The Business of Fashion Podcast

Prosper and Martine Assouline's business began with a passion project: A book dedicated to their love for La Colombe d'Or, a boutique hotel in the South of France; Martine produced the images and Prosper was responsible for the text. But since publishing that first title 30 years ago, Assouline Publishing has gone on to capture the history and visual memory of places like Ibiza and Jaipur, industry icons such as Estée Lauder and Valentino Garavani, as well as fashion houses like Saint Laurent and Louis Vuitton. “The idea was to make a book about the spirit of a place, … to mix the past, the present, the people, and all the DNA,” says Martine. “I always say to my team in the art department that when a book is finished, we need to start it. … You think it's finished but it's just beginning,” says Prosper.This week on The BoF Podcast, founder and editor-in-chief Imran Amed sits down with the Assoulines to learn how this fixture of fashion publishing was born and how they intend to maintain that original creative spark while growing it into a global lifestyle business. Key Insights: While Assouline may be a leading luxury publishing house today, Martine and Prosper were outsiders without prior experience or contacts in this world. They had to learn along the way. “We learned that it was a real job. A real industry, a club where everyone knew each other,” said Prosper Assouline. “We learned while doing - everything,” added Martine. Prosper Assouline says the process of creating a new book is architectural and the magic lies in the details. “We didn't just want to do books because Amazon is full of proposals and other publishers are full of proposals.” For Martine, the continual consumption of culture and arts is a key ingredient in Assouline's formula. “You have to eat culture. You have to go to a museum. You have to see films of today, of yesterday. You have to look at magazines, hear music, all kinds of different books. It's very important.”In the Assoulines' view, what they're doing is much bigger than simply publishing books. “The idea was not just to make books, it was to create a luxury brand on culture,” said Prosper Assouline.Looking towards the future, the luxury publishing house is narrowing its focus on lifestyle. “Lifestyle is the project. It's our way to live and work, it has always been our direction,” said Martine Assouline. Additional ResourcesIn Age of Online Inspiration, Fashion Creatives Still Love Beautiful BooksThe Business of Fashion Books Hosted on Acast. See acast.com/privacy for more information.

Starting in 1999, Larry Miller worked alongside Michael Jordan to build Nike's Jordan brand, which today generates more than $5 billion in revenue for Nike. But his journey to the C-suite was a unique one.Growing up in West Philadelphia, Miller joined a gang, which led him to serve multiple prison sentences for a series of crimes, including second-degree murder.Through a rehabilitation programme, he was able to begin his college education while in prison, and upon release, he was able to start his career with an accounting job at the Campbell Soup Company. In 1997, Miller started working for Nike under founder Phil Knight, and became the first Black vice president of apparel at the company before going on to become president of the Jordan brand in 1999.But it wasn't until years later that he went public about his backstory with the publication of his book, “Jump: My Secret Journey From the Streets to the Boardroom.”At BoF VOICES 2022, Miller sat down with UTA executive Darnell Strom to share his story, talk about the power of second chances and explain how he found redemption.“I've come to the realisation that a lot of times we are afraid to talk about the obstacles that we overcome. But in reality there's no shame in overcoming obstacles,” said Miller.Key Insights:“When I was 16, I shot a kid and he died and I was charged as an adult at 16 years old… pleaded guilty to second-degree murder, was sentenced to four and a half to 20 years,” Miller revealed at BoF VOICES 2022.Once he had revealed his story, Miller says Michael Jordan and Phil Knight were supportive and encouraged him to share his story. “It's been amazing to me the response that I've gotten from people who I've known and worked with and who have just encouraged me and embraced the fact that I've got this past.”Following the release of his book, Miller apologised to the family of Edward David White, the man he killed. In White's honour Miller created a foundation for his descendents to attend university or trade school.“I think I'm a perfect example of the fact that a person can change if given the right opportunities… the right chance. But it starts inside of you. You have to believe that you can change,” said Miller.Additional Resources:A Nike Executive Seeks a Family's Forgiveness for a 1965 Murder: The New York Times the story of the impact of Larry Miller, chairman of the Jordan Brand Advisory Board, and his actions as a 16-year-old.Jump: My Secret Journey from the Streets to the Boardroom: “Jump” written by Larry Miller and his daughter, Laila Lacy, shares the story of Miller's life from the streets of West Philadelphia to the Nike boardroom.How Larry Miller Went from Prison Valedictorian to Nike Executive: Freakonomics interviews Larry Miller on his journey from his childhood in West Philadelphia, to serving time in prison and finally to running the Jordan brand. Hosted on Acast. See acast.com/privacy for more information.

As a performance coach to England's national football team, the Royal Ballet and more, Eastwood taps into his Māori heritage to help groups foster a sense of togetherness and drive performance. For Allbirds co-founder and chief innovation officer Tim Brown, co-founder and chief innovation officer at Allbirds, a company that has gone on a rollercoaster of ups and downs since it IPO in 2021, his former life as a professional football player for New Zealand has taught him lessons he's brought from the pitch to the boardroom. “When we want to create a high performing environment, we make an undertaking to each other that we will do nothing to diminish the dignity of every person, and when we all leave this experience or whatever it is together, our dignity will be enhanced,” Eastwood told Brown stage at BoF VOICES 2023. “For me, therefore, you need to understand the story of the people you work with.”This week on The BoF Podcast, Brown and Eastwood unpack how companies can drive high performance while maintaining a supportive culture.Key Insights:While working with the British Olympic team, Eastwood encouraged the athletes to find a level of investment in their own story by creating a film which showcased various Olympians all the way back from 1896. “The Olympians themselves just took selfies the whole time with these images of those ancestors who they in particular could relate to, maybe something that shared their own identity story. I think it opened their eyes.”Allbirds was founded in 2024 with a mission to make sustainable footwear, but 10 years on, Brown said that he's learned how important it is to stay true to that internal story, both in communicating with employees and consumers. “As a creative person, as a storyteller, are we doing enough within our organisations to tell stories internally in the same way that we're telling them outside of the organisation?” he asked. Eastwood said those sorts of strong, dynamic, internal stories are key for everyone on a team. “You've got to create rituals and traditions where it's reiterated because actually it's not just for the benefit of new joiners, it's for the benefit of us who have been here a long time.” Additional resources The BoF Podcast | Allbirds' Tim Brown on Learning to Lead With ResilienceAllbirds Co-CEO On Why DTC Brands Are Going MultichannelAre DTC Brands Pulling Off Brick-and-Mortar? Hosted on Acast. See acast.com/privacy for more information.

Amir Fayo, the founder of 69 Group, marries brand architecture and art direction to create retail and hospitality concepts rooted in culture and connection. Best known for operating Egyptian stores Maison69 and Villa Baboushka, Fayo breaks with conventions to create immersive store experiences that resonate with consumers on an emotional level. Everything starts by not thinking of himself as a retailer.“I don't know how to do retail. Retail is structured. Retail is data. Retail is numbers. … I connect to people, to how they feel, what makes them tick, what makes them be interested,” he says. This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Fayo to discuss his innovative attitude toward retail.Key Insights:Fayo, who was born in Wales and raised in Egypt, says his architectural style is heavily influenced by his multicultural upbringing. “Egypt gave me a heart, the UK gave me my creativity and the US gave me my thinking process.”There are three pillars to how Fayo approaches a project. The first is building an environment in which people can form an emotional memory. The second is creating a sense of social intimacy. Finally, he remains focussed on the idea of elevating the everyday. ‘I want to elevate [mundane moments] to be something that people remember, that people want to come back to,” Fayo explains.When designing retail spaces, the idea of home is kept at the forefront. “When we started to define that code, I said, where is that space where there is no right and there is no wrong? It should be home,” says Fayo. “We're going to design homes because homes should be welcoming. Homes should create belonging. Homes should create easy connections.”Additional resourcesVogue Arabia's Editor-in-Chief on the Diversity of Urban Markets in the Middle EastAll Eyes on EgyptBoF Insights | Fashion in the Middle East: Optimism and Transformation Hosted on Acast. See acast.com/privacy for more information.

This fashion month was all about looking ahead. At several major brands, newly-appointed creative directors ushered in a new era, including Seán McGirr at Alexander McQueen, Adrian Appiolaza at Moschino and Chemena Kamali at Chloé. But beyond the creative director premieres, recurring motifs of technology and the pared down everyday reflected the current state of the world — and what's to come. “Early on, I detected this rather peculiar strain of sci-fi,” says Tim Blanks, BoF's editor-at-large. “There is that incipient sense of apocalypse lurking and I think if you step back and take a really long view of what was happening, you could feel that kind of anxiety,” says Tim Blanks, BoF's editor-at-large. Following the conclusion of the Autumn/Winter 2024 shows, Blanks sits down with BoF founder and editor-in-chief Imran Amed to discuss the highlights of fashion month.Key InsightsAt Louis Vuitton, Phillippe Parreno's immersive set design and Nicolas Ghesquière's futuristic garments left lasting impressions. “There was a lot of white and a lot of reflection, a lot of shiny stuff. They could have been heading off to a space station. And the sound was insane. The sound makes you want to go home and open a nightclub in your living room,” says Blanks. Undercover's Jun Takahashi featured a poem about a single mother raising her eight year old child, written by German filmmaker and playwright Wim Wenders. “Every detail is just so beautiful and evocative and then Jun Takahashi showed the collection to go with that; everyday clothes, but completely transmogrified by his insane ingenuity,” recalls Blanks. At Alexander McQueen, Seán McGirr's first show displayed his energetic direction for the house following Sarah Burton's departure. “I think that as a creative director debuting at a house, it's much harder to create new energy than it is to create merchandisable clothes. And I think that's what he succeeded in doing; he created a new energy around that brand,” says Amed.Following the sudden passing of David Renne, Moschino welcomed new creative director Adrian Appiolaza, who looked to the roots of the brand for his first show. “If you detail Franco Moschino's iconography, Adrian Appiolaza went down the list and ticked every box. I think that that was probably the most joyful show of the whole season. … I think he celebrated the work of [Franco Moschino], in such a way that I'm really looking forward to seeing what he does next,” says Blanks. At Chloé, Chemena Kamali's charisma shone through on the runway. “You could see her really embodying the new Chloé and being that kind of ambassador for Chloé in a way that maybe some of the more recent creative directors never were really able to do,” says Amed.Additional resources:Paris Fashion Week Says ‘So Long, Farewell' With Chanel, Miu Miu and Louis VuittonImran Amed and Tim Blanks Go Backstage at Milan Fashion WeekBackstage Pass | Rick Owens' Life Mission: Inclusion Hosted on Acast. See acast.com/privacy for more information.

On her award-winning podcast “Articles of Interest,” host and producer Avery Trufelman dives deep into the stories behind the clothes we wear. From the evolution of prep to the origins of wedding dresses, Avery guides her listeners through the multi-faceted layers behind the aesthetics of fashion. “It's crops, it's the earth, it's handwork, it's culture, it's society. You tug on a thread and you get everything,” she said. “That's what I'm slowly realising [about fashion].”This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Trufelman to discuss her path into podcasting, taking her lifelong passion for clothes and what they mean into an audio format, and what she's learned about fashion along the way. Key Insights: A self-proclaimed “public radio nepo baby,” Trufelman has audio in her blood — her parents met working at New York Public Radio. But while she grew up with audio, she didn't start experimenting with fashion until she was a teenager, expressing herself through quirky thrifted fashion ensembles, much to the confusion of her peers. “I knew in the back of my mind that it was too much, that I was sort of alienating people,” she says. “It just made me realise how powerful clothing was. That dressing in this wild way sort of set me apart.”Trufelman initially came up with the idea for “Articles of Interest” while interning at the design and architecture podcast “99% Invisible.” Presenting a fashion podcast to an audience more focussed on architecture, Trufelman began to see the ways in which fashion touched every facet of life. “In the beginning, fashion was sort of a dirty word for me,” she says. “Now it's all about fashion because everything has fashion. Buildings have fashion, cars have fashion, colours have fashion. Fashion is just taste over time and the most easy way to measure that when you look at a picture of any era, it's the cars maybe, but mostly the clothes.”Four seasons into “Articles of Interest,” Trufelman now finds herself with a rich archive to draw upon. “I don't ever kill stories. I love to reuse interviews that I collected years ago. I'm always cutting them up and revisiting them because I believe that knowledge isn't like one and done. It isn't a single use thing. I believe in making this a long sustainable living archive.” Trufelman also sees the parallels between podcasts and fashion in the ways in which both allow us to engage with the world. “People are listening to your voice while they're walking down the street and they're like noticing what people are wearing or they're noticing what people are doing. It's not undivided attention. It is divided attention. It's beautiful.”Additional Resources:The BoF 500: Avery TrufelmanRalph Lauren is Traveling Back in Time to Bring Back Preppy Chic Hosted on Acast. See acast.com/privacy for more information.

In 2010, model Arizona Muse was catapulted into the fashion spotlight. After opening and closing Prada's Spring/Summer 2011 show, she was signed as a face of the brand. But after years of the modelling, grind and some serious personal reflection, the British-American model has swapped the glamour of the runway for environmental activism.“[Modelling] nearly destroyed me. You pretend you enjoy it because everyone wants you to enjoy it. But the truth is, you'd prefer to be doing something else.”This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Muse to discuss her journey to the fashion runway, her reflections on fashion's contribution to the climate crisis and why she sees self-care as a form of environmental activism. Key Insights: While Muse is grateful for modelling career, she said it caused immense strain on her mental health. “It's been a blessing in so many ways, but it also nearly destroyed me. It really nearly destroyed my mental health,” she shares. “What's hard about modelling is people are judging you all the time on what you look like … They don't even judge you on what you wear. It's just purely what you look like.”The model first tapped into her passion for environmental activism after being invited to a charity lunch where she learned that textile materials were grown in soil by farmers. “Working at the centre of this industry, working with all the most amazing fashion houses that we've all heard of, how is nobody talking about the farmers who grew our clothes for us?” she says. She also sees her own self-care as part of her activism. “How can I take the best care of my being so that my being can be in the best shape that it can be, to be in service to the other beings around me who are human, to the other beings around me who are non-human, and to the biggest being of us all who is the earth?”Muse recognises the need for governments to support organisations like DIRT, she also insists there is a level of personal responsibility for those privileged enough to make sustainable choices. “If you're like I am, and you're one of those lucky people who has money in your pocket right now, it is your responsibility to spend it with sustainable businesses who are making things in a more responsible way,” she says.Why Big Brands Are Pushing Back Against Sustainability RegulationsThe Problem with Sustainability DataThe BoF Podcast | Ending Climate Colonialism in Fashion Hosted on Acast. See acast.com/privacy for more information.

In the world of high fashion, few names have commanded as much attention — and controversy — as John Galliano. Throughout the 1990s and 2000s, his sensual designs and runway theatrics earned him worldwide acclaim.But Galliano's career imploded in 2011 when a video of him emerged using antisemitic slurs. In a new documentary, “High & Low: John Galliano,” BAFTA-winning director Kevin Macdonald examines Galliano's meteoric rise, scandalous downfall, and the role of forgiveness and redemption.“If there's one thing that people could take away from the film, it is [that] things are never that simple. The grey predominates in life and in morality,” says Macdonald.This week on The BoF Podcast, BoF editor-at-large Tim Blanks sits down with McDonald to discuss the phenomenon of cancellation and his own feelings about Galliano after completing the documentary. Key InsightsAlongside archive footage and interviews with industry insiders, the film features extensive conversations with Galliano himself. Macdonald says Galliano seemed to forget the series of events and antisemitic remarks he said. “I think he genuinely blotted that out. I don't think he's pretending not to remember. I think that it's a sign of him creating a story for himself about things that have happened … to get by,” Macdonald says.According to Macdonald, Galliano does not expect total forgiveness but hopes for understanding. “He knows some people will never forgive him for the antisemitic comments he made, but he wants people to understand who he is and where that came from and what part it had in the way it played in his life.” Macdonald attributes the attention the film has received prior to its release to nostalgia for a bygone era. “I think there's a romance about this past where people were misbehaving and being creative geniuses and led to crash and burn and didn't have to answer to HR,” he says.High & Low – John Galliano opens in cinemas on 8th March 2024.Additional resourcesJohn Galliano: ‘I Feel Much Freer'John Galliano: Fashion's Greatest Showman Turns Ciné-AuteurA Penitent John Galliano Talks to Charlie Rose About Childhood, Addiction and McQueen's Suicide Hosted on Acast. See acast.com/privacy for more information.

Pat Boguslawski is setting the fashion world in motion. The Polish movement director at Maison Margiela is the creative mastermind behind some of fashion's most memorable runway moments. From German model Leon Dame's viral runway stomp in 2020 to the seductive strides of corseted characters in John Galliano's triumphant 2024 Maison Margiela couture show, Boguslawski is redefining the role of the model and bringing back the spectacle of the show. “I always tell the models that it's better to give more than to give less,” he told BoF editor-at-large Tim Blanks, on this week's podcast.Key InsightsGrowing up in Poland in the nineties, Boguslawski devoured fashion content on TV and in print. But as he watched everything turn into a product, he felt the storytelling essence of fashion diminish. “I started doing my job because I got bored. I just didn't like the direction we were going towards. … I promised myself that I'm gonna start bringing that energy back to fashion and create major runway moments.”Boguslawski is a multi-faceted creative. He started training as a dancer at age 15, transitioned to modelling and also studied drama and acting for four years before shifting to movement direction. “I'm so grateful that I was so curious because now I kind of use everything that I did in the past at my job,” he says. Directing the movement for the 2024 Maison Margiela couture show, Boguslawski encouraged the tightly-corseted models to channel their pain and discomfort into their characters. "I remember saying, 'Use that pain, use that suffering in your character. Just use whatever you're feeling right now. … Don't try to be perfect. Just let me see the suffering,'" he recalls.For Boguslawski, a connection with the audience is a key part of the show. “I like when the audience feels intimidated. It's exciting and I love the adrenaline that comes with it.” He recalls the impact of his direction during a rehearsal before the show. “I remember we were watching the main rehearsal and they were wearing their own clothes and the corsets. The whole rehearsal got a standing ovation by everyone who was in the room.”Additional resourcesDifferent Takes on Future Perfect at Fendi and Maison MargielaA Dream of Defiance at Margiela Hosted on Acast. See acast.com/privacy for more information.

As founder of Harlem's Fashion Row, Brandice Daniel is a change agent. For more than 15 years, she has been working to bridge the gap between the fashion industry and Black and Latinx designers who often don't come from famous fashion schools like Parsons or FIT. Following the surge in interest in diversity, equity and inclusion following the murder of George Floyd, there are growing headwinds which are stalling progress.“We've regressed so far, so fast. It is really disappointing, especially in an industry that is supposed to be cutting edge … How can you be innovative without addressing DEI?” she says.This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Daniel to discuss how the industry can foster real change. Key Insights:Harlem's Fashion Row was founded in 2007 — long before DEI became a corporate buzzword — after Daniel noticed how little diversity there was at US department stores. “[I] realised that less than 1 percent of the designers that were on those websites at the time were designers of colour, however … African-Americans were spending $22 billion a year on apparel. And that was when I really got my aha moment.”2020 was a pivotal year for Harlem's Fashion Row. After George Floyd's murder sparked global conversations around racism and representation, more fashion and retail brands opened the door to diversity. “It was very easy to tell during those days who was wanting to do very performative work versus who actually was interested in doing the work,” Daniel explains. “The companies who were doing the work before 2020, they are still doing the work.”Still, despite the momentum that 2020 brought, she's been disappointed in the lack of long-term action. “We've regressed so far, so fast. It is really disappointing, especially in an industry that is supposed to be cutting edge … How can you be innovative without addressing DEI?” she says. When it comes to finding your sense of purpose, Daniel believes in focusing on your goal, rather than the nitty-gritty of the process of achieving it. “Don't worry about the how. Just worry about the what and the why. If you focus on the what and the why and just allow the how to unfold as you just take one step forward, you will see that so many incredible things will happen.”Additional Resources:UK Fashion Industry Isn't Making Progress on Leadership Diversity, Report FindsA New Lawsuit Puts Fashion's Corporate Diversity Efforts in the Crosshairs Protecting Fashion's DEI Efforts During Market Disruption Hosted on Acast. See acast.com/privacy for more information.

The fashion industry is responsible for up to 8 percent of global greenhouse gas emissions. But the most profitable fashion companies are often headquartered in the countries that have historically generated more emissions, while the nations with a smaller carbon footprint often find themselves more severely impacted by extreme weather driven by the climate crisis.“The industry is structured in a way that's very colonial … it's the rich countries that are reaping all the rewards and benefits, and it's the poor countries that have kept this industry profitable,” says Ayesha Barenblat, the founder and CEO of Remake, a non-profit that advocates for sustainable practices in the fashion industry. This week on The BoF Podcast, BoF chief sustainability correspondent Sarah Kent sits down with Barenblat, sustainable fashion designer Sammy Oteng and Vidhura Ralapanawe, executive vice president at manufacturing company Epic Group at BoF VOICES 2023 to discuss how to end climate colonialism in the fashion industry. Key Insights: In fashion, the climate crisis appears in colonial structures that perpetuate unequal distributions of power and profit. According to Barenblat, companies act as “glorified marketeers, telling production nations how to deal with the climate crisis. They're setting science-based targets, but they're not paying for it … let's flip the script and actually have a conversation around the people who create value for this industry and how we centre them in the conversation.”Countries in the global South have become dumping grounds for low-quality clothes from the global North. An estimated 40 percent of the textiles that arrive in Ghana are discarded as waste, however the true scale of excess garments is unknown. “We don't even know how much we are producing in terms of fashion. We say 100 billion to 150 billion [garments produced each year], that's a 50 billion gap,” explains Oteng. “Until we understand a problem that we have, we can't move on to having … that one solution.”Alongside climate mitigation, it is important to also address climate adaptation. “Every brand and retailer wants to talk about mitigation because they want to make money off the climate crisis, but our communities need climate adaptation resources,” says Barenblat, adding that philanthropic contributions are not enough. “What we want are equitable ways to make these communities whole … we can't just sit around and have conversations anymore.”The fashion industry needs to halve its emissions by 2030 to meet global climate goals, a timeline that is already unrealistic. As Ralapanawe says, “We haven't even started. There's no way that any brand or any manufacturer will hit their 2030 targets now.” Additional Resources:The Year Ahead: Why Fashion Can No Longer Ignore the Climate CrisisThe Multi-Billion-Dollar Question for Sustainable FashionSustainability Comes At a Cost. Fashion Isn't Paying. Hosted on Acast. See acast.com/privacy for more information.

Matthieu Blazy has been a quiet but powerful force in the fashion industry for years, having worked under powerhouse designers like Raf Simons and Phoebe Philo. But in 2021, he earned that status on his own when he was named the creative director of Bottega Veneta. Since then, he's developed a reputation for pushing creative boundaries; BoF editors named his carnivalesque Autumn/Winter 2023 collection, which featured tank tops and jeans made of leather, as their favourite show of the season. “I was very interested in this idea of boring clothes. How can we push it so it really becomes something precious and luxurious?” Blazy says.This week on The BoF Podcast, Blazy sits down with BoF editor-at-large Tim Blanks at BoF VOICES 2023, where he opened up about his creative processes and work at Bottega Veneta. Key insights:For Blazy, collaboration and a close connection with his teams are paramount for creativity. Before taking the creative helm of Bottega Veneta, Blazy spent four years at Maison Martin Margiela. “The way I work with the team is quite emotional. … When I arrived at Margiela I took my office out of the studio and I put it inside the atelier. It was nice because it was not just me thinking on my own. We were actually making it together,” he shares.Whilst Blazy recognises the power of technology in fashion, at Bottega Veneta, he still puts the emphasis on craftsmanship first. “When you make something by hand, it will always have a little mistake, which is not a mistake, which is part of the process. … so when you go to the store, you won't find twice the same product. You have the idea of a theory, of course, but it's never the same. One artisan cannot finish the work of another artisan.”As a global brand, Blazy hopes customers around the world will be able to see themselves in Bottega Veneta under his creative direction. “Fundamentally I want [global customers] to also find something where they also recognize themselves in the story that is not just Italian.” Additional resources: Who Is Matthieu Blazy, Bottega Veneta's New Creative Director?Bottega Veneta: Everything Old Is New AgainBottega Veneta's Everything, Everywhere Essence Strikes Fashion Gold Hosted on Acast. See acast.com/privacy for more information.

The delicate dance between artistic integrity and commercial viability is a challenge Dan Levy and Jonathan Anderson know well. Levy's Emmy Award-winning Netflix show Schitt's Creek harmonises creative brilliance with mainstream appeal, while at the luxury label Loewe, Anderson's refreshingly original designs have earned him both critical acclaim and commercial success. What unites their work is a real commitment to personal vision.“I can't think of something more heartbreaking than starting with an idea that I loved, allowing people to change it to the point where it loses its DNA, then it goes out into the world and either succeeds or fails, and I have to look at that and say, ‘Well, that's not me,'” says Levy. “You can never get that back. The fight to protect that [idea] is so important.” This week on The BoF Podcast, Levy and Anderson speak with BoF editor-at-large Tim Blanks about how they balance creativity and commerce in a conversation from BoF VOICES 2023. Key Insights: "Schitt's Creek" began as a bare-bones-budget Canadian production and became a worldwide sensation during the pandemic. “We went and made something with absolutely no outside opinions, and because the stakes were so low, we were able to really kind of make the show for ourselves,” he says. “So what we made was quite pure.”Through his work at Loewe and his namesake label, Anderson has realised that designers can't be afraid of backlash. “Sometimes you have to make the decision that you may have to give the audience what they don't want to annoy them. Because there's nothing better when people are annoyed because then they think.”For both creatives, the pandemic was a watershed moment. Anderson recalls, “it destroyed every formula that there ever was,” whilst Levy explained, “it also gave the consumer or the audience the freedom to find what they liked.” To find creative success, Anderson puts it simply: “I think for something to be successful, you have to give everything you have.”Additional resources:At Loewe, Jonathan Anderson Thinks Outside the Box. Literally.How Loewe Became One of Fashion's Hottest BrandsThe Jonathan Anderson Experiment Hosted on Acast. See acast.com/privacy for more information.

Diane von Fürstenberg has been synonymous with women's empowerment since she first unveiled her revolutionary wrap dress in 1974. But for her, the garment became much more than a symbol, it became the key to her own independence.“I did not know what I wanted to do, but I knew the kind of woman I wanted to be,” von Fürstenberg told author and spiritual wellness advocate Deepak Chopra, her friend of three decades, on stage at BoF VOICES 2023. “I wanted to be in charge. I wanted to be free. I mean freedom. I wanted to be my own person. And I wanted to have a man's life in a woman's body. And the way I became that woman was a little dress.”This week on The BoF Podcast, von Fürstenberg and Chopra look back on the designer's journey from princess to fashion powerhouse, and share their collective wisdom on finding meaning in life.Key Insights: Born in Belgium, von Fürstenberg is the daughter of a Romanian father and Greek-born, Jewish mother who survived the Holocaust. “She taught me that fear was not an option,” von Fürstenberg says of her mother. “That no matter what, you could never be a victim.” Despite her decades-long career in fashion, it wasn't until von Fürstenberg received the Council of Fashion Designers of America's lifetime achievement award in 2005 that she considered herself a designer. “Because I didn't go to fashion school, I thought I wasn't a designer,” she recalls. “But the one thing I know I am, I can design life … You're not in charge of your destiny, but you can navigate your destiny.”Von Fürstenberg's work with various causes and non-profits is as close to her heart as her namesake business. “I never really loved the word philanthropy because it sounds like landscaping. You feel like you need an expert, but it is about being human. And it is about paying attention to others.”Additional Resources:Diane von Furstenberg Makes a (Profitable) ComebackDiane Von Furstenberg's CEO on Building a Career in FashionDiane von Furstenberg Shutters Rental Service Hosted on Acast. See acast.com/privacy for more information.

Since 1978, Brunello Cucinelli's namesake brand has been a standard-bearer for both luxury clothing and a more responsible way of doing business. At a time of great change, Cucinelli believes that businesses must strike a balance between embracing technological innovation that could threaten livelihoods, like AI, to push creativity forward while also keeping humanity at the heart of business.“I believe in a kind of contemporary way of capitalism. We are a listed company. We do want to make a profit, but a fair profit at that. There should be a balance between profit and giving back,” he explains.This week on The BoF Podcast, Brunello Cucinelli speaks with BoF founder and editor-in-chief Imran Amed about ethical business building, artificial intelligence and his philosophy of “humanistic capitalism” during conversation at BoF VOICES 2023.Key Insights: Cucinelli's approach to labour is guided by his working-class upbringing and seeing his father was demeaned and belittled at work. “I saw tears in his eyes and that was my source of inspiration to have a completely different vision of the world,” he says. “I wanted my human beings to be surrounded by pleasant places. I wanted them to make handsome money. And I wanted them to be treated like thinking souls.”This philosophy of ‘humanistic capitalism' also extends to customers. “We need to redress the balance. Shoppers want to know exactly where a specific item has been made, how it's been made, whether creation has harmed it along the process. We need a new social contract with creation,” he explains.Mr Cucinelli believes artificial intelligence offers both solutions and challenges. “Technology is a blessing from creation, but sometimes it steals the soul that creation bestowed upon us,” he says. However, he adds, when used correctly, “AI will be just a partner for us, and we will rediscover the value of truth and human beings.”When it comes to planning for the future of his company, Cucinelli hopes his successor will share his humanistic ethos. “I would like my company to still be there for the coming 100, 200 years. And I would like whoever runs it to keep believing in a contemporary capitalism, to make a fair profit while respecting human beings and creation.”Additional Resources:Brunello Cucinelli Insists on Balance at His BusinessChanel and Brunello Cucinelli to Take Stake in Italian Yarn ManufacturerBrunello Cucinelli Acquires 43% Stake in Italian Cashmere Supplier Hosted on Acast. See acast.com/privacy for more information.

This year, Barbie-mania swept the globe. A key architect of that phenomenon was Richard Dickson, who served as president and chief operating officer of Barbie's parent company, Mattel, for almost a decade. There, he revived Barbie, a name that had lost its cultural relevance, and brought it firmly back into the zeitgeist. Now, Dickson is taking his talent for revitalising fading icons to Gap, where he was appointed CEO in July 2023. “Evolution keeps the brand relevant, but purpose makes a brand immortal,” says Dickson.This week on The BoF Podcast, Dickson joins BoF founder and editor-in-chief Imran Amed to discuss the power of brands and his vision for rebooting Gap in a live conversation from BoF VOICES 2023. Key Insights: When Dickson arrived at Mattel, the Barbie brand was at a low point, with lagging sales and diminished relevance. Dickson pushed the brand to embrace dolls with different body types and ethnicities. “The process itself was really going back to the roots, going back to the purpose … What made it so great to begin with? The origin story of the brand was that it was designed to inspire the limitless potential of girls,” he explains.Determining purpose is what fuelled his work at Mattel; now, he's applying the same mindset at Gap. “There can be nothing more inspiring than taking that cue and figuring out how to create that cultural conversation today, using our brands as a platform to actually create a better world.”Dickson recognises that Gap needs a stronger point of view. “We're not going to get to where we want overnight. But we have extraordinary people. We have a culture that is going to be unlocked with extraordinary creativity… and I am privileged and honoured to be the leader at this particular time,” he says.Additional Resources:Richard Dickson at VOICES 2023: Perpetual Relevance in the Age of Distraction​Is Gap's CEO ‘Kenough' for Investors Seeking a Turnaround?Breaking Down the Barbie Phenomenon, From Mattel to ChanelGap Surpasses Expectations in Early Win for New CEO Dickson Hosted on Acast. See acast.com/privacy for more information.

After she was scouted in a modelling competition in Lincoln, Nebraska at the age of 12, Ashley Graham went on to break barriers in the fashion industry by becoming the first plus-size model to appear on the covers of both Sports Illustrated's swimsuit issue and American Vogue.“It started shifting the minds of agents, casting directors, art directors, editors to say, ‘Oh, this is where we're going. The zeitgeist is turning, and it's not just about what has been deemed beautiful for so long. Maybe we should think about what else is out there,'” she says.This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Graham to learn how she became the most recognisable face of a global cultural movement and understand the personal philosophies that have guided her along the way.Key Insights: Raised in Lincoln, Nebraska, Ashley Graham's career began when she was scouted at a local mall at the age of 12. Though she hadn't seen her body type represented in media before, her upbringing equipped her with the self-confidence to pursue the path. “Because I had come from a very confident home, I was able to look at my body in the mirror and be okay with it,” she says.Graham's breakthrough moment came in 2016, when she landed the cover of Sports Illustrated's swimsuit issue. A year later, Vogue came calling. “Vogue saw that there was an opportunity for monetising a size as well as different races and ages… the impact was so great for other plus-size models,” she recalls.Despite her success, Graham recognises that fashion still has a long way to go when it comes to representation, particularly when it comes to the clothes themselves. “There are so many designers that don't know how to cut around a breast, a hip or a butt because they just have not understood what that actually means,” she says. When it comes to discovering your own confidence, Graham believes its internal validation that matters most. “If more people went inward instead of searching out for everything and really leaned into prayer, meditation, quietness, then they would have more enlightenment and confidence.”Additional Resources:Squeezed by Rivals, Spanx Taps Ashley Graham to Embrace Celebrity MarketingOp-Ed | Fashion Needs to Drop Its Elitism and Accept Plus-SizeA New York Fashion Week Mystery: What Happened to All the Plus-Size Models? Hosted on Acast. See acast.com/privacy for more information.

Having dominated Hollywood's cinematic landscape for decades, Angelina Jolie is now moving into uncharted territory — the world of fashion. This week, she opened the doors to Atelier Jolie, a multi-purpose brick-and-mortar workshop at 57 Great Jones Street in New York, once a home to art world legends Andy Warhol and Jean Michel Basquiat. The historic location reveals the motivations, philosophies and aspirations of Jolie's new venture. Atelier Jolie aims to provide a global group of artists and designers — including immigrants and refugees — a collaborative space for creating garments, including custom pieces, entirely out of deadstock materials. “I don't think of it as fashion. I think about it as self-expression and community,” Jolie says of her new business. This week on The BoF Podcast, Imran Amed sits down with Angelina Jolie to explore her creative journey and the personal philosophy that has led her to focus on ethical and sustainable fashion. Key Insights: Jolie's vision for Atelier Jolie is to allow small-scale artisans a chance to develop and grow their craft, and be able to support themselves . “Giving opportunities for people to work for themselves is the best thing we can all do for everyone. To me, doing business globally and partnering … matter to me more than just donations and charities,” she says.Jolie wants the creativity of others to be front and centre at Atelier Jolie. “I'm not interested in becoming a known designer,” she says. “I'm interested in being a part of a good family. … I built more of a home and I'm one of the creators that play in the home.”A sense of playfulness is also key to the business, which Jolie imagines as a space for free expression. “You have to make a mess and you have to figure out what you really love,” she says, adding that “I think for a long time … I haven't found the joy of [dressing up] because there was so much that was bothering me about the business. But now I want to play.”The New York location features a retail space, a café and a design studio. The plan is to adapt the format to new markets. “I would like to partner with people in different countries, and I'd like them to share ownership of the place and of the designs,” she says, noting that for example “the atelier that will be in Japan should feel very different, should be owned differently, should be run differently, but same principles.”When it comes to turning personal passions into projects that make a tangible impact on the world, Jolie's advice is straightforward: “You know what it is that really stirs your soul and makes you upset. … Whatever that is, you find other people that share that same feeling and spend time with them and go deeply into the work.” Additional Resources:Angelina Jolie Launches Fashion VentureAngelina Jolie's Atelier Jolie Opens Its First StoreWhy Celebrities Are Buying Their Brands Back Hosted on Acast. See acast.com/privacy for more information.

At every juncture of her extraordinary professional journey, Leena Nair has authored a series of 'firsts'. Growing up in her home country of India, she was part of the first cohort of female students at her school, at Unilever she was the first woman to lead global human resources, responsible for 150,000 employees and in January 2022 she became Chanel's first-ever global CEO of Indian-origin — making her the only woman of colour leading a major global luxury brand. Nair is leaning on the lessons from her people-centric career to lead Chanel into the future as the post-pandemic luxury boom comes to an end. “I really believe if you look after people, their growth and development, their dreams and aspirations, they will look after the business. They will help you with ideas and really care about the institution they're a part of,” says Nair.Nair sat down for her first public talk with BoF founder and editor-in-chief Imran Amed at BoF VOICES 2023 to share her vision for Chanel, philosophies on leadership and advice for women who feel like outsiders. Key Insights: Growing up in her home country of India, Nair frequently battled gendered stereotypes. “After a point I had to stop listening. …Gender roles were so strong. …One of the most [common] comments I would get is, ‘You're so talented. You should have been a boy,'” she recalls. Acknowledging that she is a fashion-industry outsider, Nair is conscious of fostering a supportive and inclusive work environment. “Lift as you climb. … I feel the responsibility of making it easier for those who come after me,” she explains. Nair intentionally welcomes insights from diverse perspectives. “I really feel the days of the superhero leader with all the answers is way behind us. … How can one individual have the answers?” she asks. “Collective problem solving, collective creation, collective ideation … is really important to me.”Sharing her vision for Chanel, Nair outlined her three pillars for the brand's future. “One is to have a positive impact in the world. … The second is, in the world of AI, to be relentless in protecting human creation, human creators, human relationships. And third, to always be part of what's next, to shape what's coming.”Nair's advice to young women finding their voice in whichever industry they are drawn to is straightforward: “Be unafraid to try and express your ambition and what you want to do. … Be intentional to say I want this, because if you can't express ambition in those words to yourself, to your CEO, to your mentor, to someone who supports you, how can it ever be translated into reality?”Additional Resources:Chanel's Three Pillars for the FutureWhat Fashion Can Learn From Chanel's New Global CEOChanel to Double Capital Investments, Bolster ‘Ultimate Luxury Experience' as Sales Surge Hosted on Acast. See acast.com/privacy for more information.

The stylist and fashion editor reveals to BoF founder and editor-in-chief Imran Amed why she resigned from Vogue and how she is channelling her influence and energy to support that next generation of fashion talent.Background:In the dynamic world of fashion magazines, Gabriella Karefa-Johnson stands out. Karefa-Johnson has always stood out, growing up as a self-described loud, weird, driven kid. Karefa-Johnson's first Vogue cover was Paloma Elsesser for the January 2021 issue of Vogue, photographed by Annie Leibovitz. Later that year, she worked on the cover shoot featuring US Vice President Kamala Harris. But recently, Karefa-Johnson decided to leave Vogue. “The truth of the matter is we grow and sometimes our containers don't grow with us. And so I am excited to build a new container for all of these ideas and this energy,” Karefa-Johnson says.This week on The BoF Podcast, Karefa-Johnson joins BoF founder and editor-in-chief Imran Amed to discuss her professional journey, how she harnesses her creative energy in a high-pressure industry and why she is laying the foundation for the next generation of fashion creatives. Key Insights: On excelling in the demanding, hyper-creative world of fashion media, Karefa-Johnson avoids burnout by focusing on her inner self. “Staying true to who you are and… really maintaining the purity of that creative exchange is something that keeps me grounded,” she says.Looking back at some of her most challenging assignments, Karefa-Johnson recalls the 2021 cover shoot during the Covid-19 pandemic with US Vice President Kamala Harris. “It's very hard to communicate with your subject, which is super crucial in executing an image. You need to have a relationship and a rapport and there needs to be mutual trust,” she explains. “But it's hard to establish that between 15 masks, because it was during Covid, 14 secret service agents, a press secretary and a chief of staff.” Reflecting on her decision to leave Vogue, Karefa-Johnson is excited about what lies ahead. “I just hope that whatever comes to be of this career of mine is something that models possibilities for the next Gabriella Karefa-Johnson,” she explains. “I can't wait to take those tools and apply them in ways that are really just true to who I am, serve me and serve people who look like me.”Karefa-Johnson is passionate about nurturing emerging talent and has used her network to support the development of Central Saint Martins graduate Torishéju Dumi. “It's very easy to feel invisible in these cities as a young designer, period. Full stop. But as a young black female designer, I knew that the hurdles she was up against would be exponentially bigger than some of her colleagues,” Karefa-Johnson says. “I wanted to be able to bridge the gap. I wanted to be able to give her a leg up, which I think in a lot of ways is something that has produced so many of the most enduring young designers.”Additional Resources:Poet Laureate Amanda Gorman Appears on Cover of American Vogue | BoF Ye Lashes Out at LVMH and Vogue Editor After ‘White Lives Matter' T-Shirt Draws Criticism Hosted on Acast. See acast.com/privacy for more information.

The pioneering set designer speaks to BoF founder and editor-in-chief Imran Amed about how she's set the stage for some of fashion's most talked-about immersive experiences.Background:In the world of set design, Es Devlin is a trailblazing, unstoppable force. Her remarkable career has seen her craft stages for global superstars like Beyoncé, U2 and Adele as well as immersive experiences for Louis Vuitton, Saint Laurent and most recently, Gucci which recently brought its Cosmos exhibition to London's 180 The Strand.But to describe Es as a set designer only feels somewhat reductive. She is a deep thinker who approaches her work like a creative philosopher, examining critical questions about the world.This week on The BoF Podcast, Devlin joins BoF founder and editor-in-chief Imran Amed to discuss her career and her impressions of fashion — as well as her advice for young creatives. Key Insights: Devlin approaches work through multiple lenses. “The practice is to see it through my own eyes, then see it through my collaborators eyes, then finally to see it through the audience's eyes,” she said. “Building on all of those converging and colliding… viewpoints… I think it's a very helpful muscle to learn just in living.”In creating bespoke environments, narrative is a central part of Devlin's process, particularly in working with fashion companies. “What I've learned… is how to tell a story about the history of a house through an experience that an audience will walk through,” she says.For creatives who may not have the budget of established fashion houses, Devlin encourages leaning on scarcity as a tool to harness creativity. “You can make a gesture by picking a place and turning all the lights out. You could make a gesture by just doing everything in one colour,” Devlin says. “Make your limitations… be the point, be the advantage.”As AI plays a bigger role in her own work Devlin is studying the technology to learn more, rather than work with it without context. “My approach generally is to learn to read as much as I can rather than speaking from a position of inaccuracy or ignorance.”Additional Resources:Gucci Cosmos Exhibition Arrives in LondonAt Saint Laurent, Far From Fashion Week Hosted on Acast. See acast.com/privacy for more information.

BoF founder and editor-in-chief Imran Amed sits down with Anaita Shroff-Adajania, Bandana Tewari, Lakshmi Menon and Bollywood superstar Katrina Kaif to explore the country's evolving beauty landscape.Background:It's been 16 years since Vogue India's inaugural issue put a global spotlight on India's fashion and beauty industries. Today, the beauty sphere in particular is in the midst of a transformative shift, embracing inclusivity and making an impact far beyond its borders. “This is a 5,000-year-old culture of great style and heritage,” said Bandana Tewari, journalist, former fashion features director of Vogue India. “We had to do things to tell the outside world … what our cultural heritage of style and fashion is, that it existed over time.” This week on The BoF Podcast, Imran Amed explores the changing dynamics of the Indian beauty industry through conversations with Tewari as well as Anaita Shroff Adajania,former fashion director of Vogue India; model Lakshmi Menon and Bollywood superstar Katrina Kaif on stage at the second annual Estée Lauder Beauty & You Awards in Mumbai, India. Key Insights: Featuring Australian model Gemma Ward front and centre, flanked by actresses Bipasha Basu and Priyanka Chopra, the first cover of Vogue India “did not really nail diversity, did not nail India. It was trying to package India into some kind of modern context without any of its own culture in play,” Menon says.On the other hand, an inside story shot by Prabuddha Dasgupta showcased traditional Indian beauty, rather than in contrast to the westernised interpretation on the cover. “We had a lot of freedom because it was a space where the western powers didn't know what I was meant to do, so we were left to be ourselves and we were ourselves and we celebrated it,” says Tewari. Colourism is still an issue in the Indian beauty industry. The industry is driven by skin whitening products and Menon recalls a time she turned down a contract which included whitening cream. “It's not always about the money. It's also about who you are and how you want to put yourself out there, especially coming from a country like India, you know, who's had a huge colonial past.” Over time, the need for greater diversity in all aspects of the beauty industry is also essential, beginning in product development. “One thing that came out repeatedly was that there's no research on women of our skin colour. … I feel [the global industry] underestimates the power of the beauty revolution that's happening here,” says Shroff Adajania.For Kaif, authenticity is the key for success in the beauty market in India and beyond. “No amount of advertising can substitute the fact that the consumer and our audiences can see the truth. … They can sense what has been sold to them and what is genuinely coming from a place of authenticity,” Kaif says.Additional Resources:Decoding The Indian Beauty Landscape: Amazon Bets on Indian Beauty BrandHow India's Nykaa Aims to Beat Sephora Hosted on Acast. See acast.com/privacy for more information.

This week on The BoF Podcast, Condé Nast Britain's chief business officer speaks with purpose and intuition coach Mory Fontanez about leading as an outsider in the modern workplace.Background:In 2017, Vanessa Kingori became British Vogue's first female publishing director. Since then, she has become a mother, received an MBE and stepped into the additional role of chief business officer of Condé Nast Britain.At BoF VOICES 2021, Kingori shared her leadership lessons with Mory Fontanez, purpose and intuition coach and founder of consultancy 822 Group. They discussed the importance of trusting intuition in the workplace to bolster data-driven decisions while also challenging conformity to allow for creativity.“With the wonderful thing that is hindsight, I've realised it's okay to be intuitive,” said Kingori. “It's actually great to lean into your differences rather than try to push to assimilate too much.”Key Insights: Throughout her life, Kingori has leaned into being a newcomer, “I think I've been extremely fortunate in that I have lived a life where I am used to being an outsider. I've been in an organisation now for over 12 years and in every single facet of my work at Condé Nast, I've been the outsider,” Kingori says. For Kingori, being different has not only been personally beneficial, but also forms part of her business philosophy. “I think conformity is the enemy of progress and creativity in business. It's completely strange that we're all sort of desperately trying to belong to a tribe, think the same, and all of those things.” Intuition is a cornerstone of Kingori's leadership philosophy. “Let your intuition be the starting point. Intuition is about a subconscious understanding of something, but that subconscious understanding comes from somewhere. It's not magic… It's that you have experienced or observed something that underpins a strong belief,” she says.BoF VOICES, our annual gathering for big thinkers, returns from Nov. 28 to Nov. 30, 2023. The entire event will be livestreamed for BoF Professional All-Access members. Register now to join us.Additional Resources:Power Moves | Vanessa Kingori's New Role at Condé Nast, Everlane's Founder Leaves CEO RoleVanessa Kingori's Commercial Reboot of British VogueThe September Issue Gets an Overdue Makeover Hosted on Acast. See acast.com/privacy for more information.

The South Sudanese model reflects on her path from a Kenyan refugee camp to travelling the globe as an international top model.Background: South Sudanese model Adut Akech has made her mark on fashion, having appeared on countless international magazine covers and on the runway for brands including Chanel and Prada. But Akech's story begins worlds away from fashion shows and Vogue cover shoots: The model was born while her family was fleeing war in South Sudan and spent her early years in a Kenyan refugee camp."I will always be a refugee, because that's who I am," she told BoF's editor-at-large Tim Blanks on stage at BoF VOICES in 2018. "No amount of money or my status or how famous or whatever the case is... I'm always going to be a refugee and I'm proud of who I am."This week on The BoF Podcast, revisit Akech and Blanks' conversation, where they discuss Akech's childhood and journey to the fashion industry. Key Insights: Though she spent part of her childhood in a refugee camp, Akech recalls those years being mostly happy. “I didn't know I was in a refugee camp, I had cousins there, I had friends… some of the best memories are just running around and playing,” she says. Her first experience modelling was in a small fashion show put on by her aunt, who was a fashion designer. That moment made her realise she wanted to model professionally. “I just fell in love instantly," she says. "When I'm on the runway, I'm a whole different person."Growing up, Akech idolised Black models Naomi Campbell and Alek Wek. Now, she serves as a source of inspiration for the next generation of Black models. "I have people messaging me saying I inspired them to love their Black skin, that I inspired them to chase their dreams," she says.BoF VOICES, our annual gathering for big thinkers, returns from November 28 to November 30, 2023, uniting the movers, shakers and trailblazers of the fashion industry with the thought leaders, entrepreneurs and inspiring people shaping the wider world. The entire event will be livestreamed for BoF Professional All-Access members. Register now to join us.Additional Resources:Adut Akech, Top Model: On InclusivityDapper Dan, Adut Akech, Pierpaolo Piccioli and Chika Are Our #BoF500 Cover StarsHow Valentino Embraced Diversity Hosted on Acast. See acast.com/privacy for more information.

Christian Louboutin opens up to Rozan Ahmed at BoF VOICES 2021 about identity, passion and building a brand worth $2.7 billion from the ground up.Background:Christian Louboutin's iconic red-soled stilettos have made him one of fashion's most recognisable names. But few know the story of the multi-faceted man behind the Christian Louboutin brand.Louboutin spoke with writer and cultural activist Rozan Ahmed at BoF VOICES 2021 about how his identity and upbringing have shaped how he approaches business. A major factor in understanding that identity was Louboutin's discovery later in life that he was actually the child of his French mother and her Egyptian lover.“To belong to different cultures, to different places makes you understand from the very beginning that the world has a lot of different points of view,” Louboutin said. “When you have different ethnicities, different cultures you're not divided, you're multiplied.”Key Insights:Throughout his life, Louboutin felt an affinity for Egypt, but it wasn't until his older sister probed his interest in the country that he was able to discover the reason why. “She asked me why I love Egypt so much… she said, ‘You could be looking for something'. I said, ‘Looking for what?'. She said, ‘Your father.'”Louboutin sold a 24 percent stake in his business in March 2021, a point he was able to arrive at through the work of many. As a leader, Louboutin doesn't accept all the credit for the success of his company. He explains, “When you're working with people and you respect them and you have everyone doing their thing the best because they like what they do, then you end up having a great team so you don't need to be a good leader.” On sustaining personal joy alongside professional success, having excitement in whatever he is doing is paramount for Louboutin. “I feel that passion comes first. And if passion comes first, you will never waste your time because you will always be happy with what you are doing. And if success is happening, it's a cherry on the cake,” he says.Despite his success, Louboutin never imagined building a multi-billion business — or giving up a stake in it. “I started the company three years ago with my two best friends, and I never thought of selling a part of the company,” he says. “I was not even necessarily interested in the fashion industry… I just wanted to have a shop with nice shoes. That's it.”BoF VOICES, our annual gathering for big thinkers, returns from November 28 to November 30, 2023, uniting the movers, shakers and trailblazers of the fashion industry with the thought leaders, entrepreneurs and inspiring people shaping the wider world. The entire event will be livestreamed for BoF Professional All-Access members. Register now to join us.Additional Resources:Learn From Industry Icons, Cultural Disruptors and Business Moguls at BoF VOICES 2023VOICES 2021: Live Your Best LifeFrom Tiffany Blue to Louboutin Red: The Power of Owning a Colour Hosted on Acast. See acast.com/privacy for more information.

BoF's founder and editor-in-chief Imran Amed sits down with the men's creative director of Louis Vuitton to discuss his journey into the luxury industry and his plans for the world's largest luxury brand.Background:Pharrell Williams has been part of the global cultural consciousness for the better part of two decades as a rapper, songwriter and music producer. But earlier this year, when he was named men's creative director for Louis Vuitton, his career took on a whole new trajectory. This week on The BoF Podcast, Williams joins BoF founder and editor-in-chief Imran Amed to discuss his new vision for luxury at Louis Vuitton as part of a BoF 500 cover story, examining his journey into the luxury industry, his vision for Louis Vuitton and how he is thinking about stepping into the shoes of his predecessor Virgil Abloh.“He has giant shoes for one to try to fill. But that's not what I'm here to do. I'm not here to fill my brother's shoes. My brother's shoes are his shoes. And the steps that he took are his steps. And I would never want to get in the way of that.” Key Insights: Williams is approaching the design process from the point of view of a customer. “When I got here, I was so excited and I knew all the things that I wanted to do because I am the consumer,” he says. “I know what it is that I'm looking for so I design from the lenses of what it is that I'm going to need.”Williams has his eye on expanding the Louis Vuitton brand, not just in terms of sales volume, but also the brand's core values and who it aligns itself with, hinting at forming new partnerships. “Growth is not just in sales growth, it's also growth in perspective,” he says. At the core of Williams' mission is to make Louis Vuitton menswear centred around people, both its customers and those who work for the brand. “The material items that we offer are important, and these are beautiful objects, but they are the result of something more valuable, which is the humans and their ideas that work here … that's what you're buying.”For those looking to find their own creative path , Williams' advice is simple. “When you see a block, there's a way around it…Curiosity is going to be the fuel to help you do that,” he explains. “And don't look back. For what? You can see how far you come later.”Additional Resources:Pharrell Williams: The Future of Luxury Is ‘Freedom'Louis Vuitton's CEO Answers Key Questions on Pharrell's DebutPharrell at Louis Vuitton: When Fashion Became EntertainmentPharrell at Louis Vuitton: Has Luxury Outgrown Fashion? Hosted on Acast. See acast.com/privacy for more information.

BoF's editor-at-large and founder and editor-in-chief look back at the key moments of fashion month, from Sabato de Sarno's debut at Gucci to Sarah Burton's farewell show for Alexander McQueen.Background: This season, fashion month saw several highly-anticipated debuts (Sabato de Sarno at Gucci, and Peter Hawkings at Tom Ford) as well as goodbyes (Sarah Burton at Alexander McQueen, Fabio Zambernardi at Prada and Miu Miu, and Gabriela Hearst at Chloé). But, beyond those headline-making moments, the highlights included the slyness and humour at Prada where models walked down a runway against a backdrop of dripping slime to an Alfred Hitchcock soundtrack, Dries Van Noten's and models at JW Anderson in plasticine-made hoodies..“The best shows make you think and make you feel a little uncomfortable or they evoke some kind of emotion — but they also make you want to shop,” says Imran Amed, BoF's founder and editor-in-chief. Following the conclusion of Paris Fashion Week, Amed sat down with BoF's editor-at-large Tim Blanks to discuss the highlights of the Spring/Summer 2024 season and the hallmarks of a great fashion show. Key Insights:Sabato de Sarno's much-anticipated debut at Gucci, which included a change of venue from the streets of Milan's Brera district to Gucci's headquarters forced by inclement weather. “If those girls had been walking on cobblestones just like people going somewhere, seeing those clothes in a real environment, it would have taken on a different kind of life,” says Blanks. Alexander McQueen said goodbye to Sarah Burton, who served as a steward for the brand for more than 10 years after the death of its namesake designer. ( “ She was so umbilically connected with [McQueen] that the brand ethos was sustained to a remarkable degree. I would hate to see McQueen now become one of those brands where no one really knows what to do with it and it's in play,” says Blanks. Rick Owens show featured plumes of coloured smoke and bursts of rose petals — and a collection full of thought-provoking statement pieces. “There is really no one like him in fashion, and I don't know if there has ever been anyone like him in fashion,” says Blanks. Blanks calls Undercover's Jun Takahashi one of the industry's most fascinating designers. This year, Takahashi showed a provocative collection that played with proportions and layering, with a finale that included “terrarium” skirts, filled with plants and live butterflies. “He makes clothes that … people might consider to be avant garde, but they're so beautiful and wearable as well,” says Blanks.Prada was the “show of the season.” A few years into Miuccia Prada and Raf Simons' collaboration as co-creative directors, the show's success was a convergence of elements beyond the collection itself — from the soundtrack (Alfred Hitchcok's “Vertigo”) to the set. “It reminded us of Prada in its full glory where there was that slyness and humour and perverse glamour,” says Blanks. Hosted on Acast. See acast.com/privacy for more information.

Tom Ford's new creative director opens up to Imran Amed about his progression in the fashion industry and his first womenswear collection for the brand.Background: When Tom Ford started his namesake brand in 2004, his longtime deputy at Gucci Peter Hawkings was his first call — and his first employee. Fast-forward to April 2023, Hawkings' phone rang again. Only this time, Ford said he was stepping down and putting Hawkings forward for the top job. “I didn't sleep for the first two nights. It was crazy,” Hawkings said of his reaction to the news that he would step into his longtime boss' shoes and become creative director of the eponymous brand he created. “But after all of that subsided, I realised that Tom [Ford] was giving me the opportunity of a lifetime. And I am, to this day, super grateful to him for giving me this chance to continue the legacy.”This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Hawkings, the new creative director of Tom Ford following his runway debut at Milan Fashion Week to discuss his origins and journey into the fashion industry — and his plans to continue the Tom Ford legacy.Key Insights:It was in 1998 that Hawkings first met Ford, after finishing his master's course at Central Saint Martins. The then-24-year-old applied to the assistant menswear designer position at Gucci, where Ford was the brand's creative director. This would launch a 25-year partnership with the two designers and eventually lead to Hawkings becoming the creative director of the Tom Ford brand. Hawkings, who previously designed Tom Ford's menswear collections, said that he leaned on his wife when designing womenswear for the first time. “It's been invaluable, you know, having that conversation with her. Her trying clothing on, trying shoes on … for me, it's so important, comfort and fit and all of those elements that are so important when you're designing for a woman,” says Hawkings. During Hawkings' career, he had the opportunity to learn from not just Ford, but also other fashion talents, such as British designer Louise Wilson, who was one of his professors at Central Saint Martins. “I always go back … to the advice that Louise [Wilson] always gave me, which was one: work hard, absorb knowledge and give knowledge, understand what manners are and deploy them. Take risks. Failure is okay. You can learn from failure, for sure. Have at least one skill and develop it,” says Hawkings. Additional Resources:Peter Hawkings Named Creative Director of Tom Ford: With the sale to Estée Lauder complete, Tom Ford's longtime colleague and collaborator will take the creative helm at his namesake brand.The Miuccia-ness of Prada, the Gucci-ness of Tom Ford: Brand DNA is marketing speak until it isn't, as the latest Prada and Tom Ford collections proved. Hosted on Acast. See acast.com/privacy for more information.

BoF founder and editor-in-chief Imran Amed speaks to veteran modelling agent Chris Gay to understand the shifting power dynamics in the modelling industry and how models can build a career that stands the test of time.Background: In the sometimes fickle and murky world of fashion modelling, the most successful models are taking control of their careers by bypassing the gatekeepers and creating direct relationships with customers, building and engaging their own fanbase.“If you want real longevity in this business, you need to be building your community. It's community that creates staying power,” says Chris Gay, co-chief executive officer of Elite World Group and president of The Society Management, which is marking its tenth anniversary this year. This week on The BoF Podcast, Gay sits down with BoF founder and editor-in-chief Imran Amed to discuss the shifting power dynamics in the modelling industry and why developing a point-of-view, something that a model becomes known for, is the key to long-term success.Key Insights:The rise of social media has benefitted models who no longer have to rely on runway shows and brand campaigns to stay relevant. Models can now connect with their fans and followers directly on Instagram or TikTok. “Talent is no longer beholden to anybody. They have real power in their hands. So if you're not chosen for this particular fashion show … that doesn't mean momentum stops for you,” says Gay. Social media platforms also help models create business relationships without the help of fashion's traditional players. “It was a very small strategic group of gatekeepers in fashion that had an extraordinary amount of influence over all talents. … Now, it's entirely changed,” he says. The power dynamics are shifting in other ways too. For some companies, working on a social ad with a well-known talent like Kendall Jenner or Liu Wen can have a bigger impact than a traditional ad campaign. “The next 10 years is really going to be about talent being a more effective and a more strategic distribution channel for everyone,” says Gay. Gay's advice to talent looking to break into the industry is twofold: build deep knowledge of the fashion industry and cultivate a style that essentially becomes your trademark. “Care about fashion. … It has nothing to do with the price of the items that you buy. But it really has to do with understanding collective style and what your own individual sense of style is,” he explains. Additional Resources:New Chinese Models Are Reshaping Global Runways: Local agencies are signing more models that don't have classical Han Chinese features with knock-on effects for who gets cast by megabrands in Europe and the US.Models, the New Power Publishers: Social media has turned fashion models into powerful digital publishers, some of whom have far larger audiences than brands or traditional magazines. BoF 500 | The People Shaping the Global Fashion Industry: Chris Gay is the co-chief executive officer of Elite Model Management and president of The Society Management in New York City. Hosted on Acast. See acast.com/privacy for more information.

As London Fashion Week kicks off, BoF founder and editor-in-chief Imran Amed sits down with four London-based creative talents to explore how the city's rich creative scene stems from its unique cultural diversity and the sense of community and collaboration this provides.Background: With over 300 languages spoken within its city limits — more than any other metropolis — London has cemented its place among the world's most global cities. This has boosted its reputation not only as a creative hub, but also as a source of inspiration for creatives around the world working in sectors from fashion and media to music and art.“London has a rich Diasporic culture, and it's where… you have the opportunity to build a community around you,” says fashion designer Jawara Alleyne. “London, being such a vast city, gives that space [for] these multiple different cultures that are existing on top of each other and inspiring each other and feeding off of each other.”This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed chats with four exciting Londoners shaping the city's creative scene.Alleyne joins conceptual artist Amber Pinkerton, musician Bradley Miller and Dazed editorial director Kacion Mayers to discuss their experiences of living, working and creating in London and to hear their advice for other creatives looking for their big break. Key Insights:London's history of thriving subcultures has helped create an inclusive community spirit, says Alleyne, where “the people around you actually have a shared experience that you can amplify. You're no longer just speaking for yourself, you're speaking for all of the other groups of people who feel the same way that you feel.”Creatives starting out in London should channel their inner courage, says Pinkerton. “Don't be afraid to approach people or bother them… not being afraid to ask for advice, not being afraid to also get… feedback or criticism about things,” she says. Boldness alone isn't enough, Mayers believes. “You need to really find your community, hone in on that and just work with each other and build on each other and create with each other and stay true to what you want to communicate and what you want to create,” he says. Mayers added that his own London community is a frequent reference in his work. “I always want to reflect back to the community. I always want people to open Dazed and… see things that they can recognise and see things that's aspirational… And I think that's key to a lot of people's success, just being able to reflect a reality,” he says. Miller believes the industries that hindered creatives of colour in the past need to change if they want to remain relevant. “These systems and infrastructures… have to adapt to what we're [industry creatives of colour] doing because this is what's happening right now. For them to be relevant or seem to be functioning, they have to [provide] support in these things that are happening in their city,” says Miller. Additional Resources:Meet the Creative Agency Behind Those Viral Dazed Covers: New School, a agency out of London reps a fast-rising group of tight-knit creatives, including members of the teams behind last fall's Dazed covers featuring Rihanna and Harry Styles, campaigns for Apple and Klarna, and a show for Thebe Magugu. Hosted on Acast. See acast.com/privacy for more information.

The founder of the streetwear sensation broke into fashion thanks not only to his steely determination and breakthrough creative ideas, but also the unwavering support of the community he built from the ground up.Background: Within a decade, Colm Dillane, the New York-based founder and designer of streetwear label KidSuper, went from selling T-shirts to fellow students out of his New York University dorm room to winning the the Karl Lagerfeld Special Jury Prize at the LVMH Prize in 2021 and designing a one-off menswear collection for Louis Vuitton. But it wasn't a straight shot to success. The now 32-year-old has had to learn the ropes of fashion the hard way, maxing out his bank account, taking risk after risk to figure out how to transform his creativity into a bonafide business. Through it all, Dillane has focused on community-building as an end goal.“It's always funny when brands reach out to me and they're like, ‘We love the community you created'. I would always be like, ‘They're creating community to sell product. I was selling product to create community. What are you doing this for? If it's not to meet interesting people?” says Dillane. This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Dillane to discuss his journey as a designer and his lessons for emerging fashion designers and entrepreneurs. Key Insights:Dillane came from outside fashion, and from the start, has used his creativity to get the industry's attention. “When I was young, [I felt] the fashion industry was the most elitist, stand-offish, impossible thing to break into,” he recalls. But in navigating his way further into the industry, he saw that “creativity and new ideas are embraced and supported and championed more so than I thought they would be,” When musicians started asking about the brand, Dillane didn't simply ship off his T-shirts, hoodies and hats to them. Rather he wanted to build a relationship. “I always wanted to meet people, so I would never send clothing, I would send myself,” he says, recalling how meeting the late rapper Mac Miller in person led to one of the brand's first breaks — with the musician sporting a KidSuper hat on an album cover.Even amid the big breaks, perseverance is critical, he says. In 2019, he thought his brand would catapult to fame overnight after receiving a rave review in Vogue following his first show, a hastily produced off-calendar event during Paris Fashion Week. The reality was different. “I get this amazing review… I'm now a superstar designer. [But] nothing changes in my life,” recalls Dillane. The designer didn't give up — “I'm not a quitter” — and by 2021, KidSuper held its first official PFW show, “Everything's Fake Until It's Real.”Dillane believes young designers can look to KidSuper for inspiration. “I've never deleted an Instagram post, so you can scroll down and see like me buying my first sewing machine or and kind of chronologically follow how I got here,” he says. “I think it's pretty cool for how far I've gotten.”Additional Resources:Louis Vuitton Taps KidSuper Designer Colm Dillane For Next Menswear Collection: Designer Colm Dillane, whose label KidSuper won LVMH's Karl Lagerfeld Prize in 2021, has “embedded” with Louis Vuitton's menswear studio in recent months to help design its men's collection set to be revealed 19 January. Hosted on Acast. See acast.com/privacy for more information.

Ahead of New York Fashion Week, The Washington Post's Rachel Tashjian speaks with BoF's founder and editor-in-chief Imran Amed about how the industry is changing post-pandemic. Background:There's a good reason why New York Fashion Week isn't the all important agenda-setter it once was, according to Rachel Tashjian, a fashion writer for The Washington Post. US consumers, she says, now take their fashion cues from influencers and social media as much as they do the runway. “Some of the more interesting things happening in American fashion are just outside of fashion week,” says Tashjian. “I just wonder if American designers feel like, is this [New York Fashion Week] really worth it for me to be doing? Is this where my audience is?”This week on The BoF Podcast, Imran Amed, BoF's founder and editor-in-chief, sits down with Tashjian to discuss her perspective on the state of the fashion industry today and her expectations for the evolution of NYFW in a post-Covid world.Key Insights:As some established brands look beyond NYFW to connect with customers to showcase their designs, Tashjian believes this shift has opened up space for emerging designers. “These smaller or more emerging brands are dominating [NYFW] because we don't have a lot of the larger brands showing,” says Tashjian.That relationship will be seen up-close at NYFW this season, Tashjian predicts. Because of the ongoing SAG-AFTRA strike, which leaves actors unable to promote their films, Tashjian says celebrities will dominate the front row. “This is going to be kind of an unprecedented season in terms of celebrity presence at fashion week because, with the strikes going on, these are things that celebrities can promote these relationships that they have with fashion brands,” she says.How celebrities embrace fashion can impact how the public perceives them, as well, says Tashjian. “Fashion has this really interesting ability to recontextualise someone we think we know really well,” she says. “Margot Robbie during the Barbie Press tour, wearing these fun, campy Schiaparelli [looks] and hot pink Chanel. All of a sudden we're thinking, ‘Oh, this is a woman who has a really fun and playful understanding of fashion.'”Tashjian believes the role of fashion criticism is different than it was in years past. “Perhaps because of the availability of fashion, we need critics more than ever before,” she says. “I think about my role as to provide an insider perspective or context. I was actually at this show and here's how it felt to be sitting in that room.”Tashjian is also known for her newsletter, Opulent Tips, which she began when she was working at GQ. In the newsletter she discussed womenswear, products and smaller brands she admired. “I felt like it could be kind of fun to have a little space where I can talk about those things and maybe introduce those brands to some people who maybe wouldn't come across them,” she says. Additional Resources:The BoF Podcast | Karl Lagerfeld at the Met: Designer, Polymath, Jigsaw Puzzle: Andrew Bolton's latest curatorial miracle celebrates the creative process of one of fashion's greatest icons. Bolton sits down with Tim Blanks for BoF's latest podcast.The Newsletter Fashion Insiders Can't Get Enough of: Rachel Tashjian, a Washington Post writer releases an exclusive newsletter each Sunday, with her take on fashion, culture and the industry at large. Hosted on Acast. See acast.com/privacy for more information.

Darnell Strom's professional path has wound its way from politics to Hollywood, a trajectory that started with several globe-trotting years working for former US President Bill Clinton. As partner and head of culture and leadership at entertainment agency UTA today Strom represents totemic cultural figures including Nobel Peace Prize laureate Malala Yousafzai and Edward Enninful, the outgoing editor-in-chief of British Vogue, as well as Gisele Bundchen and Michaela Cole. The breadth of his client roster reflects Strom's thesis that captivating, culturally impactful people can come from anywhere. “My definition of talent isn't just an actor, a musician and an athlete,” he says. “It's also a well-known politician or an incredible activist or a rock star CEO or someone in fashion, an artist … I want to be able to represent all those people.”This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Strom to discuss what his career has taught him about the power of creativity and cultural convergence – and the opportunities this is creating for top talents. Key Insights:It was a conversation with the late fashion designer Virgil Abloh that inspired Strom to think differently about his work as an agent and seek out clients from all types of industries. He recalls Abloh telling him: “You should be representing people like me, people who are multi-hyphenate, people who understand that there are no walls between these worlds of culture.” Strom believes social media has irrevocably democratised the entertainment industry, making it possible for even an aspiring filmmaker from anywhere to create a blockbuster movie or a fashion trend that stems from a single post. “As you look at the marketplace, both in fashion and entertainment and media, everything is moving at such a fast rate. And if you're doing the job the same way you did 10 years ago, you're going to get left behind,” he says.Strom believes the changes we are seeing is just the start of a bigger journey. “I think the future of culture is convergence, which we're seeing now. But I think it's just the beginning of it. I think the next 10 years are going to be fascinating,” says Strom. Additional Resources:Darnell Strom to Lead UTA's Newly Created Culture and Leadership Division: Political staffer turned Hollywood rep joins entertainment agency UTA to head its new culture and leadership division. What the Hollywood Strike Means for Fashion: While red carpets have momentarily dried up for brands and stylists, the SAG and WGA's simultaneous strikes pose an unlikely opportunity for fashion companies to tap celebrity talent. To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Mo Gawdat, an artificial intelligence expert and former chief business officer of Google X, explains how humans have the power to turn AI into a positive force that benefits society. Background:Public perception of artificial intelligence ranges widely. Depending on who you're listening to, it could be a source of unlimited technological potential or a dire threat right out of a science fiction novel.According to Mo Gawdat, the former chief business officer for Google X, concerns about AI are valid. But fears that AI will turn against humanity are misguided. Rather, says Gawdat, we have an opportunity to teach AI to be a force for good. "If 1 percent of us, only 1 percent of humanity... show the good side of us in front of those machines, those machines will be intelligent enough to say humanity is a divine being,” Gawdat said at BoF VOICES 2022. This week on The BoF Podcast, Gawdat discusses the future of AI and why ethics are crucial to managing its development.Key Insights:As AI continues to evolve at a startling pace, Gawdat believes it will surpass human intelligence in the next few years. “My prediction is that [in] 2049, AI will be a billion times smarter than humans… It's a comparison between the intelligence of Einstein and the intelligence of a fly. And we are the fly,” says Gawdat. Gawdat compares humanity's relationship with AI to that of a parent and child. The technology has the potential to be greater than its creators, but like a child, it needs a positive influence to grow. Gawdat believes humanity can teach AI morals and ethics that are in society's best interest. “If we start to look at those machines as a new form of artificial being, a form of being that's going to come into our society, then the question that we need to ask is a question of ethics. It's not a question of control,” says Gawdat. Gawdat believes humans can show AI the positive parts of society, but humanity needs to first understand how to get over its obstacle of negative bias. “The truth of humanity is amazing,” he says. “The only problem we have is we stopped showing that. We just talk about the negativity and the fakeness.”Additional Resources:How AI and Web3 Are Shaping Fashion's Future: BoF welcomed business leaders, technologists and creative innovators to share their insights on the pivotal technologies shaping the fashion industry. Watch on-demand now.Fashion Execs Can't Stop Talking About AI: Executives have been highlighting the technology more often on earnings calls, suggesting more businesses are adopting it — and maybe giving it a shoutout to impress investors.Generative AI Won't Be the End of Human Fashion Designers: Just as photography didn't spell the extinction of painting, generative AI won't kill off human designers. It may even create more appreciation for the physical craft of fashion.To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

When Ben Gorham of Byredo and Monique Rodriguez of Mielle Organics sold the businesses they spent years building, the financial milestone was just the culmination of more meaningful professional journeys that began with a clear sense of purpose. Background: Beauty founders Ben Gorham of fragrance label Byredo, and Monique Rodriguez of hair care brand Mielle Organics, both took their businesses from indie beauty darlings with cult followings to high-profile exits to major conglomerates: Byredo sold to Spanish luxury giant Puig for $1 billion in 2022, while Procter & Gamble bought Mielle Organics earlier this year. But the two founders didn't start their businesses with the sole focus of cashing in quickly. “We live in a climate where expectations are that you start a company and you build it to great heights, and then you sell it, and you make lots of money. And this is how we define success stories,” said Gorham. “For me, for many years, it was really about just the craft. It was really about the product. It was really about learning how to operate a business.” As Rodriguez learned after building a loyal customer base, a sale impacts many other stakeholders. “When you build a brand in the Black community, it's not my brand, it's their brand,” said Rodriguez. Yet she doesn't downplay the personal importance of the exit. “It's a true testament to — especially as a Black woman, a woman of colour — what we build is very valuable… I didn't grow up seeing this. So to accomplish just having a conversation [with investors, including P&G] was rewarding for me,” she said.This week on The BoF Podcast, Gorham and Rodriguez sit down with Priya Rao, executive editor of The Business of Beauty, to share how they navigate entrepreneurship and success in a conversation from The Business of Beauty Global Forum 2023.Key Insights:Rodriguez started Mielle to fill a void in hair care that she and other Black customers faced. “As a consumer myself, I saw that there was a lack of relatability. I thought that there was a lack of education. I felt that there was no brand that understood my needs as a natural hair consumer,” she said.Gorham also sought to fill an underserved market with Byredo. “The idea of luxury and the culture of luxury didn't speak to people that looked like me or grew up like me or came from my culture [with a Canadian father and Indian mother, growing up in Sweden]. So I set out to kind of redefine what that could mean as a brand,” said Gorham.When her start-up was ready to explore being part of a larger company, Rodriguez said it was important that she was clear what she wanted — and didn't want — from Mielle's suitor. “As you find a partner, it's like a marriage, right? And you don't want to get divorced… So it was really important that my partners understood where we were trying to go and did not want to disrupt what we knew we were already good at,” she said.Being part of a larger company and maintaining an entrepreneurial spirit are not mutually exclusive… My mother grew up in a garage in Mumbai. To say that the financial milestone or the monetary aspect wasn't important… would be a lie.” said Gorham. “Selling kind of implies that I wouldn't be there or that I would exit… even though that's the mechanical trigger of the transaction, my role is still intact. I continue to work night and day as I've done over this journey,” he said. Additional Resources:The Business of Beauty Global Forum: Where Will Growth Come From? Hosted on Acast. See acast.com/privacy for more information.

The co-founder and chief innovation officer of the Nasdaq-listed sneaker brand reflects on how his previous career in sports prepared him professionally and personally for leading a company through both the highs and the lows. Background: When Tim Brown stepped away from his role as co-chief executive at Allbirds in May, the footwear retailer that he co-founded seven years ago was losing its sheen as the sustainability-focused direct-to-consumer darling that once enraptured investors. Its first full-year results since its Nasdaq flotation in November 2021 revealed a series of setbacks, from a poorly executed expansion into adjacent products like apparel to losing relevance with its core customers, leading to net losses of $101.35 million. The testing of Allbirds' team since the IPO has often seemed relentless yet, according to Brown, it's an opportunity to draw on inner strengths to excel as a leader. “[R]ising and falling is just a part of the journey,” he wrote in a recent post on LinkedIn in which he also shared an article by a team of business reporters that laid bare Allbirds' challenges. Rather than criticising the article, he said he saw it as a reminder that “you are never as good or as bad as they say you are (this helped me a lot during my football career), and that all of my best work has come when I've been written off.”This week on The BoF Podcast, Brown speaks with BoF founder and editor-in-chief Imran Amed on how his journey from the football pitch to the corporate boardroom has shown him why leaders of young brands like him need to keep a resilient entrepreneurial mindset even in adversity.Key Insights:The football pitch served as a training ground to cope with “an even more pressurised environment as an entrepreneur,” Brown said. “Sport teaches you to trust the process and to hold a long-term view, knowing that in the fullness of time that hard work usually is rewarded,” he said.Brown believes entrepreneurs need to find time to take stock, even if it means not working “100%” all of the time. “The most important thing that I've learned as an entrepreneur is not to confuse hard work with the right work.” he said. “You have the ability to maintain your focus on something for a longer period of time by just pulling back a little bit. And that space allows you the perspective to see something for what it is, which is a journey with steps forward and steps back.”When reflecting on the setbacks Allbirds has faced in recent times, Brown said that instead of searching to understand what he could have done differently, he wants to look forward. The key now, he said, is “get really, really clear on the things that we do better than anyone is the process that we're in.”Additional Resources:Tim Brown on Allbirds' Sustainable Footwear Revolution: Allbirds co-founder and co-CEO discusses how his high-risk strategy has created a sustainable brand that is disrupting the established footwear market.The Rise and Fall of Allbirds: The sneaker brand's comeback plan includes refocusing on its core consumer and a carbon-negative shoe. Hosted on Acast. See acast.com/privacy for more information.

Kering's new deputy CEO of brand development shares her luxury brand management playbook in this archive interview with Imran Amed from BoF VOICES 2018.Background: Last week, Francesca Belletini was appointed deputy CEO of brand development at Kering, making her arguably the most powerful female fashion executive in the luxury sector. As part of her new role, not only will she retain her position as CEO of Saint Laurent, she will also oversee Gucci, Bottega Veneta, Balenciaga and Alexander McQueen. It was at Saint Laurent, where the former investment banker cemented her reputation for razor-sharp merchandising strategies that married seamlessly with the work of creative director Anthony Vaccarello.“When you clarify the brand positioning, then everything comes together,” said Bellettini, on revitalising the Saint Laurent brand. “People recognise the authenticity in the way that we do that.”BoF founder and editor-in-chief Imran Amed sat down with Bellettini at BoF VOICES 2018 to discuss how she balances the priorities of fostering creativity, cultivating customers and running a profitable business.Key Insights:Credited for growing Saint Laurent into a multi-billion-euro powerhouse, Bellettini believes that a key is to connect with customers in their home markets. "I'm a huge believer of building business first with local clients. Conquer a consumer at home, then when they travel, they follow," she said.Another key is authenticity. “It's better to present yourself the way you really are… Be authentic. If they choose you, they remain with you,” said Belletini on the importance of building meaningful relationships with customers.At Saint Laurent, Bellettini had a clear vision for growing both the top and bottom lines, “but in reality it's the profit that makes your business sustainable," she explained.Striking a balance between growth and continuing to resonate as a brand is top of mind for Bellettini. “How do we remain relevant? How do we continue growing without compromising on the positioning of the brand? How do we continue to launch a successful product?” she asked.Additional Resources:Who Should Be Gucci's New CEO?: Following this week's announcement that longtime Gucci chief Marco Bizzarri will exit the company in September, Imran Amed shares his top picks for one of the top jobs in the global luxury industry. As Gucci's CEO Steps Down, Saint Laurent's Chief Steps Up: Marco Bizzarri led the Italian luxury giant through a historic expansion before the business struggled to bounce back from the pandemic. Parent company Kering announced the move as part of a broader executive shakeup after which Saint Laurent CEO Francesca Bellettini will oversee all the group's brands.How Saint Laurent Became a $3 Billion Powerhouse: Chief executive Francesca Bellettini breaks down how she worked with designer Anthony Vaccarello to double sales in 5 years, leaning into an amped-up take on Parisian glamour, seasonless merchandising and a rapid expansion in leather goods. Hosted on Acast. See acast.com/privacy for more information.

What do Poolside FM and Isamaya Beauty have in common? Their founders have created brands with unique yet relatable identities.Background: Isamaya Ffrench, makeup artist and founder of Isamaya Beauty, and Marty Bell, co-founder of sunscreen brand Vacation (and Poolside FM), both took unconventional routes to turning their products into veritable brands. Vacation began as a spinoff of the internet radio station inspired by summer tunes of the 1980s, Meanwhile, Ffrench's brand sparked attention for her new Lips line's penis-shaped lipstick cases. Bold and risky in equal measure, these moves laid the groundwork for their businesses while giving their brands personalities and spark.“If you're strong enough to have a vision and get a brand off the ground, you know what your audience wants,” said Ffrench. “Do the things that feel natural and right, because it's when you start doing the things that the CMO tells you you have to do and you feel awkward about it… no one's going to want your product because it doesn't look authentic.”This week on The BoF Podcast, Bell and Ffrench speak with BoF founder Imran Amed about the power of brand building and how founders can inject their own personalities into their products to make them recognisable and memorable.Key Insights:Ffrench advises founders to scrutinise conventional wisdom about how to launch a brand rather than trusting their instincts and vision. “It's really about taking things [advice] with a pinch of salt, but following your gut and your spirit and doing what feels right for you and your brand,” she says. According to Bell, people gravitate towards brands that are a reflection of their founders' personalities and beliefs. “Some of the best brands in the early stages are just true personifications of their founders… That's very hard to compete with if you don't have someone who has a view on the world and a perspective,” Bell explains. Ffrench believes large beauty corporations struggle creating an authentic brand identity because they focus on numbers rather than forming a connection with customers. “You lose the essence, you lose the integrity and the artistry because that takes time and money and spirit,” Ffrench observes. Bell says the key to creating an authentic brand is finding an idea or aesthetic you're interested in and creating the product line around it. “If you're not deeply passionate about the world that you're going to build [with your brand], you need to find someone who can be obsessive,” Bell says.Additional Resources:The Business of Beauty Global Forum: How Do We Create Connection? During the third session of The Business of Beauty Global Forum, Pamela Anderson, Isayama Ffrench and Glossier chief executive Kyle Leahy unpacked how to build unique brands and drive authentic relationships with customers.Sunscreen Brand Vacation Takes Its Miami Pool Party Vibe to the Suburbs: Following a $6 million Series A funding round, the sunscreen brand prepares to move past its club of creative clientele and reach the masses. Hosted on Acast. See acast.com/privacy for more information.

The celebrated menswear designer joins BoF's Imran Amed to discuss the evolution of his career in fashion from selling secondhand clothes to building his own brands.Background: At first glance, Oliver Spencer's story might seem like a fashion fairytale. In just a matter of a few years, he went from selling secondhand garments in a stall on London's Portobello Road to seeing actors wearing his bespoke waistcoats in the 1994 film “Four Weddings and a Funeral,” putting his formalwear label Favourbrook into the spotlight. But in the subsequent years, Spencer faced the challenges that come with running an independent fashion brand: from debt to self-doubt while aiming to reach profitability milestones. “Small is beautiful. You have to have a certain amount of business turnover to get to these levels, but you don't need hundreds of millions [of dollars] to run a profitable brand,” says Spencer.Key Insights:The British designer's formalwear background — which includes creating looks for highbrow events like the Royal Ascot — informed his approach to menswear, even given today's inclinations for toned-down dressing. “Just because you're wearing casual, doesn't mean you're not dressing right,” says Spencer. Even as consumer preferences change, however, Spencer believes it's just as critical to maintain clear sight of the brand's original vision as it is to evolve it. “I will have one foot stuck in the past and the rest of my body walking into the future,” he said. As a small brand, storytelling and working with the right wholesale partners go hand in hand. “The wrong wholesale partner can send the wrong message,” said Spencer. Spencer has ADHD and dyslexia, which he says creates both challenges and opportunities. “You understand how to deal with problems and you understand how to work out a problem in a different way… You can see things in a problem that other people can't see.”Additional Resources:To watch “Four Weddings and a Funeral” click here.Explainer — Why the Menswear Market Is on Fire: From the rise of work from home to the decline of streetwear, BoF unpacks what's driving the “unprecedented” boom in the men's market.Where Does the Suit Fit into the Modern Wardrobe? The fate of the traditional suit was already in question long before the pandemic. Where does the market go from here?To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

British fashion designer Samuel Ross opens up to BoF editor-in-chief Imran Amed about his work to foster more diversity in fashion.Background: Creative industries still have a long way to go before they become truly inclusive, according to Samuel Ross, designer and founder of London-based fashion label A-Cold-Wall and industrial and product design studio SR_A. “There's not enough diversity in the sector for high achievers who should be there,” he said to BoF founder and editor-in-chief Imran Amed on stage at WPP Stream, during the annual Cannes Lions International Festival of Creativity.This week on The BoF Podcast, Amed and Ross explore the designer's creative processes, his approach to engaging younger customers as well as his mission to build a more inclusive creative sector.Key Insights:As a multi-disciplinary artist, working in fields ranging from architecture to furniture design, Ross takes a “democratic approach” to his work. “I try not to operate across a hierarchy when it comes to creativity. I care as much about the texture of a raw cut glass as… I do about the reverence of a chapel,” he says. He also leans into technology — be it through gaming or augmented reality — to create experiences that resonate with younger consumers. “We're using [digital] play as a handshake with the audience base to get onto those channels and to build a new relationship through product and add new characteristics to product,” explains Ross. Social media also enables Ross to forge an organic connection with his community of followers. When the designer posted about A-Cold-Wall's most recent Nike collaboration on Instagram, for example, it garnered more than 24,000 likes in 17 hours. “It's really about driving the founder-consumer connection where possible,” said Ross. It was after sharing his thoughts on the fashion industry's inclusivity shortcomings on social media that Ross decided to be more proactive about enabling change in the industry by creating concrete opportunities for people traditionally excluded from the industry through the Samuel Ross Black British Artist Grant Programme, which provides funding and mentorship to young designers, artists and other creatives. “I had to look in the mirror and say, ‘Well, what am I actually going to do about this?' he says.Additional Resources:A-Cold-Wall Founder Samuel Ross Returns With More Grants for Black British Creatives: British fashion designer, Samuel Ross created a fund to help Black creatives and startups establish themselves in the fashion industry. Hosted on Acast. See acast.com/privacy for more information.

At The Business of Beauty Global Forum, activist and author Schuyler Bailar shared his journey to understanding beauty and self-acceptance as a biracial, transgender man.Background: For Schuyler Bailar, an activist, author and the first openly transgender NCAA Division I swimmer in the US, finding a sense of belonging hasn't always been easy. Bailar realised being accepted by society wasn't as important as accepting himself. “Belonging is not something that's going to be given to me. It's something that I have to find on my own,” said Bailar at The Business of Beauty Global Forum 2023. This week on The BoF Podcast, Bailar opens up about his own experiences with the pressures to conform to Eurocentric and cisgender beauty ideals as a biracial, transgender man, how he discovered his path to self-acceptance and why he wants others to be able to do the same. Key Insights:From an early age, Bailar was acutely aware of the negative role the beauty industry and society as a whole can play in shaping an individual's perception of belonging and self-worth, a deep sense that was shaped by the experiences of his mother as a Korean immigrant growing up in the US. “She tried very hard to fit whatever it was that would make her feel included, which a lot of the time meant bending towards whiteness, bending towards assimilation,” said Bailar.Before he transitioned, Bailar attempted to conform to society's cisgender expectations of how women should look, which ultimately led him further away from his true self. “I tried so hard to be what society expected of me. What society told me I was: a woman,” said Bailar. “I was trying so hard to figure out how to be this woman, and yet I was miserable.”At his first collegiate swim practice at Harvard University, Bailar said he felt hesitant and scared standing before his teammates in a Speedo, but he found the courage to continue swimming. “I stood alongside all my teammates, none of whom were transgender like me, feeling not beautiful, feeling misshapen, feeling strange, feeling weird, feeling not man enough. But I dove in… and I swam with them anyway,” said Bailar. Since graduating, Bailar has turned his attention to activism, and works to challenge society's beauty standards. “What I want from the world is for us to be able to dive into a beauty that originates at every single person so that nobody has to stop being themselves, so that nobody has to show up and change who they are in order to feel like they belong,” said Bailar. Additional Resources:Lessons From Day One of The Business of Beauty Global Forum: During BoF's The Business of Beauty Global Forum, Schuyler Bailar discussed how the beauty industry and Euro-centric standards affected his mother's childhood and his own. Schuyler Bailar, first trans athlete to compete on a NCAA Division 1 men's team, wants all trans athletes to feel represented: CBS News interviewed Schuyler Bailar about his experience as the first openly transgender athlete to compete on a NCAA Division I men's team. To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

On both a local and international scale, the Middle East's fashion industry has seen significant growth thanks to changing regulations and an influx of creatives. Background:Substantial economic activity as well as cultural and regulatory shifts in the Middle East have accelerated the growth of the region's $89 billion fashion industry. Middle Eastern governments are fostering this expansion as they increasingly encourage creative work from designers, social media influencers and stylists, and a more unified culture emerges across borders, said Rawan Maki, BoF Insights' associate director of research and analysis.This week on The BoF Podcast, Maki and Marriam Mossalli, founder and chief executive of Niche Arabia, a Saudi Arabia-based luxury communications and marketing agency, join BoF editor-in-chief Imran Amed to discuss BoF Insights' latest report, “Fashion in the Middle East: Optimism and Transformation” and what's happening in the region's fashion scene. Key Insights:According to Mossali, Saudi women's lives have changed: Women now make up 33 percent of the local workforce, women-owned businesses have increased 60 percent in the past two years, and their involvement in leadership roles has grown. “The biggest change is that it's not just coming from someone in an office saying ‘Look, we're going to open the doors for women,” said Mossali. “Women drive, women can get behind the wheel, making sure that they're directing this change.”With the integration of women into the labour force, fashion in the region has evolved to suit working women's lives, and trends like “modest wear” have grown. “What we're seeing is its [garments] changing … Light fabrics, shorter, so that it doesn't get caught inside our car door or the wheels of our office chair. It's made now for us with that lifestyle in mind,” said Mossali. Due to increased digital transparency and connectivity, Saudi women are now looking to brands to provide more than accessories to go with their Abayas — a full-length garment some Muslim women wear in public as outerwear, like a coat. “They [customers] want more ready-to-wear, more beauty, they want more shoes,” said Maki. Mossali believes while more flexible government regulations allow brands to create a growing fashion industry in the region, cultivating the business ultimately lies with the private sector. “When it comes to manufacturing, to education, a lot of those initiatives are coming with the support from the government, but they are led by the private sector and private institutions. [The government] is enabling us and empowering us to do those things,” said Mossali. During the discussion, Amed asked Mossali if Saudi Arabia can truly grow a thriving fashion ecosystem, given the criticism the country has received in the past for its stance on LGBTQ issues and the fact that the fashion industry's workforce historically has high levels of LGBTQ representation. Mossali pointed to the Saudi Tourism Authority website, which says the country now welcomes LGBTQ visitors, and suggested that people wishing to better understand the country to visit in person. Additional Resources:Fashion in the Middle East: Optimism and Transformation | BoF Insights: Shifting consumer behaviours and new government investment strategies have set up the fashion industry in the region to develop in the upcoming years. Hosted on Acast. See acast.com/privacy for more information.

The pioneering 89-year-old entrepreneur shares her life story as a child refugee who fled Nazi Germany and created a $3 billion technology company. Background: At BoF VOICES 2022, the pioneering 89-year-old entrepreneur Dame Stephanie Shirley discussed her life working with early computers at the London's Post Office Research Station and how, against all odds, she created a software company for — and run by — other ambitious women, valued at almost $3 billion. “You could always tell ambitious women by the shape of our heads. They're flat on top and that comes from being patted patronisingly,” said Shirley, describing the sexist work environments of the day. This week on The BoF Podcast, Dame Stephanie discusses the hurdles she had to overcome as a woman in the technology industry, the growth of her influential company, Freelance Programmers, and warns us about the growing power of giant technology companies.Key Insights:Growing up as a child refugee who fled from Nazi Germany Shirley realised that being able to adapt was the key to surviving and thriving. “I realised that change is often welcome indeed, that I could initiate change. And when it was necessary, that sense of personal empowerment took time to develop. But it has never left me,” said Shirley. Freelance Programmers was one of the first software companies that allowed women, who had long left the workforce to create families, to work from home, she explained. “It was a company of women, a company for women, an early social business, a software house which recruited professionally qualified women who had left the industry,” said Shirley.For Shirley, trying to thrive in a male-dominated field like software development, required a little “subterfuge.” After other businesses refused to respond to her letters signed with her name, “Stephanie” Shirley quickly adapted and began signing them as “Steve.” “If I used the family nickname of Steve … customers would not only read them, but pick up the phone to reply. When they discovered that Steve was actually a woman, they were already half hooked,” said Shirley. According to Shirley, as the Internet develops so does the divide between the corporate world and the common Internet user, further widening the gap between the truth and fiction. “Our reliance on digital technology has placed us in the hands of powerful tech innovators and the giant corporations they spawned … They have the power to influence our daily lives in ways few people understand,” said Shirley.Additional Resources:How Technology Can Power a Better Future: During BoF VOICES, The Business of Fashion hosts Dame Stephanie Shirley who discusses her first company, Freelance Programmers and what it was like working in a male dominated industry in the 1960s. Please watch the full interview here: https://www.youtube.com/watch?v=KoOtQdBod9U To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

At The Business of Beauty Global Forum 2023, Pamela Anderson shared her perspectives on how the definition of beauty — and the beauty business — is changing with Moj Mahdara.Background: “We're all trying to make ourselves beautiful so we are respected, admired, loved. So these products have to come from a loving place. That's the secret ingredient: having heart,” said Pamela Anderson at The Business of Beauty Global Forum 2023 in Napa Valley, California.This week on The BoF Podcast, Anderson and Moj Mahdara, managing partner and co-founder of Kinship Ventures and co-founder of BeautyUnited, discuss sustainable beauty products, shame and her own beauty and wellness journey. Key Insights:Anderson's early experiences with beauty go back to her time at the Playboy Mansion, surrounded by beautiful women who were in charge of their own sexuality. There, watching and learning from powerful women, the former Baywatch star was able to grasp her own femininity. “And I just watched. And I want it to be sexy, too. I found that was powerful and interesting,” said Anderson. The beauty industry has been known to shame women for being older and has consistently pushed an anti-ageing agenda. Anderson believes older women shouldn't chase youth. “I like embracing our age, embracing looking as good as we can, but also being realistic.”Shame and insecurities caused by the beauty industry and Western beauty standards were recurring topics at BoF's Global Beauty Forum. According to Anderson, she moves past humiliation with poise. “Grace and dignity no matter what: you hold your head high. Everyone has gone through things that are embarrassing or difficult, but we're all just people,” said Anderson.Anderson imparted one last piece of wisdom to the room of beauty creatives and innovators. “I'm just this imperfect girl from start to finish who wants to do her part and be a good person in the world and share my story,” said Anderson.Additional Resources:The Business of Beauty Global Forum: How Do We Create Connection? During BoF's first Global Beauty Forum, Pamela Anderson, Isayama Ffrench and Glossier chief executive Kyle Leahy discussed how brands could better capture attention and secure lasting relationships with customers in an oversaturated beauty market. Lessons From Day One of The Business of Beauty Global Forum. Speakers including John Legend and TooD Beauty founder Sharareh Siadat laid out their vision for a more inclusive beauty industry during the first session of The Business of Beauty Global Forum.The Business of Beauty Global Forum: Where Will Growth Come From? During the second session of The Business of Beauty Global Forum, speakers including Sephora Americas chief executive Jean-André Rougeot and Mielle Organics founder Monique Rodriguez charted beauty's next stage of growth. Hosted on Acast. See acast.com/privacy for more information.

At Egypt Fashion Week, BoF founder Imran Amed shared the origin story of BoF and reflects on the forces that will shape fashion in the coming decade.Background: In the 16 years since he published his first post on The Business of Fashion, Imran Amed has seen the fashion industry try to adapt to adjust to seismic changes in technology, culture and business — and BoF has been a leading voice in guiding the industry through all that change. But he may never have created BoF if it weren't for the challenges that he was confronting in his own life. “It is in our struggles that we find ourselves — and that we find our purpose,” he says. In this wide-ranging conversation which took place during Egypt Fashion Week, Amed sits down with Malak Fouad, host of the “What I Did Next” podcast to discuss BoF's early days, Covid-19's impact on the fashion industry, fashion in the Middle East and the impact of new technologies including the metaverse and artificial intelligence.Key Insights:Amed, left his job as a management consultant and set up an incubator to support young fashion designers. When that project failed, he channelled his energy into the personal blog he had been keeping and called it The Business of Fashion. “It was for my friends and family to see my journey from McKinsey to the fashion world,” says Amed. During the Covid-19 pandemic, Amed saw BoF's role as providing guidance and information to those working in the fashion industry in the midst of great uncertainty. “I said, we have no idea what's going to happen. Our job is to act as a guide for the industry as we navigate a once-in-a-century global health crisis,” says Amed. Amed advises companies to lean on local expertise to connect with customers and find success in new markets. “[Fashion brands] need to empower local teams so they can create activations, products, experiences that resonate with customers,” says Amed.Amed believes innovations like AI will change how people work in the industry, though fashion will always need creative people “AI has the potential to impact a lot of the parts of the industry that I think people thought were a bit untouchable,” says Amed.Additional Resources:The Fashion Jobs Most Vulnerable to AI: BoF's Sheena Butler-Young takes readers through the effects AI can have on the fashion industry, and the creative job market. Luxury Adapts to the ‘New Ramadan Rush': As the Middle Eastern market grows in the fashion industry, luxury brands like: Dior, Fendi and Valentino are adjusting to the change. To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

BoF's Imran Amed sits down with Priya Rao, executive editor of The Business of Beauty, to go inside the findings of our new report ‘The State of Fashion: Beauty.'Background:The global beauty industry is booming. “Beauty remains one of the most dynamic, challenging and sought-after industries, much more than other consumer goods — or even fashion,” says Priya Rao, executive editor of The Business of Beauty. “What we've seen is that consumers are so rabid and fervent for their beauty products… and brands are still really excited about bringing a new proposition to market.”This week on The BoF Podcast, editor-in-chief Imran Amed sits down with Rao to break down the five critical themes covered in BoF's new report, “The State of Fashion: Beauty,” created in partnership with McKinsey & Company.Key Insights:In the oversaturated beauty and wellness market, it can be difficult for new brands to gain consumer attention. To break through, they should first focus on one product or theme before moving to other categories. “[Rihanna's] Fenty Beauty was known for colour cosmetics until they most recently launched skin care,” says Rao. “They didn't try to launch hair care and injectables and sexual wellness devices all at once.”Expert voices are key when it comes to building trust as a beauty brand. “What dermatologists or aestheticians have done for skin care, we need that in wellness,” says Rao. “The way that wellness really grows is with credibility from the people who are founding these brands and selling these products.”Gen-Z wants beauty products that are more environmentally friendly but also affordable. According to Rao, brands like E.l.f and Milani have been able to address that demand. “They are giving the best experience to beauty consumers, but they also check those boxes of being socially conscious and value driven,” says Rao. Beauty M&A will consist of smaller deals driven by strong underlying financials. Big deals like L'Oréal buying Aesop for $2.5 billion will be a more of a rare occurrence. “Profitability is going to come into play much more… that's across the businesses out there in consumer goods,” says Rao. Additional Resources:The State of Fashion Special Edition | The New Face of Beauty: The special edition of The State of Fashion report by BoF and McKinsey & Company explores the reshaping of the global beauty industry. Download the full report to learn about the key dynamics that will impact all categories in the years ahead, from the rise of wellness to the influence of Gen-Z.The Business of Beauty Global Forum 2023: Streaming Live from Napa Valley, California on May 30-31.To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

BoF's Marc Bain and a group of panellists break down the state of web3 in fashion and where the technology is headed.Background:Over the last couple of years, the fashion industry couldn't stop talking about the potential of NFTs, the metaverse, known in tech industry speak as web3. Now, the fervour around web3 has cooled and the speculators are long gone. But for those committed to the web3 space, the work continues, even as the discussion has shifted.“People are pulling back, but people are investing,” said Brian Trunzo, metaverse lead at Polygon Labs. “If folks are still at the education stage, doing research either internally or through agencies, they may have cut budgets and pulled back a little bit, whereas folks who have beefed up and built out teams to execute against their web3 strategy, who have had that requisite education, they're doubling down.”This week on The BoF Podcast, we share a conversation from The BoF Professional Summit: An Inflection Point in Fashion Tech, where our technology correspondent Marc Bain speaks with three web3 experts — Brian Trunzo, Alice Delahunt, founder and CEO of Syky, and Milton Pedraza, the founder and CEO of consulting firm the Luxury Institute — to debate the future of web3 and fashion. Key Insights:“Something that we say in web3 is that it's not so much a bear market, it's a build market,” says Trunzo. Rather than letting a drop in investments define how brands should approach the digital world, consider the performance of the brands that are actually putting resources towards building in the space. Still, there are details that still need to be figured out, the panellists acknowledged. For Delahunt, purchasing a digital Gucci bag on Roblox made her realise how murky digital ownership could be, because virtual items must exist on the platform where they're purchased. She believes blockchain has the power to change that standard. “Think about the physical world. We'll go out on the street and there's public infrastructure that is owned by the US government… It's public, but private enterprise sits on top of it,” she said. “I think of the blockchain as the public infrastructure that people start to build on.”According to Pedraza, this idea of digital identity will only become more paramount as the lines between the online and offline worlds continue to blur. “The technology keeps evolving… but the core principles of data identity, controlling your identity, taking control, monetising or doing whatever you want with your data… will all be supported by these emerging technologies,” he said.No matter what's trending, Delahunt said the fact that digital tools like Blender and Fortnite can free users of the physical world's limits. “You've always wanted to be a butterfly, you are not confined in the same way physically… and your ability to express yourselves in those spaces will inevitably be a huge part of the future,” said Delahunt.Additional Resources:How AI and Web3 Are Shaping Fashion's Future: At BoF's tech summit experts in technology and creative innovators share their insights on how emerging technologies are impacting the fashion industry. To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.