The Business of Fashion Podcast

Sabyasachi Mukherjee, an acclaimed Indian fashion designer from Kolkata, shares his inspiring journey of merging cultural heritage with contemporary luxury. He reflects on his early challenges at New York Fashion Week, emphasizing the importance of resilience and authenticity in achieving global recognition. Sabyasachi discusses changing consumer behavior in India, the significance of storytelling in fashion, and his vision for the future of the Global South in trade. His commitment to preserving cultural identity while expanding his brand's global footprint is truly captivating.

Join Sarah Kent, the Chief Sustainability Correspondent, and Simone Stern Carbone, Luxury Correspondent, as they dive into the seismic impact of Trump's tariffs on the fashion industry. They discuss how luxury brands, previously insulated by European production, will now face challenges from import duties. Kent explains the unrealistic expectation of reviving US-based manufacturing, while Stern Carbone highlights the delicate balance luxury brands must maintain amid rising costs and price sensitivity. A thought-provoking look at the future of fashion in turbulent economic times!

Satoshi Kuwata, a Japanese designer and founder of Setchu, fuses Japanese and Western aesthetics in fashion. He shares how his rural upbringing in Japan and experiences at Savile Row and Central Saint Martins shaped his creative outlook. Kuwata discusses the significance of the kimono and its harmonious blend with modern styles. He reflects on the art of tailoring, contrasting Western and Japanese techniques, and reveals his journey of launching Setchu during the pandemic, emphasizing the pursuit of balance between creativity and business.

In this eye-opening discussion, Marc Bain, a technology correspondent at Business of Fashion, dives into H&M's bold move to use AI-generated models in marketing. He addresses the industry's mixed reactions, focusing on fears about job security and the essence of creativity. The conversation extends to how AI is reshaping marketing strategies across fashion, from fast fashion to luxury brands like Coach. With transparency and regulatory concerns in play, Bain encourages a collaborative future where AI enhances, rather than replaces, human creativity.

Guy Berryman, bassist of Coldplay and founder of the clothing label Applied Art Forms, shares insights on merging music and fashion. With an engineering mindset, he emphasizes a meticulous approach to design, drawing from utilitarian and mid-century aesthetics. Berryman discusses the importance of quality and longevity over fleeting trends. He reflects on his childhood, the challenges of launching a fashion brand, and the creative parallels between crafting songs and garments, showcasing his hands-on involvement in the design process.

In this engaging discussion, legendary makeup artist Pat McGrath, known as 'Mother' in the beauty world, joins Brennan Kilbane, a Business of Beauty editor, to explore the rollercoaster journey of Pat McGrath Labs. They delve into the brand's meteoric rise and subsequent struggles, highlighting how leadership changes and operational challenges impacted its market presence. The conversation also touches on McGrath's groundbreaking influence on beauty standards and her new role with Louis Vuitton, casting a hopeful glance toward her brand's future.

Thom Bettridge, the new editor-in-chief of i-D magazine and a veteran of 032c and Interview, discusses his mission to reintroduce the publication as a cultural institution. He emphasizes the shift from viral trends to nurturing a loyal community and meaningful narratives. Bettridge critiques the fleeting nature of viral fame, likening it to a sugar high, and highlights the importance of retention and engagement. He also shares insights about crafting creative storytelling and amplifying lesser-known voices in a rapidly evolving fashion media landscape.

Once a dominant player in fast fashion, Forever 21 recently filed for bankruptcy for the second time in six years, marking the likely end of its run as a physical retailer. The chain, known for introducing ultra-affordable, trend-driven clothing to American malls, struggled to remain relevant as competitors like Zara, H&M, and later Shein and Temu offered faster, cheaper, and more digitally-savvy alternatives. After its initial bankruptcy in 2019, Forever 21 was acquired by Authentic Brands Group and mall operator Simon Property Group, but despite various turnaround attempts – including unusual collaborations and international relaunches – it failed to recapture its former success.Retail editor Cathaleen Chen joins The Debrief to unpack what Forever 21’s fall says about the future of fast fashion.Key Insights: Chen argues that Forever 21’s downfall is largely due to its loss of cultural cachet. “You don't see influencers peddling Forever 21 in the way that you see influencers still promoting Shein, and I think that's a huge factor. You have to spend that money to be relevant,” says Chen.Chen contends that fast fashion retailers like Forever 21 have always struggled with establishing a unique identity, which ultimately made it difficult for them to maintain customer loyalty. “The problem with Wet Seal, Rue 21, and now Forever 21 is that these retailers never really had any kind of identity,” she explains.The retailer’s failure to evolve beyond chasing transient trends has left it vulnerable to more agile competitors. “It's not about just chasing fashion, fashion, fashion the way that I think Forever 21 never got out of, the way that Shein dominates. It's about going the other direction and creating products that your customers want at a level of quality,” says Chen.Looking forward, success in fast fashion will require more than affordability. Chen believes future winners must combine low prices with a compelling retail experience: “There is an element of surprise and delight in that shopping experience. It can't just be cheap, affordable – it needs to offer something more.”Additional Resources:The Year Ahead: Deconstructing Fast Fashion’s Future | BoF Why Shein Keeps Buying Its Rivals | BoF Hosted on Acast. See acast.com/privacy for more information.

Demna's move to Gucci, announced after weeks of feverish speculation, stunned industry observers and sent shockwaves through financial markets, with Kering shares dropping sharply by more than 12%. While some hail this as an opportunity for Demna to reinvent Gucci through his distinctive cultural lens, others question his ability to break free from his Balenciaga legacy.. BoF founder and editor-in-chief Imran Amed posits, “The really big question here is, can Demna do something different?”Meanwhile, Donatella Versace’s transition from Chief Creative Officer to Chief Brand Ambassador marks the end of a storied era and the beginning of a new chapter under Dario Vitale. Highlighting Donatella’s cultural impact, BoF editor-at-large Tim Blanks notes, “Versace was one of the few names that registered with people who didn't know anything about fashion.” Fresh off a stellar tenure at Miu Miu, where he helped to ignite record growth, Vitale faces the ambitious task of balancing Versace's iconic legacy with a renewed contemporary relevance. With whispers of potential acquisition by Prada Group swirling, Versace stands at the precipice of transformation.Additional Resources:Why Gucci Picked Demna | BoF Dario Vitale to Succeed Donatella Versace as Chief Creative Officer of Versace | BoF Hosted on Acast. See acast.com/privacy for more information.

This season, all eyes were on the debuts of Haider Ackermann at Tom Ford and Sarah Burton at Givenchy. Meanwhile, designs at Alaïa and Valentino continued to push boundaries with daring silhouettes that either stood away from the body or felt purposely incomplete. Behind the new faces and unconventional shapes was a deeper exploration of eroticism. From Ackermann’s sensual glamour at Tom Ford to what Tim Blanks calls the “quiet eroticism” of Burton’s Givenchy, designers seemed united by a playful fascination with the body — and a desire to subtly challenge its boundaries.“Fashion is a very fetishistic art form,” says Tim Blanks, BoF’s editor-at-large. “It has its fixations on the body and the way it fetishizes objects, but fashion is about fetishizing beauty and ugliness. A lot of these different things have been coming up over the last few years.”Following the conclusion of the Autumn/Winter 2025 shows, Blanks sits down with BoF founder and editor-in-chief Imran Amed to discuss the highlights of fashion month.Key Insights: Across the season, there was plenty of body on display. At Alaïa, Pieter Mulier presented striking new silhouettes that played with unusual proportions, creating shapes that stood away from the body. These exaggerated forms, described vividly by Amed as "body condoms," challenged the relationship between clothes and the body. At Duran Lantink, prosthetic pieces humorously toyed with ideas of eroticism. “What are they trying to say with these clothes?” asks Blanks. “There is a new body consciousness and people want to show off their svelte new forms.”Ackermann’s debut successfully merged Tom Ford’s famed sexual glamour with a reflective, intimate approach. “Tom is a sexualist and Haider is a sensualist, but there was a compatibility there in the erotic rigour in both of their work,” says Blanks. “I thought Haider did a wonderful job of doing a Haider Ackermann for Tom Ford collection; honouring the essence of one, but really bringing the dynamism of the new.”Also facing a house with a storied heritage, Burton’s debut collection for Givenchy returned to its earliest codes and patterns. “We haven't seen something that's projecting Givenchy into the future but also really grounded in the past. And I think that's what clicked, because the other attempts were either too much in the future and disconnected from the past, or too much in the past and not taking it anywhere new,” says Amed. “She proved what a great designer she is,” adds Blanks.Watching from home, Blanks was struck by the step-and-repeat that preceded the Off-White show, where attendees arrived in bold, expressive looks from the brand’s current collection. This real-life display of style, Blanks notes, “softened him up” for the actual runway. “You see the clothes on real people, so it's not like, ‘Who would wear this?’” he says. Amed highlights this as an added opportunity to capture customers watching online: “There's a step-and-repeat for what's available to buy now, and then there's the show for what's available for the future.”Additional Resources:Sarah Burton’s Givenchy Debut: First Principles Take FlightAckermann and Ford: A Deliciously Dangerous Liaison Hosted on Acast. See acast.com/privacy for more information.