Apparel Magazine | July 2020

$ 10.95

JULY 2020 I VOL 53 I NO 7

Fashion Counci l of New Zealand Launching August 5th

#InSeason

Fashion Calendar Dates What you need to know: • Deliver Summer drops a month later than normal. • Encourage retailers to delay going into full Winter sale by a month to regain the month of retailing that has been lost. Spreading their Winter stock out to accommodate this change. • Indenting all Autumn/Winter 2021 collections a month later to permanently reset this season. Meaning for our two-seasoned country, March is Winter delivery and deli September is Summer delivery.

For more information, email caitlan@reviewmags.com or call 09 304 0142 ext 706.

editor ' s note

WHAT DOES SUPPORT LOCAL MEAN TO YOU?

Thierry Mugler: Couturissime

This book takes you on the journey of the iconic couturier and fashion icon Thierry Mugler.

Thierry Mugler created his label in 1974 and since then has continuously played with the ‘rules’ of fashion - changing the contemporary fashion-scape without holding back. With his imaginative vision, we see his iconic ready-to-wear and haute couture garments take on the fashion scene. Mugler is a multi-talented creative, he is a photographer, director, choreographer, and perfumer.

The book is oversized with beautiful illustrations - 450 images to be exact. It is a luxurious item that aligns with the world of Mugler. The book details Mugler’s career and also reveals never-before-seen images by talented photographers like Helmut Newton, Richard Avedon and David LaChapelle.

Yves Saint Laurent Accessories

Support local campaigns have seen huge growth since the the COVID-19 lockdown and alert levels. Businesses and brands promoting themselves as locals and asking for consumer support. But what exactly does it mean to support local?

Is it that the company is locally owned, but may be selling a combination of local and imported products?

Is it a local manufacturer/designer but using imported fabrics?

Is it a local retail store that employs local but is owned offshore?

Is it a local retail independent store owned locally and stocking imported and local designers?

From advertisements on social media platforms to branded marketing campaigns, it’s hard for consumers not to know about the ‘Support Local’ movement. It would seem to be a simple concept but in actual fact, there is confusion surrounding what shopping and buying locally actually means and why it is important.

Consider a consumer purchasing a sweater from a locally owned independent retail store - now the knitwear is imported but made from New Zealand wool?

Is this local? The staff are local.

What about a sweater that is made from New Zealand wool, knitted here but sold through a local store that is part of an international chain?

When a consumer chooses to shop at a local business, do they check first if it is locally owned or an international brand owner? For example, H&M is an international brand but they employ local staff so is that supporting local? Does a shopper support H&M or Gucci to purchase a product because they employ New Zealander’s or should they shop at an independently New Zealand owned store that also employs locals, but stocks local and imported stock?

Arguments can be made for all sides but supporting local businesses and the benefits that come with that don’t have to be black and white all or nothing choices.

In the fsahion world, supporting local can mean supporting NZ business owners that import product

CHAIRMAN

PUBLISHER ADMIN/SUBSCRIPTIONS EDITORIAL DIRECTOR EDITOR EDITORIAL ASSOCIATE CONTENT MANAGERS GRAPHIC DESIGN TEAM

from overseas for local stores. It could mean supporting a NZ brand that is made using locally sourced wool but is sold in an overseas owned retail chain. Or it could even mean supporting a brand that is NZ-owned that sells only local designs but perhaps is using imported tissue and packaging.

Lots of brands with an e-commerce facility had a boost during lockdown when shoppers were unable to visit stores. Unfortunately, following lockdown, the trend to shop online remained. While some brands have successfully made the transition to online stores as well as bricks and mortar most of these e-commerce stores do not have a physical storefront. So COVID-19 has had both a negative and positive impact on the industry.

Regardless of what you consider #supportlocal to mean, the one vital takeout is simply that brands need to be very conscious of walking the talk - don't say you are local when your brand is 90% imported, say you are employing locals yes, but don't pretend that you are made here when you are not. Equally a New Zealand designed label, doesn't necessarily equate to a local brand, you may be employing New Zealander’s here to sell your brand, but you are made off shore.

Perhaps what we really mean when we say support local is don’t buy from offshore e-commerce sites.

Peter Mitchell Tania Walters - tania@reviewmags.com Kieran Mitchell - kieran@reviewmags.com Sarah Mitchell - sarah@reviewmags.com Caitlan Mitchell - caitlan@reviewmags.com Janet Guan - janet@reviewmags.com Caroline Boe - caroline@reviewmags.com Raymund Sarmiento Debby Wei

4 I July 2020

fashionable reads

ISSN 1171-2287

Suite 9, Level 3, 20 Augustus Tce, Parnell, Auckland, New Zealand PO Box 37 140, Parnell, Auckland, New Zealand +64 9 304 0142 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 Apparel are not necessarily those of the publishers unless specifically stated. All material appearing in Apparel is copyright and may only be reproduced with the consent of the publisher. Copyright 2020 NZ Apparel Magazine.

By Patrick Mauriès This is an exclusive homage to the iconic fashion designer’s couture accessories. “One can never overstate the importance of accessories. They are what turns a dress into something else.

I like dresses to be sober and accessories to be wild,” said Yves Saint Laurent, 1977.

This is the first book to highlight the power of accessories and accessorising by one of the most influential designers. Saint Laurent has designed the most extraordinary hats, jewellery, shoes and handbags that complement his couture creations.

Encased in a rich cobalt blue hardcover, we see a glimpse into the highly confidential archives of The Yves Saint Laurent Foundation in Paris, home to over 20,000 accessories. Further, we see specially commissioned photography alongside sketches and intimate portraits of Saint Laurent at work, behind-the-scenes of shoots and advertising campaigns.

This book welcomes you to the behind-the-scenes and backstage of the history of a house that shaped the course of fashion.

The World At Your Feet: Bata Shoe Museum

By Elizabeth Semmelhack The Bata Shoe Museum has a collection of more than 14,000 artefacts dating as far back as 4,500 years ago. The Museum has one of the largest shoe collections in the world and acts as an inspiration and reference point for many designers.

The World At Your Feet features the most important shoes from The Bata Shoe Museum.

The top 100 pairs of shoes featured in this collection highlights an array of shoe styles that reflect society, culture, gender, fashion and other facets of history - all through the study of footwear.

The Bata Shoe Museum is located in Toronto, Canada, in a building designed by Canadian architect, Raymond Moriyama. Since its opening in 1995, the museum has housed more than two million visitors for more than 40 exhibitions.

www.polclothing.com.au

Wholesale orders email: info@polclothing.com.au

fast five

JAPANESE FASHION GIANT BANS ALPACA WOOL AFTER PETA APPEAL

NOT JUST A LABEL REACTS TO A GLOBAL CRISIS NOT JUST A LABEL (NJAL) is the largest global network of contemporary fashion designers with access to four million styles designed by over 40,000 independent and emerging creatives.

NJAL will be launching a retail revolution by connecting creators and consumers to provide a unique shopping experience in a luxury space. The marketplace will be filled with one-of-a-kind designs to underline the current trend in fashion: to discover and purchase one-of-a-kind pieces.

By bypassing the middlemen, NJAL has reacted to a global crisis that requires a new strategy in fashion: unique, sustainable and ethically manufactured merchandise, handmade by artisans and directly delivered. NJAL aims to save a generation of emerging designers that have been impacted by the downfall of the brick-and-mortar retail sector.

“NJAL is unique and has a defensible right to win, by providing a solution to an outdated ecosystem.

Allowing our pool of designers to sell direct to the consumer is the future to fashion design, to commerce, to trade shows, to fashion weeks, to

unsustainable practises. We are the future of fashion...” stated Stefan Siegel, founder and CEO of NJAL. NJAL has spent the past years building an unparalleled B2B platform. NJAL is trusted by hardto-reach communities, leading universities, fashion councils and institutions. NJAL's expansion to B2C was made possible with their partnership with Techsembly, a Singapore based technology company that helped NJAL build a global marketplace infrastructure that was currently missing in the luxury fashion market.

"NJAL has built an incredible community of creatives whose designs are both inspirational and genuinely unique. This pivot from B2B to a B2C community-driven marketplace, which has taken place in little under six weeks, will revolutionise the global fashion industry as we know it," added Amy Read, Co-founder and CEO of Techsembly.

NJAL aims to launch its consumer site with only a selection of 500 brands out of 40,000. New Zealand labels, Taylor Boutique and Symetria will be amongst the first 500.

PETA US has done a first-of-its-kind undercover investigation of Mallkini - the world's largest privately-owned alpaca farm in Peru. This investigation reveals that workers mistreated alpacas, leaving them bleeding and crying out in fear.

Since this exposé, the Japanese Fashion Giant, Uniqlo, has banned the use of alpaca wool in its products.

Uniqlo has 20 stores in Australia which has all banned the use of alpaca wool.

"We welcome Uniqlo's compassionate decision, which will help prevent vulnerable alpacas from being abused and shorn bloody for their wool," said PETA spokesperson

Emily Rice.

"We're urging people who care about animals to boycott alpaca wool and opt for vegan clothing instead, which no animal has to suffer for."

PETA also notes that in addition to causing gentle alpacas immense suffering, the production of alpaca wool is disastrous for the planet.

The Higg Materials Sustainability Index ranks it as the second most environmentally damaging material after silk, noting that it's six times as harmful as polyester and more than four times as damaging as modal, viscose, rayon, lyocell, acrylic, and other vegan materials.

SNAPCHAT AND GUCCI’S NEW AR CAMPAIGN

Snapchat has teamed up with Gucci to create their very first augmented reality campaign. Users can now try on Gucci footwear virtually through Snapchat.

Once users have virtually tried on their Gucci shoes, they are able to purchase them directly through Snapchat. Gucci is Snapchat's first collaboration that uses its Snap Lenses technology.

AR is becoming incredibly important in the fashion and e-commerce space, and Snapchat

are keen to be the ones that lead the way.

"Gucci has always been an incredibly innovative partner," said Selby Drummond, Head of Fashion and Beauty at Snap Inc. "They approach every Snapchat activation with the same creativity they are known for in their designs, and we know that when we come to theme with new opportunities they will understand immediately the power of our technology and audience."

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APAC CONSUMERS IN A POST-COVID WORLD

THE MOST SUSTAINABLE JEAN EVER The most sustainable jean ever is made with organic cotton and Circulose; a breakthrough material made from worn-out jeans.

After five years of research, Levi's has launched the most sustainable jean ever, this result of a unique collaboration between Levi's Wellthread; who test sustainability ideas through research and development, and re:newcell, the innovators behind Circulose.

This collaboration marks a significant milestone in the fashion industry's transition to circularity.

“To make fashion sustainable, it’s important to show people that a material like Circulose is a real alternative to virgin cotton both in performance and style,” says Patrik Lundström, CEO of re:newcell.

To make Circulose, re:newcell repurposes discarded cotton textiles, such as worn-out denim jeans, through a process akin to recycling

paper. The incoming waste fabrics are broken down using water. The colour is then stripped from these materials using an eco-friendly bleach. After any synthetic fibres are removed from the mix, the slurry-like mixture is dried and the excess water is extracted, leaving behind a sheet of Circulose.

This sheet is then made into viscose fibre which is combined with cotton and woven into a new fabric.

“We want to recycle Levi's jeans in a way that doesn't diminish their quality. By collaborating with re:newcell, our garment-to-garment recycling takes an important step forward,” notes Una Murphy, Levi’s Senior Designer for Innovation.

The jeans are designed in a way that maximises recyclability, from trims to the thread, allowing it to have a second life.

Innovations like this will allow Levi's, to reduce their dependency on virgin materials.

As China and other markets across the Asia-Pacific (APAC) region continue to adapt and react to the COVID-19 pandemic, there has been a noticeable shift in spending over the first half of 2020. With the economic landscape looking grey, GlobalData advises that retailers must instil confidence amongst consumers, to not only remain relevant but to also operate smoothly in this new normal.

According to GlobalData, the leading data and analytics company, 97 percent of people all over the world are concerned about the economic situation in their country, and 89 percent of the respondents agreed to have particular concerns about their financial situation.

Consumers are continually limiting their expenses and are reluctant to spend high on non-essentials.

In China, consumers spend more on premium health and hygienerelated products than beauty, grooming and alcoholic drinks.

"Retailers have a lot to learn from consumer spending in China and should draw insights from this market. Similarly, growing concerns over COVID-19 has developed the habit of shopping online to avoid social gathering and to lower the chances of virus exposure," said Hrishabh Kashyap, Retail Analyst at GlobalData.

In India, another key APAC market, 28 percent of respondents agreed that they prefer online channels instead of physical channels.

"Despite several countries across the APAC region relaxing lockdown measures, the psychological impact of the virus still prevails. As a result, a majority of the consumers are actively preferring digital channels for shopping. This digital trend resonates well with the millennials and gen Z shoppers. In light of the heightened concerns over hygiene, retailers must maintain the required safety norms to assuage apprehensions among the consumers and stay relevant in the evolving retail environment."

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KNITWEAR

WOOL

Jumper for Jumper - Knitwear Made For Good Last year, more than 150,000 Kiwi kids lived through winter without access to basic needs like sufficient food, a good bed, or warm clothing.

For our most vulnerable families and their children living in impoverished conditions, the impact of COVID-19 has made their situation even more challenging this winter.

That’s why Standard Issue is determined to help keep as many kids as warm as they can through the winter months ahead. Access to everyday necessities and a means to keep warm will help these children combat the cold and preventable illness.

Standard Issue manufactures all of their knitwear in New Zealand and supports a diverse team of craftspeople.

Using their skillset and expertise, they are immensely proud to have created their Jumper for Jumper initiative to help the most vulnerable tamariki keep warm and well this winter.

For every Standard Issue Jumper purchased online, a woollen jumper will be gifted to a child in need of an extra layer of warmth. Standard Issue has partnered with The Middlemore Foundation who work closely with community partners to ensure the jumpers are gifted to those who need them the most.

The team at Standard Issue understand that small changes can have a powerful impact.

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

POL Clothing is a small design-run label founded by designer Samantha Jones. Based in Sydney, POL began with just 12 knitwear styles, 12 years ago. With the brand’s unassuming attitude, a collective approach to design and thoughtful pieces that aren’t just for special occasions, they have created an approachable yet elevated label with a loyal following.

P

OL Clothing’s new Winter 2020 collection, Into The Woods, is in store now across Australia and New Zealand. This collection was inspired

by Jones’ recent trip to the UK and her trekking through the English woodlands. Jones studied design in Australia before moving to the UK to further her experience and recently visited again last July. As she explored the Welsh countryside through hikes and road trips, she knew she needed to put a part of her explorations into POL’s next collection.

This collection began with a beautiful wool flannel with the softest hand-feel and expanded to the most luxurious merino knitwear with coordinated skirts to create a tonal look. POL has used Merino

since their first collection. Merino is Jones’ favourite yarn to use as it is incredibly versatile. It can be knitted to create a piece that is sheer or opaque, fine or textured, soft or structured such as with the boiled wool River Story.

POL’s pieces have always spoken for themselves with unique and effortless style being a hallmark of the brand. The Scope Stripe Sleeve Knit, revitalised for the new Winter collection has been a favourite for POL Clothing customers for many years, as well as being Jones’ personal favourite. The enduring Merino yarn will always be a part of the POL vision.

POL is now wholesaling Winter 2021. For more information email info@polclothing.com.

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KNITWEAR

WOOL

Not a lot of clothing brands start on Rakiura or Stewart Island.

In fact, only one!

G

lowing Sky Clothing evolved from a t-shirt printing hobby of fisherman Dil Belworthy and wife Cath.

“Things got crazy once we discovered the Merino fabrics of Designer Textiles in Auckland,” said Dil. “We hung some sample Merino T's out in our store in 2006, and haven't had time to look back since.”

Cath attributes much of Glowing Sky's success to her customer-driven design focus.

“We are not trained designers, so our initial inspiration was the clothing we saw people wearing dayto-day. All our initial garments were core wardrobe staples that have kept selling year after year. We still make our style numbers 1 and 2. But we've also been able to play around as we've

grown,” said Cath.

Glowing Sky has always had at its foundation an absolute commitment to staying genuinely local and sustainable.

“Coming from Rakiura, slow fashion and environmentally friendly practices have been a natural path.

It’s just what we’ve always done,” said Dil. 95 percent of their Merino garments are made from premium ZQ brand Merino from the New Zealand Merino Company of Christchurch. Glowing Sky makes all its garments themselves in their Timaru manufacturing facility.

“I love that our machinists can literally see the Alps our wool is grown on as they sew,”' said Cath.

Nowadays based in Invercargill, Glowing Sky sells their clothing exclusively through their own

six shops and website in order to maintain a direct and genuine relationship with their customers, and that connection has really blossomed during the COVID-19 pandemic.

"As soon as we went into lockdown our website sales jumped 200 percent and have not dropped since. Then when shops re-opened we experienced a big surge in sales at those outlets also. We were expecting the worst, so we can only describe ourselves as gobsmacked,” said Dil. It is so humbling to have Kiwi’s show such wonderful support to local businesses.

Glowing Sky outlets are located on Waiheke and Stewart Islands, Wanaka, Akaroa, Dunedin and Invercargill, shipping free throughout New Zealand and Australia.

For more information, visit www.glowingsky.nz.

Velma & Beverley is a small family business founded by Claire Williamson, named after her two grandmothers who treasured sewing and the rural lifestyle. Williamson started Velma & Beverley in 2017 when she found that she could not source a 100 percent wool coat, made in New Zealand, from New Zealand wool. After a few years of researching fabrics, Williamson launched the brand in 2019 with several styles named after members of her family.

V

elma & Beverley is based in Cambridge with a small collection due to be on display at the Cambridge Meraki workspace, their coats are available online through their eCommerce site.

The main vision behind Velma & Beverley is to be a New Zealand owned and operated brand who support the New Zealand apparel industry by creating quality garments using the best of the best of New Zealand grown and processed wool. Using natural and sustainable materials always, it aims to make the wearer look and feel great.

Williamson was fed up with only being able to find black winter coats, most of them made out of synthetic fabrics that meant they were unbreathable. Eventually, Williamson decided to take it upon herself to make her own coat, that was bright enough to match her bubbly personality as well as being made from a quality textile like New Zealand wool. After creating her first sample with offcuts of woollen fabric, she

received an abundance of positive feedback, and the rest was history.

The Beryl Coat is a stylish widecollared wrap coat with a tie closure.

It flatters all figures and is made of 100 percent wool outer with a customised cotton lining. Customers can choose from an array of different bright and fun patterns to be used as the lining of the Beryl Coat. Wear this winter coat open casually on a warmer day or tie it up during cooler winter months. The Beryl Coat is available online now. Velma & Beverley work on a pre-order basis as all coats are custom-made.

Currently, Williamson and her team are working on a new style to add to their collection, the Irene. This will be a duffle coat with toggles to close, available to customers to preorder in August.

The inspiration for Velma & Beverley coats overall is the love for bright and vibrant colours paired with natural fabrics. Colourful statement coats that looks great on the outside and the inside. Using quality materials paired with Williamson’s personal connection with the wool industry meant that using a 100 percent wool outer was a no-brainer. Williamson grew up on a farm and Velma & Beverley highlights her passion for wool in a beautiful and sustainable garment.

The outer fabric of Velma & Beverley coats is spun in New Zealand

by Woolyarns in Lower Hutt and woven at Inter-weave in Auckland.

“Unlike many fabrics used here in New Zealand, it’s right on our doorstep. It is a massive part of our history and economy. It has a natural, classic beauty which takes colour well and is incredible to wear. We believe there is no fibre quite like it,” said Willamson.

Their yarn is largely lambswool; a 28 and 26-micron yarn blend and

durable wool, which is traditionally used in carpets rather than apparel.

Velma & Beverley do not offer wholesale options; however, they prefer to create partnerships and collaborate with retailers and retail spaces with a ‘sales fee’ for sales made.

Velma & Beverley is a brand with very rural values; thus, when looking for retailers to align with, they must share the same values. A retailer that is passionate about supporting New Zealand owned and operated businesses is definitely something Velma & Beverley would love to align with.

For more information, visit www.velmaandbeverley.com or email claire@velmaandbeverley.com.

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column

RETAIL RENEWAL – 5 COST CUTTING STRATEGIES

By Bill Rooney – CEO of 6one5 Retail Consulting Group – a retail strategy consultancy & digital training business.

Retail Renewal:

"It's great today to see Susan Group following the lead of Premier Investments in paying rent as a percentage of revenue.

This goes a long way to helping restore profitability until store traffic returns to near normal, in our view, around October 2020 - although we are estimating traffic will be 80 percent of 2019 levels. When negotiating with your landlords, ask them for their forecasts of shopping mall traffic as a starting point - they will tell you that it is impossible to forecast, this Premier and Susan Group example should be the starting point for negotiations.

12 I July 2020

New Retail is another way of describing retail digital transformation. Legacy retailers who resist the change are no different from their counterparts in the newspaper/ magazine, advertising, travel, taxi, telephone, TV/Cable, music, hotel, postal industries who defended the old ways to be quickly overtaken or replaced by more agile digital competitors and retailers prepared to change and through this process develop agility.

All COVID-19 has done is accelerate the process.

Renewal starts with a new retail digital and business strategy designed to take substantial costs out of the business to reinvest in the future state. Whatever we say about the role of traditional retail and how it can survive and thrive in a post-digital world, so much comes down to fixed costs. Retailers must remember that staffing levels and budgets so often owe much more to the way that inflated revenues once made them affordable, rather than what is actually required.

Let me give you some examples of excessive costs: Case Study 1: A retailer that recently went into administration was weighted down by excessive head office wage costs supporting the equivalent of 300 employees, this was based on our estimate from their financial statements. Best practice in the industry for a similar revenue is around 90 head office staff. The goal should have been based on best practices to move to 200 then 150 head office staff, thus saving between $10m and $15m and saving the business.

Case study 2: A retailer with approximately 80 stores employed 8 IT staff to manage their on-premise financial systems, hardware, and software. A cloud-based ERP system would require maybe two staff a saving of approx. $500,000 on wages.

Benchmarking together with zero-based budgeting is a starting point to cutting substantial

costs out of a traditional retail business, however many retailers are reluctant to deploy this technique for many reasons include benchmarking being seen as a criticism of existing practices, being asked why have you not fixed this in the past, job risk, fear of failure etc.

This is why a whole of business retail strategy is an effective way of implementing change as everyone agrees upfront with the strategy, the outcomes, and the implementation plan thus sharing around the responsibility and accountability.

Start with These Cost Cutting & Growth Areas: Most strategies will include: 1. Margin Management: There are substantial savings in managing margins, using analytics to minimize discounts, reduce overbuying, manage stock 2. Recruitment, Training and HR function: A key area for digitisation to save costs and improve productivity for human capital 3. IT Function: For most retailers a cloud-based ERP and e-commerce system will provide the best results from a cost and customer outcome perspective 4. Rental negotiations: Based on paying a percentage of sales and also a focus on rationalisation of your store portfolio 5. Sales Growth: Through deploying best in class category management and developing a retail sales culture with a customer-facing team member

Summary:

Even the largest of retailers are challenged by a combination of COVID-19 and the digitisation of all aspects of retail.

The solution is to develop a whole of business retail strategy that is based on using analytics, innovation to create differentiation and a great customer experience.

This involves risk and it exposes the organisation and individuals job security.

No one said it will be easy."

“In Case Study 1, do not expect your Retail Executives to benchmark HO costs and reduce staff by up to 50 percent In Case Study 2, do not expect your IT Department to recommend a cloud based system.

This never happens in my experience unless you benchmark...”

Made in New Zealand

100% WOOL OUTER, CUSTOMISABLE LININGS, NATURAL & SUSTAINABLE FABRICS WWW.VELMAANDBEVERLEY.COM

beauty spot

EMMA LEWISHAM

L

ewisham launched her namesake skincare brand to create 100 percent natural products with a goal of being a 100 percent circular brand by 2021. Lewisham has focused a lot of her time engaging with customers and developing their innovative products all whilst problem-solving in the sustainability space.

Lewisham lives in Auckland with her husband and her one-year-old daughter, Milla. Family time is incredibly important to Lewisham, she loves spending time with her family at their favourite places like Waiheke Island and Lake Tawarewa. In her downtime, Lewisham enjoys reading, meditating and cooking.

The simplest things in life are always the best.

Lewisham is very passionate about the clean beauty movement. She believes that there is a huge movement happening around the world across all sectors - not just for beauty.

“People are trying to live better, and I think that’s what we’re all aiming for. People are looking for products that are good for their health and wellbeing.”

Although there is not a clear history of her family being involved in the beauty industry, there is, a history of entrepreneurship, problem-solving and giving back to others.

Lewisham’s grandmother has been involved with Zonta International, which works towards equality for all women, for 50 years. Naturally, Lewisham’s grandmother introduced her to advocacy work which she has been passionate about since she was 22.

“Within Emma Lewisham, you will see my family history of innovation, problem-solving and advocacy for others woven throughout it and are core to the

14 I July 2020

brand. I’m very proud to be able to combine these traits.”

Lewisham started out studying chemistry, biology, economics and statistics with international marketing papers on the side at Otago University. She soon realised that she was thriving in her business papers and was invited to an honours programme which she completed in Barcelona at ESADE Business School.

She found what she loved - critical thinking and problem solving, so she decided to focus her studies in that direction. At the age of 19, she began helping businesses with their strategy and went on to be one of the only female general managers in the world for a Japanese multinational technology company.

The most valuable thing Lewisham has learnt since starting her brand is the constant reminder of the importance of how essential it is to create products that are truly something that has never been done before. Moreover, committing to go the ‘extra mile’ in everything you do. Going that extra mile is where some of the most amazing results and work can be found.

When Emma Lewisham went the extra mile, they cracked the natural preservative code.

Lewisham refused to use the synthetic replacement, phenoxyethanol. Many brands use phenoxyethanol to make the paraben-free claim, however, there have been claims that phenoxyethanol is linked to adverse health effects.

“We managed to innovate a world-first 100 percent recycled plastic tube and launched New Zealand's first facial beauty sustainability initiative. Nothing is impossible and we have already proven that in so

many ways.”

Lewisham loves working with scientists from all over the world and learning about new innovations in the natural skincare space. There is a lot that is happening in the skincare world where amazing results are more achievable with the rise of cuttingedge technology.

Emma Lewisham has a simple mission; to make a meaningful difference in the beauty industry.

“We want to prove that clean skincare, high performance and sustainability can co-exist. That women don’t have to compromise their health or the planet’s health, for beauty.”

Emma Lewisham’s core value is that they are uncompromising. Uncompromisingly 100 percent clean, natural and non-toxic. Uncompromisingly in its delivery of evidence-backed and proven results.

Their focus on green science and innovation has lead to the development of the Emma Lewisham Skin Reset Serum. The Skin Reset Serum has been scientifically proven to outperform traditional luxury brands.

By always keeping sustainability at the forefront of all processes at Emma Lewisham, it means that they are able to extend their focus onto the planet’s health as well.

“We believe if you build it into your brand, it will soon become intrinsic in your processes.”

The shift towards clean and natural skincare has been the biggest shift in the beauty industry in the last fifteen years. The next generation of 'natural' for Lewisham will incorporate both natural ingredients and high efficiancy together.

10 PIECES -COLLECTIONby

Fo r wh o l es a l e e n q u i res : b ra n d @ ta y l o r b o u t i q u e.c o. n z

taylorboutique.co.nz/10-pieces

colour trending

GIOVANNI BEDIN Resene Noir

RAHUL MISHRA Resene Mystery

VIVETTA Resene Elderflower

A

different neckline can change a look completely.

To find a neckline that flatters one’s body shape or build is also an important part of creating a cohesive outfit. However, different necklines were popular in various periods of the fashion timeline.

The square neckline, in particular, was incredibly popular in the 70s, highlighting the decolletage and collar.

Vivetta Ponti talked sustainability through her quirky Fall 2020 collection. From eco-fur coats to apple tree dresses. The collection has a subtle country-girl flair with a modern twist. This playsuit in particular features oversized puffed sleeves that join with the bustier section to create the signature square neckline. The square milk-maid style neckline easily transitions from runway to streetwear style. Vivetta pairs this playsuit, in a shade like Resene Elderflower, with chunky oxfordstyle shoes in a matching hue, making that transition to streetwear that much more obvious.

Eighties-inspired silhouettes from velvet maid’s uniforms to bright floral dresses. Alessandra Rich’s ‘Belle de Nuit’ collection offered a lively pastiche of vintage style. This gingham dress in a shade like Resene

GALVAN LONDON Resene Love Me Do

Grey Seal has contrasting cuffs and neckline detailing in black leather. The squared neckline is further emphasised with the dark leather trim. The overall look is feminine and sophisticated, with a statement belt adding a touch of a modern feel.

The most classic and timeless gown by Giovanni Bedin is big, bold and beautiful. In a wash like Resene Noir, it's a gown you cannot miss. With a sleek square neckline, the dress is able to show off feminine features such as the decolletage and the collar bone.

The exaggerated floor-length a-line skirt in a stitched box pleated style is voluminous and full. Overall, it is ultimately a girly dress despite its dark and neutral hue.

Galvan London is known for its gorgeous evening gowns. However, in their ready-to-wear Fall 2020 collection, we see the label evolve its style with more separates and jumpsuits. With bold colours and cosmic-style prints, this collection has an ‘out-of-thisworld’ feel. This deep plum jumpsuit in a shade like Resene Love Me Do, is the power jumpsuit you didn’t know you needed. Its tailored fit and unique take on the square-neckline trend, is certain to be the centre of attention. Paired with bright blue strappy heels and a

ALESSANDRA RICH Resene Grey Seal

pair of statement gold hoops, the entire look is minimal yet impactful.

Designer Rahul Mishra’s Fall collection saw an array of embellished suits and dresses with motifs of tropical forest scenes and embroidered floral elements. Every piece has an immense level of detail. The intricate hand embroidered trees, flowers and clouds are a visual explosion on this dress. The blues in this dress is similar to Resene Mystery, adding a level of lightness to the overall look. The thin straps of the dress frame the square neckline, tapping into the squared-neckline trend easily.

This bright and oversized lime green dress by Rosie Assoulin is in a shade like Resene Kryptonite. Filled with volume and haute-couture-inspired shapes, this collection provides energetic eveningwear. This extreme empire waist dress coupled with a unique take on the square neckline is definitely different.

The slightly rounded square neckline and ¾ length sleeves make this dress modest in its style, however, the bright colourway is far from modest. The bright lime is deafeningly bold and instantly brings life to this otherwise simple evening gown.

ROSIE ASSOULIN Resene Kryptonite

accessories alert

HAWKES BAY COMPANY TAKES FIRST STEPS TO TACKLE GLOBAL BABY MARKET Pandora-based sheepskin tannery and retailer, Classic New Zealand, has launched its new Baby by Classic range of sheepskin products. The new collection promotes the benefits of wool for babies to new parent’s across the globe. Made of locally sourced and tanned lambskin, hand finished and packaged in Hawkes Bay, the range presents a traditional, natural and nurturing product in a very practical new way.

H

ighlighted in the range is baby sheepskin rugs for Sleep, Play & Move. All packaged in organic cotton grab-and-go duffle bags, making it easy for mums and dads to take a really familiar and comfortable place for baby with them wherever they go.

Complimenting the new range is a continuation of the baby footwear range, including lovingly handcrafted Crochet Booties which provided the inspiration for the recent Karen Walker X Classic collaboration slipper.

"Across the 50 years of operation, we have had to respond to many challenges, and 2020 is no exception," explained Classic New Zealand's general manager, Gavin Foulsham. "We have been working on this range for the last 12 months, with the final piece of the puzzle being our packaging. Ultimately, because of COVID 19, it made sense to manufacture our duffle bags in New Zealand, giving us control over the volume and quantity, while keeping cash in the New

Zealand economy."

Sheepskin has long been renowned for its nurturing properties for babies, helping maintain a regular temperature and providing calm, familiar surroundings that can aid sleep and wellbeing.

"Our research with mums across New Zealand, Australia, the UK and US, confirms that mums are keen to use natural products with their baby, but when it came to sheepskin, there was some uncertainty around how and when to use the product," added Foulsham. "By outlining the clear purpose of the rug, based on wool length & shape, and then packaging it accordingly, we aim to help mum’s get the most out of their baby rug, whether it is in the cot, on the floor for tummy time or out and about in their buggy."

Like most businesses, COVID has challenged Classic, but it also has presented opportunity, such as their recent sell out launch of the Karen Walker slipper. Hand-made in Hawkes Bay using Classic sheepskin & locally spun yarn, these slippers were an instant hit with those working from home during

We are very optimistic that the Baby by Classic range will also benefit from timing, as Kiwi’s look for local, natural, sustainable products.

18 I July 2020

Lockdown.

"We had been working on our collaboration with Karen Walker for around 18 months, and were ready to launch just as the lockdown hit. Karen had been wearing hers at home and posted on social media as we hit level 3, selling out the first supply in 12 hours, and the second consignment inside an hour so it was a huge success for us, and our timing couldn’t have been better."

"We are very optimistic that the Baby by Classic range will also benefit from timing, as Kiwi’s look for local, natural, sustainable products. Being the only 100 percent New Zealand owned, produced and finished baby rugs on the market, we are confident these rugs will find favour, both locally & offshore."

The company may also benefit from an increased customer base if the reports of a COVID 19 Baby boom around Christmas time prove to be correct.

For more information, call Classic New Zealand on 06 835 9662 or email sales@classicsheepskins.co.nz.

PAPINELLE

retail eye

Papinelle is an Australian sleepwear and lifestyle brand based in Sydney. Launched in 2003, it specialises in beautiful print design, bringing a little luxury to the bedroom. Papinelle’s latest edition to the retail scene is in Auckland’s retail precinct, Commercial Bay.

W

e had a chat with Nicole Kelly, the co-owner of Papinelle, to learn more about the design and fitout of their new retail space.

Papinelle chose to open a new retail store at Commercial Bay as they knew the strength of the inner city but had been struggling to find a location that their customers would feel welcomed in.

Commercial Bay presented an opportunity that they could not miss, it was beautiful and had the right tenant mix.

Papinelle is situated amongst luxury retail brands such as Kate Spade and Dior Beauty. Therefore, the fit-out for their Commercial Bay store had to be elevated in its design and execution. Papinelle stuck with brush brass, aged glass, soft-pink plaster and high-gloss lacquer.

All aspects of the interior of the store are in a dusty blush hue, pulling you straight into the dream world of Papinelle.

“At every turn there’s a mix of raw vs glossy, old vs new, wet vs dry, to bring an easy form of maximalist minimalism. It’s familiar, soft, edgy, feminine and visually beautiful,” said Kelly.

Designing the retail space was a very collaborative process. The Papinelle team worked with fitout companies along with finding specific finishing and design elements that the team personally found themselves.

With the online retail sphere being incredibly strong, traditional bricks and mortar retailers are no longer the same.

“To survive retail now, you must have a presence that is memorable and creates a beautiful lasting

emotion.”

Customers are everything for Papinelle, thus they make sure that their physical store gives a reason for their customers to come back. The experience must be worth it, it must go above the experience they may have online.

“Our fit-out, colour palette, merchandising and even the smell of our stores ensures customers have a reason to spend time with us and keep coming back.”

Kelly and her team ensure that the retail space is not overwhelming and is easy to navigate into a transaction in-store. The music and aroma of the store are also important elements that deliver a relaxing shopping environment. The in-store team is also incredibly important - they are obsessed with delivering a total customer experience and are given the autonomy to surprise and delight when they feel it is needed.

The Commercial Bay store was set to open in September 2019, however due to project delays as well as being hit with the COVID-19 pandemic, it meant that there was a lot of uncertainty and anxious waiting for the team at Papinelle.

“It was a very stressful period not knowing what was going to happen with retail doors shutting for two months, we have now finally opened and it was well and truly worth the wait.”

The Papinelle Commercial Bay store has been extremely busy which means they had to urgently fly a lot of stock over to maintain their levels. Their products are feminine, soft and luxurious - the fit-out has been able to incorporate their design aesthetic perfectly allowing customers to feel relaxed while spending time with the team.

Our fit-out, colour palette, merchandising and even the smell of our stores ensures customers have a reason to spend time with us and keep coming back.

20 I July 2020

nuts and bolts

MADELINE GEORGE: BOOHOO & NASTY GAL

Madeline George is the Country Manager for Australia and New Zealand for boohoo and Nasty Gal. Primarily, George focuses on developing the localised marketing strategy and ensuring that her team and herself execute such strategies as effectively as possible.

22 I July 2020

George spends most of her time working in the marketing space, however, she also works closely with the product team, delivery, logistics, eCommerce and much more.

George grew up in Auckland. She began her degree in Communications at Gonzaga University in Washington State and came back home to Massey University, to finish her bachelors. Picking communications was ideal for George, as it was a broad degree and gave her plenty of options in terms of career choice. Being not entirely sure where she would end up for work, this was an obvious choice.

She spent most of her teenage years travelling to and from America to visit her American family. Surprising to some, George played competitive tennis from the age of 12, competing on a national level and then achieving a Division One scholarship for college in America.

“I was always kept very grounded and grateful, thanks to my parents.”

Although there is no direct history of her family working in the fashion industry, there is definitely some in the creative industries. George’s mother was invested in the performing arts, as well as music and acting.

George was always around live music with her parents singing and dancing into the late hours of the night.

George set foot in the fashion industry with her job at ASOS. She knew she wanted to work for a fashion brand, so she did everything she could to land a role at ASOS. “I went in at all angles and put every bit of energy into it, and luckily this paid off. If you want something enough, you’ll do what it takes to get it. Hard work and persistence pays off!”

There is never a dull moment when working for boohoo and Nasty Gal. Being a part of a company that is agile, nimble and experimental is incredibly important for George.

“We move at a rapid pace which I love, otherwise I’d get bored. I also love my team, they are all absolute angels and we have so much fun together.”

George’s day-to-day begins with some form of exercise and then straight to the office to get stuck into her emails. As majority of businesses she works with are in the northern hemisphere, she often wakes up to an

exploded inbox which takes her through most of her workday. Reporting on sales, margin, conversion rates, traffic and where it has come from as well as marketing activity all whilst working closely with Afterpay and their PR agency, AMPR. George has an abundance of experience under her belt prior to her role at boohoo and Nasty Gal. She has worked for ASOS, Heathrow Airport, Vodafone NZ, Goode PR and Surf Life Saving New Zealand.

However, this does not mean she wants to stop learning.

“I want to keep learning and gaining experience. If you are not learning and growing as an individual, it can put you in a rut.”

Since beginning her role at boohoo and Nasty Gal, she has had the most impact on localising the brand.

George states that it is extremely important to localise a brand when it’s entering from offshore. You need to know the New Zealand customer, the Australian customer, you need to understand their trends, seasons and cultural differences.

The fashion industry is constantly evolving. The biggest shift George has noticed is that brands are becoming more inclusive on both race and size.

“Boohoo has done an incredible job at being an inclusive brand, both externally and internally with who we hire… I feel proud to work for a brand that embeds this into their culture.”

COVID-19 has put a spanner in the works, boohoo and Nasty Gal teams have been working from home, which has been a giant transition for a company their size. Although, the transition worked better than George had expected, the Australian team is now back in the office which has been a sigh of relief for all involved.

When COVID-19 first hit, George and her team had to adapt their marketing strategy swiftly. All campaign planning went out the window, and it became more of just reacting to each new day.

“We’ve been very lucky to trade well through COVID-19, so we are just continuing to react to what our customers are looking for, whether that be loungewear, engaging content to keep their spirits high, or… more loungewear!”

CLICK HERE TO READ NOW

in detail

TANYA CARLSON

24 I July 2020

The Carlson label has been synonymous with superb tailoring, clever design details and a quality finish for over 15 years. Each collection aims to have strong design elements that are classic and timeless to ensure the longevity of each garment.

T

alented designer, Tanya Carlson, grew up in the Otago Peninsula where her imagination was fuelled by windswept landscapes and vintage satin ball gowns.

Carlson’s Summer 20/21 collection celebrates the idyllic Kiwi summer that’s fun, fresh and spirited. This collection brings the feelings, colours and experiences of a New Zealand summer to life. From garments inspired by New Zealand’s unique flora and fauna to the distinctive colours of sand, mist, ocean, greenstone and kōwhai yellow.

“Carlson Summer 20/21 reveals my love affair with my homeland and my commitment to continue creating and making here in Aotearoa New Zealand,” stated Carlson.

As Carlson was designing this collection, she spent her long summer days living next to the beach and surfing every morning. She was constantly reminded of the long summers of her childhood and teenage years - the easy and simple feeling. Therefore, this collection is filled with simple and easy to wear pieces waiting to be a staple in every wardrobe. Pieces include a classic white linen shirt with a unique Carlson twist, wide-legged chambray pants as well as versatile slip-on dresses.

Carlson wanted this collection to be minimal, making choosing outfits in the mornings easy and carefree. By creating go-to summer staples, Carlson has helped help New Zealander’s enjoy the simpler things in life.

The Summer 20/21 collection consists of redefined Carlson pieces from the archive. Familiar pieces with a thoughtful difference of celebrating New Zealand as a country and as a community.

“I learnt early on that repeating your customers’ favourite styles is key to sustainability. There are a few familiar Carlson favourites, including our much-loved Piña Colada dress, which we’ve done for the past few seasons.”

Carlson’s Summer 20/21 collection will be available in their Ponsonby store, retailers and online from mid-October, with wholesale options available now.

To make a wholesale order or any other enquiries email design@tanyacarlson.com or phone Cara or Tanya on 09 361 2137.

Carlson Summer 20/21 reveals my love affair with my homeland and my commitment to continue creating and making here in Aotearoa New Zealand.

editor ' s pick

EMERGING DESIGNER: LIA HARDY

M

eg & Co. is an emerging New Zealand label with its debut AW2020 collection launching in April.

Fashion designer, Lia Hardy, has always dreamt of owning her own fashion business. It has been exciting for Hardy to see her brand slowly begin to grow. Hardy studied a minor in clothing and textile science at Otago University. This is where her passion and interest in the fashion industry really began to flourish. She further applied for a graduate diploma in fashion at Otago Polytechnic.

Meg & Co. was named after Hardy’s longtime family dog who sadly passed away at the end of 2018.

“It’s hard to put into words how much she impacted my life. Even though she is no longer physically here, she continues to inspire and motivate me,” said Hardy.

Hardy is the sole designer and maker of all Meg & Co. garments currently. Although she prides herself on everything she achieves, she admits that she would not be able to do all she does without the support of the people around her.

“It’s true, it takes a village to launch a fashion brand.”

Currently, Meg & Co. is available on New Zealand online retailer, Notion as well as on the Meg & Co. online store.

The collection, Rustic Simplicity, is a wool-based collection with a colour palette of black and camel.

26 I July 2020

The garments form a cohesive capsule collection that can be styled together or separately with your own wardrobe. The collection is void of trends, making them timeless and classic pieces to suit your everyday style.

When Hardy designed this collection, she had the environmental impacts of the fashion industry in mind.

“I thoroughly researched the environmental impact certain fibres had. Wool has the least amount of impact, yet more benefits for the wearer.

It is a natural, renewable, compostable fibre that regulates body temperature, resists odour and is hypoallergenic.”

Hardy works with Otago Knitwear to produce New Zealand made merino, which not only supplies great quality wool but allows Meg & Co.’s supply chain to be local and small.

“To me, wool is the most versatile fibre and it is time we invest in making the swap from synthetics to natural fibres that are better for the planet and the wearer.”

The Shetland Camel Coat is a highlight within the collection. It is a classic piece with a tailored yet easy fit. Wear it left open or tied around the waist, it’s versatile making it possible to fit a variety of body types and shapes.

“I hope that I can encourage people to be conscious about what they are consuming, and to inspire a change in the way we do consume fast fashion.”

To me, wool is the most versatile fibre and it is time we invest in making the swap from synthetics to natural fibres that are better for the planet and the wearer.

trade talks

THE ART OF VISUAL MERCHANDISING Visual merchandising can be a tough skill to master, and every store is different. Staying true to the designer or brand’s core values and aesthetics has proven to be of top priority rather than getting as much stock on display as possible. We spoke to visual merchandisers and designers from around the country to see what works best for them, and what not to do when merchandising.

YU MEI Yu Mei is a leather goods label devoted to the creation of understated luxury.

Each bag design is born from the ethos that simplicity is complexity resolved - Yu Mei’s visual merchandising efforts reflect this ethos completely.

The in-store experience is paramount for every customer that comes into the Yu Mei lounge.

The space is warm and welcoming, allowing the Yu Mei community to interact with the different textures of the bags. The store is also designed to ensure the bags are within easy reach, and the art and florals complement the collection.

“We are so much more than a leather goods brand - underpinned by our values of empowerment, utility and simplicity, we are selling the lifestyle. So, having a space that reflects this, along with our premium aesthetic, is key,” said Jessie Wong, director and founder of Yu Mei. One of Wong’s favourite installations was for NZFW back in 2017. It showcased their AW18

collection ‘Ceci n’est pas un sac’.

The installation had bags strung on a clear fishing line from the roof where images were projected onto them. It gave the effect that the bags were left floating above the pillars; a dreamlike illusion which was very fitting for a collection that was informed by Magritte’s surrealist ideas.

For Wong, she believes that all she needs is the right art and a sculptural vase for Yu Mei retail spaces.

“I sourced this amazing Fabio Vogel blown amber glass vase in New York and very carefully brought it back as my carry-on. It's unique and the perfect anchor for our oversized marble point of sale,” added Wong.

Being in the same building as the Jhana Millers Gallery, it has meant that Yu Mei has been able to have beautiful pieces of artwork to showcase at their stores.

“Jhana has very generously lent us a number of Denys Watkins watercolours to pair with our collections. The art is always rotating with the seasons and we love that the store is a reflection of the collaborative effort of the artists and craftsmen who

We are so much more than a leather goods brand - underpinned by our values of empowerment, utility and simplicity, we are selling the lifestyle.

28 I July 2020

had a hand in creating the space.”

In line with various visual merchandising experts, Wong also believes that clutter can be a downfall in visual merchandising.

“Too much clutter can really detract from the product itself, so use props and accessories thoughtfully.

Sometimes even the most simple elements, some citrus fruit, for example, is all that’s needed to make an impact.”

Wong is passionate about partnering with other brands. For the launch of their Spring collection, Yu Mei partnered with Spring Spa to offer hand treatments at their in-store event.

To accommodate the event, Wong and her team used a slab of travertine atop an upturned bowl from Wong’s personal collection of Paul Melser ceramics, to display products that Spring Spa used during their treatments.

“This was a simple and effective way of creating a display that worked with the natural elements of marble and oak in our store, and it was made from things we had on hand already.”

Creating visually pleasing displays do

not necessarily mean you need to spend thousands of dollars. Yu Mei does a great job at creating new and exciting displays with items they already own.

Wong, however, does mention that it is important to carefully consider which brands you partner with.

For the Spring event, there was an obvious alignment with why Yu Mei had partnered up with Spring Spa; it being for the launch of their Spring collection. Further, Yu Mei wanted to let customers know that it is equally important to treat your bag just as kindly as you would treat your skin.

Yu Mei does not heavily merchandise their store based on things such as Easter or Mother’s Day, however, this does not mean they do not do it at all. For Valentine’s Day, Wong felt it was appropriate to give 100 red roses as a complimentary gift to their customers to celebrate the day.

It not only looked great instore, but it was also a way for the Yu Mei team to share their love for their community.

“We loved seeing the delight on people’s faces when they came in and were greeted by a huge vessel of roses.”

MERCHANT We spoke with Nat Strickland from Overland to discover what ticks the boxes for their visual merchandising. Continuing the brand’s aesthetic instore was crucial while also making sure each bricks-and-mortar presence had significant touchpoints for customers. Each of these provides a look, feel, and voice that extends into digital as well.

“Evolution is key, if you stay tied to a certain way of doing things, then it usually means your brand isn’t growing,” Strickland advised.

“I’m really grateful to have an amazing team of VM’s within our Overland brands (Mi Piaci, Merchant 1948, and Deuce) that are constantly searching for the ‘new’ and challenging the status quo.”

Evolving Merchant 1948 from Overland Footwear has been a highlight over the last few years for

Strickland. Their newest Merchant 1948 flagship store inside the Westfield Newmarket is a testament to what they have been able to achieve.

“We have taken our in-store journey to a new level and with that, our customer experience is better than it’s ever been.”

Collaborating with experts at each point of the design process ensured they had a deep understanding of the customer journey from the moment they first look at the store. Putting yourself in the shoes of the customer is the best starting point.

Mi Piaci, Merchant 1948, and Deuce all pride themselves for remaining in touch with their customer’s needs. Their visual merchandising teams ensure that they take the time out to really get to know their customers, this way, the display process will effectively reflect what customers are looking for.

For Strickland, visual merchandisers should never think that it’s their job to simply make the store

pretty. Understanding your brand and how it relates to your target market is crucial. From there, stock and sales numbers will back up the visual plan.

“A good visual merchandiser critically analyses every step to the experience, so when customers walk in they are guided and the visit is enjoyable and hassle-free.”

Strickland is not shy to plan visual merchandising around events. However, the key is to ensure she targets the right customers at the right time. Not all events will relate to all customers, but this does not mean visual merchandising plans will be instantly scrapped because of this. It is key to get the messaging right, through visual merchandising, to the specific group of customers that the event may relate strongly to.

“Success can’t always be measured on a sales return either, it’s also important to show your customer your brand personality and let them get to know you,” concluded Strickland.

WORLD WORLD is an incredibly visual brand, and their stores and staff are the representative faces. The team creates the experience for the customer, and the displays in-store are vital in crafting a response from existing and new clients. Always endeavouring for newness, in store now is an exciting six-foot-tall gorilla KONG with a light coming out of his arm. Alongside KONG are fellow items from the same Italian lighting and furniture brand Qeeboo.

“We did an amazing display with our Antique partner European Antiques of Val St Lambert glassware which combined with our neons to look pretty special,” added Benny Castles of WORLD. “Recently we've done windows in collaboration with Levi's to showcase their PRIDE Collection which we loved!”

Being an emotive brand, they look at success in terms of customer engagement and enjoyment as well as how the team enjoys each display or feature personally.

“For us, it is personal - did we like it? Did it showcase the brand and our personality? These are the key questions we ask.”

Success can come from moving a mannequin into a slightly more visible place or showing a garment that makes more sense on the body than the rack.

The biggest mistake visual merchandisers can make is not changing enough, according to Castles.

Customers always want to have a new and engaging experience; that is what excites them. It is up to retailers like WORLD to create a space that excites customers.

Collaborations for WORLD are vital. When partnering with other brands WORLD makes sure that the crossover of brand ethos is always authentic.

Their Britomart store is an excellent example of a neighbourhood that is a massive ‘collaboration’ itself.

On a one-on-one level, WORLD works with a variety of brands and artists on both pop-up and long term contracts.

In terms of switching out visual merchandising designs based on events like Mother’s Day and Easter, the decision to do so, for WORLD, is based on a caseby-case basis.

“We enjoy engaging in the conversation happening in the community specific to each store and try to have each location react independently.”

This means that, if celebrating Mother’s Day, for example, is big on the list for the immediate community around WORLD, then they reflect this in their visual merchandising designs.

30 I July 2020

ELLE + RILEY Elle + Riley exists for the love of cashmere and timeless designs. It is their number one priority after customer service when thinking about the entire purchase process for the customer. Merchandising a retail store for Elle + Riley comes down to every detail, even what their team are wearing on the shop floor.

Elle + Riley pieces evoke luxury, simplicity and nature. It is a lifestyle choice to wear Elle + Riley.

“Our stores and our visual merchandising need to reflect luxury, simplicity and nature, and the entire experience needs to follow this from start to finish,” said Elle Pugh, Co-founder of Elle + Riley.

Elle + Riley do not tend to ‘theme’ their stores. They also stay away from large installations.

“We find that our product speaks for itself, and

when the merchandising is simple and easy to follow, our customers have a better experience.”

Making sure customers can clearly see the product without having to go through a maze is key. Grouping products together so customers can see all the available colourways for each design is also crucial. Oftentimes, customers are looking for particular colours, or they may like a design but would prefer it in a different hue. It is also important to showcase how different looks can be accessorised as it gives the customer inspiration on how they can style different pieces together.

The biggest mistake visual merchandisers can make, according to Pugh, is when they overcomplicate the process.

“Our customers always comment on how calm and relaxing our stores feel, and I think this is important, especially when they are spending a lot of time in the store.”

Our stores and our visual merchandising need to reflect luxury, simplicity and nature, and the entire experience needs to follow this from start to finish.

ASSEMBLY LABEL Assembly Label was born from a desire to create well-made clothes with an appreciation for minimalist design. Clean and considered, favouring high-quality materials and refined details.

The look and feel of Assembly Label stores is paramount in enabling the team to connect to the community in a meaningful way.

“We adopt a consistent and considered approach across all touchpoints, and the store environment is a natural extension of that,” noted Damien Horan, Cofounder of Assembly label.

The store is a tangible and potent representation of the brand. With Assembly Label, each element is placed thoughtfully to ensure customers can easily connect with the values of the brand.

“The ultimate aim is to create a distinct brand environment where people know they are in an Assembly Label store without even seeing the sign on the door.”

32 I July 2020

Assembly Label always looks for opportunities to connect with the wider community beyond the exchange of goods for dollars. During the festive season last year, Assembly Label had partnered with the Smith Family where one element of this partnership was a Toy and Book Appeal. This was facilitated through Assembly Label stores, where customers were invited to bring in new toys and books in store to be gifted to children who may be experiencing a difficult festive season.

“Seeing the displays fill up with donations from people’s goodwill created a unique energy in our stores at what otherwise is a very commercial time of year in retail. Our team found it very enriching to connect with the community in this way.”

Assembly Label challenges what the industry ‘tells’ them is the right way a retail store should look. They question every element of a typical retail store and elements that do not resonate with the brand are disregarded.

“What’s left is a store experience that feels distinctly non-transactional,” added Castles.

Stores are designed to be more than just a place to buy things. Castles believes that stores should be designed to facilitate moments for pause and

reflections. Stores should be a place filled with authentic interactions and attainable aspirations.

Assembly Label’s visual merchandising is approached in the same way - by prioritising how people feel in space as opposed to how many different ways a brand can ‘seduce’ a customer to purchase an item.

“This approach allows people to feel just as valued whether they’re a paying customer or not, and that is the crux of what a branded experience is.”

Visual merchandising for Castles is more than just how neat a stack of clothing looks. The elements of store design, music and staff interactions are equally as important. Some businesses make the mistake of seeing these as isolated elements. For Castles, these elements must all work well together to create the ultimate in-store experience.

Collaborating with partners who are akin to the core values of Assembly Label further affirm the Assembly Label lifestyle which resonates with their community.

“Building real and authentic relationships with people, both partners and customers, is at the centre of what we do. Through collaborations, we have created a genuinely engaged community that continues to grow.”

@ravenandrose

www.ravenandroselingerie.com

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34 I July 2020

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