The Business of Fashion Podcast

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.

Ayesha Barenblat, Sammy Oteng, and Vidhura Ralapanawe discuss ending climate colonialism in the fashion industry. They highlight the disproportionate impact on climate-vulnerable countries, lack of responsibility, and representation in fashion waste conversation. The chapter also explores challenges of colonialism and language barriers in the discourse on climate change.

Matthieu Blazy, creative director of Bottega Veneta, discusses his creative processes, collaboration, and craftsmanship. He explains how he injects personal touches into sophisticated fashion and creates everyday wear with a luxurious twist. Blazy explores the power of storytelling in fashion and pushing boundaries with his team. He emphasizes the importance of craftsmanship over technology, while still recognizing its value.

Emmy Award-winning show creator and actor Dan Levy and luxury label designer Jonathan Anderson discuss the delicate balance between artistic integrity and commercial success. They talk about the importance of protecting their creative vision, how small budgets allow for pure creations, the challenges of aligning creativity with marketing strategies, and the benefits of taking risks. They also reflect on the unexpected fame gained during the pandemic.

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.

Brunello Cucinelli, luxury clothing brand standard-bearer and advocate for a responsible way of doing business, discusses humanistic capitalism, the impact of AI on creativity, ethical manufacturing, and the importance of transparency with customers.

Richard Dickson, key architect of Barbie's revival and CEO of Gap, discusses the power of brands and his vision for rebooting Gap. He emphasizes the importance of purpose in fueling his work and shares his strategy for revitalizing Barbie by embracing diversity. Dickson recognizes the challenges faced by Gap and the need for stronger brand messaging and communication. He believes in using brands as a platform to create a better world and bridge cultural differences.

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.