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Representation matters, Business of FashionFashion industry think-tank Business of Fashion (BoF) is

Representation matters, Business of Fashion

Fashion industry think-tank Business of Fashion (BoF) is currently accepting applications for Future VOICES, a great initiative to find new talents under 30. 

The competition is open to both men and women globally, though you wouldn’t know, based on the @bof Friday Instagram promotional post (reproduced here), which represents a series of mostly-blue male pictograms.  

The post has, at time of writing, received 29 comments, including one by @jayhoup asking “Is this only for men? Shame.” and one by @gabrielle_runzer questioning “Where’s the women???”. @Daisyschofield posted some female emoji and “think you’re missing something”. I asked whether women could apply too, to which @bof said “of course”. BoF didn’t follow up when I asked why the asset only represents men. 

This adds up to nearly 15% of comments pointing out that the asset is sexist. Maybe not sexist in intention, as I doubt whoever created it wanted to exclude women, but sexist in action. 

Whatever the reason, the result is inherently misogynistic. It assumes that when seeing male pictograms, Instagramers will understand that the competition is open to all. It assumes male as the default setting

Study after study shows that representation matters and that young women are less likely to apply for positions when they can’t see other women in the field. On the face of it, fashion performs better than most industry in terms of gender equality. Except that a lot of decision-making still sits with men. 

Take American and British Vogue, ran by Anna Wintour and Alexandra Shulman. Both have been the subject of behind-the-scenes documentaries. In The September IssueandAbsolutely Fashion: Inside British Vogue, the editors-in-chief present their covers to the Condé Nast execs. In both cases, they are the only women in rooms filled with men

Future VOICES, a partnership with Topshop, is a great initiative. Hopefully, it will help assuage another inequality issue: the fact that to start a fashion career, one often needs to intern, unpaid, which has a deterring effect for young people from many backgrounds.

In 2016, with an American election marked by sexism, the BoF asset might seem very tame. Some might excuse it because ultimately, BoF is achieving something good. However, not being sexist, the Donald Trump way, doesn’t mean that you’re not reproducing latent sexist ideas. BoF should know better than using an asset showing only men to call for applications. 


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Gabriela Hearst at Net-a-Porter – hype commerce for the chic set

Gabriela Hearst Patsy bag Tamu McPherson

Net-a-Porter is embracing hype commerce with gusto, and I’m conflicted!

These short-term ‘online pop-ups’ are a way to get people shopping instantly (deliberate and be prepared to kick yourself later), a kind of fast fashion for the luxury brigade. I’m generally against that mindless consumption behaviour, but hear me out!

Net-a-Porter’s latest pop-up is from GabrielaHearst,whose tailoring is…

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Jil Sander SS19 – seen but not heard

Jil Sander SS19

Vogue reportsthatJil Sander SS19 took its trouser suit cues from the military, the artist’s studio and sports uniforms. I think there’s still plenty of mileage in the boxy, Celine-esque silhouette that’s dominated this decade. Women really seem to like its comfort factor and it aligns with the gender fluid movement perfectly. The Voguereview ends with a caveat that designers Luke and Lucie…

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Op-Ed | E-Tailers Must Tell Consumers Where Their Products Are Made

In brick-and-mortar stores, consumers can quickly check where garments are made before making a purchase, simply by looking at the label. Why don’t fashion e-tailers provide the same information?

A made in Italy label | Source: The Business of Fashion

SYDNEY, Australia — In the wake of last year’s tragedy at Rana Plaza in Bangladesh, much has been written about the widening gap between producer and end consumer in the global garment industry. As fast fashion companies, in particular, aim to speed up production, while simultaneously increasing profit margin, supply chains have become increasingly murky and customers are often left with little idea as to where, how and by whom their clothes are made.

Unfortunately, the rise of e-commerce has done nothing to improve transparency, as consumers shopping most fashion e-tailers are exposed to very limited information on how and where their clothes are made, making it difficult to make responsible choices. Unlike shopping at traditional brick-and-mortar stores, shoppers can’t touch clothes to assess quality, read tags for manufacturing information, or ask a shop assistant about the origin of an item. Instead, they must rely on the limited information provided on product detail pages, which, in most cases, says nothing about country of origin, let alone the specific conditions at the factories where items are made.

Country of origin (COO), or the “Made in” tag, is a basic form of labelling that most clothing manufacturers feature on their products. The legal requirements for COO labelling vary from country to country. In the US, the Textile Fiber Products Identification Act requires that a “textile product made entirely abroad must be labeled with the name of the country where it was processed or manufactured.” Most of Europe, the UK and Australia have no such legislation, but it is considered best practice to include this information on clothing tags. Yet log on to your favourite fashion e-commerce store and it’s all but impossible to find out where a piece of clothing was made.

In fact, some large multi-brand websites, including Net-a-Porter and MyWardrobe, fail to mention the country of origin of the products on their website, even though the Textiles and Wool Act states that imported products must be labelled as such “in mail order or internet advertising, such as catalogs, including that disseminated on the Internet.”

Daisy Gardner, corporate accountability and fair trade advisor for Oxfam Australia says that simple COO information enables consumers to ask companies questions about the conditions for workers in that country. “When e-retailers do not provide even country of origin on their websites it takes away even the most basic information about where the garment was made,” she says. “If retailers want to be part of CSR (Corporate Social Responsibility) international best practice they need to not only disclose the country of origin, but also provide public lists of all their supplier factories.”

It’s not hard to see why fast fashion websites selling products manufactured in places like Bangladesh would want to obscure this fact, considering the widespread issues with human rights and worker safety that plague the country. More surprising is that luxury e-tailers don’t include COO information either, even when it has positive connotations such as “Made in France.” COO can be a selling point, particularly for luxury or premium product. And yet, still, very few high-end e-commerce stores include this information.

Alice Strevens, senior ethical trade and sourcing manager at ASOS, acknowledged the importance of providing customers with information that helps to demystify the supply chain. “We are dedicated to informing our consumers about what we do and how we do it, and as a result have a website committed to openly sharing this information,” she says. But information on the ASOS website focuses on high level ethical codes and standards rather than providing specific information about individual products, meaning there is no way for customers to quickly check where something is made before purchasing, as they are able to do in a brick-and-mortar store, simply by looking at the label of the garment.

And yet the very nature of e-commerce allows companies to disseminate product information more easily than at traditional retail, giving them the unique opportunity to empower customers with in-depth product knowledge, which only needs to be input once when the product is uploaded to a site’s content management system. There is already someone, usually a content writer, entering sizing, fabric and care information; manufacturing information could easily also be included at this stage. But despite this, most fashion e-commerce companies include a bare minimum of information on how and where products are made.

Sara Brinton, digital marketing and e-commerce manager for ethical retailer People Tree says that the detailed manufacturing information they provide on their product pages has increased sales. “When we created the ‘How It’s Made’ section on the website and shared it with our customers on social media, we received very positive feedback. We think it does positively impact sales and we’re working now to add even more information about how our products are made to our website.”

In an industry where it’s becoming more and more difficult for consumers to unravel complex supply chains in order to determine where their clothes are made, the majority of online stores are further obscuring the reality of garment manufacturing. If fashion is going to take its ethical responsibilities seriously, manufacturing information must be made available to customers, who will then have the opportunity to hold retailers accountable for the working conditions of the people who make their clothes. Being transparent about country of origin is a small but important step in demystifying the fashion supply chain and ensuring that workers receive fare wages and decent conditions.

Madelin Newman is a freelance writer based in Sydney.

BoF’s editor-at-large, Tim Blanks, sat down with John Galliano in Maison Margiela’s Paris headquarters to watch the latest film he has made with director Olivier Dahan for MM’s Spring 2022 Co-Ed collection.

Film has become Galliano’s fascination over the past twenty months.  The designer who was responsible for some of the grandest live spectacles fashion has ever seen in the glory days of the Nineties and Noughties was seduced by the idea that, with all the restrictions of the pandemic, he could still make memorable, even startling visual co-relatives for his clothes.  “There was no way I was not going to create, even if it was with a small team,” Galliano says. “This idea that through film we could reinforce the ethics of house took on a great appeal for me.”  

#john galliano    #galliano    #love galliano    #tim blamks    #business of fashion    #maison margiela    #interview    #fashion    #haute couture    #artisanal    #artist    #genius    

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BoF’s Lauren Sherman caught up with the Belgian designer Olivier Theyskens, who is set to relaunch his Olivier Theyskens line this Fall. Working under the radar for the past two years, is currently working with a small team in Paris to rework his beloved brand. Since his beginnings the talented Theyskens has always focused on product, design and quality. Those are some of the things that I’m looking forward to the most. High quality fashion with integrity, what the fashion world has been missing lately. As reported by Sherman, Theyskens has enlisted Maximiliano Nicolelli as his chief executive. Excited for Theyskens revamped beginnings. Read more on The BoF.

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