The Business of Fashion Podcast

Fashion image-maker Nick Knight speaks to BoF’s Imran Amed about why he believes in digital creativity and innovation in the metaverse.Background:The pandemic pushed the fashion industry to step out of its comfort zone and embrace new media for showcasing design and creativity. But while much of the industry has returned to in-person shoots and events once Covid restrictions were lifted, the respected image-maker believes this is only the beginning of the next great wave of digital innovation in the fashion industry. Virtual worlds, he added, will yet again bring digital innovation to the forefront of society. “So what are the possibilities? Let's talk about this. Let's actually look at this,” says Knight. Knight has recently launched ikon-1 NFTs in collaboration with model and creator Jazzelle. By creating digital renders, which act as collectable works of art, Knight believes fashion creativity can shift to this new medium. Those who look to the past risk falling behind.This week on The BoF Podcast, founder and editor-in-chief Imran Amed speaks with Knight about the evolution of image creation and why digital fashion will remain important in the post-pandemic era. Key Insights:Knight believes that collaborative creation in the digital world will allow more autonomy for models authorising their own looks as opposed to being a “blank canvas.” “I wanted to put [models] in the creative middle… so they are authorising, coming up with creating their own looks for me rather than just imposing on them,” says Knight. “It was important to change that relationship.”The metaverse will require new ways of working rather than developing on existing methods of image creation in the physical world. “I think we are re-learning a whole bunch of things which you can’t just take exactly what we do in the real world,” he says. “And that is not necessarily the best thing to do in a space, which is a virtual space [where] so many more things are possible.”Knight believes the idea of destabilisation is inherent to the fashion industry. “There is a natural feeling of destabilisation [with the metaverse], but surely that’s what fashion is about, it's about showing people things that they previously had not seen and previously had not desired, but actually do want,” says Knight.Knight thinks now is the time for creatives to forge a new “civilisation step” and let creativity rule the metaverse. “I want artists to create the metaverse because I think we do have a chance, a utopian chance, to create a better civilisation in the metaverse, which isn’t shaped by power, greed and money.”Additional Resources: The BoF Podcast: Inside The Future of Fashion Image Making with Nick Knight: The transformative photographer discusses the power of technology and the future of the fashion show, the fate of print magazines and fashion’s culture of abuse and bullying.Nick Knight Says Heart and Mind are the Key to Fashion Imagemaking: BoF editor-in-chief Imran Amed sat down with Mr. Knight for the third installment of Fashion Pioneeers, a series of intimate live-streamed conversations between Mr. Amed and the industry’s most interesting operators. Hosted on Acast. See acast.com/privacy for more information.

Janaya Future Khan and Halima Aden joined BoF’s editor-at-large Tim Blanks to share their learnings and reflections after a packed day at BoF VOICES 2021. Sign up to join us for this year’s edition, free of charge.Background:From innovations changing fashion to navigating turmoil in the wider world, BoF VOICES, our annual gathering for big thinkers, is a platform to discussing the forces shaping the wider world. ”It was stimulating, it was educational, it was absolutely inspiring,” said BoF editor-at-large Tim Blanks, reflecting on the highlights from day one of BoF VOICES 2021, along with Janaya Future Khan and Halima Aden who shared their own learnings and reflections from the days talks.  On this week’s episode of The BoF Podcast, we revisit Khan and Aden’s conversation with Blanks about the evolution of community in the metaverse and representation in the fashion industry.Sign up to join the global livestream BoF VOICES 2022, free of charge here: https://businessoffashion.brandlive.com/VOICES-2022/enAdditional Resources: VOICES 2021: Navigating Turmoil in the Wider WorldVOICES 2021: The Fashion System’s Push to EvolveVOICES 2021: Innovations Changing Fashion Hosted on Acast. See acast.com/privacy for more information.

Ian Bonhôte and Peter Ettedgui, the creators of a new docuseries speak to BoF’s Tim Blanks about their new series which traces the formation of LVMH and Kering, and how designers like John Galliano and Alexander McQueen helped them build a ‘Kingdom of Dreams.’ Background: A new fashion docuseries, “Kingdom of Dreams,” explores the luxury fashion industry’s formation in the 1990s to the 2000s, examining some of fashion’s most recognisable designers of that period — John Galliano, Alexander McQueen, Marc Jacobs and Tom Ford — as well as executives like Kering’s François Pinault and LVMH’s Bernard Arnault.  Ian Bonhôte and Peter Ettedgui highlight the tension between commerce and creativity, as well as the rivalries between luxury groups and their designers.  “At the end of the day, we never said anything that hasn’t been said or which is not sort of present,” said Bonhôte. “So the truth is very important. And we are… definitely not scandalous.” This week on The BoF Podcast, BoF’s editor-at-large Tim Blanks speaks with Bonhôte and Ettedgui about understanding pressures of consumerism and what makes a fashion house business tick. Key Insights:The creators highlighted the gap between creativity “wizards” and business “emperors” within some of fashion’s largest fashion houses, demonstrating the power of tycoons François Pinault and Bernard Arnault. “What we felt was the most interesting drama is there is this constant fight between commerce and creativity,” said Bonhôte.  The series also highlights the pressures on designers to double the volume of collections and the impact of that growth on the planet. “It is disturbing to see the fallout and not just the fallout psychologically for the designers, but also for the planet as fashion speeds up,” said Ettedgui.While examining the industry the creators wanted the audience to gain a new understanding of fashion rather than the gated community it can be perceived as. “It’s a very difficult industry for people to actually understand because I think the [understanding of] fashion is almost wrong,” said Bonhôte.Additional Resources: How Fashion Went Corporate: Creativity, Commerce and Collateral Damage: Tim Blanks talks to the creators of ‘Kingdom of Dreams,’ a new documentary series on how the corporatisation of luxury fashion made superstars of designers John Galliano, Alexander McQueen, Tom Ford and Marc Jacobs, and built gilded empires for bosses Bernard Arnault and François Pinault.To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Joy Howard, founder of the degrowth brand Early Majority, discusses her passion for community-driven sustainability. She shares her journey from Patagonia to creating a brand focused on timeless, multifunctional clothing instead of endless collections. Joy highlights the power of token-gated commerce and how engaging a community can reshape consumer habits around product lifespans. The conversation dives into the challenges of traditional growth models in fashion and the exciting potential of Web3 to foster authentic connections in the industry.

The Somali-American model joins Imran Amed to discuss her journey from a refugee camp in Kenya to the US to the top of the fashion industry — and what she’s learned since taking a step back.Somali-American model Halima Aden nabbed an IMG contract and quickly shot the centre of the fashion world after she earned first attention as the first hijab-wearing Muslim to compete in Minnesota’s Miss USA pageant. She walked for Yeezy, Fenty, Dolce and Gabbana and Tommy Hilfiger, and posed in Vogue, Elle and Allure. Then, in November, she stepped away from it all, announcing her intention to leave the industry. In retrospect, she thinks the best thing she did for herself in her career was never just see herself as a model. “I found that some of the most fulfilling campaigns or photoshoots I got to be part of always tended to be when it wasn’t just about me. It wasn’t just Halima,” said Aden. “I was sharing stories that I brought from the refugee camp, sharing stories of other Muslim women in all different fields … I found that my work was more meaningful when it was tied to giving back.”Key Insights:Aden was born in a refugee camp in Kenya before moving to St. Louis, Mo. Eventually, her family resettled in St. Cloud, Minn, which is home to a large Somali immigrant community.She went on to compete in Minnesota’s Miss USA pageant in search of a scholarship. She didn’t win the pageant, but got something arguably even better: A call from Rihanna’s team to shoot for Fenty Beauty.Aden’s quick ascent meant she came into the industry at a more privileged vantage point. She didn’t have to go to casting calls and received private dressing rooms. However, that no one else received the same treatment started to bother her. The ex-model said her experiences of extreme poverty made her look at the fashion industry’s excess with a bit of disdain, and perhaps, fuelled some of her anger at it. After a journey of self-discovery, she’s realised she needs to turn that pain into power as she maps out her future in the industry. Additional Resources:  Halima Aden Plots Her Return to Fashion Voices 2021 - The Fashion Systems Push to EvolveTo subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

BoF’s editor-in-chief and editor-at-large walk through the highlights and unforgettable moments of fashion weeks in Milan and Paris.  Background: Fashion’s Spring/Summer 2023 season was jam-packed with debuts, returns and chatter-inducing moments. Alessandro Michele was inspired by his mother and identical twin sister for his “Twinsburg” Gucci presentation which featured 68 pairs of identical twins. Rick Owens drew a dress from a 700 million year-old jellyfish. Dior and Yves Saint Laurent crafted elaborate grotto and fountain backdrops for their collections, while Dries Van Noten staged his Paris comeback in lockstep with Japanese designers including Junya Watanabe, Noir Kei Ninomiya and Jun Takahashi for Undercover — BoF editor-at-large Tim Blanks’ favourite of the season.  “To me that felt like one of the best commentaries on the pandemic that we've had from fashion — of everything that's passed, everything that's lost, everything that's been lost,” said Blanks. “And then at the same time, the celebration with the fact that he's still there.” Key Insights: In Milan, four major houses — Ferragamo, Missoni, Etro and Bally — debuted the first collections from new designers, with hopes to replicate the success big names like Tom Ford and Alessando Michele have been able to create for Gucci, said Tim Blanks.  For Balenciaga, Demna staged a mud-drenched show with battered and bruised, hoodie-clad models that provoked an intense emotional reaction from the crowd, while Nicolas Ghesquière showed an energetic and future-looking collection for Louis Vuitton.  This fashion month, many catered to both in-person and online audiences to varying degrees of success. Valentino, for one, notably struggled with an element of the show just for cameras, another for people outside and an uber-long runway that saw a number of models take their shoes off.  Fashion traditionally provides a sense of escape, said Blanks, but it’s increasingly harder to turn away from the real world. Economies are deteriorating, Russia’s assault on the Ukraine continues and the artist formerly known as Kanye West put a shirt emblazoned with “White Lives Matter,” a phrase deployed by hate groups, on the runway.    Additional Resources:  https://www.businessoffashion.com/reviews/fashion-week/chanel-miu-miu-louis-vuitton-paris-fashion-week-ready-to-wear-spring-summer-2023/ https://www.businessoffashion.com/reviews/fashion-week/sacai-thom-browne-kanye-west-paris-fashion-week-ready-to-wear-spring-summer-2023/ https://www.businessoffashion.com/reviews/fashion-week/junya-wantanbe-noir-comme-des-garcons-paris-fashion-week-ready-to-wear-spring-summer-2023/ To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

BoF’s founder and editor-in-chief Imran Amed speaks with the BoF 500 cover star about the ups and downs of her personal and professional trajectory and what the West needs to understand about India and its rich, diverse culture. Background:Deepika Padukone, one of Bollywood’s highest-paid actors, started her career as a former professional badminton player before appearing in her first film, “Om Shanti Om,” in 2007, for which she won the Filmfare Award for Best Female Debut. In 2017, she crossed over to Hollywood with the action film “XXX: Return of Xander Cage.” More recently, she’s become a force in fashion as a global brand ambassador for Louis Vuitton, Adidas, Levi’s and Cartier.Padukone grew up far from the limelight and was an outsider to both the film and fashion industries. Setting herself up on the global stage as a young Indian woman, she had to combat preconceptions at every corner, she said. “Of course, the hustle is much harder [as an outsider]. You've got to wait much longer for the right opportunities,” she says. “But also, from my perspective, the gratification is so much more.”This week on The BoF Podcast, BoF’s founder and editor-in-chief Imran Amed speaks with the actor and BoF 500 cover star about the highs and lows of her career and why India needs more recognition from the West on the global stage.    Key Insights:Padukone said her heritage is fundamental to who she is and how she represents herself on the global stage. “I just feel like India has so much to offer and I’ve been able to do everything that I do, just being Indian and being based out here,” she says. “In a way that feels authentic to me and to who I am.”Padukone says Indians are still stereotyped — especially in Hollywood. “You are the scientist. You are the computer geek. You are the taxi driver. You are the therapist. You are the owner of a convenience store,” she says. “I’ve had my fans ask me why I’ve not done more [global] movies. But that’s not what I’m settling for, because I am — and we are — so much more than that.”Padukone says fashion brands need to understand more about India’s rich heritage. . “It’s extremely diverse. It’s not one India, it’s many Indias,” she says. “And as Indians, we’re also extremely proud of our history, our culture and our heritage.”After being diagnosed with clinical depression, Padukone felt the need to open up conversations about mental illness in India. “No one in India had spoken about it like this before, and it felt to me that there was this huge burden on our country’s shoulders that everyone was dealing with, but dealing with silently,” Padukone says.Padukone advises having patience for people who want to achieve their dreams. “I think the one thing that isn’t given enough importance to me is the power of patience,” she says. “Everything is instant gratification, but if there’s one thing that has worked for me it has been to be patient.”Additional Resources: Deepika Padukone: The Bollywood Star That Fashion’s Megabrands Are Betting On: With India set to become the world’s third-largest fashion market, Bollywood’s most-popular actress has become a global brand ambassador for the likes of Levi’s, Adidas, Louis Vuitton and now, Cartier. In an exclusive interview with Imran Amed, she opens up about her global ambitions — and what the fashion world needs to understand about India.To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

The French designer, known for her embrace of eco-futurism, speaks to BoF founder and editor-in-chief Imran Amed about the evolution of her namesake brand and explains its deeper purpose. Background:  Designer Marine Serre has long had an affinity for evoking the apocalyptic in her work, a tendency that became particularly resonant during the pandemic. Serre spent lockdown reflecting on her time in the fashion industry and asking how it can change. Now, she has pledged to use her brand and influence to break the fast fashion cycle and build sustainable supply chains. On this week’s BoF Podcast, we revisit Serre’s conversation with BoF’s Imran Amed discussing the evolution of her eponymous sustainability-focused brand for the post-pandemic world.  Key Insights: Despite the limitations of the pandemic, Serre did not steer away from her goal to prioritise sustainability at the heart of her brand. “From now to four years ago, I'm just walking the same way. I never really disassociate creation from process,” she says.  Serre believes that consumer needs have changed. When people go to buy her clothes they consider the brand’s supply chain as well as the aesthetic. “I'm trying to relinquish that part of what was carved out is a luxury and de-link myself with fast fashion and growth,” Serre explains.  Known for her use of discarded and recycled fabrics, Serre says she has grown less shy about doing exactly what she wants to do in fashion, revising peoples’ ideas of preciousness and creating garments out of materials already imbued with meaning. “I think the goal of the company is to question the fashion industry,” Serre says.  To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Louis Vuitton is expected to name its Virgil Abloh successor within weeks. Lauren Sherman quizzes Imran Amed on what luxury labels think about when recruiting top designers. Background: Louis Vuitton has spent almost a year searching for a Virgil Abloh successor after the designer died in November 2021. According to sources, Martine Rose, Grace Wales Bonner and Telfar Clemens are among the names that were considered by owner LVMH, and the decision is expected to be announced within weeks. But how do brands like Louis Vuitton even go about finding a designer? “Without the creative energy, without that kind of excitement, there’s nothing to sell,” said Imran Amed, BoF founder and editor-in-chief. Key Insights: While all brands have their own personality and the situations that necessitate finding a new creative director differ, the things most brands look for in a leader are similar. Executives have to consider whether they’re looking for revolution, like when Gucci tapped Alessandro Michele for creative energy and new ideas, or evolution, like when Saint Laurent tapped Anthony Vaccarello to keep its aesthetic formula after Hedi Slimane departed. A strong vision is the most important thing. But creative directors also need to have commercial sensibility and the ability to work in a corporate environment. One of Abloh’s achievements was that he managed to build a community at Louis Vuitton, and engage consumers who had been traditionally excluded by the luxury industry. Additional Resources: Virgil Abloh: Building on a Legacy: Like Yves Saint Laurent, Alexander McQueen and Gianni Versace before him, the late Virgil Abloh leaves a powerful legacy. What does this mean for Off-White and Louis Vuitton? Which Luxury Leadership Configuration Works Best? In luxury fashion, the right configuration of creative and commercial leadership is critical to success, writes Pierre Mallevays. To subscribe to the BoF Podcast, please follow this link. Hosted on Acast. See acast.com/privacy for more information.

Royal expert Elizabeth Holmes speaks to BoF’s Imran Amed about Queen Elizabeth II’s life and legacy — in fashion, culture and society at large.   Background:  Tributes to Britain’s longest-reigning monarch have flooded social media, television and even public parks in the days since her passing, memorialising the Queen’s steadfast leadership, but also her impeccable sense of style.  This week on The BoF Podcast, BoF’s founder and editor-in-chief Imran Amed speaks with royal expert Elizabeth Holmes who reflects on the influence the Queen’s record-setting reign has had on the fashion industry and the wider culture.   Key Insights: The Queen was known around the world for her monochromatic outfits, designed to help her stand out in the crowd. She also created a unique twist on a set formula of basics: hat, coat, bag and pearls. “I think she understood the power of clothes,” says Holmes. “She used things like the colour of her outfit, especially when she was travelling overseas to perhaps match the host country's flag.” Holmes details how the Queen had a “tremendous sort of swing of the style pendulum” from her private life, where she’d wear headscarves and tartan skirts, to her public life, wearing tiaras and gowns. “It was very important to see all aspects of royal life,” says Holmes. “Both being worthy of the glamour of royalty, but then also sensible stewards of taxpayer dollars.” Her influence also stretched outside of her sovereign powers, with the path she paved for other female leaders around the world. Being crowned Queen at just 25, she became one of the only women at the table of leadership, and she made it count. “I think the Queen sort of made it permissible to really stand out.” As King Charles III takes to the throne commentators are looking to the future of the institution. “The conversation changes a little bit now that there is a King on the throne,” says Holmes. “Understanding that the whole spotlight shifts to him and with that, the good and perhaps the criticism, too.”   Additional Resources:  Queen Elizabeth II’s Style Legacy: Britain’s longest reigning monarch has died. Her influence extended to the realm of fashion, where she invented the concept of “sartorial diplomacy.” What the Queen Means to Designers: Queen Elizabeth was an inspiration for fashion designers from Vivienne Westwood to Alessandro Michele to Richard Quinn. Will any British royal have the same influence again? Hosted on Acast. See acast.com/privacy for more information.