Apparel Magazine | May 2018

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MAY 2018 I VOL 51 I NO 05

JOURNEY OF A GARMENT pg.8 iD DUNEDIN FASHION WEEK pg.18

TOP-QUALITY TESTING, ANALYSIS AND CERTIFICATION – WORLDWIDE WITH SWISS RELIABILITY, SINCE 1846.

EXCUSE ME, BIGFOOT COMING THROUGH Just when I thought my feet had reached their full potential, they have grown yet again. I have graduated to the bigfoot club with Paris Hilton, Uma Thurman, Kate Winslet, Cindy Crawford, Tyra Banks, and Audrey Hepburn. I just have one question, why are my options so limited? Now a comfortable EU42/US11, these bad boys can’t seem to find any shoes that fit – and I’m not alone. Many larger shoe enthusiasts are stuck forcing their feet into the closest size they ​can get. This is driven by both vanity and availability. The results?

Bunions, pain, joint problems and foot deformities. No, I didn’t do ballet, these are just my feet!

In 2014, the most common female shoe size went from a four to a six, and a size jump from eight to a ten for men. According to the College of Podiatry, human feet are increasingly growing larger by an average of two sizes over the last four decades.

The average American female foot in the 1960s was a US size 6.5, now the average is broader and longer at a sturdy US size 9 and growing. ​In this relatively short period of time​, f​rom 1870 to 1980, the European ​men grew five inches taller, from 5’5 to 5’10. This is almost half an inch per decade. As populations became healthier, with better diets and housing, the population grew taller. And taller people have BIGGER FEET. See where I’m going with this?

However, height is not the only factor. In fact, I have met a huge array of women with size 10 feet who are all different heights. Some short, some tall like myself. I’ll stop nagging when someone launches a full range with size 42’s available. Bigfoot consumers exist, I promise! Don’t do the whole, ‘oh well this shoe runs a little small in sizing so we should add a 42 for people who are 41’. ​Bigfeet consumers deserve nice shoes like the rest of the small-footed world​.​ I spoke with Mi Piaci and Merchant 1948 who are constantly analysing sales in relation to their stock holding, to see if a size is trading over or under based on the amount of stock they have bought. “We factor in the fit of a last and previous sales history; many styles from Spain fit on the small side, so we will adjust the size curve to order more of the larger sizes and less of the small.” Their size curve is based on a bell curve of the population. Approximately 50 percent of their sales come from ​women’s ​size 38 and 39. With their in-house design team, they usually have a sales history of how a last fits and new styles ​ are ​built on a particular last, this will have a size curve allocated according to previous sales. Successful lasts are indented in greater quantities due to their history

CHAIRMAN

Peter Mitchell PUBLISHER Tania Walters - tania@reviewmags.com GENERAL MANAGER Kieran Mitchell - kieran@reviewmags.com EDITORIAL DIRECTOR Sarah Mitchell - sarah@reviewmags.com EDITOR Caitlan Mitchell - caitlan@reviewmags.com STAFF WRITERS

Mark Fullerton Georgina Mckimm ADVERTISING SALES Caroline Boe - caroline@reviewmags.com

2 I May 2018

of sales. “Of course all retailers would love a crystal ball to predict how much stock to order in advance, but with a mix of sales history and gut feel, we are usually able to predict where to invest​. Another challenge is quantifying customer feedback and balancing this with the cost of making lasts in outer sizes, and producing stock for the smallest segment of our customer base.​“ ​Even though the team at Mi Piaci and Merchant 1948 said they would love to supply all styles in all sizes, there are simply limitations to how much stock they can buy and t​ he ​risks that come with it. “It’s a constant juggling act, but we always work towards supplying our customers with what they are asking for.”

Attention bigfooted brothers and sisters; call your favourite shoe store today and ask for bigger sizes​.

Customer feedback is key to keeping retailers on their toes​, and keeping your toes safe.​ This month I’m in Portugal for UITIC exploring the future of footwear. Follow my journey through the footwear industry in Europe on Instagram (@NZApparel) or on our website. I will also be unpacking the event in our next issue. Stay tuned.

A young woman was on holiday in Louisiana, and wanted a pair of genuine alligator shoes. She was reluctant to pay the high prices local retailers were asking for, and after the no-haggle attitude of one of the retailers, she lost it. “Maybe I’ll just go out and catch my own alligator so I can get a pair of shoes at a reasonable price!”

The retailer replied, “By all means, be my guest.

You might just luck out and catch yourself a big one!”

Determined, the woman stormed out of the store and headed for a nearby swamp. A few hours later, the retailer was driving home and spotted the same woman standing waist deep in the water, shotgun in hand. As he pulled the car over, a nine-foot-long alligator swam quickly towards her. She took aim, killed the alligator, and with great difficulty hauled it out of the water. Lying nearby were several other dead alligators. The retailer watched in awe. The woman flipped her latest victim onto its back. Frustrated she shouted, “Damn it! This one isn’t wearing any shoes either!”

caitlan@reviewmags.com

@NZAPPAREL

SENIOR DESIGNER GRAPHIC DESIGNER ISSN 1171-2287

Raymund Sarmiento Ciaran Carroll

Level 3, Suite 9, 20 Augustus Tce, Parnell, Auckland, PO Box 37 140, Parnell, Auckland Tel (09) 304 0142 Fax (09) 377 2794 NZ Apparel is published monthly under licence by Review Publishing Co Ltd. Please direct all enquiries and correspondence to NZ Apparel. The opinions and material published in this edition 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 publisher. Copyright 2018 NZ Apparel Magazine.

The Parisian Field Guide to Men’s Style

By Ines de la Fressange and Sophie Gachet After their success with Parisian Chic, these bestselling authors have unveiled in their latest book the secrets of genuinely stylish men.

This must-have read offers accessory, tailoring and grooming advice, as well as wardrobe essentials and fashion don’ts. The Parisian Field Guide to Men’s Style is a humour filled guide on how to avoid the fashion faux pas and cruise through life with style and panache. Because attention to detail is the key, the authors advise men on colour and cut as well as step-by-step instructions for five different kinds of tie knots, to give that common black tie a little something more.

ALAÏA: Livre de Collection, Été 1992

By Prosper Assouline Assouline’s book offers an inside view of the creative universe of Azzedine Alaïa and how his collections were shaped.

The French editor, who compares the work of his designer friend of 35 years as the one of a sculptor, takes readers through the complete process of a fashion show, starting from the designer’s inspirations to the show’s item of décor. This book, which is a re-publication of the “Collector’s Book” 1992 edition, reflects the designer’s intense work and features photographs by Assouline. Of which manages to capture the emotions, colours, fabrics and shapes that went into the creation of Alaïa’s Summer 1992 show.

FASHION: The Essential Visual Guide to the World of Style

By Karen Homer Fashion journalist and author Karen Homer gives her readers insight into the world of style and a story about fashion in an unexpected way. Through stunning illustrations, she underpins the heritage and traditions of the fashion world and covers its every aspect from natural dyes and sustainable fashion to accessory and footwear trends. She takes readers through the story of the little black dress and the ones of fashion icons such as Kate Moss, Audrey Hepburn, Marilyn Monroe and Jackie Kennedy. This stylish guide offers invaluable information and will delight every fashionista.

swatch watch

ESPRIT TO EXIT NZ

Esprit has become the latest international fashion giant to pull out of the Australian and New Zealand markets. The move will see the closure of 16 retail stores, 38 concessions, 13 factory outlets as well as Esprit’s local online store, by the end of 2018. The business, which was founded in San Francisco and is now headquartered in Germany but listed in Hong Kong, had been making losses in its Australasian markets for some time. Esprit recorded USD$50 million in sales in the region last year, accounting for less than two percent of its worldwide revenues.

“Esprit’s operations in Australia and New Zealand have been loss-making for some time, despite intensive efforts made by the teams in the past years to turnaround its business,” executive director and group CFO Thomas Tang said. “To strengthen our foundation, the Group intends to withdraw from these markets, and this will allow us to concentrate efforts and resources to develop other markets in Asia.”

“Esprit is the latest apparel and footwear retailer to fall victim to Australia’s competitive retail market,” said Euromonitor senior research analyst Hianyang Chang.

“Alongside other retailers such as Topshop, Marcs and David Lawrence, the global fashion retailer’s decision to exit the Australian and New Zealand market was not surprising. Fast-fashion giants such as Zara and H&M, which offer on-trend clothing at rock bottom prices, have resonated better with customers. Furthermore, high rental, wages, transport and distribution costs have also made it expensive to operate in Australia and New Zealand.”

Tang said that gift cards would be honoured until the closure, and that the company would fulfil all obligations to its 350 employees across the two countries. The exit is expected to cost between NZD$26-35 million.

ICEBREAKER BUYER USED SWEATSHOPS

VF Corp, the company which purchased Icebreaker in early April for $288 million, has been revealed to have had a dubious history regarding workers rights. The company, based in Pennsylvania, also owns Timberland, SmartWool, Vans, The North Face and Lee, has been involved in a series of cases involving bad working conditions in Asian factories. One investigation found that a factory in Cambodia used by VF Corp forced women to work for ten hours a day, six days a week with poor food and in stifling heat. The conditions came to light after 360 women collapsed. Another investigation found that around 500 workers had been hospitalised after working in four factories used by VF Corp. The news is a blow to the reputation of the Icebreaker brand, which had recently been given an A+ by international development group Tearfund. It was Tearfund’s most improved, having been given a D- rating the previous year. The ratings were based on

transparency across the supply chain. In the same ratings, VF Corp received a B, although was given a C for auditing and a D+ for worker empowerment.

In its report at the time of the sale, the Overseas Investment Office concluded that VF Corp had “relevant experience and acumen and are of good character”, but documents pertinent to the decision obtained under the Official Information Act showed that VF Corp had been involved in almost 30 civil lawsuits in the US alone. However, the OIO found that none of the lawsuits involved the ‘good character’ of the company.

‘AMAZON TAX’ NOT GOLDEN BULLET While retailers are welcoming the government’s so-called ‘Amazon Tax’, one retail expert has claimed that it might not be the quick-fix that bricks and mortar stores need to stay viable. Online retailers will be required to collect a 15 percent GST if their net sales to New Zealand are more than $60,000 a year. Foreign

4 I May 2018

companies will collect GST on goods valued at under $400. However, Craigs Investment Partners head research analyst Mark Lister has said that collecting GST on online orders would not solve all the problems faced by physical retailers in the current market.

“While it’s a positive, there’s still a lot of things out there that is making life quite difficult for retail,”he said.“Online shopping is still an attractive way for consumers to buy products — price isn’t the only reason, convenience is also a factor, but a lot of products still may end up a little bit cheaper.” Lister said that collecting GST on low-value goods would not have enough of an impact to disrupt consumer habits. “I don’t think it’s going to make a massive difference to consumer behaviour. It is a positive but it’s an incremental positive rather than a game-changer.” However, the share market responded positively to the move. Hallenstein Glasson Holdings’ share price increased by 70 cents, or 1.5 percent, immediately following the announcement.

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MOHAIR SALES BANNED

Several top international retailers, including Arcadia Group, Inditex, and H&M Group have pledged to stop the sale of mohair after PETA released a damning exposé of the mohair industry in South Africa – the source of more than 50 percent of the world’s mohair. PETA Asia’s investigation, which is the first of its kind, involved 12 farms which were visited in January and February of this year. The expose showed workers horrifically abusing and slaughtering goats, all for just a mohair jumper. PETA US is asking law-enforcement agencies to investigate and file charges, for what the group believes are violations of South Africa’s Animals Protection Act, 1962. “Baby goats were left screaming in pain and fear on the shearing floor, all for mohair jumpers and scarves,” said PETA spokesperson Emily Rice. “PETA is urging shoppers to check clothing labels carefully and if it says ‘mohair’, leave it on the rack.” In an unprecedented move, large retail brands have come on board with a pledge to ban mohair products. Arcadia Group will no longer purchase mohair for any of its eight brands, which include retail giant Topshop and Gap Inc. has also vowed to no longer source mohair products for Old Navy and its other brands. H&M Group, and Inditex’s seven apparel brands, which include Zara, have all promised to be mohair-free by 2020.

SHOP THROUGH INSTAGRAM

A new shopping feature on Instagram lets retailers tag the name and price of a product in one of its images, allowing users to click through and purchase the product straight away. The feature is a natural progression for Instagram, which has shifted away from a personal image-sharing network to one embraced by businesses, primarily for marketing purposes. Retail NZ general manager Greg Harford said the shopping feature was logical. “Social media is increasingly the future of the way of reaching audiences who spend,” he said, while acknowledging that it could prove to be a challenge to retailers who were yet to embrace social media. “We are increasingly in an environment where retailers need to be everywhere.” While many retailers already use social media like Instagram for marketing, the ability for consumers to click through and buy straight away would appeal to a younger consumer base, he said.

AVENGERS: Infinity War

I FEEL PRETTY

READY PLAYER ONE

The third movie of the Avengers series delights its fans with an eventful crossover that features new costumes and weapons.

The costume designer, Judianna Makovsky who previously worked on Harry Potter and The Hunger Games had to create thousands of garments for the production of the Marvel crossover. She believed one of the hardest things was to be able to gather all the characters in the same movie and keeping it comprehensible.

Most characters kept the same costume as the one they wore in their previous movie. However, they all went through slight changes and improvement. While the attire of the Black Panther and Thor were characterised by their technological advancement and modern materials, Captain America’s iconic white star, bold colours and round shield disappeared to give way to a grime-stained costume featuring muted tones and minimal black arm guards.

Most costumes are the result of previous events and the reflection of their evolutions as characters.

Amy Schumer’s new movie is all about selflove, inner confidence and this woman, Renee, who suddenly feels like a top model after a hard hit on the head.

This movie, which addresses the hot topic of body acceptation, features garments that inspire happiness, youth and confidence.

In fact, costume designer Leesa Evans, who also happens to be Amy Schumer’s stylist in real life, manages to pair colours, patterns and textures to create a look that aspires positivity.

“Having worked in fashion and style and costume design for such a long time now, I’ve learned, working with people in fittings, that when you feel good about yourself and about what you’re wearing, anything is possible,” Evans says. However, she is a believer that clothes can play a significant role in helping people to find their inner confidence.

Renee’s wardrobe’s composition of bright and pastel colours, as well as bold gingham and floral prints, is an excellent example of how it can impact on someone’s assurance and positivity.

This long-awaited adaptation from the best-selling novel Ready Player One was directed by Steven Spielberg and is an impressive mash-up of hundreds of popculture items.

The movie takes place in the future U.S. of 2045, where the only way for people to escape is through the VR system called the OASIS, inspired mainly by the 1980’s pop-culture.

The virtual platform enables the players to look and dress the way they desire, which results in a mix of 1980’s icons’ inspired outfits and the feature of actual Pop-culture characters such as Pac Man, King Kong, the Iron Giant and Harley Quinn just to cite a few. The main character’s costumes feature inspirations from Mikael Jackson’s Thriller music video, Walt Disney character Jessica Rabbit and other movie inspired outfits. All these allusions immerse the viewers in the video game and Pop culture world and provoke a feeling of nostalgia as it draws from references from our past.

6 I May 2018

Bernadette Casey CREATIVE DIRECTOR, THE FORMARY

April was a big month in the sustainable fashion calendar, and this year it marked the fifth anniversary of the Rana Plaza tragedy where 1,138 garment workers were killed and a further 2,500 injured in the factory collapse in Bangladesh. The appalling event galvanised people much as the same way as the Nike child labour incident decades ago.

Resulting in the emergence of organisations like Fashion Revolution, whose social media platform is a call to action through events like Who Made My Clothes where consumers put their clothes on inside out and photograph the label, calling for brands to make their supply chains and workers conditions transparent. Is it making a difference? According to Fashion Revolution, it is.

2017 saw two million people engage with Fashion Revolution in April through events, posting on social media, viewing our videos or downloading resources from our website. 66,000 people attended around 1000 Fashion Revolution events, from catwalks and clothes swaps, to film screenings, panel discussions, creative stunts and workshops. A further 740 events took place in schools and universities, assisted by our network of 120 student ambassadors around the world.

Fashion Revolution as a global movement encourages individuals and organisations to put on events to raise awareness of the issues with our current clothing system. This year I spoke at two sold out events.

Victoria University Development Society held A sustainable Fashion Forum with panellists from across charities, ethical brands and recyclers. Wellington also hosted a mini Sustainable Fashion conference, Fashun Statement, with panellists presenting a broad perspective of the fashion industry.

From Paul Egdar Bird whose brand Egdar and Bird create clothing solely from re-engineered garments to Brian Johnston whose international career working for brands such as Asics brought a global view focused on the move to robotics in the industry. The packed theatre was indicative of the rapid rise of interest in sustainable fashion.

Tearfund’s Ethical Fashion Guide is also a significant development that emerged from the tragedy. The report puts a spotlight on brands, inviting clothing companies to report on workers conditions in their supply chains. According to Tearfund’s website, it can be used to: “reduce worker exploitation and alleviate poverty in developing countries where clothes are manufactured. It grades fashion companies on ethical practices in their supply chains, giving you the power to shop ethically and use your voice to encourage greater transparency.”

I sat down with Claire Hart, Tearfund’s Ethical Fashion Guide’s producer to get a better understanding of how the report evaluates brands. She explained that reporting is optional if a brand does not wish to participate then Tearfund uses publicly available data to assess a brands performance. And if the brand has not released information on their supplychain performance? Case in point, this year being the Trelise Cooper brand receiving an F rating, not necessarily because there is anything wrong with their supply chains, but in choosing not to participate researchers were left to make an assessment from public information, as there was no available information the company earned an F rating.

“These days, a business that is not sharing information on its social and environmental performance is perceived as underperforming or, even worse, being ignorant,” explained sustainable fashion consultant Brian Johnston of Proxima. Transparency is the new norm.

The report has been a catalyst for some companies to up their supply chain performance following less than stellar ratings, companies like Icebreaker transformed

from a D- in 2017 to an A+ in 2018. Meanwhile, Karen Walker went from an A in 2017 to a C in 2018.

Hart explained that this is not reflective of a slip in performance, simply due to the Karen Walker brand not completing the assessment this year. Meaning data was gleaned from public documents, and a C using public data is a good rating according to Hart.

The ratings delivered by the Tearfund report are used beyond their own organisation and consumer’s own personal use, the data is also the base data for the Good On You app. Which according to their introduction gives users trusted ethical ratings in the palm of your hand. This innovative, location-based shopping app helps you find the brands that match your values.

Empowering customers to make informed sale decisions based on the ratings available in-app.

The high ratings of some global brands have confused some consumers, questioning how sustainable are these brands really? The report’s focus to date has been on brands social performance (how well are supply-chain workers treated), but environmental and social conditions are deeply entwined. One cannot ignore the environmental conditions, the level of pollution from production, the lifespan of workers exposed to toxic dyes and finishes or pesticides in fibre production. Tearfund acknowledges this gap and are working on their environmental framework to include environmental impacts into their next report.

For some time, market research company Neilson has been alerting the industry of the significance of

“These days, a business that is not sharing information on its social and environmental performance is perceived as underperforming or, even worse, being ignorant.” environmental and social considerations. “Consumers around the world are saying loud and clear that a brand’s social purpose is among the factors that influence purchase decisions,” said a spokesperson from Neilson in 2014.

A New Zealand research document The Future of Trade from Horizon Research states that over onethird of New Zealanders would consider boycotting businesses that are not environmentally responsible. In the same way that boycotts punish, purchasing rewards.

The approval of a product or brand results in earnings for the parent company. By purchasing from ethical and sustainable products, you reward businesses who reflect consumer values with the expectation of positive social and environmental outcomes.

Unilever’s sales reported their sustainable living brands grew over 50 percent faster than the rest of their business in 2016 and delivered over 60 percent of Unilever’s total growth in 2016. An increase of 46 percent from the previous year. Evidencing that ethical approaches to business do in fact reap the rewards beyond the reputational, the rewards are both tangible and financial.

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This month we explored a range of companies who work behind the scenes in the journey of a garment from inital concepts to final display.

EFFICIENT AND EFFECTIVE

With importers and retailers not wanting to tie up capital and resources in the own distribution centres, or renting larger commercial spaces allowing for mostly storage, New Zealand fashion logistics company DSL has developed a warehousing and distribution service to specifically meet the needs of the industry.

“More and more companies are utilising thirdparty logistics services to look after their warehousing because it allows them to concentrate on their core functions,” said John Widdows, a director of DSL Logistics. “There are normally large savings in getting a 3PL to look after your warehousing. You just need to find one that is flexible and will work with you without having to change all your normal in-house procedures.”

An efficient pick-and-pack operation is operated out of a spacious and modern warehouse near Auckland airport. Orders are processed within half a working day of receiving them and clients can track them through the web to its final destination. Clients are also able to track stock levels to get instant reports of stock movements.

The company is also only one of three businesses to have a steam tunnel, which can tailor speed times to steam various material qualities alongside its hanging garment rail system that keeps garments on the move efficiently and effectively.

For more information visit www.dsl.co.nz or call John Widdows on +64 9 255 2560.

8 I May 2018

FROST TEXTILES

With over forty years’ experience supplying the fashion and apparel market, Frost Textiles is one of the best when it comes to providing customers with the latest textiles. The team continue to source and develop product for its valued clients and have a vast, reliable network of suppliers around the globe who are developing the latest textiles for the industry. As the industry is changing at a fast pace, the team at Frost Textiles source product from around the world for new collections being released five times per year. The showroom always has something new to show.

Product categories that Frost Textiles caters to are; fancy, novelty and special occasion; plain, basics in a range of colours both in knits and woven; stripes and textures, available in knits and wovens in polyester, viscose, cotton and linen; luxurious natural fibres, cotton, linen, cupro and tencel as well as dance, party and costume. With low minimum purchase amounts, the latest in high quality and on-trend fabrics, Frost Textiles is ahead of the pack.

For more information call 09 360 8581.

VERSATILE LOGISTICS After finding a gap in the market for transporting hanging apparel on a daily schedule, Apparel Line has grown from strength to strength and has experienced year-on-year growth of 20 percent. The company offers a wide range of options for moving freight throughout New Zealand and provides customers with the flexibility to choose which option best suits their requirements.

From high-end fashion to chain stores and boutiques, Apparel Line specialises in offering a range of courier services to cover the freighting requirements across the industry. As the business has expanded, its offering now incorporates the giftware and homeware industries.

Unlike other courier services, Apparel Line offers the option of moving freight on post-paid tickets, meaning there is no upfront cost to businesses. Other services include prepaid satchels for moving smaller items nationwide as well as a specially developed IT system providing customers with the option of producing their own labels, with courier tickets that can easily be attached to consignments. With a fleet of eight vehicles across Auckland,

Hamilton and Christchurch, the team are equipped to move garments efficiently.

Apparel Line offers a range of services in addition to garment delivery, including helping retailers move stock and shop fit-outs to new locations and bringing in shopfittings of any size to new locations at all hours with specially designed tail-lift trucks. New store openings, relocations, refits and transport are not a problem for the versatile logistics company. Apparel Line has proven excellence in customer service and relationships and has provided them with the best possible, cost-effective solutions that are tailored to meet individual needs.

For more information call 09 526 1913.

Michelle Bayley PATTERN POTENTIAL

From a young age, Michelle Bayley knew that she wanted to work in the fashion industry. She studied at Wellington Polytechnic, soon securing her first job at Ashley Fogel.

“Back then Ashley Fogel was a large company based in Miramar with everything under one roof,” she explained. “They had a design and patternmaking team, cutters, machinists and a pressing department.

This ensured every garment was monitored from start to finish.” Bayley started cutting linings and worked her way up to grading patterns before she moved overseas. She has recently joined the team at Pattern Potentials.

“Like most industries, the fashion industry has had to change and evolve to fit in with the requirements of the designers,” said Bayley. “A lot of the factories and processes have had to evolve to fit in with the seasons and quick turnarounds to get stock into the retail store or direct to the customers via their website. The aim is always the same though; to produce high quality garments designed and made in New Zealand.”

Once a range is created, Pattern Potentials works with the designer to create new patterns or alter existing ones, using CAD technology to ensure that the process is efficient and accurate. Once patterns are approved, they are graded and markers are made and sent off to cutters or to the designers themselves for the next stage in the process.

“There are a lot of aspects that come together to create the end result,” said Bayley. “Each part of the process is done by a passionate group of people that are always happy to offer their expertise.”

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E-COMMERCE IS A MUST A survey conducted by PwC found that 40 percent of consumers worldwide prefer to buy apparel and footwear on the web, compared to 37 percent who buy health and beauty products online. Over fifty percent of them prefer to research their fashion purchases on the web compared to just over thirty percent of consumers that go in-store. “Of all product categories, apparel/footwear has the highest consumption likelihood in the last year (77 percent), with 28 percent of consumers worldwide buying the majority or the entirety of their apparel and footwear online in the same twelve months,” said PwC. The study, conducted in 29 countries, shows that e-commerce is a must for retailers and designers alike. Last year in the USA alone, more than a thousand fashion retailers shut down and retail cuts are even more severe than even in the Great Recession in 2008. Changes in consumer spending habits, alongside digital innovation and rising globalisation, the fashion industry has seen some significant shifts. A huge part of this comes down to opportunities in the expanding global markets outside the West, the rise of online and smartphone access to sites, as well as innovating technologies to create experiential ecommerce as consumers, particularly millennials, are demanding a lot more, not just from their clothes but also from customer experiences. It is estimated that millennials will have the biggest spending power by the end of this year than any other generation.

At a recent Growing Your Online Funnel Webinar, data showed that personalisation is a leading factor in e-commerce at large. Forty-three percent of purchases are influenced by personalised recommendations or promotions while 75 percent of consumers prefer brands to personalise messaging, offers, and experiences.

An overwhelming, 94 percent of companies see personalisation as critical to current and future success. Retailers should be building a personalisation profile similar to Netflix by tracking user behaviour and using it to build their unique online experience. This can be done either session-by-session or by account. True personalisation goes beyond the typical ‘if you watched’ or ‘if you brought this’ or ‘you might like’ to the visuals that are used to present products themselves. For example, visitors who have browsed or purchased women’s clothing should experience a homepage tailored to that history. Situational targeting can also be implemented by using data points like location and weather to curate offerings.

Learning about your customers can help retailers identify people who are more or less likely to return an item as well. This data can also be used to wean out those customers who are serial returners and retailers can avoid offering discounts, promotions and shipping options to them. Value-add services like virtual personal styling assistants to loyal customers has proven to increase customer retention.

And it goes without saying that social media is a driving force when it comes to e-commerce, but sadly most brands are plagued by a single sin. “Most branded content is advertising under a thin layer of information or entertainment,” said Andy Crestodina. “Scratch the pain, find an ad. It’s the brand putting itself first.”

Instagram’s engagement levels when it comes to apparel brands has skyrocketed over other social media platforms such as Facebook.

The real power however, will now come from integrating multi-channel e-commerce to create anywhere-commerce by building direct buying paths where your audience spends their time. Shopping on Instagram and Facebook will only get easier and easier to the point where you don’t even have to leave the platform to make the purchase.

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10 I May 2018

BUY NOW, PAY LATER

In less than a year since launching, Laybuy has quickly become a must-have for NZ retailers. The buy now, pay later provider is now used by over 165,000 New Zealand consumers and available at over 1,950 locations nationwide.

The fast growing New Zealand startup has attracted the attention of leading New Zealand fashion retailers such as Superette, Karen Walker, Shine On & Ruby, just to name a few who offer their service. Laybuy brings the traditional lay-by system into the 21st century digital world through their solution allowing your customers to buy and receive their goods today, and spread the total cost over 6 weekly payments interest free with no extra costs.

Laybuy is available for both online & in store shopping, and their service can seamlessly integrate with all major web stores as well as a large variety of POS providers including Vend, Advanced Retail, Ontempo and Retail Arena to name a few. Laybuy also offer a standalone POS solution, LaybuyGO, which can be used for instore purchases and does not require any integration with your POS system.

This web-based solution can be enabled in a matter of minutes once a retailer signs up with Laybuy.

“Creating a user friendly in store solution that is quick and easy to use for both retailers and shoppers has always been a focus for Laybuy. We’ve seen great results from retailers offering Laybuy both in store & online and creating a seamless omni-channel experience for their customers.

LaybuyGO has helped make our service available to all retailers regardless of their POS provider instead of waiting for integration with their POS provider which can be both timely and expensive,” said Alex Rohloff, Head of Operations.

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I 11

DESIGNER PROFILE: AMBER WHITECLIFFE Amber Pinto, nee Whitecliffe, comes from a lineage of designers. Her parents founded the prestigious Whitecliffe College of Arts and Design, and she has followed in their footsteps.

Pinto, 30, graduated with a BFA in Fashion Design from Whitecliffe College of Arts in 2009. Following this, her experience working in a variety of roles, including working with high-profile designers such as Dame Trelise Cooper and Lucie Boisher, as well as a two-year stint with textile and trimmings company Hawes and Freer, has refined her skills and confidence to lead her to launch her self-titled label, Amber Whitecliffe, in November 2012.

In June 2013, she made the big step of leaving her full-time job to concentrate all her efforts on the label.

Less than twelve months later, the fruits of her labour were rewarded as she launched her own boutique.

Her small team of six is based in Parnell, Auckland, and between them they do everything; from the design

process to the garment being displayed in the store for the customers. Amber Whitecliffe is a very environmentallyconscious boutique. Some of their environmental efforts include using all the offcuts possible and sending the excess to students, florists and cake artists.

The label is best described as feminine, high quality and striking as Pinto enjoys the use of colour and beautiful sparkly fabrics and aims to make each piece a work of art and have a distinct and unique ‘Amber Whitecliffe’ point of difference.

Pinto specialises in creating seasonal collections and one-off pieces, custommade for events like weddings or the races. “I do very small runs of my designs - often they are one-offs meaning you won’t see anyone else in your garment.”

Where possible, natural fibres are used throughout the collections which offer long-term sustainability.

Synthetic options are also available for more money-minded customers, or for those who prefer the ease-of-use that

synthetic materials provide.

Fabrics are sourced primarily from New Zealand wholesalers, continuing her support of the local fashion industry.

Pinto recently travelled to India, where she was able to source some stunning fabrics. In her journeys to Bangalore and Mumbai she came back with metres of material to create exclusive designs with. Clothing with these materials will be released throughout the year.

All the fabrics sourced from India and abroad are all ethically produced.

Her concern for the ethics and legality of the materials she uses, and how they are produced, runs deep.

“I am striving for this knowledge and hope however that over time and with a push from everyone globally to share this information transparently we will eventually learn with 100 percent certainty every single step or where it has been done and by who,” said Pinto.

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12 I May 2018

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I 13

FRUMPY AND CLUMPY IS IN

Sexy, feminine high stilettoes have been set aside making way for the down to earth, ‘sensible’ footwear trend.

Comfort and mobility are overriding the skyscrapers with consumers choosing to choose that which were once reserved for the elderly or ‘mums’. Spotted on runways and all over Instagram, they are now a retailer’s go-to with stilettos now

resulting in only a small proportion of sales, eclipsed by flats, sneakers, loafers and kitten heels. Alessandro Michele’s array of heavy loafers for Gucci, or Balenciaga’s platform Crocs, it’s anti-fashion, with consumers making a bold ‘I don’t care’ social statement.

Inspiration has been drawn from popular orthopaedic brands. The term ‘man-repelling’ has been coined when talking about this particular new shoe trend.

FROM HATS TO HEELS

Rebe Burgess launched her new Italian boot line this month.

With quality and production being the core to the Burgess brand, the boots are hand-made in a small, family-owned artesian workshop and have a Vero Cuoio stamp. They are made with only the best Italian calf leather from local Italian tanneries. Not only is the boot shape and design entirely exclusive, but the handstitched inner sole makes for a lighter, flexible shoe which is more resistant over time and a true investment piece. The boots come in two colours; Light Taupe and Black.

LOGOMANIA HITS AGAIN

The Millennial trend of Logomania is making a comeback. Italian labels like Missoni, Gucci, Prada and Fendi, are adopting the popular trend like never before. Owning their heritage, Missoni created a capsule collection for its Prefall 2018 fashion show labelled “Missoni All Over.” The entire collection is dedicated to the brand’s famous logo which comes repeatedly inscribed across the footwear.

The logo talks the language of a label-obsessed millennial audience, making it a powerful tool. Fendi also relaunched its iconic “FF” logo friendly capsule collection aimed at the Millennial market. The famous logo, which was initially launched in 1965 by designer Karl Lagerfeld, took centre stage on the runway.

VEGAN-FRIENDLY FOOTWEAR This year has seen an influx of fashion brands pledging to go furfree. Luxury fashion brands Gucci, Versace and Michael Kors, among others have vowed to go full on fur-free. While this week several top international retailers promised to stop the sale of mohair after PETA released a damning exposé on the mohair industry in South Africa.

Emerging London-based footwear brand Nak has taken it no step further with the release of its latest range of vegan shoes for men

14 I May 2018

and women.

The shoes are meticulously hand-crafted in an Italian workshop using a revolutionary micro-fibre which is both waterproof and lightweight and mimics the appearance of real leathers. NAK whose name is an acronym for “No Animals Killed”, aim to highlight high-performance footwear that is ethical and sustainable.

URBAN REVIVAL Swiss label Bally brought back its Bally Animal sneakers range. A symbol of urban American street style, the sneaker helped to kickstart the brand’s fame in the U.S in the 90s. The collection is being re-released to coincide with the New Orleans Jazz & Heritage Festival. The collection includes both a high-top and low-top sneaker in three colours – red, black and blue. The range will be available for purchase at Bally.com and

select stores in the U.S. Pre-sales for the shoes are already in the hundreds with 90 percent of sales coming from America’s Southern States.

REB Footwear

REB Footwear started in July 2016 and was online for approximately one year. During this time, founder Nicole Schoefisch-Rebstock did pop-up stores and also worked part-time. In early 2017, Schoefisch-Rebstock decided that she needed to open a store as she had had such a positive response to her products. “I opened my first retail store in August 2017 and hope to open another in the near future,” she said. In the beginning,

Louise Anselmi

“I grew up in Palmerston North and went to Victoria University in Wellington. It was in Palmerston North I met Shane where he had his own footwear factory and a handful of Footwear retail stores in the lower North Island. At Victoria, I studied English literature, which set me up for life with an appreciation for written media and played into my passion for fashion and design.

After a few years, Shane and I moved to Auckland with our small baby and Shane was offered a role in his father’s discount footwear business. Once he had spent time in the business he saw the direction forward was to close the discount stores and open premium stores around NZ. We opened Overland Footwear 27 years ago using a premium high margin model, that offered an inspiring fit-out, great quality shoes and an amazing experience. I was at home with small children but never short of an opinion on the footwear in our stores.

Our first store was in 277 Newmarket, complete with dark green, wooden interiors and a glossy dark green

Schoefisch-Rebstock was lucky to have talented friends help her with her web design, photography and modelling. One of Schoefisch-Rebstock’s friends that she met by chance at University lives in Guangzhou in China working with her father. Schoefisch-Rebstock explained that she was going to Guangzhou to meet manufacturers and her friend told her immediately to stay with her.

“She looked after me while I was there, coming with me to visit a range of shoe manufacturers. It was so helpful as she was able to gauge things in a way I was not due to the language barrier and cultural differences.” SchoefischRebstock explained that her friend was pleased when she informed her of her manufacturing choice and accompanied her the first few times she visited the factory for production. “She helped me build a strong relationship with my manufacturer which is essential, especially when building a new brand,” she said. “I owe all of these women a lot as they all really contributed to getting the brand off the ground.”

In the very early days of Schoefisch-Rebstock wanting to open a footwear label, she knew she had a lot to learn. She got a job at Mi Piaci and worked there for two years where she was a part-time sales assistant.

During this time, the most valuable thing she learned was what customers want, like and why. From this, she could carve out a niche in the market that wasn’t being completely fulfilled. “Without that job, I truly believe

this would have been almost impossible. Working at Mi Piaci was a great time for me. It’s a fantastic company, full of wonderful people and they know how to make you feel valued in a way that other retailers have not mastered.” Soon after, Schoefisch-Rebstock went to London College of Fashion to pursue an intense shoemaking course which she said was exactly what she needed. The lecturers there could not have been more qualified, having worked as a designer for several major shoe brands in London. “It was like studying under Christian Louboutin. It was an absolute privilege every day, and I still keep in contact with teachers whenever I have more questions.” The whole experience gave Schoefisch-Rebstock a strong appreciation for her manufacturers who make each piece by hand.

REB Footwear can be found in their store on High Street in Auckland, as well as Amber Whitecliffe’s boutique in Parnell, Auckland. Schoefisch-Rebstock is heavily focused on her own store but has recently decided to branch out into other retailers. “I would love to open a joint store with another retailer if the product mix is appropriate.”

grand piano! This store was quickly followed by a store in St Lukes and one in Shore City. Our initial growth was fast, and after seven years Shane saw the need to implement more robust processes to support this rapid growth. Our retail teams attended the Harry Friedman selling seminars to implement a sales technique, that we have evolved and still use today.

In the early days, all our product was made in New Zealand, much of it from Fabia, Shane’s father’s footwear factory. Interestingly a review of old catalogues shows very little colour in our collections, a wide variety of designs but only in black! As the footwear industry shrunk and duty was lifted off footwear made in China, the NZ footwear industry ground to a close as manufacturers were unable to compete with the pricing from China. The move to sourcing product from China allowed us to be more diverse in our selection and this is when colour started to be used more freely in our ranges. The New Zealand customer also became more fashion aware as our fashion industry grew and more international retailers came to NZ. Once our children were old enough, it was just a natural progression for me to become involved with the business, more importantly with the SHOES!! I have always been a shoe lover and trust my instincts when it comes to shoes. Our team was initially just one buyer and Shane. Our buyer planned, bought and shipped all the product…..an enormous job. Over the years we have grown and evolved, 18 years ago we saw the opportunity to open the Mi Piaci brand, to showcase more premium product initially sourced in Europe but more recently designed in-house. In the early stages, all our product was bought from suppliers however the need for exclusivity and design saw us employ our own inhouse range builder approx. Eight years ago. We started to design and make our own product which enabled us to have designs exclusive to Overland and Mi Piaci. The design team has grown to 4 over the last couple of years and approx. 60 percent of Merchant (formerly Overland) product is designed in-house and 80 percent of Mi Piaci product is designed in-house.

We are very proud of this development in the business which, while not an easy process, allows us the creativity

and flexibility to build collections that we love and are proud of. My role is now “Head of design” which entails helping the teams curate brand-specific product and see this through the many stages of design, sample, production and marketing.

Our design process involves many steps and ultimately needs to be commercial. However, we proudly protect the process of creativity as this is the spark and inspiration that draws a customer to our brands. Our teams build their collections to a pyramid of Press, fashion and core design, to ensure our customers are both inspired, and their footwear needs are met. We are an inclusive business and seek feedback as often as we can. On a quarterly basis we have all our store Managers attend a Leadership Conference, and along with other things, we ask for feedback on our ranges. Store managers are a wealth of knowledge and often provide us with “robust” feedback from both themselves and our customers. We value this feedback, and it informs our decisions going forward.

Our Deuce brand is another area of the business we are very proud of. Earlier this year we reached the million dollar mark for funds raised for our charity, “The Young Hearts Project”. Deuce is our athleisure vulcanised product, made in our own plant in China. From every pair sold, we donate $5 to our charity, to support young people in gaining resilience and direction. We have partnered with both Youthline and Great Potentials, two organisations who work tirelessly to support youth in need. Retail is an exciting, ever-evolving industry, which gives Shane and I the opportunity to lead an inspiring group of people towards the same goal. As with any business we go through periods of ebb and flow……retail is challenging and we are at a real turning point, those that are unable to evolve and identify the opportunities to grow their business in new directions, will not survive.

Personally, design and retail keep Shane and I growing and learning. As a retailer you can never afford to be complacent, you are only as good as your last collection and a thirst for understanding trends, both in fashion and in retail, will ensure we are around to deliver inspiring footwear to New Zealand and Australia for years to come.”

apparelmagazine.co.nz

I 15

If it suits Suits have been a staple in men’s closets for a long time – since the 1800’s to be exact. The two and three-piece combo has graced the likes of Beau Brummell, the original hipster, Honest Abe, famous for his top hat, every mobster ever, rock stars, movie stars, presidents and the average working-class man.

LOANNES Resene Steam Roller

16 I May 2018

CELINE Resene Cruising

RACIL Resene Leap Year

HAIDER ACKERMANN Resene Buttercup

UNDERCOVER Resene Calibre

owever, it wasn’t until the 1900’s, that women started adopting the comfortable collaboration. 1914 saw fashion designer Coco Chanel produce her first suit, a knee length skirt accompanied by a fur-trimmed jacket, paving the way for women all over the world. The power suit now hangs as a staple in every woman’s wardrobe. From satin to plaid, wide leg to cigarette pant the options for the women’s everyday suit are boundless.

Céline’s Fall Readyto-Wear collection was a highly commercial

mish-mash of knits, silk printed dresses, leather and suits. Sizeable oversized wool coats are proving to be the ‘it’ item this Spring, a nod to the heydays of the ‘90s. The team at Céline put a twist on the classic suit, combining felt fabric with retro bell bottoms in a colour similar to Resene Cruising. A neutral palette dominated the show, dark shades of grey, and black lightened with white and different shades of brown. The show created pockets of interest with the use of drapery, unusual leather capes and extra wide pants.

Pastel made a comeback in the Haider Ackerman 2018 Fall show. Anything but neutral, the show ran through all the colours of the rainbow from pink velvet to satin fabrics in a hue like Resene Buttercup.

Coloured stockings and matching lace-up heels transformed models into giants creating the illusion of longer legs. Pyjama style satin suits, long jacket dresses and renaissance patterns added a sense of sophistication to the show as models stomped the runway to rock music. The combination of colours and materials contrasted with dark lighting and rock n roll vibes.

The Loannes Fall runway aimed to empower women and went against the grain of traditional hierarchy. Suit pants were a must for designer Johannes Boehl Cronau who offered up an array of different styles of trousers.

Kick flares and extra fat wide leg pants took to the stage paired with bulky blazers and gloves that nearly went all the way up to the shoulders. A colour close to Resene Steam Roller was at home on these genderbending outfits, that saw a mix of both masculine and feminine styles come together.

Jarheads were well represented during the show with military type utility jackets covered in pockets making a comeback this season.

Designer Jonathan Anderson took Iron Man’s famous “Suit up” quote and ran with it for his 2018 fall runway show. Models were covered in everything

from the classic suffragette suit to traditional tweed combinations. Oversized pockets made an appearance once again during the Loewe show as did the return of the neutral palette. Dark tones of greys and navy were broken up with the use of tweed patterns and delicate white lace dresses. Tweed suits in a colour similar to Resene Paddock were given a point of difference with slit sleeves and Aztec style accessories.

Yves Saint Laurent revolutionised Women’s fashion with the creation of the “Le Smoking suit”, the first tuxedo for women. Racil Chalhoub Readyto-Wear Fall 18 collection clearly entered into the world of suits with this in mind. Bright colours similar to Resene Leap Year gave the group a modern touch, as did the use of different fabrics including patterned satin ensembles and velvet pieces. Colours and materials clashed as teal was mixed with green and sequins were seen being paired with satin.

Elegant ankle-length dresses with long sleeves did their part to give the collection a much-needed feminine touch.

Undercover’s Fall 2018 Collection was an ode to youth. A cameo from Stranger Things star Sadie Sink was a perfect pairing. The tween walked the runway in an all red outfit and a baseball style jacket with white sweatpants. Varsity letters were used to spell out carpe diem themed slogans that appeared on everything from rubber gumboots to hoodies.

Putting a twist on the traditional suit, designer Jun Takahashi added a drawstring hood to the typically more conventional form of business attire. A shade close to Resene Calibre was used to juxtapose the youthful uniform colours that the young models were sent down the runway wearing. Unusual fur covered shoes gave an appropriate tip of the hat to Sesame Street as did the use of Big Bird yellow. The show aged in front of guests eyes as the collection transitioned into black clothing with hints of white for a more sophisticated look.

Pretty Women and Where’s Wally had an unusual meeting at the Valentino fall show. The model sported a Julia Roberts style, Where’s Wally red coloured blazer similar to Resene Poppy. While the rest of the show was slightly more understated in its colour the pop of red featured in the middle of the collection added a touch of vibrancy. Designer Pierpaolo Piccioli used bold floral patterns as the focal point of his romantic collection putting a spin on the more traditional delicate interpretation of romance. Dresses and suits made up the entirety of this beautiful collection with puffed hoods and sleeves adding a point of difference.

Colours available from

VALENTINO Resene Poppy

LOEWE Resene Paddock

Resene ColorShops www.resene.co.nz

0800 737 363 apparelmagazine.co.nz

I 17

SARAH LIM

During her time at University of Technology in Sydney, Sarah Lim discovered collaboration is key. “There’s no way to achieve everything by yourself and never underestimate the value of your peers’ opinions,” explained Lim. “I’m very grateful for anyone who has taken the time to help, critique or explain things to me.” Now a fashion and textiles graduate, Lim said studying fashion was an accident. With a background in illustration having exhibited both locally in Australia and internationally, Lim has always had an interest in subcultures and how interests and personalities are reflected in the way you dress.

It was discovering designers like Rei Kawakubo and Junya Watanabe that really excited Lim, because of their conceptual approaches and pushing fashion beyond conventional means. After seeing their early runway presentations, she remembers being very moved by the fact that fashion could be anything you wanted it to be.

A highlight in the collection Lim presented at iD was her houndstooth look. Lim explained that it best represents her collection as a whole because of how it expresses the blending of knit and woven materials. She presented five looks in total, all of which were bespoke one of a kind pieces that she sells online. This collection was an exploration of the spaces in-between and a celebration of queer identity. “I wanted to find ways to deconstruct suits and sweaters as symbols of work and

LISA LIU

Lisa Liu’s brand, Lisazhl specialises in womenswear and has an affinity for silhouettes and colour. “Get ready for a lot of colour,” advised Liu. At first, Liu was inspired by designers like Iris van Herpen and HUssein Chalayan, who had very artistic collections. Nowadays, Liu finds herself inspired by designers like Craig Green, Miu Miu, and Maison the Faux. She loves looking at art, her favourite artists are Jeff Koons and Yayoi Kusama. Liu described their work as a feeling of joy and that is what she wants her work to emulate.

18 I May 2018

comfort to capture a momentary feeling through the unpredictable combination of intarsia with punch-card knitting, fringing and abstract machine stitching.”

Lim wanted the collection to speak into craftsmanship and sustainability, so all the knits have been handloomed from repurposed factory waste yarn, and all the fabrics have been hand-dyed and machine stitched.

Influenced by the way fashion can create social

Liu recently finished her Bachelor of Design with Honours in Fashion and Textiles in Sydney. “I picked up sewing in my last years of high school and fell into fashion from there. My influences have changed a lot over the years, but I still love the way fashion engages with the body.” While studying, Liu discovered that nothing will ever feel finished, and she could spend forever on one thing. “Time cuts your short.”

Her five-look collection she presented at iD Dunedin Fashion Week explored the representation of male bodies in the military. The military uniform represents an idea of masculinity that she wanted to subvert with softness and vulnerability. “I was heavily influenced by air force uniforms.” Liu exaggerated these silhouettes and added colour to challenge the camouflage. She also chose materials that reflected utility wear like nylon and cotton. Liu interned at a small label in Sydney as a design and production intern where she worked closely with the head designers. “I learned so much, there was a lot of trial and error, and it was insightful to develop a collection from the research stage to launch event.”

Breaking into the industry is her biggest hurdle, she explained that there is a lot of competition out there, but it is definitely achievable. “You just have to find your market and make it happen.” Being in the fashion industry has connect Liu with so many creatives beyond her field, adding that it is an exciting opportunity to collaborate and create greater things.

Travel is next on her list, as well as working with more designers whose work resonates with Liu. She is also looking to start up her own brand, which is currently in the works. “I don’t plan my future too far ahead because everything can change so fast.”

change, Lim explained this happens through both empowerment and through rethinking the way we produce and consume clothing. For Lim and her friends growing up, clothing was a way to express themselves, which is today still very important to her. Now working in the industry, she feels it is more important to look at the whole production chain, exploring how the industry can promote fair working conditions for everyone involved in the process.

Lim finds finds the making process generates an emotional connection between you and the garment, and added that everyone should experience this to some degree. “It’s important to understand what goes into the clothing we wear everyday, as well as valuing the technique that goes into good craftsmanship.”

Ever-changing consumer mentalities is the biggest challenge for Lim. She explained that the fashion industry still works on a seasonal basis, promoting the idea of transience and wanting something new. “I think this mentality is changing a lot though, which is good news.” Doing everything from production to putting together samples, Lim interned at Akira, J.H. Cutler, and Song For The Mute. In general, Lim thought although these businesses were quite different, they collectively have shown her the importance of craftsmanship and textiles in a fashion context.

Moving further into her career, Lim believes her biggest opportunity lies in digital landscapes. The internet is a huge part of life now, and the line between physical and digital is becoming less prominent. “Of course, the physical is really important for fashion, things like materiality and tactility come to mind, but being able to share ideas and be part of communities digitally is a really exciting concept,” she said. “It’s especially great for emerging designers because we all have so many current issues that we’re passionate about which we want to express through fashion and share with others.”

TESS TAVENER HANKS University of Technology, Sydney

Emerging designer Tess Tavener Hanks presented her Fluidity AW 18 Womenswear Collection at Dunedin’s ID Fashion Week this month. Consisting of five looks, for a total of 11 garments, the collection explores the possibilities of silicone and wool as clothing on the female form. “The collection is conceptually driven by the intention to alter how we see synthetic materiality in contemporary culture, blending explorative material investigation and experimental modes of making,” said Hanks.

Sponsored by the Australian Wool Education Trust, Hanks collection is made entirely from wool, and examines how wool’s natural properties can be used as a tool for innovation and as a foundation for clothing fabrication. She coated noble fibres such as wool and silk with silicone, and hand-dyed wool fabric to blur and break down the material stereotypes associated with wool.

Hanks credits her parents for her innovative approach to design. “Both my parents are artists, and throughout my childhood, I was taken to endless gallery exhibitions and shows. From a young age, they exposed me to the potential for alternative methods of thinking and approaching design,” she said. Her love of the creative arts transformed into a fascination for clothing specifically colours and textures as overtime fashion became a collaboration of challenging materiality, fabrication and form on the body.

While completing her honours degree at Sydney’s University of Technology, Hanks learnt about the importance of interdisciplinary collaboration. “What you learn from others distinctively defines and enriches the path that you take in the industry. Over

the course of the last four years of my degree, I have highly valued learning from other professionals and mentors.”

In 2016 she was given the opportunity to intern at Cirque de Soleil’s headquarters in Montreal, Canada where she was given unprecedented experiences and truly fell in love with innovative design. “I worked in their research and design development team, using CAD programs and testing different materials to develop textiles that would be applied to their shows.”

As a way to break into the contemporary fashion industry, Hanks is looking to forge her own path in and would ideally like to work for an international fashion house to gain a greater sense of understanding of the current marketplace. “I hope to constantly collaborate and engage with contemporary artists and other designers that are highly engaged in an innovative practice.” She added.

Hanks core values of innovation and design, challenge her to position herself in an environment that gives her the opportunity to push, question and develop current materials and methods of designing that already exist.

“I believe that there is a significant opportunity for material innovation, and to develop a greater understanding of the materials we make use of. If we begin to reconsider the current conventions, values and stereotypes that inhibit our perception of materials it may open up an area for innovation in the industry,” she explained. Hanks is not currently selling her designs but aspires to one day be able to sell her work at a platform or market that appreciates conceptual, but highly wearable items of dress.

TWINS NG2

Margarita and Cristina Ng Ng are Chinese-Dominican fraternal twin sisters, born and raised in the tropical islands located in the Caribbean.

After graduating high school, they to New York. The pair both loved to make clothing for their stuffed animals when they were younger, their only supplies were socks, scissors, needles and thread.

“We didn’t know anything about fashion, we just liked to make miniature dresses for our dolls and draw anime,” said Margarita. Their older brother suggested they try fashion since they were both into art and the rest is history. Their label is called Twins Ng2 because their last name is Ng Ng. The duo presented five looks at iD Dunedin Fashion Week which were inspired by trametes versicolor, a type of mushroom also known as turkey tail that displays several colours. “Our mum loves flowers and plants and we decided to dedicate this collection to her.” They explained that their parents are their biggest inspiration because they are hardworking individuals who dedicated their lives to their children. “We are here because of them.”

However, it was Alexander McQueen who inspired them to start designing.

Currently working as interns at Proenza Schouler in the atelier department, Margarita and Cristina have learned a lot of new skills including installing eyelets. “Not a lot of students have the opportunity to learn it in school.” They also saw how samples and other garments are made inhouse by the pattern makers and machinists. At university, they have to be patient because there is a lot of information to retain and a lot of work in a short amount of time. They explained that being persistent about what you love pays off.

Margarita and Cristina look forward to meeting more people who can help them connect with the right people in the industry. They want to build a brand and attract people who have a similar aesthetic. “Our goal is to build our brand. We want people to know and recognise our brand.”

apparelmagazine.co.nz

I 19

GEMMA CORNISH

KENTA NISHIMURA

LISA LIU

H & J Smith First Place: Damir Begović, University of Zagred, Croatia Rodd & Gunn Second Place: Lisa Liu, University of Technology Sydney, Australia Gallery De Novo Third Place: Katie Clarke, Manchester Metropolitan University, England Rodd & Gunn Scholarship: Artur Stec, Cracow School of Arts and Fashion Design, Poland

20 I May 2018

MISAKI OBA

DAMIR BEGOVIĆ

APRIL GOURDIE

ARTUR STEC

KENTA NISHIMURA

APRIL GOURDIE

KATIE CLARKE

Barbara Brinsley’s Carpe Diem Award: Jasper McGilvray, University of Westminster, England

The Fabric Store Award For Excellence in Design: Misaki Oba, University of Technology Sydney, Australia

Apparel Magazine’s Most Commercial Collection Prize: Gemma Cornish, Massey University, New Zealand

Cavalier Bremworth Wool Prize: Kenta Nishimura, Bunka Fashion Graduate University, Japan

Foil Print Labels Ltd Entrepreneurial Prize: Rokaiya Ahmed Purna, BGMEA University of Fashion and Technology, Bangladesh

Viva Editorial Prize: April Gourdie, Auckland University of Technology, New Zealand

KATIE CLARKE

SHREYA JAIN

ROKAIYA AHMED PURNA

SHREYA JAIN

APRIL GOURDIE

JASPER McGILVRAY

JASPER McGILVRAY

LISA LIU

DAMIR BEGOVIĆ

ARTUR STEC

ROKAIYA AHMED PURNA

LISA LIU

MISAKI OBA

GEMMA CORNISH

ARTUR STEC

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I 21

radar

PETER ALEXANDER Wake up in style with the new collaboration between Peter Alexander and Moccona. This four-piece limited edition capsule includes stylish designs for the iconic 200g Moccona Classic Medium Roast and Moccona Classic Dark Roast jars.

The jars feature beautiful motifs, all of which are printed on the glass so they can be repurposed after the coffee has been enjoyed.

Each jar is designed for a different kind of coffee lover; including Floral Garden is flirty

and fun, Penny Stripe is a must-have for dog lovers, I Heart Cupcakes for the sweet tooths and Love Lace for the romantics.

On top of the coffee capsule, Peter Alexander is donating the New Zealand proceeds he is making from this collaboration to a New Zealand charity close to his heart – Paw Justice.

“My designs on the iconic Moccona jar are another way you can wake up in style each morning,” said designer Peter Alexander. “PJs, Moccona and helping animals – what a perfect way to start the day!”

The limited edition Moccona x Peter Alexander jars are available now.

MOONFLOWER LINGERIE

Lidia Sobol and Sergei Kiktev moved to New Zealand five years ago, bringing with them a love for organic fabrics and a desire to make people’s lives better. The result was Moonflower Lingerie, an online cotton lingerie store.

“We had a dream to start up something new that would give consumers the opportunity to buy good quality products and provide them with great customer service,” said Sobol. “Moving to New Zealand encouraged us further and helped us to create the Moonflower Lingerie brand.”

All products sold by Moonflower are made from cotton. “There is a perception that cotton lingerie is not as sexy as others,” admitted Sobol. “This isn’t true in our store.” Moonflower has sets that are good for everyday wear as well as sets for special occasions.

Moonflower imports lingerie sets from Belarus, from a supplier renowned for the quality of its

22 I May 2018

cotton products. The supplier has been on the market for 20 years and is very popular in Eastern Europe, and Sobol and Kiktev work closely with them to choose the products that Moonflower ranges in New Zealand. “Demand turned out to be different to their local market,” explained Sobol.

“The suppliers quite often need to manufacture certain sizes and sets specifically for us to meet the demand of New Zealand market.”

Moonflower currently only distributes products online, but the couple is looking at opening a new store very soon. The bricks and mortar presence will help further educate New Zealanders on the advantages of cotton lingerie.

“We want to improve the life of New Zealanders by providing them with a great opportunity to buy organic products, and break the myth of cotton underwear not being sexy.”

SAUCE SWIM

Alice Hoffman Ross grew up in London and when she was ten her clever mother made the decision to move to the sunny Northern Beaches. “I went to the local high school there then made the move into the city not long after I graduated,” Ross added.

Now she calls Paddington home and has been working on gaining as much experience as possible and saying yes to every opportunity that comes her way. Fashion has always been part of Ross’ life, but it was brought into fruition in high school during her textile classes.

Assisting stylists, photographers and producers, and an internship for Sass & Bide and Chronicles of Never lead her to pursue a career in fashion.

Ross creates the designs and then works with a talented sewer in Sydney where they work closely on creating the perfect bikini. Each piece is sustainably manufactured in Sydney using fine Italian Lycra. “It makes me proud of what we’re creating,” she said.

Ross first started the label alone with great

determination and passion and has now grown to a team of six. As the sole designer, she explained that everyone involved has a specific and special role to play that ultimately brings it all to life.

Having such an accessible platform for consumers such as e-commerce or social media is astounding for business. “Without this our whole business plan would be different as we are launching and initially selling online,” Ross said.

The next step is to gain insight from their first collection and to grow organically. Ross’ goal is to get the brand stocked into her favourite boutiques. The team is all about maintaining a boutique feeling by creating an exclusive line of limited run separates and keeping the quality premium.

They also want to create pieces that are a bit more edgy, retro-inspired and pieces that have an emphasis on sex appeal. Their collection uses original prints hand sketched by abstract artist Ondine Seabrook, who is one of Ross’ oldest and closest friends.

CHALMERS Chalmers launched with the intention of turning sleepwear on its head. Making its debut in Australia via David Jones and The Iconic, it has grown rapidly in just two years on the market and is gaining global recognition through their success with Nordstrom in the US and Selfridges in the UK. They will soon be accessible across Europe via Zalando, a leading online fashion retailer, with trading to commence in Fall 2018. In New Zealand, you can find them in Smith and Caughey’s as well as a smattering of boutiques across the country, including Father Rabbit.

Focusing on the modern consumer has led Chalmers to develop loungewear as a bigger component of its collections. Specifically, the concept of blurring its loungewear pieces with everyday staples through modern silhouettes and new fabrications – so consumers can blend their ‘comfies’ in with what they wear outside of the house.

In this manner, innovation continues to be Chalmers focus and the team is very excited

for the future as they continue to challenge a traditional category with modern silhouettes and contemporary design.

Chalmers’ design aesthetic is a mixture of classic styles with contemporary elements – blending leisurewear and sleepwear, in fabrics which are comfortable and easy-towear for consumers. Chalmers uses only high-quality fabrics, including a 100 percent cotton poplin, bamboo and cotton blends along with heavier weight bamboo cotton French terry.

A big part of the category is outdated and not speaking to the consumer of today; however as more fresh labels like Chalmers pop up, the category is morphing into something more relevant. As our society becomes more accessible from home – working from home, groceries and clothes delivered to your door – Chalmers is creating homewear that speaks to that lifestyle.

Breaking free of the bedroom, Chalmers is scaling the heights of sleepwear style and lending a little piece of relaxed luxury to consumers around the globe.

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GOVERNMENT MOVES TO REVITALIZE NZ’S CYBER SECURITY AND ACTION PLAN New Zealand’s cybersecurity efforts are due for a major revamp this year as the Cyber Security Strategy and Action Plan is subjected to intense refreshes and scrutiny this year.

Broadcasting, Communications and Digital Media Minister Clare Curran announced plans for the revamp last week, which has been spurred by changes in the cyber threat landscape.

“The reality is that digital technology provides new avenues for criminals and other states to gain advantage and cause harm here,” she says.

She believes that New Zealand must step up its security efforts so it’s not so vulnerable to cyber attacks – particularly as problems are growing.

According to the National Cyber Security Centre (NCSC), there were 396 incidents between 2016 and 2017. CERT NZ reported 1131 incidents since its launch in April 2017.

“This Government has committed to building a connected nation, promoting and protecting digital rights. We intend to close the digital divides by 2020, and to make ICT the second largest contributor to GDP by 2025. A modern, responsive cyber security system is essential to this,” Curran says.

The refresh of the Cyber Security Strategy and Action Plan will be a collaborative effort between the National Cyber Policy Office within the Department of Prime Minister and Cabinet,

24 I May 2018

various government agencies, the private sector, and New Zealand citizens.

“We must protect the information and network systems that are vital to our economic growth, ensure the integrity and security of our increasingly digitalised government services and make sure Kiwis can interact online without suffering harm,” Curran says.

The review will consider whether the government has the right resources and arrangements to deal with cyber threats.

It will include possible recommendations in the following areas: • Institutional cybersecurity arrangements • Government information security • Addressing cybercrime, cyber diplomacy, deterrence and intelligence sharing • Opportunities in the cyber industry, research and skills • The security challenges involved in emerging technology.

Several government agencies are involved in cybersecurity. These include the National Cyber Policy Office, the Government Communications Security Bureau through the National Cyber Security Centre, the New Zealand Security Intelligence Service, the New Zealand Police, the Ministry of Justice, the Ministry of Business, Innovation and Employment, CERT NZ, The Department of Internal Affairs, the Ministry of Foreign Affairs and Trade, the Ministry of Defence, and the New Zealand Defence Force.

“We must work collectively to build New Zealand’s cyber security capability and resilience so I invite everyone to join and play a key role in this work to refresh New Zealand’s Cyber Security Strategy,” Curran adds.

The Minister expects to report back to the Cabinet External Relations and Security Committee by July 31, 2018.

By Sara Barkerapril

Pearl Lily BINTANG MODELS

As a kid, Pearl Lily was a real drama queen who loved the camera. Her mother told her she was too young for the industry and to wait until she was older. On her 14th birthday, Lily took her mother up on that promise and applied to a range of agencies.

“She made sure I never got my hopes up. Rejection can be really hard in this industry and it happens a lot,” Lily added. Bintang Models signed Lily and she has now been modelling for just over a year. Lily has been featured dancing on Dancing With The Stars in

America. Before modelling, Lily dedicated her time to dance and has had some great experiences overseas as a performer. She trained with two top choreographers in Los Angeles. Lily has even performed for Disney as a dancer in Alice in Wonderland and The Doll’s House onstage at Disneyland.

“I’m heading to New York in 2019 to further my musical theatre training.”

One of her first shoots as a model was with Trelise Cooper, Lily was very excited as she loves all of Trelise Cooper’s designs. Growing up she loved Naomi Campbell, and today she is still in awe of her. Lily’s godmother is involved in the fashion industry and has always been an inspiration to Lily. “Ever since I was little, I’ve seen her work so incredibly hard for her success. She never settles for anything less than perfection, but somehow manages to maintain a positive outlook on even the most stressful task.”

Lily said it was great to be living in a country that celebrates individuality and values uniqueness. “In New Zealand, I think the creative industry as a whole is a lot more accepting than overseas.” She models because she believes it is a beautiful platform for self-expression.

“Life, breath, colour, and art. If you love what you do, you get so much more out of living.” Her biggest challenge has been not giving up on herself, her mother has been a huge supporter of Lily since the beginning.

She explained that the industry can be really tough if you aren’t prepared for it. “Having a positive mindset and good mental health is so important for me and I am really happy to have the support team I do.”

Still in high school, Lily said she would like to go to university to study a Bachelor of Arts in English

Literature or Contemporary Movement. “I think it is so important to be well educated. Intelligence is beauty.”

Meeting a range of talented and artistic people is what makes working as a model a dream for Lily.

“I love all the people modelling allows me to meet.

Everyone is so eager and zealous about what they do.”

A dream job she would love to snag is walking at New York Fashion Week. She also loves that she is able to wear beautiful garments and be shot by talented photographers. “I’m so lucky to be a part of it.”

The Striped Shirt

After the classic white Tee and the basic black pants, the Striped Shirt has to be your next favourite versatile piece.

A controversial debut

The Breton striped shirt, also called Marinière, which originated from the uniform of French sailors, became fashionable in the early 1900’s by designer Gabrielle Chanel. Chanel had created a comfortable and rather empowering style for women, who at this point were cinched in corsets.

However, the now popular garment wasn’t off with a very good start. In fact, as early as the fourteenth century, the highly visible shirt was only worn by outsiders and unwanted persons such as clowns, disabled or monks and its reputation carried on with the creation of head-to-toe striped uniforms in US prisons in the 1800’s.

An effortless way to your heart

Now over 100-years-old, the striped shirt has never come out of style since its first appearance in Chanel’s nautical collection, and it doesn’t look like it will anytime soon. The striped tee is a budget-

friendly piece that can be worn during the day, night, and all year.

Dress it up for the night and pair it with a statement skirt and heels. Or keep it casual with a simple pair of jeans and sneakers. And if Audrey Hepburn sings out to you, wear your striped tee with black trousers and ballerina flats.

More versatile than you would expect

This timeless piece can be paired with plain designs such as florals, dots, stripes or plaids. Being the most neutral of all the prints, the styling choices of the Breton shirt are endless and going wrong is not a possibility. There is no other piece of clothing this staple garment doesn’t compliment, and that goes for men and women from 1-years-old to 100-years-old.

In all shapes and sizes

therefore they have been modified in many ways, starting from the number and thickness of stripes to the shape and fabric of the garment. A basic Marinière is traditionally composed of 20 navy blue stripes of one centimetre and 21 white stripes of two centimetres.

However, through the decades, the stripes have become broader and thinner, it has changed shape and been made in every colour. The garment itself has been largely transformed from a simple t-shirt to every garment imaginable.

Jean Paul Gaultier made the stripped t-shirt his trademark and redesigned it in every way possible turning them into jumpsuits or even evening gowns, which were made of the most improbable materials like lace, sequins or feathers.

Be sure to include a striped staple in your offering that makes dressing up easy and dressing down chic.

Striped t-shirts are an old wardrobe staple, and

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VANCOUVER FASHION WEEK

26 I May 2018

ATK

Ai Ting Ko is a 22-year-old designer from Taiwan and has been learning art and design for ten years, with a particular interest in printmaking.

“When I was 17 years old, I made a wedding dress out of tissue paper and without any drafts, I used collages and pressing to create the dress,” she said. “When I finished it, I felt a such a sense of accomplishment that I knew then I’d like to work in fashion and become a designer.”

Since Ko’s college years, she has started to transfer feelings and abstract concepts into garments, either through shape or material. “Most of my inspirations come from my life,” she explained.

“Just like the WHO IS ATK series, my collections are about the abstract transitions of my mind when I design garments.”

WHO IS ATK launched in 2018 as a brand that recreates, starting out by purchasing off-season and unsold clothes, recreating and then bringing them back to the market. ATK has two major lines – one recreates selections from luxury brands, while the other rescues unsold clothes from manufacturers. “Re-designing them not only reduces the waste of fast fashion but consumers have a unique piece,” explained Ko.

Ko finds it difficult to decide on final designs, even after final drafts, edits and changes. Originally attention to design and colour balance was a priority; however now with more awareness of market acceptability, Ko looks to incorporate local arts and traditional tailoring into the designs. Ko runs a small team, covering design, marketing and PR, each role able to switch to help out where needed.

Taiwan, where Ko’s garments are designed and

manufactured, is one of the biggest and most important garment manufacturer countries in Asia, with total export sales for garments totally around US$10.8 billion annually. Ko plans to have contracts with the three biggest Taiwanese garment manufacturers by 2020 to supply garments and fabrics. Exposure to Taiwanese technologies will allow the brand to offer environmental awareness of fast fashion to other countries.

2018 was Ko’s first year at Vancouver Fashion Week. “VFW is quite different from other showcases that I’ve been to because it allowed plenty of time for people to connect,” she said. “It is great encouragement for both my brand and myself.” She showed her WHO IS ATK collection, which dealt with the hypocritical nature of society. “Giving into the rule of this world, human beings build up high walls against each other,” she explained. “They try to cater for the tastes of all kinds of people. When they want to turn to their natural selves, to warm up to them, they will find it’s long gone.” Ko conveyed these ideas through enormous jacket structures and tight belts.

Ko’s next goal is to step out on the runway at New York Fashion Week, in the hope that exposure through fashion weeks, events and marketing will attract online stores like YOOX or Farfetch.

Instore and Online.

Beautiful website. Beautiful POS. Go there now . . . apparelmagazine.co.nz

I 27

LIFE’S A BEACH FOR THE SWIMWEAR MARKET How have a boom in fitness, soaring levels of international travel and increased body positivity impacted the swimwear market?

Katie Smith, Trend Analyst, EDITED We’re living in an age when the notion of ‘beach body’ is fading. In fact, companies will get lambasted for suggesting that any body is less than beach-ready.

That’s a great thing for a more inclusive swimwear market – a market that has been growing at a moderate pace since 2010 and is set to be worth 20 billion dollars globally by next year.

year, growing 9% in Q1 compared to 2016, may only have climbed a further 1% this year but new bikini arrivals fell by nearly 7% in Q1 2018.

But don’t cast the humble bikini aside – it still represents the bulk of the global market, accounting for 68% compared to 28% for swimsuits.

What’s changing the swimwear market?

In the first quarter of 2016, luxury accounted for just 9% of the women’s swim market. This year that has climbed to 16%, with Solid & Striped, Eres and Melissa Obadash the most-stocked brands.

Farfetch has increased its women’s swim offering by 349% and Matches by 288%. It’s the global luxury e-commerce retailers who are able to expand the swim category most. Their customers really span the planet – including loyal Chinese markets – and travel frequently.

The broadening of the luxury segment sees the average price fall a little, with a swimsuit costing on average $304.59, down 4.7% from Q1 2017.

Affordable luxury price points and trend will remain absolutely key to this segment.

Many factors have driven that growth, for instance, Coachella. Have you seen what they’re wearing to that these days? More influential perhaps is the increased participation in exercise and the growing emerging markets like China and India and a boom in air travel.

In the next 20 years the passenger count globally will double, to 8 billion passengers. APAC will be the biggest driver, contributing half of those passengers. In fact, by 2022 China will overtake the US as the largest aviation market, according to the International Air Transport Association (IATA).

That’s important because these are markets which the swim category hasn’t fully penetrated yet and that could have different swimwear needs. According to EDITED data, India saw the biggest growth in its swim category between Q1 2016 and Q1 2018 than other regions.

The chart below, showing data from IATA, shows how aviation markets will change in the next 20 years.

Luxury swim gets deeper

The changing travel market and key regions, according to IATA.

Seasonality of swimwear

Of course, not all of those passengers are heading off on a jolly requiring swimwear.

But looking at data on holiday types shows that many are – 35% of vacationing Americans intend to travel internationally this year, up 9% on 2016.

Their key destinations are swim-savvy Mexico, the Dominican Republic and Jamaica.

In the UK the average holidaymaker took 1.7 overseas holidays last year. And for British holidaymakers, beach holidays accounted for 41% of trips – a growth of 3% in just two years.

Assessing the figures behind swimwear

So how does all that consumer shift affect the market? And the really big question: is it one-piece swimsuit or two-piece bikini this year?

Thankfully, our data answers both. First up, go grab yourself a one-piece. This item which was red hot last

28 I May 2018

One major impact of the rise in air travel is a shift in the seasonality of swim. Increasingly consumers are travelling further afield, and to climates that are out of sync with their home territory. The impact of that is seen below, with emphasis shifting out of April and into Q1.

Now swimwear is dropped earlier in the year and becomes a focus again in the late fall months.

And that is echoed in retailer email comms of swim, shown below, which have formerly peaked in May. It’s looking on-track to peak in April this year, with a longer season running through to July. Also take note of the big increase in communicating swim in December last year. When are you planning to discuss your swim assortment? And what newness do you have in Q4 that you could be communicating to holiday travellers?

this season, with a further 84% YoY growth in Q1 in the UK and 63% in the US. 2. Scoop-back – stemming from the 90s homage happening across fashion now, scoop-back swimsuits have climbed 88% in the US and 48% in the UK in Q1 this year. Double down on trends and make your scoop back in bold stripes.

3. High waist bikini briefs – this retro look is still climbing in the UK, up by 45% in Q1 (it’s less loved in the US, up by only 10%). This style is seeing increased adoption by the plus size market too.

4. Tie front swimsuits – this is a new trend, that’s not yet been fully explored, but is already making its way onto Instagram influencers. In the UK, these tie front or “under boob” styles have risen 90% and 63% in the US. 5. Brace yourself. Thong swimwear is back. In the US it’s risen(!) 544% in Q1 and in the UK 500%. It’s interesting to see that as increased options around modesty grow, so too do options for those wishing to be more daring – this is thanks to socially-driven body positivity campaigns.

What next for the category?

Assess your expectations, this market is not an enormous one – it’s about half the size of the underwear market globally (which given how often the most of us wear underwear versus swim, isn’t too bad!).

Therefore retailers will need to keep pushing new trends to encourage shoppers to purchase anew each holiday.

Those emerging markets are a big opportunity for modest swimwear – swimwear garments with longer cuts or apparel that you can bathe in.

There’s also under-explored opportunity in crossseasonal swim. Beachwear focuses on cotton dresses and sarongs, but what about those swimmers and surfers that are year-round hobbyists? What are their options post-

Summer 2018’s biggest swim trends So what makes it into this year’s hottest swimwear?

1. Red swimsuits – they rocketed in 2017, thanks to the Baywatch movie, and are back even stronger

dip? There’s one segment retailers may be overlooking: new arrivals in women’s performance swimwear were down by 22% in Q1 2018 compared to Q1 2016. That runs counter to uptake stats in water sports.

However you approach this category, make sure to do it with data.

Be part of this vital industry resource

g n i t a d up

w o n 9 1 20

caitlan@reviewmags.com or call 09 304 0142 ext 706

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