Apparel Magazine | April/May 2021

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April/MAY 2021 I VOL 54 I NO 2

editor's note

AN OPPORTUNITY TO REASSESS NZFW, EVOLVE & REFRESH TO GAIN ROI

I

am over the moon that industry mover and shaker, and industry supporter, Feroz Ali, has successfully bought New Zealand Fashion Week. Ali is a breath of fresh air to NZFW. A well-respected entrepreneur who first came to our attention when he invested in Whitecliffe and NZ Fashion Tech, merging the two to create an education powerhouse. The change of ownership of NZFW brings the opportunity to reassess, evolve and grow into an annual industry event that melds all parts of the fashion industry together.

I've often commented that the path that NZFW chose, which focused on consumers rather than wholesalers and buyers, was ill-judged. A course that ultimately was to its detriment.

Meanwhile, the true meaning of fashion week got lost in translation. Actual industry engagers?

Forgotten. The few buyers who attended relegated to back rows. At the same time, models and tv presenters hogged the front row (often leaving their seats empty because they got a better offer or it was raining). I have often seen vacant front row seats with ushers hurrying to fill with bystanders and posers.

Last year, I spoke with a buyer who was seated in the fourth row of a show. I asked why such a high profile buyer wouldn't be sitting in the front row. They replied that they weren't considered important enough. They couldn't see the collection, and the designer had just ignored them. They wouldn't be buying that brand's collection.

Networking matters, please note designers: if you have invited buyers, put them in the front row. Your family, models and Instagram posers will be fine in the third row. You, however, will only get this one shot to show and sell your collection at one high

octane event.

To continue down the current route is commercial suicide and does little to support the New Zealand fashion industry. However, if this is what the industry wants, we should only show Spring/Summer collections, not 2022 Autumn/ Winter. Invite consumers, customers, slap it all over Instagram, because at this point, we are just making social media content. My point is - find the direction that benefits business, engage all players in the sector and talk business - talk about what the industry would like to happen.

A new operator is a fantastic opportunity to halt and reassess so all parties can do business; after all, commercial success is vital for everyone. It's not the number of visitors; it's the quality - buyers must be up-front and centre as they are the lynchpin.

Despite writing about it every year around fashion week, I'll explain again. Consumers don't understand why the garments they see at fashion week aren't available for purchase now. They see it on Instagram or in mainstream media. It's 'Oh, I like that!' - then they turn to the internet and find a similar one at a fast-fashion giant for a quarter of the price.

By the time your collection debuts in-store months later, it is OLD NEWS for consumers. They saw it "last year", it's old to them. Fashion week is a trade show for wholesaling. I don't know when everyone forgot that, but if we ever get back to what fashion week is all about, then on top of the list has to be ROI. Shows are expensive to do, and if you don't make a return, what was the point?

A few extra followers on Instagram won't launch your business nor satisfy the bank manager. And if you are an emerging designer, there are more

ON THE COVER Photographer: Mike Rooke Model: Sara from N Management Hair: Phillippa Hofman from Colleen Make-up: Sofia khimich

Be part of this conversation. Let us know what you would change, what you would like to see, your gripes and your inspiration.

We invite you to share your thoughts on NZFW and how we can come together to benefit the business of fashion?

Share your thoughts (anonymously if you like) to help the industry benefit from a New Zealand fashion week.

behind APPAREL...

CHAIRMAN PUBLISHER ADMIN/SUBSCRIPTIONS EDITORIAL DIRECTOR

Peter Mitchell Tania Walters Kieran Mitchell Sarah Mitchell

EDITOR EDITORIAL ASSOCIATE CONTENT MANAGERS GRAPHIC DESIGN TEAM

ISSN 1171-2287 (Print) ISSN 2744-5976 (Online)

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important things you need to tick off your list before chomping at the bit to have your own show.

COVID-19 has impacted fashion weeks worldwide, with some significant changes, including digital shows and no catwalk shows.

Finding a path forward will take all in the industry to speak up and out, no point in grumbling inside your business. You need to take this opportunity to spell out what has changed for you, what you need NZFW to be and how you see the two coming together. The pandemic has also significantly impacted e-commerce growth, supply chain issues and a worldwide determined consumer wave of #supportlocal.

So let's do that. Let's support local - let's give all our support to New Zealand businesses, the fashion retailers, suppliers, designers, manufacturers, and service providers, all in one place. Let's work together to make NZFW a must-see on the global fashion week landscape.

Caitlan Mitchell Janet Guan Caroline Boe Raymund Sarmiento, Debby Wei

Retail 6, 2 Ruskin Street, Parnell, Auckland, New Zealand PO Box 37 140, Parnell, Auckland, New Zealand Phone: +64 9 304 0142 Email: edit@reviewmags.com This magazine is published monthly under license. Please direct all enquiries and correspondence to Review Publishing Co Ltd. This magazine is a platform for the industry and may include content that expresses views and opinions by contributing writers. Content is attributed to the author, and these opinions and the view/s are those of the author/s. They do not necessarily reflect the official policy or position of any other agency, organisation, employer or company. The opinions and material published in this edition are not necessarily those of the publishers unless expressly stated. All material appearing in the magazine, website and social media platforms is copyright and may only be reproduced with the written consent of the publisher. Copyright 2021

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fashionable reads

Paul Smith

Anni & Josef Albers

This new monograph captures the unique spirit of British fashion icon Sir Paul Smith through 50 objects chosen

by Smith himself, for the inspiration they have provided him over the years. From a wax plate of spaghetti and a Dieter Rams radio to a Mario Bellini Cab chair and a bicycle seat. Each object has impacted his worldview, his creative process, and his adherence to a design approach that’s always imbued with distinctly British wit and eccentricity.

A spectacular and unprecedented visual biography of the leading pioneers and protagonists of modern art and design. Josef is a painter, designer and teacher, whilst Anni is a textile artist and printmaker. The pair are among the 20th century’s most important abstract artists.

This book celebrates the rich creative output and beguiling relationship of these two masters in one elegant volume.

It presents their life and work like never before, from their formative years at Bauhaus in Germany to their remarkable influence at Black Mountain College in the United States through to their intensely productive period in Connecticut.

Nike: Better is Temporary

Open Studio

At Nike, the desire to be the best is a journey, not a destination – better is always temporary. This immersive visual survey offers a behind-the-scenes exploration into Nike’s ethos-driven design formula, placing industrydefining innovations and globally recognised products alongside previously unpublished designs, prototypes, insider stories and more. The book design is another nod to its contents. The striking cover features overlapping silkscreened layers of Nike’s Volt yellow and Hyperpunch Pink with a clear jacket that showcases a series of coloured tabs that extend from its interior pages. This is not any ordinary fashion book, its an art-piece itself.

A behind-the-scenes look at leading contemporary artists at work in their studios, with original art projects to recreate at home. This book is perfect for those who are in a creative slump, or simply wanting prompts to get creating again. Open Studio invites its readers to the private studios of seventeen of the most celebrated contemporary artists as they draw, paint, sculpt or design an original project for readers to recreate at home. Join George Condo as he creates a paint-by-numbers portrait, William Wegman as he watercolours whimsical scenes or Mickalene Thomas as she makes an artist’s book out of collage.

By Tony Chambers

By Sam Grawe

By Nicholas Fox Weber

By Sharon Coplan Hurowitz, Amanda Benchley, photography by Casey Kelbaugh

www.apparelmagazine.co.nz

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social report

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@naveyaandsloanejewellery

@by_johnny

@workshopnz

APRIL/MAY 2021

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p S y t Beau

No lookbook, runway, photoshoot, or flawless makeup. Whether it’s a natura dramatic and bold look, the make-up arti in telling a brand story as t This month, we dived a little deeper int industry is like from those who live and what is the most important technique or to step foot into make-up artistry We caught up with two local make-up a Artist at M.A.C Cosmetics in New Z professional freelance make-up artist an more about their personal stories, exper are now in their career in

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r campaign shoot is complete without al no-make-up make-up look, or it’s a ists behind every project are just as vital the clothes on every model. to the beauty world to find out what the d breathe beauty, as well as discovering skill to master for those who are wanting y – especially make-up in fashion. artists, Kiekie Stanners, Global Senior Zealand and Chanelle Van T Veen a nd hair stylist in Auckland, and we learnt riences and how they got to where they n the beauty industry.

KIEKIE STANNERS Kiekie Stanners is M.A.C Cosmetics’ Global Senior Artist in New Zealand. From creating looks for extensive M.A.C global campaigns, creating looks for Vivienne Westwood, Lacoste, Thom Browne and much more at Paris Fashion Week, to being the Makeup Designer for A Midsummer Night’s Dream, Stanners has an abundance of experience under her belt.

Stanners has been a makeup artist for 14 years – she began her career with M.A.C Cosmetics.

Stanners is self-taught and was eager to learn from the best.

“I loved everything that M.A.C stood for and wanted to learn from the best, so I was lucky enough to secure a job at a retail counter,” explained Stanners.

Stanners learnt a lot working alongside incredibly talented makeup artists on the floor; she honed her craft by helping customers and saying yes to every M.A.C opportunity that came

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her way.

Previously, Stanners worked in fashion. She worked for Zambesi in the workroom, creating special order garments and hand-tailoring bespoke pieces.

“I adore the craft of design/aesthetics in all creative realms. I think it all works hand in hand, no matter what creative field you end up in. If you have a vision, it can be applied to any realm.”

Stanners’ earliest memory of makeup is when she would ask her mother to complete her looks.

“I was always obsessed with dressing up and needed my head-to-toe styling done, ever since I was little. I did especially love her extreme winged eyeliner that she did using a very blunt black eye kohl, all around my eyes, that didn’t really stay in place longer than an hour, but damn did I feel cool.”

When working for M.A.C as its Global Senior

Artist, Stanners always prioritises quality with whatever she is working on.

“I like to always maintain my own high standards of execution with whatever I’m doing and continually keep up my originality.”

A technique Stanners believe is crucial to master as a beginner makeup artist is the art of perfecting skin. No matter the area you go into as a makeup artist – fashion, film, talent or client-based beauty, you will always be required to create beautiful skin for natural light as well as strong artificial lighting.

“As a beginner makeup artist, of course, you want to get into the exciting stuff, big colour, dramatic looks, transformative makeup, but nothing will look great if the base isn’t good,” explained Stanners.

Stanners is a ‘skin perfectionist’. No matter what work she is doing, the skin needs to be flawless.

beauty spot

“No matter the changing trends in beauty or your changing avenue in your career, you will always need to master skin application.”

Stanners finds her inspiration from everywhere and anywhere. She does not like to reference other artists’ work, but instead, she wants to be inspired to create something herself. Her main inspiration comes from researching culture, music and fashion.

“I love nothing better than pouring over photography books, magazines and documentaries on pop culture or music history.

This sparks my creativity more than anything else, then I’m in my best head space to story-tell with makeup.”

Further – nothing, for Stanners, is better than heading out of the city to a remote beach town to shake everything out of your head and get back into a creative headspace.

Stanners primarily works in the Fashion

industry, so she travels far and wide for on-set or location jobs. She provides makeup artistry support to any M.A.C sponsored clients or industry relations. Over the years, she has gotten to know all her clients so well that she knows their individual style, type of makeup that would suit their brand, and how best to storytell for them with the makeup looks she creates.

Stanners’ point of difference is that she always likes to be unique in the work she puts out.

“I would hope that when someone sees what I have created that they know straight away it was mine, and it speaks to beauty in all nuances of the word.”

The highlights in Stanners career so far has been working on the M.A.C Cosmetics x Lorde global campaign, the M.A.C Cosmetics Parris Goebel campaign, Lorde’s Vogue cover, and being asked to be in the M.A.C Viva Glam 25th Anniversary global campaign as a M.A.C AIDS

Fund spokesperson. Other highlights also include working backstage in London, Milan, Paris, Shanghai, Sydney and Auckland Fashion Weeks for the last few years.

During lockdown, those in the beauty industry moved to an online module – sharing what once may have happened behind the scenes in the industry, to now presenting techniques and makeup training in an online space.

“It absolutely has changed the beauty industry, especially when globally there is so much focus on YouTube tutorials/channels, social media how-to’s and even just self demo’s showing the fun of makeup while at home.”

Stanners loves the online and digital content the beauty industry is involved in; however, she also loves working in a team with a crew. In the future, she hopes to work in an online space that allows her to show her professionalism in the industry with help from a talented team. www.apparelmagazine.co.nz

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CHANELLE VAN T VEEN Chanelle Van T Veen is a professional makeup artist and hair stylist in Auckland. Chanelle is all about enhancing natural beauty, and it is evident in her work. With an abundance of experience in editorial, advertising, runway, television and bridal, Chanelle began her career by completing a diploma in makeup artistry before freelancing and working part time as a retail artist at M.A.C Cosmetics. Since 2016 Chanelle is a full-time freelance makeup artist and hair stylist.

With Chanelle’s work, she values authenticity, creativity and building great relationships with the people she works with. She is inspired by the

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collaborative aspect her job allows her to be a part of – hair, makeup, stying, location. She is a small part of a bigger message, or a bigger project. All parties must work together to send an overall message, whether it be a campaign shoot or otherwise.

Chanelle travels anywhere for her work and strives on being flexible for her clients. She is a bit of a perfectionist so her looks must be clean and flawless in her own eyes.

“I usually love to create glowy skin as to me it looks really radiant and healthy,” she explained.

There has been many highlights in Chanelle’s

career, every time her work is featured in magazines, on the TV or in ads is really special for her.

Makeup artistry is a close contact profession, therefore during lockdowns Chanelle spent her time goal setting and planning ahead for the future, because of this, she can now direct herself towards the type of work she wants to create while staying true to her own aesthetic.

To book Chanelle for your next shoot, contact her via her website, www.chanellevtvmakeup.com or find her on Instagram @chanellevtvmakeup.

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atching two-piece or threepiece sets have been around for decades in both womenswear and menswear trends, however, these talented menswear designers this year have taken us all out of our comfort zones of boring grey blazer and pant sets, to ones with bold prints, in interesting colourways, textiles and cuts.

Mistergentleman’s latest show in Tokyo was a little different this season. After the sad news of designer Takeshi Osumi’s sudden passing earlier this year, one half of the design duo behind the menswear label, the show and its guests paid respects to the late designer. Guests were asked to wear black, and upon their seat was a single white rose. It is known that Osumi was designing this collection from his hospital room where he combined an earthy palette with outdoor influences. An obvious country-meets-city affair, this blazer and pant combo saw a bold pattern of the words “Free Your Mind” plastered and repeated throughout the set. Paired with an unexpected shiny vinyl turtleneck and classic black loafers, it’s a set that definitely goes beyond the norm.

Designer Chitose Abe looked towards the influences of street-culture trends for her recent 2021 Menswear collection. The collection saw a unique collaboration with designer and friend

Brian Donnelly, known as the artist for the Kaws brand. Donnelly incorporated three of his artworks as prints. Turning art into something wearable fascinated Abe, working with Donnelly was a perfect fit due to Donnelly’s background in graffiti and street art, fitting nicely into this streetwear inspired collection. This wool duffle coat is spliced together with light windbreakerlike material in a bright royal blue peeking out between panels. Paired with matching tailored pants in the same hue and material, this set is neutral and stylish – made for the modern male.

Emily Bode is known for her use of antique buttons from 1908 to 1925 that she uses to embellish suits, cuffs, collars and shirts. The Bode 2021 Men’s Fall collection pays an homage to antique textiles and materials. Different textiles tell different stories. When creating pieces from antique fabrics, it means each piece is one-of-a-kind. This unique set features a thick blanket-like material with a bold burgundy striped pattern. This set is finished with a rope tie-belt, adding to the overall relaxed look. Full of texture, the set embodies the casual comfy wear trend of the past year.

Cooke’s 2021 Men’s Fall collection saw statement capes, varsity jackets and matching short skirts. The short skirt and varsity jacket set was topped off with a long trench coat in the same brown houndstooth checkered

pattern. The collection looked at a world beyond COVID-19, where menswear is filled with discipline and intensity. Skirts are barely seen in menswear collections, nevertheless, skirts that are as short in length as these are. After endless fittings to get the perfect fit, the design duo managed to create something that felt genuinely masculine. This set is not for the faint-hearted, it’s for those who want to make a statement in their everyday look.

We saw a mix of tailored and casual looks on the Berluti 2021 Men’s Fall runway. Designer Van Assche creates mesmerizing colour combinations on silk shirts, mohair sweaters, and most strikingly, full suit sets. This multicolour slim-fit set sees glimpses of purple, blue and magenta with every step. Paired with a bunched turtleneck in the same colourway, it definitely stands out from the crowd.

Helmut Lang’s Men’s Fall 2021 collection saw a neutral colour palette with the occasional pop of bright yellow and orange hues every now and then. For the most part we saw, blacks, beiges, whites, khaki greens, and pale blues. This athleisure set highlights a stone white tone with contrast zipper detailing. The windbreaker-style jacket and the comfy track pants combination yells comfort from a mile away. Paired with a timeless pair of white sneakers, this is a look that will be worn by the masses.

www.apparelmagazine.co.nz

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s d n e r T ty u a e B w o Must-kn What has happened across the beauty industry last month? Get up to speed with the trends shaping this market.

edited THE TOP TRENDS 1. Are mushrooms the next CBD craze?

The global functional mushroom market is said to be worth £23 billion this year and beauty wants a piece of the pie. Emerging research shows that mushrooms help with youth preservation and long-term wellness, and are increasingly found in skincare ingredients.

Outside this market, the trend is gaining momentum as an alternative treatment for depression. Consumers' love for mushrooms is also evident in the apparel and homeware space, where 70s psychedelics prints and mushroom lamps are trending.

Looking to capitalize on this new craze, ecommerce platform Multiverse launched in January for fungus enthusiasts with plans to launch its own private label in July, encompassing CPG, merch and beauty products. We expect more beauty brands to push mushroom ingredients across their marketing in the coming months, particularly to highlight their benefits in skincare.

2. Refillable A host of retailers re-affirmed their sustainability commitments and debuted new eco lines throughout Earth Month, with the refillable model most popular among brands.

Back in September 2020, we highlighted refillable products as an emerging trend within our reports, highlighting cult brand Kjaer Weis whose refills make up 20 percent of its business online, with a retention rate of over 30 percent, according to its CEO Gorman Round.

This month, luxury brand Hourglass Cosmetics announced its developing all-new sustainable packaging, offering refillable materials and utilizing tin, aluminum and PCR plastic. Wellness and beauty brand Moon Juice is also shaking up its packaging offerings, offering its capsule supplements in refills sent in biodegradable pouches.

HEADLINE HIGHLIGHTS

The Carlyle Group acquires Beautycounter The private equity firm has acquired a majority stake in the clean beauty company Beautycounter, now valued at $1bn, with plans to increase brand awareness and grow its omnichannel business.

An Amazon salon is opening in London Based in Spitalfields, East London, the hightech hair salon will feature AR mirrors showing clients different colors and styles before treatment, alongside traditional services.

Sephora x Kohl's reveal brand line up Opening in August, 75 percent of the 125 brands in the lineup are exclusive to Sephora and Sephora at Kohl's, from Tatcha to Fenty Beauty

and Estée Lauder.

Valentino to launch makeup The latest luxury brand to enter the beauty space, Valentino is launching a range of colour cosmetics over the coming weeks in the hopes to see the same success as other designers like Gucci Beauty and Hermés.

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SUSTAINABILITY HEADLINES Cloud Nine expands industry-first recycling scheme The hair tools specialist has added curling wands and hair dryers to the list of devices customers can recycle free of charge. To date, the brand has recycled over 50,000 straightening irons and is committed to recycling 1.5mn tools by 2022.

Starface founders launch PLUS New, sustainable personal care body brand PLUS comes in dissolvable packaging that disappears in the shower, leaving zero waste behind.

Pai receives investment from Clarins Group The organic skincare brand has received a £6.4mn Series B investment, enabling it to meet the increasing demand for products worldwide and support plans for a pipeline of new products through its Pai Labs innovation hub.

Esteé Lauder Companies reaffirms commitments The company aims for 75-100 percent of its packaging to be "recyclable, refillable, reusable, recycled or recoverable" and increase the amount of PCR material to 50 percent by 2025.

STANDOUT EMAIL COMMUNICATIONS

Sustainability

In celebration of Earth Day, retailers like Selfridges sent its customers an edit of "10 plant-positive beauty brands you need to know" while other brands like Glow Recipe highlighted sustainability promises.

420 On April 20th, beauty retailers put CBD products in the spotlight to celebrate 420 day.

The retailer also gave customers 20 percent off selected lines with code GREEN420.

Ramadan Beauty Bay sent an email focusing on self care routines during Ramadan. Elsewhere, Benefit Cosmetics held its fourth Ramadan campaign, working with nine Middle Eastern influencers to create video content reflecting on the core values.

Concierge Cult Beauty promoted its Cult Concierge service, whereby customers can receive personal, one-to-one guidance to answer any beauty dilemmas.

D&I HEADLINES

Neutrogena For People With Skin campaign The skincare brand's latest campaign aims to make its message of skin health more accessible, hoping to lower the barriers consumers face due to race, health care access or socio-economic standings. The initiative was born after the brand's Skin Health in America survey found that 62 percent of adults had been unable to access the skincare or information they needed.

Naomi Osaka is launching a skincare line for POC The tennis champion is launching Kinló in Fall 2021, sun protection formulated specially for darker skin, priced at under $20.

Dove's The Selfie Talk campaign Forming part of its Self-Esteem Project, the campaign advocates against the prevalent "digital distortion" that we see on social media.

Lizzo partnered with Dove and posted an unedited nude selfie to Instagram.

Ulta Beauty hosts first-ever Diversity Week The five days of programming for all its 8,800+ corporate, store and distribution center employees included group training chat-ins and distributed resources - all held live and recorded for those not able to attend.

www.apparelmagazine.co.nz

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y l l u f d e s U Textile Reuse

Submission on the Climate Change C

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yProgramme

Commission Draft Proposal

trade talks

TEXTILES RESOURCES DUMPED IN LANDFILL INCREASE GREENHOUSE GAS EMISSIONS IN AOTEAROA "Most clothing and textiles ultimately end up in landfill releasing greenhouse gases as they decompose. While the rate of emissions varies by geography (and level of research), there is alignment on the fact that after food waste, textiles are a hotspot for emissions in landfill. Our recent research: Looking In The Mirror: A review of circularity in the clothing and textile industry in Aotearoa estimates that annually 220,800,000kgs of textiles are landfilled each year. The Ministry for the Environment (in Aotearoa) calculates landfilled textile emissions at 1.80 CO2e per kg.

This equates to 397,440,000 kgs CO2e. Billions of dollars are spent landfilling these valuable commodities, meanwhile virgin resources continue to be extracted to supply the industry and climate impacts escalate. What our research uncovered in Aotearoa is an industry highly aware of the environmental impacts of their sector, an industry no longer satisfied with business as usual and business owners and employees committed to creating a better future but hamstrung by huge infrastructure gaps and grappling with a lack of policy support.

What is needed now is not incremental but era scale change across industry, society and the economy to address this crisis in a just, equitable and enduring way. The textile and apparel industry is based on a linear production model and geared for growth. The environmental and social consequences of that model are becoming too big to ignore, leading to increasing public awareness of the ‘unintended consequences’ of our appetite for fast textiles, and increasing need for regulation. Research into technological solutions to the ‘textile waste’ problem is belatedly gearing up after decades of neglect, but it is already clear that these solutions cannot be relied upon to ‘solve’ everything.

The textile value chain is global but has local consequences. The clothing industry has transformed in recent years with the adoption of the ‘fast fashion’ model. The consequences of this approach to product creation are numerous, and include a decline in durability, consumers wearing each item less, and rapidly increasing volumes of textiles being sent to disposal. According to the Ellen Macarthur Foundation, the clothing industry has doubled its output in just 15 years (faster than global GDP growth), while clothing utilisation is on the decline. With clothing production breaching 100 billion units per year there is a growing awareness amongst stakeholders of the significant impacts of our clothing and textiles.

The textiles industry is essentially built upon a linear model of ‘take, make, waste’; meaning that industry growth depends on taking more and more resources, processing them into products, and then selling them to consumers (and encouraging

them to buy more). The most commonly used raw materials for textiles are cotton (natural), polyester (synthetic i.e. a plastic derived from fossil fuels) and nylon (also a synthetic plastic). The vast majority of textiles ending up in landfill or incineration (depending on the destination country) The textile industry is not alone in its adoption of a linear model. Cumulatively this is leading to significant imbalances between resources consumed, and the Earth’s ability to renew resources. The organisation ‘Earth Overshoot’ measures the short-fall of resources in comparison to population, and calculates that the world overshot its annual ecological resources last year on August 22nd. Exceeding the world’s annual available resources in eight months instead of 12, drawing more from nature than the world can replace in the whole year, leaving the world in a resource deficit and contributing significantly to global heating.

All types of textile fibre are resource intensive and have an embedded environmental cost from the land, water, energy and chemicals used.

Following the linear model, increasing textile sales requires more manufacturing, and higher use of raw materials. Clearly, the industry is starting to bump up against the limits to growth. For example, natural materials such as cotton or wool require a lot of land and water for cultivation. The fashion industry is projected to use 35 percent more land for fibre production by 2030 – an extra 115 million hectares (or 4.3 times the landmass of Aotearoa) that could be protected, left for biodiversity, to preserve forest to store carbon, or used to grow crops for food to help to feed an expanding population.

Synthetic fibres and yarns are generally derived from non-renewable fossil-fuels and can lead to microplastic pollution. Research has found that globally textiles fibres make about 35 percent of marine plastic pollution3. However in Aotearoa Scion’s water quality studies4 in Auckland found that 87 percent of micro plastic pollution comes from clothing fibres.

Global warming, and the carbon emissions driving this, are of increasing concern to society.

The textile industry is also a significant contributor of carbon emissions, with global textile production generating about 1.2 billion tonnes of CO2e per year. If the industry continues on its current consumptive growth path, by 2050, it could be consuming more than 26 percent of the carbon budget associated with the 2°C pathway to limit global warming. Carbon emissions occur right across the textile value chain, linked to fertiliser and pesticide use for raw material cultivation, textile manufacture, logistics, consumer use (washing), and also end-of-life where most are disposed of in landfill (or incinerated)."

www.apparelmagazine.co.nz

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THE STATE OF LUXURY RETAIL TODAY Analyzing the data behind the core shifts in the luxury space

From designers reimagining dad sneakers as 'it' items to being first in line for the NFT disruption, 'luxury' in fashion is becoming harder to define.

There's no denying it’s experienced significant overhauls in recent years. The adoption of ecommerce. The appointments of new designers helping heritage brands fully embrace streetwear. The push for greater inclusivity on the runway. Then, to cap it all off, the pandemic adds another layer to its already steep and complex pricing architecture.

To stay on top of this ever-changing space, retailers can rely on data to demystify luxury and monitor wider market shifts. Read on as we unpack the current state of play.

KEY TAKEAWAYS • Streetwear is now fully integrated within luxury and is showing no signs of slowing down.

Noted growth areas include hoodies, up a significant 70 percent in the number of styles stocked since 2019 and women's sneakers up 35 percent.

• Despite streetwear's ever-growing presence, price rises have been driven upwards by more traditional categories. Louis Vuitton was among designers increasing handbag prices to protect margins during the first wave. This move paid off - LVMH has reported a bounce back with fashion sales up 37 percent, beating 2019 figures.

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• The majority of luxury handbags are priced between $2,000-2,500 - higher than prepandemic 2019, where designers mainly operated in the $1,500-2,000 threshold.

However, the $500 or lower interval has also grown, paving the way for affordable It bags inspired by Coach's Pillow Tabby or Telfar's Medium Shopping Bag. • Luxury brands are continuing to fine-tune their DTC strategies to regain control of pricing and branding. Online at Neiman Marcus, Saint Laurent's range has contracted 70 percent since 2019 and Balenciaga, 51 percent.

WHAT DOES LUXURY LOOK LIKE ONLINE? Luxury lagged behind other markets in its transition to omnichannel as they stuck to their tried and true methods of maintaining exclusivity and customer service. However, as technology evolved, more high-end designers got on board.

This was the right move too as all physical stores were shuttered temporarily (and some, permanently) due to the pandemic - regardless of prestige.

Currently, these are the most super-luxe brands online across the US and UK as judged by the proportion of the offering priced at $5,000 or more.

• Cartier with 50 percent at $5k and over • Louis Vuitton with 10 percent at $5k and over

• Tom Ford with 7 percent at $5k and over • Dior with 6 percent at $5k and over • Fendi with 5 percent at $5k and over Diving deeper, EDITED data reveals accessories make up 75 percent of these higher-priced items, including jewelry, watches and handbags.

Outerwear follows at 17 percent, with mink coats exiting at nearly 50k driving the prices up. As more designers pledge to phase out fur, it will be interesting to monitor how these categories shift.

CONSUMER CASUALIZATION AND STREETWEAR ARE EMBEDDED IN LUXURY While luxury brands’ online adoption has made it possible for consumers to shop white gold watches or ostrich skin handbags from their couches, it’s also helped pave the way for accessible luxury.

Brands with an ecommerce presence are able to extend their reach and grow their audience, helping nurture a future consumer who may not have felt comfortable shopping in a traditionally stuffy brick-and-mortar store.

Additionally, luxury is no longer associated with products like those mentioned above. The irrepressible power of streetwear culture has led heritage brands to fully embrace casualization and elevate the status of items like t-shirts, hoodies and sneakers. COVID-19 cemented the

edited need for comfort, where designers took a cue from pandemic dressing, sending sweatpants down the runway.

These shifts continue to impact the luxury market. The consistent breadwinning category for menswear, sneakers are now also the top stocked women’s footwear style for luxury brands too. On retailers’ standalone sites, this silhouette makes up 29 percent of shoes stocked over the past three months, with a 35 percent increase since 2019 when it was the third topstocked shape. (fig.1) An 8 percent rise has been noted in luxury sweatpants available since 2019, while t-shirts are up 19 percent and hoodies up a significant 70 percent.

Some luxury streetwear and casualwear retail for eye-watering prices (and even more on resell sites). Yet, the majority of products are positioned as an entry buy-in to the brand. 64 percent of the tops currently priced at $500 and under are T-shirts and 63 percent of footwear in this threshold are sneakers.

So, we’ve examined products at each end of the pricing scale. Now, let’s take a look at how overall prices are evolving over time.

past year. However, that’s swiftly changing as vaccines continue to roll out and venues reopen. Additionally, McKinsey & Co. reported consumers would likely return quickly to paying full price for luxury goods – the same way they did after the 2008 global financial crisis.

The firm anticipates growth of 1 percent to 4 percent for luxury retail in 2021, creating a sense of optimism and security for this category, especially for the brands that cushioned their margins with raised prices.

What are the post-pandemic luxury ‘it’ bags your consumers have on their radar?

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On the higher end of the pricing scale, Louis Vuitton’s Coussin PM handbag has been spotted by tastemakers, including Dua Lipa and Selena Gomez. Contrasting the maximalism associated with occasionwear and bold color stories dictating current assortments noted on the Spring 2021 runway, minimalism held strong as a key influential trend. This translated into ‘It’ bags with celebrity and influencer buzz surrounding the Prada Cleo bag, a favorite of Kendall Jenner.

While prices are shifting upwards, there is still opportunity at the lower end of the scale (we have 2012’s Mansur Gavriel bucket bag to thank

PRICES ARE SHIFTING UPWARDS At first glance, pricing emphasis has changed very little in the past few years, with the bulk of luxury goods remaining between $500-$1,000.

On further inspection, the data points to shifts in luxury away from the lower end of the price architecture. The $500 and under threshold is seeing its lowest investment compared to the previous two years. Retailers also aren’t operating in the $1,500-$2,000 bucket as much as they did in 2019.

Instead, there is a greater uptake in price points between $3,000-$4,000, plus more products stocked at $5,000 and higher. (fig.2) Streetwear may continue to disrupt the luxury market and add clout. However, it's not responsible for the shift in prices. Do you know what it is?

(fig.1)

THE RESURGENCE OF THE ‘IT’ BAG As detailed in our August pricing report, many big name designers such as Gucci and Louis Vuitton announced pricing amendments for handbags to offset raw material costs and combat first-half losses due to COVID-19.

Relying on the loyalty of their wealthy consumer demographic to outlast COVID and beyond, prices are continuing to shift upwards. The majority of handbags stocked online over the past three months were advertised between a price bracket of $2,000-$2,500, an upwards swing compared to the same period in prepandemic 2019 where $1,500-$2,000 was the dominant threshold.

Luxury brands are also pushing deeper price brackets than previously seen. This year, there are more bags retailing between $2,500$3,5000. More significantly, those priced at $5,000 and higher make up 5 percent of products in stock compared to 3 percent in 2020 and 2019. (fig.3) Consumers may have had no desire or occasion to carry a designer handbag over the

(fig.2)

(fig.3) www.apparelmagazine.co.nz

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edited

for the introduction of contemporary ‘it’ bags).

Luxury bags priced at $500 or lower have grown from 2 percent of the offering to 3 percent this year. Sitting within that benchmark is the Coach Pillow Tabby. A refresh of an early 2000’s model, the Y2K-inspired, Gen Z approved shoulder bag has achieved TikTok fame, racking up 470,00 views since mid-March in a video from @dailyfashionfinds hailing it the "bag of the year." Coming in at an even more affordable price is Telfar’s shopping bag aka the Bushwick Birkin. This Black-owned fashion brand’s vegan, gender-neutral brainchild won Fashion Design of 2020 from the London Design Museum. It’s so in demand, the brand has implemented its own security program to stop bots inundating the site to resell at a higher price whenever new stock lands. (fig.4) From clutches to minis, there’s no shortage of inspiration for the next ‘it’ bag.

'Second-hand' is no longer a dirty word.

One of the most significant shifts in luxury is around the perception of wearing second-hand or pre-loved clothing. With the stigma vanishing, it's become more aspirational with many factors contributing to its normalisation. Sustainability is a huge priority across all sectors within fashion to which luxury brands aren’t exempt. There has been a huge push within this market to rectify their practices following news of burning unsold goods, adding to this global problem.

Participation from luxury retailers have repositioned the narrative that second-hand fashion is more affordable. While Gen Z has championed peer-to-peer selling on platforms like Depop, The RealReal and Vestiaire Collective have succeeded in targeting consumers with a higher disposable income. With ThredUP estimating the second-hand market to reach $64 billion within five years and retailers placing further emphasis on creating a circular economy, this is a shift within luxury that is guaranteed to stay. The consistent worldwide Google searches below show it's also on consumers minds too. (fig.5)

Marcus compared to 2019, while Saint Laurent has contracted 70 percent. Fendi has also pulled back 55 percent on MyTheresa and Gucci by 16 percent.

Disruption by younger consumers According to Boston Consulting Group, millennials and Gen Z will collectively account for about 60 percent of global luxury sales by 2026.

With American Gen Z-ers currently wielding an impressive spending power of over $75 billion, this is a consumer group retailers of all sectors need to be talking to.

We’re already seen the impact this cohort has on luxury with trends popularized on TikTok, such as Cottagecore and Regencycore making their debuts on Paris catwalks. However, viral trends aren’t the only thing making these consumers tick.

The shifts luxury brands will need to note are in

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the values and priorities of these consumers who are politically, environmentally and socially aware at a young age. They have grown up around digital and social technology, celebrate diversity and authenticity, alongside an unmatched geographic mobility.

With luxury retailers late to the party on ecommerce, they are prioritizing tech to ensure they’re not behind on how to tap into this demographic. Luxury brands are tipped to be first in fashion to pull the trigger on NFTs. These unique digital assets powered by blockchain technology are forecasted to bridge phygital experiences and provide transparency and authentication. As most used by millennial consumers, they are poised to be the next big thing for Gen Z. And that’s only the beginning.

(fig.4)

CONCENTRATING ON DTC As outlined in our March report, luxury brands have been trimming back on their wholesale partnerships, concentrating on DTC strategies to achieve higher margins and regain control of their pricing. Prada was a notable example, tightening its distribution channels resulting in the contraction of products at stockists like Farfetch, Net-a-Porter, Mr. Porter and Selfridges.

It’s not the only designer brand implementing this strategy. There are 51 percent fewer Balenciaga items available online at Neiman

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(fig.5)

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Women’s 1996 Retro Nuptse Jacket The North Face

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Perforate Jacket (Ivory) Taylor

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Comfort Cord Track Puffer Jacket Lilac Huffer

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SUPERDRY

After the success of two stand-alone Superdry stores in both Auckland and Queenstown, the brand recognised that the next step in Superdry’s integration within New Zealand’s retail culture required a presence within the largest centre in the country, Sylvia Park Shopping Centre.

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APRIL/MAY 2021

“We continue to see opportunity within New Zealand and saw a second Auckland store as a natural next step for the brand. The recent developments within the centre itself allowed us to present the brand in a premium and elevated way in line with the new global roll out mandates as well as expand our footprint in Aotearoa,” explained Matthew Iozzi, Superdry Marketing Manager.

Iozzi worked with Dimension Shopfitters for this project. The brand had executed both Superdry stores in New Zealand so Iozzi was confident in their execution of a new store design.

The new Sylvia Park store design speaks to the core of the Superdry brand identity which is ‘original and vintage’ whilst elevating the brand for the modern premium consumer. Utilizing several vintage oaks across the store in various tones, the store fit out represents a clean and modern conceptualisation of the heritage Superdry brand.

“Blending both heritage logos and new graphics,

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Superdry Sylvia Park celebrates the history of the brand whilst also heralding a true balance between vintage Americana, premium Japanese graphics and British influences.”

The international brand team in the UK designed the complete fit-out for Superdry Sylvia Park. The brand’s third store in New Zealand marks the first executed fit out of the new re-invented Superdry concept store, with similar fit outs scheduled for Taiwan late next month and other regions.

“To bring the concept to live, the regional marketing team based in Australia have executed an elevated VM strategy incorporating props that speak both to the fit out and the range, including heritage rugs, wooden pallet stands and live plants.”

The team wanted to create a retail space that customers feel comfortable entering. Gone are the days of a hundred rails in a store. The new Superdry Sylvia Park store represents the launch

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Matthew Io zzi -

retail eye

of the brands new visual merchandising strategy, complete with props and colour palettes that speak back to their range and their ‘original and vintage’ iconography.

Vintage rugs and live plants create a welcoming and homely space whilst also distinguishing Superdry from its competitors in the market.

Beyond this, the traditional ‘shopping counter’, while still relevant, has been modified with the introduction of portable POS systems that allow customers to transact and purchase at any point within the store. This creates for a speedier service and general convenience for customers.

Premium finishes in the store design and unique décor pieces creates a space that is distinctive from other brands. The design is a global-first for the brand, meaning New Zealand customers will be the first to experience the brands new look.

Beyond this, as Superdry is a true omnichannel retailer, Superdry Sylvia Park is seamlessly

integrated with the brand’s online offering.

Customers can shop the range online prior to visiting as well as use the click and collect service.

Moreover, the Sylvia Park store also acts as a mini distribution centre where online orders get packed and dispatched from store to local consumers for a quicker arrival time.

“Superdry Sylvia park marks Superdry’s third New Zealand store in three years. The brand sees significant opportunity in Aotearoa and will continue to expand when and where relevant opportunities arise.”

The new Superdry store has exceed all expectations and budgets week on week since opening.

“We had over 100 guests queue up from 7am on opening day, with many more pouring in since launch. Customers seem thrilled to have access to international fashion at a primary retail destination with New Zealand.”

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ID INTERNATIONAL EMERGING DESIGNER AWARDS FINALISTS ANNOUNCED!

emerging designers

43 finalist collections from 16 countries have been chosen for iD International Emerging Designer Awards 2021 in partnership with Otago Polytechnic.

The collections are the work of 43 emerging designers who are studying fashion or have completed their study within the last five years. They were chosen from more than 150 applications from 27 countries. The successful designers must now submit a video of their garments, which will be shown to an international judging panel before the winners are announced at a gala movie premiere and runway show at Otago Museum on Saturday 19th June. iD International Emerging Designer Awards, head judge and fashion designer Tanya Carlson, of Carlson, led the panel to select the 43 finalists collections. She was joined by Dunedin designers; Margi Robertson of NOM*d, Donna Tulloch of MildRED and Charmaine Reveley of Charmaine Reveley.

Carlson pointed out that she immediately noticed how global consciousness had influenced the designers’ collections this year.

"You’ve got a certain age group of students from all over the world, but they have very

similar threads, whether they’re from Finland or Australia," said Carlson.

While last year the COVID-19 pandemic influenced designers with dark and deep themes, this year the applications shared a common theme of utilitarian, cosy and protective designs. Most of the garments were gender fluid and did not fit particular categories such as evening wear or business attire.

“As usual, there’s incredible talent and assessing the entries is a real privilege. It’s inspiring.”

This is the 17th year the iD Dunedin Fashion Inc. has presented the Awards. iD International Emerging Designer Awards finalists are competing for First, Second and Third place as well as Most Sustainable Collection and Natural Luxury with Wool awards. For the first time, all ten New Zealand finalists will be eligible for the new VIVA Best NZ Emerging Designer.

Last year the event was primarily online with a video presentation that was filmed by finalists from around the world in their bedrooms, hallways, local parks and homes during lockdown.

Edited by Dunedin’s NHNZ. The video was an incredibly personal insight into the emerging designers, their inspiration and their collections - proving good things come from adversity. The movie will again premiere at the 2021 Awards.

It will feature at a gala night of fashion and fun at Otago Museum on Saturday 19th June. The Awards evening will be a chance to frock up, enjoy a runway show featuring the New Zealand finalists collections, see the movie premiere and learn about the winners.

“When I saw the incredible submissions for iD 2021, it reminded me that there is nowhere else in the world where edgy and challenging sustainable fashion from some of the most notable institutions internationally are accessible to the public in such a way. iD Dunedin and Otago Polytechnic are excited and feel privileged to create the opportunity for both the designers and the attendees at the live and online events. I just love my job," expressed Professor of Fashion, Otago Polytechnic and iD Dunedin Fashion Inc. Chair Dr Margo Barton.

◆ Jordan Harris, '[Re]construct', Massey University, New Zealand ◆ Jing He, 'Assimilation // Annexation', Massey University, New Zealand ◆ Ina Hill, 'Embody', Massey University, New Zealand ◆ Oscar Keene, 'Fluid', RMIT, Australia ◆ Sally Jackson, 'The Bowebirds', University of Technology Sydney, Australia ◆ Grace Kelly, 'Eidê', Queensland University of Technology, Australia ◆ Sara Kickmayer, 'Real Utopia', Institut Français de la Mode, France ◆ Ester Kubisz, 'Unreal City', Ravensbourne, United Kingdom ◆ Taliah Leslie, 'Dreamers', Pratt Institute, United States of America ◆ Jingshi Liu, 'Liu Jingzhi', College of Fashion and Design, Donghua University, China ◆ Shiyu Liu, 'Cheng Shi', Donghua University, China ◆ Yu-Wen Liu, 'Revolution Orbita', Shih Chien University, Taiwan ◆ Karel Martinez, 'Karel', Polimoda, Italy ◆ Jennifer Milleder, 'Flora Magnifica', University of Applied Arts Vienna, Austria ◆ Margarita Ng and Cristina Ng, '2x1 = Split Identities/Personalities Different But Same', Fashion Institute of Technology, United States of America

◆ Lydia Paine, 'Mother & Mode', Massey University, New Zealand ◆ Taylor Pumphrey, 'Tangible' Otago Polytechnic, New Zealand ◆ Alesha Pyers, 'Audacity to Art', Otago Polytechnic, New Zealand ◆ Kristal Roberts, 'Rethread', Massey University Wellington, New Zealand ◆ Olivia Rubens, 'Duplicitous Lives', London College of Fashion, Canada ◆ Lora Ryan, 'New Zeal', Otago Polytechnic, New Zealand ◆ Alessandro Santi, 'Morphed Up', University fo Applied Arts Vienna, Austria ◆ Anna Sarasoja, 'Study of Shapes', Aalto University, Finland ◆ Cecile Schou Grønbeck, ‘A Soft Warrior’, Royal Danish Academy, Denmark ◆ Namrata Surana, ‘Wildflower Mornings’, Accademia di Costume e di Moda, India ◆ Min-Yan Tsai, '天照花塚 Flourish Tumulus', Shih Chien University, Taiwan ◆ Karina Vodovoz, ‘Future Past’, Shenkar, Israel ◆ Xizhu Wu, ‘Shuang’. University of Technology Sydney, Australia ◆ Zhu-Luo Xiao, ‘Dedicated to my Parents’, Shih Chien Fashion Department, Taiwan ◆ Shuyu Yue, ‘Me’, College of Fashion and Design, Donghua University, China

THE 43 FINALISTS ARE: ◆ Cindy Alhadeff and Martina Pavia, 'No-Made', Facultad de Arquitectura, Diseño y Urbanismo, UBA, Argentina ◆ Geroge Borrie, 'Muse', Southern Institute of Technology, New Zealand ◆ Kerry Brack, 'Objet Trouve', University of Technology Sydney, Australia ◆ Gisella Candi, 'Wide Angle Smile', University of Technology Sydney, Australia ◆ Elodie Cazier, 'Not that they come alive in her; it is her who lives in them', ArtEZ University of arts, France ◆ Sahil Chaudhary, 'Labyrinth', National Institute of Fashion Technology, India ◆ Karis Zanetta Cheng, 'Where Are You From?', University of Technology Sydney, Australia ◆ Justin Mengzhe Chi, 'Put On - Take Off', Fashion Institute of Technology, USA ◆ Tsai Feng Chou, 'Goldfish Unknown', Shih Chien University, Taiwan ◆ Chloe Christie, 'Suited', University of Technology Sydney, Australia ◆ Jasmin Erb, 'Untitled, 2021', University of Arts Berlin, Germany ◆ Taylor Groves and Emma Jing-Cornall, 'February 2021 Collaboration', Massey University, New Zealand ◆ Romana Haake, 'Coding Paradise', University of Applied Sciences Bielefeld, Germany

To read about each collection, click here: www.idfashion.co.nz/2021-emerging-designers.

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