to season.

“I have lots of plans for this year and over the coming years. Our biggest plan is to really crack into the Australian market more and then grow our export market to the rest of the world.”

The biggest achievement for Melo to date has been that this year, her husband was able to quit his job and work full-time alongside her. “This has always been the plan, so it was a great achievement we have been able to make this happen already, as well as run an apparel business in New Zealand.”

Melo loves the challenge of growing a business, and there is never a dull moment in her day. “I am always learning and researching. I love that I can design and curate beautiful pieces, meeting and creating friendships with other amazing business women, and although I work harder than I have ever worked in any other job, having the ability to be there for my kids when they need me is great too.”

If you would like to know more about the brand, or become a stockist please visit their website and fill out the wholesale registration, www.burrowandbe.co.nz.

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I 23

trade talks

Elizabeth Carey Smith VICE PRESIDENT OF THE BOARD OF DIRECTORS, THE TYPE DIRECTORS CLUB When it comes to branding, before campaign shoots or colour schemes come into play, there is an equally powerful tool sitting at each label’s disposal. Typeface choices allow a brand to construct an instant message for their customers, communicating their aesthetics, target market and price point. Choosing a typeface should not be cast aside as a frivolous or unimportant choice, as the right typography can position a brand favourably among consumers before they have set foot through your doors.

The Type Directors Club was established in 1946 and promotes understanding of the power of typography in business, arts and the wider community. Elizabeth Carey Smith, Vice President of the Board of Directors for the organisation, sat down with Apparel Magazine to share insights into the world of typefaces and to guide brands into making smart selections.

“A strong visual brand is a crucial investment, and it’s worthwhile to get that right as early in a brand’s life as appropriate,” shared Smith. “Typeface choices position a brand adjacent to the audiences’ perceptions about brands that look like them.” While a brand’s typography should reflect their individual aesthetics Smith warned against designing in a vacuum, as equally important to standing out, is fitting in. “Competitive analyses are important because the marketplace has already established a precedent,” she explained. Looking at your competitors to decipher trends can help a brand create a typeface which is both distinct but also allows audiences to align them with a specific industry. If you are a fashion label, but your font is more irreverent of a supermarket brand, then you have failed to communicate with your audiences.

However, there is a line between fitting in and replicating, and while there are many tried-and-true typefaces, brands may struggle to create a unique visual identity if they do not create a point of difference. The challenge, according to Smith, is to both entice and challenge your audience without alienating them. “I think it’s short-sighted to design an identity to look like other brands just because you want to occupy the space that they’re in,” she quipped. “Fashion, in particular, is an industry that very much wants to copy what it sees as successful. Just look at the Cs of Chanel vs the Gs of Gucci. It’s not a stretch.” For emerging brands, riding the wave between imitation and inspiration is a crucial part of their creative processes. Just because one brand’s

24 I May 2019

typeface has been successful does not mean this success will translate to your own branding. This circles back to the idea of understanding your audience. “If you are a high-end fashion label and you want your logo to be a big red K, that’s your prerogative. But you are going to look like Kmart,” she elaborated. “Your new label doesn’t have any equity to challenge a brand that’s been tried in the market for years and years.”

With the development of technology, brands are now looking at their typography and how it can translate across a range of mediums. Fashion brands have moved from Serif to San Serif types in recent years, with labels such as Burberry, Balmain and Saint Laurent jumping in on the trend. According to Smith, this has been a mostly practical change as these designs may have stood out in a magazine, clothing labels or swing tags but haven’t had the same effect on, say, an Instagram story. “It becomes about what is feasible to continue building the brand’s visual identity while adapting to all the areas in which labels need to exist,” she explained. “With the advent of digital products and needing more branding to work in digital spaces, geometric sans-serifs have become a trend because they don’t break at small sizes at low resolution.”

These designs are scalable for various applications – from apps to billboards and everything in between, ensuring brand consistency.

Smith expressed that when designing a typeface, brands should be open to discussion and criticism or else face disappointment once they head to market. “Making assumptions or dismissing what someone has pointed out because you don’t like the answer or it runs counter to what you wanted for your brand will ultimately not benefit you,” she insisted. Testing your typography and comparing it to similar labels, including those you do not want to align with, will help strengthen your end product. “Find that unique spot to occupy and test actual people’s feedback.”

The Type Directors Club’s final word of advice was that while visual decisions are a fundamental part of a company’s branding strategy, they will not be the thing which ultimately brings you success. “There have been a million Nike swooshes. That’s not what made Nike a successful sportswear brand,” related Smith. “It was good products, testified by actual athletes. It’s not enough to say your brand is awesome. Others have to say it to make that true.”

A strong visual brand is a crucial investment, and it’s worthwhile to get that right as early in a brand’s life as appropriate.

Typeface choices position a brand adjacent to the audiences’ perceptions about brands that look like them.

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I 25

interior & design

When it comes to creating a retail space, there are many elements to consider. From telling a brand story to accessibility and even interactivity, labels are faced with a host of elements to juggle in order to create a location which will stand above the crowd. Those who outsource their design team will find themselves with a fresh pair of eyes and experienced hands to help guide them through this process. Apparel Magazine sat down with two interior design companies to discuss the intricacies of this process and how each of them tackles the complex world of fashion retail.

DESIGN OFFICE Mark Simpson, joint creative director of Design Office along with Damien Mulvihill, shared his company’s unique take on interior design. “We keep our studio at a deliberately boutique scale,” stated Simpson. “A team of twelve means that we are big enough to be nimble, but small enough to ensure that Damien and I stay involved in the detail of every project.” This intimate style of business gives the group the ability to work closely with each client and understand the ins and outs of their briefs. “It always starts with understanding who your client is and what they are passionate about. This period helps us to understand the brand, the customers and what is unique about the offer and their approach.” Having a closer relationship with their clients gives Design Office a head start in creating a space which fits the unique needs of each brand.

While every client has their own existing aesthetic, so too does the space Design Office is assigned. For their latest project with Superette International, the group found a way to utilise the features that the space had to offer. “The existing building had its fair share of rough edges and problems to work with, but it also had this wonderful daylight and tangible generosity with layer upon layer of raw surfaces to edit,” shared Simpson. The location had a very industrial look to it which, rather than scrapping, the group decided to work with to create a modern and on-trend space. By pairing the harder industrial elements with soft detailing, such as warm wooden floors, ceiling to floor curtains and comforting lighting, the space became inviting without overwhelming consumers. “The challenge was for us to create a backdrop for the collection and craft a journey for the customer while retaining the inherent quality of the space,” Simpson explained. The role of a retail space is to host the brand and compliment their collections, rather than attempt to overshadow them. The Superette International retail fit out fit in with the current trend of natural materials and minimalist presentations, which created a simple but chic host retail space for this brand. “There seems to be a focus on edited simplicity at the moment which is always good to see.”

Simpson explained that for their group, form follows function. “For retail in particular if a space doesn’t work or meet the functional brief, as in it is at the wrong height, or doesn’t display the product properly then it doesn’t matter what it looks like.” While there is a degree of balance to be achieved between form and function if the two are unable to work in harmony then the space cannot properly communicate a brand’s message. “Our process is based on crafting design solutions which are a direct response to our clients’ brief; their brand, target customers, values and the site,” elaborated Simpson. If each of these criteria are met, then the aesthetic of the fit-out can be found.

RANDOM GROUP Interior Design is a complex medium that encompasses both creativity and functional problem solving, explained Mark Westerby of Random Group. Westerby formed this amalgamative company last year, combining his previous pseudonyms Human Creative and Propeller Studios to create an exemplary interior design service. “We work a lot in film production while also working with other commercial clients such as the retail sector who are looking for answers to their problems,” presented Westerby. “Random Group really brings together the idea of being a centre of creativity, offering unique and out-of-the-box solutions to clients from a variety of industries.”

Westerby shared some of his insights into the recent interior design trends. When it comes to commercial spaces, brands should be aware that while creativity is a must, the functionality of a space should still be at the forefront of their decision making. “With commercial clients, there is a reason for all creativity. It needs to tell a strong message wrapped up in creative design and wrapped in a great solution,” he explained. “Creativity informs functionality.” A trend which exemplifies this mantra is the rise in retailtainment, whereby brands are engaging their consumer through more tactile experiences.

“Interactivity is on the rise as customers no longer want to be passive viewers,” shared Westerby. “Research has shown that when people take part in these unique activities, they come away with an experience which stays with them more than, say, being handed a brochure.” This practical idea of engaging and retaining customers has resulted in a boom of creative new retail spaces. For Random Group’s latest project with the Queensgate Mall in Wellington, interactive digital elements were incorporated into the mall’s new space, adhering to the retail-tainment trend. The group used touch screen displays which showed interviews with renowned stylists and collections from some of the most popular outlets in the space. Customers could select items to learn more about them and follow the brands which most piqued their interest. “Our clips were short, informative and visually stimulating,” said Westerby. Giving the consumer an interactive experience where they were in control provided a point of difference for the retail space. “The world is so crowded with advertising that everyone is trying to find that cut through. By making a space more tactile, interactive and interesting, brands stand a better chance of being able to make their products and services memorable.”

Creating a space which piques consumers’ interest does not mean overwhelming them, insisted Westerby. “I am a big fan of simple and clean lines rather than having things too busy and messy,” he explained. Working creatively with the space you have, even if that is only a small retail holding, is far more appealing than overcrowding the space. “Think of ways to utilise the space in more interesting ways.

This could be digital, using smells or textures or even interactivity using actors or any number of unique ways Y to engage and inspire.”

RB TE MARK WES

26 I May 2019

LE CORBUSIER LC3 3-SEATER SOFA FOR CASSINA

DESIGNER RUGS 'SHEPHERDS DELIGHT' BY LARA SCOLARI CONSIGNMENT FURNITURE Consignment presents the stylish Le Corbusier for Cassina, one of their standout pieces from the Le Corbusier collection. The three-seater sofa presents chic architectural styling including a cool chrome steel framing and deep black cushions which has become an iconic design of contemporary furniture. The industrial style of the piece makes it a stylish addition to office and retail spaces looking to develop an upmarket appearance in keeping with their modern fit outs. Paired with more textured accessories, such as sheepskin throws or embellished pillows, can give the piece a softer appearance and diversify its aesthetic. The piece has an estimated value of over $28,000 and is being presented by Consignment for $11,900.

Consignment offers a selection of pre-loved pieces from established European designers for less than half of their original price, making fashionable furniture accessible to style-conscious consumers looking to update their fit outs. The company ensures that their pieces are of an impeccable quality, at reasonable prices and often not available at other retailers.

Customers looking to buy and sell European designer furniture such as the Le Corbusier for Cassina should look to Consignment Furniture.

For more information, contact Wendy Francis-Ching on wendy@consignmentfurniture.co.nz or by calling 09 524 0084 or 021 424 461.

Australian artist Lara Scolari has teamed up with Designer Rugs for an exciting collaboration. This unique and bold rug invites energy and positivity through Scolari’s gestural painting style. Her abstract expressionist art created depth through the use of layers and experimental techniques. This hand tufted debut rug is made of New Zealand wool and shimmering bamboo silk. “Designer Rugs has always been passionate about creating a strong link between the manufacturing, art and design worlds,” explained Designer Rugs managing director Yosi Tal. “The creativity of these unique artists like Lara has proved to be a constant source of inspiration and pushes us to new, uncharted areas of rug design.”

For more information, visit www.designerrugs.co.nz.

MAKE A

History, functionality and simplicity.

DESIGN DENMARK

FREEDOM FURNITURE OSMOSE BUFFET Moody in all the right ways, Freedom Furniture has released the Osmose Buffet as part of their new industrial range which highlights the best of midcentury with a dash of glamour. The on-trend golden hardware is not only creates a bold accent piece but adds a layer of sophistication to any space.

The Archi Lamp from Danish brand Light-Point Copenhagen is based on the classic architectural lamp from 1937, from their new Nordic Living collection.

Nordic Living brings to life iconic products in a sleek and distinctive Nordic impression, the collection being a testament to the illustrious credo “form follows function”. Archi embraces the perfect balance of form and function, with a refreshed Nordic look in sleek colours and bold contrasting details that highlight distinctive functional elements. The precise light boundary is still the focal point thanks to its infinite adjustment possibilities. Available in black, black/gold and white, as wall and table lamps.

For more information visit www.designdenmark.co.nz.

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I 27

Want to become a top fashion buyer?

edited

The skills, tricks and killer tips to get you noticed

What do you see when you imagine a fashion buyer at work? For industry-outsiders, it might be someone who spends their days scanning Marrakechian backroads, wistfully stroking clothes before declaring a single scarf to contain the print of AW19.

But as we know this is far from the truth. Fashion buying is one of the most demanding jobs in the industry, and as well as requiring a creative mind, a good buyer will need an analytical one too.

A fashion buyer is responsible for selecting and ordering what is sold by brands for maximum profit.

This includes identifying current fashion trends, negotiating on prices and reacting to changes in demand.

Another facet of the job is the ability to spot a trend while it’s still embryonic: a good buyer will have pitched an order for cycling shorts as soon as Bella Hadid wore hers on Instagram, sourced a supplier for fauxpearls right after Shrimps released its Antonia bag, and predicted the animal print resurgence in a range review long before Camille Charriere dug out her best vintage spots and stripes.

What’s more, fashion buyers are working at a time where the industry is in a state of flux. Seasonality does not exist anymore, meaning buyers are having to work harder and faster than ever to keep up with constantlydropping collections and micro-trends.

It’s a competitive field in fashion, but with the right skills, ability to keep up with the pace and a healthy dose of instinct, fashion buying can be a rewarding one.

Salaries in the US range from $62,000 and $96,000 and £45,000 and £70,000 in the UK.

THE KILLER SKILLS As much as buying is to do with hardset numbers, there’s a certain amount of game-playing to the job, too.

Relationship building, networking and negotiation will be a part of your every day—and a good buyer will know when to pick their battles.

There’s no use butting horns with a supplier for the sake of a couple of hundred pounds on an order of 10,000 pairs of shorts when you know this supplier

28 I May 2019

could help you out on a 40-day lead time in the future.

Being respectful to your suppliers will ensure favors, so try to keep chill on the phone even if you’re up against the wall with a deadline, OK? There’s also a high chance you’ll be working closely with a merchandiser in your department. This person controls the cash so make them your right-hand wo/man; if you work like a dynamic duo you’ll find your job becomes a breeze. You’ll also have to get comfortable with solo presentations: don’t be surprised if you’re asked to chip in on your buying manager’s presentation with your customer research stats.

Scary, but all part of the gig. Plus, you’ll need to be a dab hand at Excel: Vlookup and pivot tables will be your best friend. Chic, huh?

LET’S TALK EMOTIONS Fashion can be a warm and all-encompassing industry, but that’s not to say it can’t have its brutal moments.

With so much focus on accuracy and pace, making a mistake in fashion buying could leave you on the tailend of some sharp words from your Buying Director.

But don’t worry: as with any job it’s all about learning, and the chances are you’ll never make the same mistake again. Learning to be okay with criticism and being able to adapt accordingly will make you a stronger buyer in the long run. (Even if at the beginning you have to run out for the occasional cry in the loo. DW, we’ve all been there.)

CLIMBING THE LADDER Assistant Buyer, Junior Buyer, Buyer, Senior Buyer, Head of Buying, Buying Director. Your career trajectory looks straight forward but it’s not always an easy road to getting there. The best thing you can do to up your chances at promotion is to be open to opportunities

and be flexible. For example, if your boss suggests you heading up menswear, consider it as another string to your bow. Getting pigeonholed into one department is a recipe for stagnation; specializing in underwear for example, will ruin your chances of movement if a role in women’s eveningwear pops up. Geddit? The best thing you can do is become an expert in every department, and soon enough you’ll be the go-to guy or gal for everything.

THE MISCONCEPTIONS TO LOOK OUT FOR When entering fashion buying, it’s good to be realistic about what the job entails. You won’t be flying off to China for meetings or New York for fashion week when you first start out, soz, but you will be able to enjoy daily sample sales and gifting—silver linings, eh? There’s also not one hard and fast way to break into the industry.

Sure, while a degree in merchandising, retail, business or similar is appreciated, it’s not a dealbreaker. In British Vogue’s documentary series ‘The Future of Fashion’, Judd Crane, previously the director of womenswear and accessories at Selfridges, advised that a background in visual merchandising or personal shopping could be equally as valuable for understanding what customers want.

Having the right skills and tools will help you flourish in this fast-paced industry. In the past, accurate and reliable data wasn’t something buyers and merchandisers could easily come by. With little consumer buying or behavioral insight, retailers margins would often dwindle and ultimately, customers were left unsatisfied.

But fear not. To respond to these challenges, we’re here to help retailers act on the data. This will help them make better retail decisions and stay ahead of the competition.

SU MODA COLLECTION Born and raised in India, Fathia and Samra Mohamed’s parents are Somali. They lived in India as refugees for 11 years before migrating to Canada in 2002. Some of their earliest memories are of creating outfits for their dolls from their mother’s scarf collection, having learnt to sew at a young age by observing her at work creating traditional Somali clothing, such as the dirac. They credit their mother as their greatest influence, “inspiring us to follow our dreams and encouraging us to push ourselves harder.”

Growing up at a crossroad of cultures, the pair realised early on the lack of options available to those who wanted to dress modestly whilst staying stylish and comfortable, and realised they needed to do something different. Their brand, Su Moda, meaning ‘your fashion’ in Spanish, had modest beginnings three years ago making clothes by hand for friends, family, and themselves. Now Su Moda works with manufacturers in order to keep up with their orders, leaving Fathia and Samra free to work in their preferred capacity – as designers, producing classy clothing that preserves the consumer’s modesty whilst maintaining a sense of luxury.

The brand is run by a team of three – Fathia,

LISA AVIVA Lisa A. Bleviss has been into fashion for as long as she can remember. As a child, she recalls drawing looks and constructing miniature garments out of odds and ends, which she would send to her grandmother, an accomplished seamstress. The daughter of two artists, Bleviss was born and raised in Toronto, but spent much of her childhood in New York City. She cites her extended family’s heavy involvement in the Art to Wear movement as an early influence, as well as a spectacular art teacher.

“She had travelled to Papua New Guinea and loved to have us paint with ochres”, said Bleviss, “I imagine her colour palette was deeply influenced by her travels.” After high school she received a fouryear merit scholarship from the School of the Art Institute of Chicago. She subsequently continued her studies periodically at the Fashion Institute of Technology in New York City.

Bleviss’ brand, LISA AVIVA, launched at the end of 2016. Putting sustainability front and centre, Bleviss designs and creates minimalist clothing from luxurious fabrics, with an emphasis on classic forms and silhouettes. Though she runs the business herself, her process is highly collaborative, working as many as thirty people at a time. She works with garment industry professionals

30 I May 2019

Samra, and a stylist who works closely with the siblings to help bring their designs to life. With a focus on fair trade values and developing long-term relationships with clients and employees, Su Moda are passionate about eliminating discrimination and child labour from the industry, and strive to ensure their clothes are manufactured in a safe working environment. They hope to open their own factory for women in need of opportunities and support, providing their employees with the ability to look after their families and build a future for themselves and their communities.

Thanks to their extensive use of social media, the Su Moda Collection has been celebrated by a global audience who otherwise might not have had access to fashionable and contemporary modest clothing.

Though their work is not yet available in stores, the pair hope to work with retailers in the near future and bring their work to a wider audience.

In Vancouver, their collection included delicate kimonos and abayas (a traditional over-garment commonly found in North Africa and the Arabian peninsula) made from handpicked silk, as well as a wide variety of facial jewellery.

For more information, visit www.sumodacollection.com

in New York City as well as, more recently, handknitters. Referring to her work as slow fashion, Bleviss prefers to pace herself “in an oftentimes demanding industry”, so far having released just four collections. Though it is currently only available online in the USA and Canada, or at private sales, Bleviss is on the lookout for retailers that share her vision for providing consumers with sustainable luxury.

An eclectic mind, Bleviss is influenced and inspired by dozens of designers and brands, including Etro and Dries Van noten, Loro Piana, and Rei Kawakubo. She also cites artists such as Maurizio Cattelan, Bruce Naumann, and Jenny Holzer as amongst the most influential for her work. At Vancouver Fashion Week, Bleviss’ Hand Knits collection was a highlight. Inspired by a piece originally knitted over a decade ago, Bleviss worked with industry professionals to develop new patterns and samples made from hand-dyed yarn. The collections’ colour palette ranged from ‘cinnabar’ to ‘ice’, and much of the yarn was custom dyed in Canada for the showcase.

In the future, despite receiving offers for some incredible positions in the fashion industry, Bleviss is committed to growing her sustainable luxury brand.

For more information, visit www.lisaaviva.com

SOROCKOLITA Inspired by anything that can sink into the soul, designer Stukalova Victoria showcased her designs at Vancouver Fashion Week in March. The 28-year-old designer grew up in Russia where she specialised in Theatre Costume Design. “Our college collaborated with the Mariinsky theatre for which we occasionally made costumes,” she said. Victoria also specialised as a designer-technologist of garments. Her label Sorockolita is two years old and operates out of a workshop in Moscow where Victoria controls all of the manufacturing process.

She also works hard to constantly improve her qualifications, such as fashion illustration, design, and marketing. Outside of her love for fashion, Victoria loves archery but said it is hard to find time for it.

Happy faces on her customers is what Victoria values most in her practice. “This means that we are not in vain working,” she added. There are five members in her team; one designer, two tailoring assistants, SMM, and marketing. The origin of her brand’s name derived of a mix of things that surrounded Victoria. “The surname of my greatgrandmother is Sorockovaya. I recall the bird from a Russian fairy tale, a magpie, and the word Rock. Black and white colours, a halo of mystery and not always formal clothing,” she said. Victoria had always wanted to be in fashion since she was a child, her mother always helped her pursue this.

Looking to the future, the brand is focused on growing and evolving. Spreading their designs to a few boutiques in Moscow and a handful of major ecommerce sites.

MING

Twenty-eight-year-old Ching Ming Chen grew up in Taoyuan, Taiwan and graduated from Beijing Fashion Institute. Chen said she had been in contact with fashion from a young age at school. Her classic designs attracted international attention at Vancouver Fashion Week in March.

She makes every piece herself, and finds great joy in completing a garment from start to finish. Chen’s customers come to her for unique customised pieces. “My work is often affirmed and loved by customers,” she said.

“I strive to continue to develop and move forward in my practice.”

The label is three years old and Chen is looking to become internationally famous. “I want my brand to communicate with the world’s designers and to promote the brand to the international market.”

The brand currently has an online store, but Chen is looking to be stocked with retailers abroad. Her collection seen at Vancouver Fashion Week boasted an array of ancient elements paired with retro colours.

“Every piece is nostalgic and comfortable to wear.”

Chen seeks inspiration in every corner of her life, capturing the feeling of warmth and emotions. She likes to travel alone because every aspect of her creations are closely related to the connection between people and objects. “I wish I could be like the Kusama Yayoi of the art world. Maybe I was inconspicuous in the past, but now you will know me more and definitely like my designs. I am the best.”

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fashionable films

John Wick: Chapter 3 Parabellum Director Chad Stahelski and lead actor Keanu Reeves return for a third instalment of action, adventure and insane martial arts in John Wick: Chapter 3 - Parabellum. The film follows Wick as he continues to fight for his retirement. However, the underground world of assassins seems set on making sure he doesn’t make it out of the industry alive, and with an impressive bounty on his head, they may just be able to do it.

Costume designer Luca Mosca also returned to the franchise, picking up the same sleek style used in the first two films.

Despite some intense action sequences and acrobatic stunts, Wick remained well dressed and chic as he attempted to fight off hordes of assassins. For much of the film, he wore a crisp black suit, with a thick tie and white shirt to highlight his bloody wounds when the fights didn’t quite go his way. For the other section, he swapped his shirt to a black. While there was not an incredible range in the central character's costumes, the simple attire was well fitting and intimidating, proving

that embellishment is not always necessary to evoke wealth or power. Wick was able to make a strong statement about his standing in the world of assassins through his sleek but straightforward appearance.

Other characters, primarily his female counterparts such as The Director and Sofia played by Asia Anjelica Huston and Halle Berry, were given very contrasting costumes to Wick.

They were dressed to display their wealth, with excessive layers, deep royal colours and jewellery. The difference in presentations for these female characters and Wick demonstrated the different ways male and female assassins were presented in the film. The males were generally very cut and dry in their tactics, while the females were more cunning and dramatic. This was also represented in their ensembles. Despite their difference in methods, it was refreshing to see an action film depict both male and female action heroes as equally as vicious, even if their means or appearances were not quite the same.

Aladdin Disney has been riding the live-action remake train for a few years now, and each release has presented a fresh and inventive take on our beloved childhood stories. Aladdin encompasses the same whimsicalness and joyful sense of adventure as its original.

Costume designer Michael Wilkinson was tasked with recreating some of the most iconic Disney costumes to date.

Given that the original animation was released in 1995, the designer had the opportunity to flex some creative freedom over the details of each character’s costume.

One of the most exciting recreations was that of the Genie. Will Smith took on the late Robin William's iconic role and was styled to look very different than his previous characters. Like the original cartoon, Smith had a high pony tail and matching goatee tied with gold bands as well as embellished gold bracelets which act as shackles.

Rocketman

This new film tells the incredible story of Elton John and the legendary singer’s rise to international stardom. Director Dexter Fletcher delves into John’s small-town existence through to his breakout years and the rawest human moments of the performer’s life in the spotlight.

Both music and costuming played an extraordinary role in this feature, as John made incredible leaps in both fields. Costume designer Julian Day was tasked with recreating not only some of the singers most iconic looks but developing a set of ensemble costumes which fit the rich and flamboyant vibe of the film. From studded glasses to winged high tops and feathered leotards, John’s style was metrosexual and completely dramatic, making for a visually stimulating set of costumes. Many of these costumes were direct replicas or reimagining’s of the singer’s actual performance gear, whereas the dressing of the ensemble cast was left to the

32 I May 2019

imagination of the designer.

Lead actor Taron Egerton described the film as a ‘fantasy musical’, because while the film followed key points throughout John’s life, it is presented to audiences with a creative tinge, with musical numbers and theatrical musings. Much of the costuming was influenced by this theme as well as the period, and John’s own aesthetic. A variety of colourful and excessively decorated pieces can be seen throughout the film, giving the world of the picture a fun and theatrical feel. From bold patterns to bright colours and textured finishings, there was a wide variety of techniques featured throughout the film, all collating to create one strong and unique aesthetic. The whole film had an entertaining and exciting vibe to it, which was laid down by John’s feel-good music and expanded upon by Day’s stunning costuming.

The critical difference in his new appearance would be that for much of the film Smith had his natural skin and appeared as a man rather than a giant blue cloud. Instead of having the character painted a bright and unnatural blue throughout the film, the difference was compensated for with a dark blue outfit. Smith’s ensembles combined deep blues with rich gold trimmings, giving him a very stylised look, which fit the period of the piece as well as paying homage to the original flick.

Princess Jasmine and Aladdin also experienced remodelling of their original ensembles. Jasmine was seen in her iconic turquoise ensemble for brief periods as was Aladdin in his Sultan’s getup. Both costumes bore similarities to their original designs with hefty embellishments including gold trimmings, jewels and layers. These additions added to the decadence of the period and of the palace, in keeping with the film’s theme of rags to riches. Overall Wilkinson presented the perfect mix of old and new designs in this live action remake of one of Disney’s most iconic features.

industry according to

Linda Leonard CEO, POSTIE

" At 16 my favourite band was the Jam. They dressed so differently to the punk bands that had been huge before, the combination of the ‘Mod’ influence and the new romantic bands on fashion at that time in the U.K. was huge. This inspired the way I dressed, and on a Saturday in my lunch hour, while working at the local supermarket, I would trawl through the shops to find the latest looks. That was it; I was hooked. I really wanted to develop a career in fashion.

After kickstarting my career in the U.K. as a merchandise assistant at Arcadia (called Burton Group at that time), I was promoted to assistant merchandiser and within 10 years I was Senior Merchandiser at Debenhams.

In 2001, I was the Head of Merlin programme managing the implementation of a fully integrated merchandise, logistics and operations system, and leading a team of very experienced and highly skilled managers from all facets of the business. We workshopped current processes and issues that teams encountered on a day-to-day basis across the business.

We also identified business solutions that then needed to be transformed into efficient practices and enabled by system solutions.

This was a key moment for me and inspired me to believe I could progress beyond what I had imagined.

Within the context of the business’ strategic direction, creating innovative solutions and working with a team with very diverse backgrounds, gave me the opportunity to look at things from angles that I had not considered before as a merchandise specialist.

When I left Debenhams and moved to New Zealand, I wanted to be working in a wider capacity than my core skills and help teams to be highly successful across multiple business functions. I spent three years at Farmers in a senior planning role and five years

at The Warehouse as head of buying, before moving to Number One Shoes as planning and logistics manager.

All this, as well as what was to come, gave me a better understanding for the customers’ needs - what price they want, and when they want it is the key component of affordable fashion.

I joined Postie in 2015, and as a team we restored the business to profitability in 2018. The strategic focus to bring Postie back to relevance required a complete reset of the business offer. Our clear focus was (and still is), understanding what New Zealanders want and need so we can match them successfully.

In a two-week period, we re-priced a million units of stock as we transitioned to an ‘everyday low price’ offer. Being part of the team that turned the company around is one of the highlights of my career.

The cost of living is high in New Zealand, so bringing our customers quality affordable fashion particularly in kidswear is an essential part of our offer.

Making sure that Kiwi mums can purchase those items with confidence is essential.

Fashion in New Zealand is very aligned to the U.K. but with a more relaxed U.S. influence, speed to market remains essential

as social media delivers new trends to our screens at the speed of lightning.

The affordable fashion industry often gets a bad rap - and historically this was probably quite fair, there wasn’t enough focus placed on the industry’s wider impact.

I believe however, all responsible retailers now sit these factors at the heart of their strategy and there has been a significant change as a result. Postie has the foundation of a strong ethical and environmental program in place which we are really proud of, and it’s continually improving. From the factory floor through to our retail stores, as well as by the environment, we ensure we are doing the right thing by everyone within our supply chain. It’s an essential part of meeting our customers’ and team members’ expectations. It’s a journey of continuous improvement and requires an ongoing focus to do the right thing on behalf of our customers - something I’m committed to as CEO. So as a next step, our focus is to tell ‘our story’ which we haven’t been good at - but it’s important that we share this along with the plans we have in place to continue to improve in this vital area of our industry.

Our success comes not only from teamwork but from our shared passion and the ability to think around issues to come up with creative solutions. If I can empower the team to be successful in their roles, then I will be successful in mine."

Postie has the foundation of a strong ethical and environmental program in place which we are really proud of, and it’s continually improving. apparelmagazine.co.nz

I 33

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