Signature Style in the Time of COVID19 FBS C19 Issue 4: 28.05.20

Signature Style in The Time of COVID19 FBS C19 Issue 4: 28.05.20

Pucci & Church’s

In this, the fourth issue of our newsletter, we once again look at designers and creativity blossoming all around us. We search the world for ideas, concepts and thoughts as well as activities and initiatives. The world is now smaller, both because we ignore time differences and distances through every form of media we know, but also because we are looking inwards. If we cannot travel right now, it’s best to look around us or be creative within short distances. Looking at local not global and the small and thoughtful, as opposed to the huge and the mass produced. These are inarguable facts right now. We cannot travel and we cannot look to import huge quantities of product; we cannot rush to the shops and we cannot socialise wearing mountains of new clothes. Loosening of lockdowns and new social distancing attitudes mean shifts in how we harness our creativity. We are linking the past and practices we accepted as the usual, the normal, with the current situation. Films made earlier, visuals already filed, and stories prepared before things changed are being launched. BUT, and it’s a very big but, creativity is all around us, so much news and excitement continues. A month after our first issue we bring you creativity and people who are defining what they do by integrity, and by remaining true to their personal style.

Tony Glenville Fashion Commentator

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Sustainability

During the global pandemic caused by COVID19 the effects on the planet have been much recorded. Pollution, nature, flights, travel and the shipping of products have all been news stories. The good which lockdown has done cannot be allowed to disappear. How we continue to monitor and evaluate sustainability and ethics is vital as lockdown eases.

Condé Nast In Collaboration with London College of Fashion Centre for Sustainable Fashion (CSF) Launches the Sustainable Fashion Glossary:

The authoritative global resource for understanding sustainable fashion and the fashion industry’s role in the climate emergency. Developed in partnership with Centre for Sustainable Fashion (CSF) at London College of Fashion, University of the Arts London. Condé Nast announced the launch of the Sustainable Fashion Glossary [by Condé Nast] , the authoritative global resource on sustainable fashion and the fashion industry’s role in the climate emergency. The Glossary forms part of the company’s commitment to becoming a voice for change and is designed to strengthen and develop sustainability literacy by providing guidance on key sustainability terms and emerging topics.

Vogue News: Condé Nast Will Be Carbon Neutral By 2030 and It’s Launching A New Sustainable Fashion Glossary: 20 MAY 2020. The owner of Vogue has unveiled the next phase of its environmental strategy, which includes a digital guide to more than 250 key sustainability terms that the fashion industry is grappling with. https://www.vogue.co.uk/news/article/conde- nast-sustainable-fashion-glossary

‘Fashion Became Frivolous and Customers Lost Respect for It’! Dries Van Noten Is Building A Leaner Industry Following COVID19’

With input from a global network of academics and Vogue Editors-in-Chief, who identified the need for stronger editorial guidelines and educational resources for coverage on sustainable fashion, the glossary will be published as a digital resource, open to all and regularly updated.

The Sustainable Fashion Glossary by Condé Nast is: An easy-to-use guide divided into categories which relate to sustainability in fashion: its cultures, materials, production, buying habits and care practices. Written with over 250 terms, fully referenced for further reading. ! #!

Broken down into four key themes: climate emergency; environmental impacts of fashion; social, cultural and economic impacts of fashion, and key elements of fashion and sustainability, plus 10 sub-themes that cover must-know aspects of fashion and sustainability. Regularly updated with new definitions to reflect the evolving debates about climate emergency, fashion, and societal change.

o https://www.arts.ac.uk/colleges/london-college-of-fashion/stories/conde- nast-launches-the-sustainable-fashion-glossary-in-partnership-with-centre- for-sustainable-fashion

Dilys Williams, Professor of Fashion Design for Sustainability and Director of the Centre for Sustainable Fashion, commented:

“What we stand up in, should reflect what we stand up for. It’s time to question whether we are being well represented, as well as whether we are well presented. We can create a new era of beauty and style borne out of an understanding and intimate connection with our most precious asset; the earth, the greatest designer the world has ever known. By working with the world’s leading fashion Editors-in Chief at Vogue, we have been able to develop a vital glossary of terms, a trusted reference point, regarding fashion as a means to exemplify our interdependence with nature and each other.”

The Sustainable Fashion Glossary by Condé Nast can be accessed here.

COVID19 and The Global Fashion Industry: From Resilience to Reinvention and What’s Next; View Points From Anna Wintour and Tom Ford.

The plotting of the changes taking place right now and where they might lead is examined in the piece for Vogue Australia. The immediate impacts of Covid-19 on the Global Fashion Industry have been devastating. However, the current situation has the potential to be a pivotal moment in history that could readjust and reposition the economic, commercial and artistic fundamentals of the industry, for the better. This truly unique market situation is driving a shift in consumer values and retail behaviour, underpinned by the principles of slow fashion, and rooted in sustainability. More importantly, as the financial challenges of Covid-19 take hold, consumers will be simultaneously more discerning, more principled in their approaches and spending habits and empowered to drive this agenda–fuelling a demand-side transformation of the industry. To understand where we are now, and where we may be heading, we need to look at the two dimensions of Covid-19—the immediate impact and reactionary responses on the one hand, and the medium longer-term impacts and proactive actions, on the other. https://www.vogue.com.au/fashion/news/covid19-and-the-global-fashion-industry- from-resilience-to-reinvention-and-whats-next/news- story/4e80e37b4a5156102756692ffb5df522

There is also a great resource for sustainability through the CFDA in New York through the following link: https://cfda.com/resources/sustainability-resources

https://www.youtube.com/watch?v=077-_zV5i-E

Anna Wintour warns that fashion will never be the same again after the COVID-19 pandemic because 'people's values will have shifted' and 'waste and excess' will no longer be tolerated.

The 70-year-old Vogue Editor-in-Chief spoke with Naomi Campbell on her YouTube series No Filter With Naomi on Wednesday

Anna opened up about the future of the fashion industry, saying that she believes it will never be the same again. She called out fast fashion brands and said that she believes the industry is going to have to make a serious shift towards sustainability and luxury.

The magazine legend also spoke out about her time in quarantine, revealing that she has taken up running.

Vogue editor-in-chief Anna Wintour insists that the fashion industry needs to 'rethink' what it stands for once the coronavirus pandemic has passed.

She told supermodel Naomi Campbell during an interview on her YouTube program No Filter With Naomi that she thinks people's values 'are really going to have shifted' because of the crisis.

Anna, 70, added that the amount of waste and excess in the industry will need to be reconsidered as a result of COVID-19.

Speaking out: Anna Wintour has shared a warning about the future of the fashion industry while appearing on Naomi Campbell's YouTube series No Filter With Naomi on Wednesday

Looking ahead: The 70-year-old Vogue editor-in-chief said that the industry will never be the same again after the COVID-19 pandemic because people's 'values will have shifted'

Scaling back: Anna, pictured at Milan Fashion Week in February, insisted that the 'waste' and 'excess' that is so prevalent in the industry at the moment will no longer be tolerated

'I feel very strongly that when we come out at the other end - which we will do - that people's values are really going to have shifted,' she said.

'I think it's an opportunity for all of us to look at our industry and to look at our lives, and to rethink our values, and to really think about the waste, and the amount of money, and consumption, and excess and I obviously include myself in this - that we have all indulged in and how we really need to rethink what this industry stands for.'

The fashion editor said that there will need to be 'more of an emphasis on sustainability' and 'more of an emphasis on luxury, on creativity, [and] on craft'.

She added: 'We need to celebrate the art of fashion, and the design of fashion.' 5 Anna noted that the industry needs to 'slow down' and that people should 'enjoy it much more' without always be looking for the next new thing.

'There isn't any time to just look and think, and enjoy it,' she said, while discussing the Vogue x CFDA initiative, A Common Thread, which aims to raise awareness and much-needed funds for those in the fashion industry who have been negatively impacted by COVID-19.

She added that, moving forward, people should expect to see a much more scaled- down version of Fashion Month, noting that it has become clear there need to be less shows and lavish events, and more focus on the actual artistry that fashion is supposed to be about.

'It's almost as though we needed this terrible event to make us really understand that it's not about needing to change, we have to change, we are going to change,' Anna added.

Despite her grave warning about the industry, the Vogue editor-in-chief says she has been impressed with people's response to the pandemic, while praising those who are 'acting in the right way' by self-isolating and wearing face masks.

A Common Thread is a storytelling initiative across all Condé Nast channels, spearheaded by Vogue and in collaboration with the CFDA, to raise both awareness and needed funds for those in the American fashion community who have been impacted by the COVID-19 pandemic.

o! https://cfda.com/programs/designers/cfdavogue-fashion-fund

Anna Wintour: A fashion and media icon, Anna Wintour has been driving our cultural conversation for more than 30 years. The Vogue Editor-in-Chief and Artistic Director of Condé Nast takes off her signature sunglasses and gives you unprecedented access to her world. See how Anna nurtures talent, makes bold decisions, and evolves a brand. Learn how to lead with impact from a visionary creative leader.

! ! '! Learn Anytime, Anywhere & At Your Own Pace: Watch thousands of lessons from the best as they share their stories, skills shortcuts, failures and successes.

https://www.masterclass.com/classes/anna-wintour-teaches-creativity-and-leadership

Tom Ford on COVID19 Challenges & Fashion’s Future Council of Fashion Designers of America, Inc. (CFDA)

‘There is still uncertainty on how we will emerge from the pandemic, but we are constantly looking towards the future and figuring out how we can get through this, and how fashion and retail will evolve as restrictions are gradually lifted.

Brands need to make adjustments to their retail stores to create safe environments for employees and customers. As supply chains open up and our stores open up, we are all still faced with so many questions and even more unknowns.

! (! • What do we do with our excess inventory of stock? • What do we do about markdowns? • Will there be reasonable open-to-buys given the significant carry-over merchandise from the previous season? • And then of course, will people even be running out to stores and spending money when lock down lifts? • What kind of products are customers going to want when this is all over?

These are all questions we are asking ourselves daily. We are also in regular communication with our counterparts in Paris, Milan, and London to share updates as we collectively determine how fashion will look moving forward.

The industry will change; but change also presents an opportunity to reset, restart, and create a strong foundation for the future of the fashion industry.

The one thing I can promise, is that there will be a future for us all. Tom Ford

Shopping Habits of Generation Z Could Spell End of Fast Fashion

Research shows consumers are following younger generation’s lead in move towards sustainable fashion. Buy better, buy less gains strength.

Peer-to-peer shopping app Depop that allows shoppers to buy second-hand items from each other has seen a 90% increase in traffic since 1 April.

With the high street and the fashion industry brought to its knees by the coronavirus pandemic, the ‘Buy Less, Buy Better’ ideology of generation Z those aged 18 to 24 could see the beginning of the end of fast fashion, new research suggests. 8

If generation Z’s habits are adopted by the population as a whole there could be a shift to consumers with a “divided wardrobe” featuring rented items and others bought from resale vendors becoming the new normal. https://www.theguardian.com/fashion/2020/may/25/shopping-habits-of-generation- z-could-spell-end-of-fast-fashion

Ronald Van Der Kemp:! We mentioned the amazing show in Amsterdam held by Ronald van der Kemp two weeks ago, here just an update from WWD with their cover story.

No Fashion Week? No Problem:

Dutch designer Ronald van der Kemp orchestrated a dazzling fashion spectacle recently at an Amsterdam hotel idled by the coronavirus pandemic. At safe social distances, models spilled onto the balconies hoisting white flags and wearing couture gowns with matching face masks. ! It’s among alternatives to the runway leading art directors applauded. At the link in bio, WWD asked a range of top art directors to identify their favourite fashion shows [sometimes trumpeting their own clients], the best alternatives and ideas to ponder beyond fashion. ! ! *!

Asphalte Paris:

In just over two years, Asphalt has found its way. The French male brand has developed since November 2016 only on digital via a pre-order system. Its founder, William Hauvette, had made his hand by co-founding the knitwear brand Six and Seven in 2012. Before launching the Asphalt adventure, he therefore made sure to prepare the ground for building a community around a universe brand focused on the transparency of sourcing, permanent exchanges with its customers to best meet their needs and content adapted to digital. Result: success is there since the turnover was multiplied by three between the first financial year in 2017, of less than 2 million euros, and the second in 2018, which shows 5 million euros.

Sourcing: Although the fashion industry isn’t mentioned, in the piece below, it is obvious we must look closer to home for manufacturing. Reliance on hundreds of global manufacturing partners if lockdown re occurs is untenable. We will indeed be examining the sheer volume of items being brought into the country, and how they are transported. Consider any larger stores and their evaluation by management of the return of euros per square meter. Think about the fact that currently there has to be fewer customers in a store, more space and less browsing, quantities will have to drop. Easy access to product rather than long lead times, perhaps? Johnson wants self-sufficiency to end reliance on Chinese imports.

o https://www.thetimes.co.uk/article/boris-johnson-wants-self-sufficiency-to- end-reliance-on-chinese-imports- bmlxnl8jl?shareToken=587ce36986aaa543289b13a37a84979e 10

Note below a brand whose integrity and ethos is pitch perfect for today. There are more and more brands where the ethos, culture and thought behind the label is transparent throughout the communication and the production line. Clarity and honesty are required if the label is claiming sustainability.

The Elephant in The Value Chain: While lockdowns and social distancing measures have definitely put acute pressure on the industry, the underlying issues pre-date Covid-19. Production waste, short- term business strategies, labour exploitation and over-consumption are, unfortunately, considered features of the industry rather than exceptions. It is tragic that it took a crisis of this scale and ferocity to get us thinking about these issues, hopefully this provides an opportunity to re-think how we approach some aspects of operations once we ‘restart’ our engines. https://asphalte.com/en/pages/a- propos

Asphalte Paris: If you're reading this, then you'll be wanting to know what we do and why we do it. Maybe you’re keen to find out who we are to make sure you're not getting ripped off? Let's start with the heart of the matter. At Asphalte, we're on a mission to kit out as many men as possible in quality clothes. We aim to provide a range of garments that are attractive, durable and accessible. Our main weapon is pre-ordering. This means we can cut out costs that don't contribute to quality and put all our cash towards what really matters: the calibre of our fabrics, manufacturing and service. Here's a video that sums things up: https://asphalte.com/en/pages/a-propos

Crafts & Handmade: Spain has a superb cultural heritage; indeed, most countries do. However, Spain looks inwards for much of its crafts and quality products from top to toe, from sports to interiors.

In light of countries looking inwards and celebrating their cultures and local here are some interesting examples of the heritage, craft, culture and often, classic

! ""! companies. These brands are just a hint at how internal names target the culture and aesthetics of the country. Long established, or new, what they know is the customer and what they like. Simple? But many brands are too big to relate directly to their customer or are sold in so many cultures and climates they have a blandness.

Many of these businesses cannot be defined as newcomers because they have been around for years. Camper [Shoes], Majorica [Jewellery], or Custo [Clothing] all crossed our borders years ago and have become the leading Spanish brands within the scope of products that blend traditional craft techniques with the most innovative design.

Spain is only part of the Latin and Latino world. Spanish is the official language of Puerto Rico: Argentina, Bolivia, Chile, Colombia, Costa Rica, Cuba, Dominican Republic, Ecuador, El Salvador, Equatorial Guinea, Guatemala, Honduras, Mexico, Nicaragua, Panama, Paraguay, Peru, Spain, Uruguay, and Venezuela. Spanish is also commonly spoken in the United States, Belize, Andorra and Gibraltar.

o https://laportegna.es/ o https://www.elcorcel.es/ o https://scillaecariddi.es/ o www.baimara.com o www.cristinacastaner.com o www.mahehomeware.com o www.burondo.es/ o https://www.lauraescribanoatelier.com/en/ o https://www.juanamartin.es/?lang=en o @rosario.estudi

Craft & Luxury:

The evolution of a brand with heritage and craft at its heart across decades doesn’t have to mean any major shifts. Consider brands in Paris who make leather goods – Hermes, Goyard, Moynat etc.

12 In 2002, Chanel launched Paraffection, a subsidiary company originally established in 1997 to support artisanal manufacturing, that gathered together Ateliers d'Art or workshops including Desrues for ornamentation and buttons, Lemarié for feathers, Lesage for embroidery, Massaro for shoemaking and Michel for millinery.

! Paraffection S.A. a subsidiary of Chanel, established in 1997 to preserve and promote the heritage, craft and manufacturing skills of fashion artisan workshops. https://en.wikipedia.org/wiki/Paraffection

Russia: Fashion Illustration [Vogue Russia]

David Downton Editor at Large for Airmail Weekly and fashion artist has just done his first, and from chatting to David recently certainly not his last; Zoom portraits of the very glamorous Maye Musk. No excuses now for saying “I’ve not got a model”.

! "$! https://www.vogue.co.uk/gallery/david-downton-15-favourite-fashion-illustrations

Moscow Fashion Week:

The Numbers Are in on Moscow’s First Digital Fashion Week: Some 830,000 people followed video streams by 32 designers.

Digital fashion weeks continue to be a subject of huge interest. Two recently were Shanghai and Moscow. Figures are revealing but who were the audience is probably harder to ascertain. It’s all new, it’s all exciting and it’s a hot topic. As each week passes, we look at how the idea of virtual and digital fashion weeks will evolve.

o! https://wwd.com/fashion-news/fashion-scoops/moscows-first-digital- fashion-week-tallies-audience-1203557412/

o! http://mercedesbenzfashionweek.ru/en/ o! https://www.ft.com/content/dd2f4a6c-75cb-11ea-95fe-fcd274e920ca

o! https://caspiannews.com/news-detail/russias-first-online-fashion-week-to- go-ahead-this-week-2020-4-2-26/

o! https://www.nytimes.com/2020/05/02/fashion/coronavirus-digital-fashion- show.html

! "%!

Digital Model: Creativity and Signature

A designer or indeed any form of ‘creative’ will have a personal style, things which characterise their work, and cause people to recognise what they do. This is not about brand or product as such since they can transfer their signature style from fashion to floristry or from music to graphics. Right now, for much of the time, for many people working from homes a major part of their day. There is also the lack of social interaction, groups and gatherings, and certainly events, and the likelihood of this continuing for some time. So, to persuade people to buy, there must be a certain something special about it. Signature becomes a strong contributor. Here are some great examples.

Virgil Abloh:

Divisive characters within the fashion business, not to say all creative industries, is not unusual. Virgil Abloh is just on forty years of age, so he is not an “enfant terrible” or a new face but his rise in fashion to the heights of Louis Vuitton has struck some people as sheer luck. His references are broad and at time’s eccentric, and his relationship with the fashion business is questioning farther than being a passive insider. I was lucky enough to spend time in 2019 with the in-house team at Louis Vuitton and the respect and admiration communicated to me was one hundred percent genuine. The sweater featuring the design studio, doesn’t include Mr Abloh and it was explained to me he doesn’t see himself as a designer. His creative signatures are strong and his communication skills excellent. Perhaps a few of the links will below explain his strengths including his Harvard Lecture presented two years against, just as he was appointed to his Vuitton role. In May 2020 he asks if fashion is indeed relevant.

! "&! o! https://youtu.be/biFlrzTJets o! https://www.crfashionbook.com/fashion/a32439533/virgil-abloh-questions- fashions-relevance-instagram/ o! https://www.off---white.com/en-es/ o! https://www.vogue.com/article/virgil-abloh-biography-career-timeline o! https://wwd.com/fashion-news/fashion-scoops/virgil-abloh-questions-future- of-fashion-1203631738/

Meet Rianna + Nina: A New Luxury Label Reinvigorating Vintage Fashion

Rianna + Nina: Ready To Wear SS19 Collection,

‘Mixing colour and patterns and textures requires a sure hand and an instinctive editorial eye not to descend into a mess.

! "'! Using a riot of colour and texture, myriad scales of design and abstract and figurative motifs is like a high wire act of expert balance. Well if you want to see the most wonderful examples of how it can work meet Rianna Nektaria Kounou and Nina Kuhn, they spin and juggle colour and pattern and texture like magicians in beautifully proportioned pieces designed to flatter and flirt with any figure.’ https://www.dn-mag.com/news/20180927-rianna-nina-a- magnificent-mixture-pfw2018-ss19/

Tony Glenville Fashion DN Mag

The designers themselves are full of life and passion for their work. Most importantly during interview they explained their ethos of developing the brand. “We do not want to lose touch with your buyers and our clients, we do not want to expand and become too large.”. The clothes are truly special and indeed timeless and collectibles, they are created to wear in total amazing looks or simply add to classic anonymous pieces.

o! https://www.dn-mag.com/news/20180927-rianna-nina-a-magnificent- mixture-pfw2018-ss19/ o! https://riannaandnina.com/

Daniel Roseberry & Schiaparelli: Daniel Roseberry has been mentioned before in these issues. His creative and craft abilities of sketching and drawing and working directly in an atelier make him ideal for his role at Schiaparelli. Now there is a great opportunity to discover more of his work on film by Christophe Tiphane.

o! @christophe_tiphane o! @danielroseberry o! http://Schiaparelli.com

Born in Texas and 33 years old, Daniel Roseberry, who spent more than 10 years alongside Thom Browne at the head of the men's and women's collections, will breathe a bold and avant-garde creative vision into the House of the Place Vendôme, as did its founder, Elsa Schiaparelli, whose unconventional creative heritage is steeped in the history of fashion. ! "(!

Harris Reed:

Being a student during these times is especially stressful if your graduation relies on the production of a collection. However, on the 22nd of May a graduation collection made its debut on Instagram and received hits numbering in the thousands. It’s in your best interests to check out the creative signature of Harris Reed. Here is what L’Uomo Vogue said almost exactly two years ago. “Last January, Alessandro Michele brought Oslo Grace, the gender-neutral model who walks for both menswear and womenswear, into the limelight. This season, the creative director is debuting a new androgynous face: Harris Reed, a 21-year-old up-and-coming designer. Originally from Los Angeles, he now studies in London at Central Saint Martins. Behind the tulle and frills of his collections, he designs gender fluid looks punctuated with a rock spirit and kitsch-infected Victorian influences. His success story started a few months ago when Harry Lambert, Harry Styles’ stylist, spotted his work and asked if he wanted to collaborate on stage looks for the artist. With his slender figure, androgynous look and long mane of hair, he also caught the eye of Gucci’s creative director, who invited him to take over the house’s Instagram for the Cruise 2019 show in Arles. To add yet another string to his bow, a few hours later Harris Reed himself walked the catwalk situated in the Alyscamps, a former roman burial ground, dressed in a long, kimono-like coat, a glittery shirt and minimalist transparent glasses. Could this be the start of a brilliant career?”

o https://www.harrisreed.com/about o https://www.lofficielusa.com/fashion/harris-reed-fashion-diary-digital-issue- 2019 o https://www.google.co.uk/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&ved =autu&url=https%3A%2F%2Fwww.vogue.co.uk%2Ffashion%2Farticle%2Fh arris-reed-graduate-collection&usg=AOvVaw2dg_legPELjLzh8X4T98Xq o @harris_reed

18 Pyer Moss: If for many people autumn is too far away in the future to plan, it is certainly not for Pyer moss. Check out their plans, the work they’ve been doing during tough times, and if you don’t know the work or the designer, now is the time to read up about the label.

Pyer Moss is the label of the rising New York-based designer Kerby Jean- Raymond, recognized for his pioneering approach to fashion that fuses the personal and the political. Pentagram has created a new brand identity for the line that captures the unique sensibility of the designer and his original vision.

o https://nowfashion.com/pyer-moss-discloses-plans-for-a-drive-in-event-for- nyfw-29783 o @pyermoss o https://www.nytimes.com/2020/03/05/t-magazine/pyer-moss-kerby-jean- raymond.html

Note: The signature and creativity displayed before and during lockdown, and the crisis of a global pandemic points the way to post lockdown not the new normal, a phrase redolent of commercial obviousness, but the future of fashion.

Tbilisi Georgia

Looking to the future is so vital and essential.see how Mercedes Benz Fashion Week Tbilisi is planning the new season.

o https://fashionunited.com/en/press/fashion/mbfwt-to-take-place-in-an- unprecedented-new-location-in-tbilisi/2020051933622?Itemid= 19

Rewiring the Fashion Industry [Continued from C19 Issue 3]

Following on from last weeks calls for the fashion industry to rethink the system the British Fashion Council ‘BFC’ & the Council of Fashion Designers of America, Inc ‘CFDA’ have united behind the concept. See updates below. The future of this movement is gaining momentum and supporters, will it gain France and Italy as well?

o https://fashionunited.com/en/press/fashion/mbfwt-to-take-place-in-an- unprecedented-new-location-in-tbilisi/2020051933622?Itemid= o https://hypebeast.com/2020/5/bfc-cfda-fashion-industry-reset-letter- message o https://www.theguardian.com/fashion/2020/may/21/the-fashion-system- must-change-bfc-and-cfda-call-for-an-industry-reset o https://cfda.com/news/the-fashion-industrys-reset-an-important-message- from-the-cfda-bfc

Following in the steps of Saint Laurent Gucci announces two seasons a year and the stepping to one side of the general schedule.

o https://www.highsnobiety.com/p/gucci-seasonless/ o https://www.businessinsider.com/gucci-to-go-seasonless-fashion-shows- twice-a-year-2020-5?IR=T o https://www.nytimes.com/2020/05/25/style/alessandro-michele-gucci- future-fashion-shows.html

Business Support Programme:

University of the Arts London

The announcement of a package of support of over £1.2 million to 10 businesses: Ananas Anam, Anna Glover, AWAYTOMARS, Blackhorse Lane Ateliers, Chip[S] Board, Doppelhaus, Elvis & Kresse, Segura, Tengri, Tibor by the Business of Fashion, Textiles and Technology (BFTT) which is a programme, led by University of the Arts London (key partners London College of Fashion, Central Saint Martins and Chelsea College of Art) in partnership with some of the UK’s leading Universities and is part of the AHRC Creative Industries Clusters Programme (CICP), funded by the government’s Industrial Strategy. The CICP aims to boost productivity via creative R&D, backing businesses to create good jobs and increase the earning power of people throughout the UK with investment in skills, industries and infrastructure. The BFTT is one of just nine clusters across the country – all working to promote the creative industries and investing in some of the UK’s most innovative businesses.

Given the current crisis we believe that the type of comprehensive support package being offered by the BFTT, that enables SMEs to drive forward sustainability-driven innovation, is more crucial than ever – and represents a new model of investment for the sector and this is the heart of the story.

Each recipient will receive a comprehensive package of support, including mentoring from leading academics across the partnership, hands-on specialist creative and technical support as well as ongoing project management and strategic business support from across the BFTT team. I attach the press release which runs through the programme in more detail and a summary of each of the projects/businesses.

Anya Hindmarch: The NHS Holdster

We were approached by Professor Hugh Montgomery, Professor of Intensive Care Medicine at University College London, to help create the Holdster as a safe and accessible way for ICU staff to carry their important belongings whilst on the front line during the Covid-19 pandemic.

The links between the fashion industry and the COVID19 are numerous and ongoing. However, the story and the outcome of this specific collaboration is extra strong in terms of luxury, craft and a designer with a strong signature.

o https://www.anyahindmarch.com/en-GB/nhs-holdster.html o https://www.thetimes.co.uk/article/a-crucial-piece-of-kit-for-nhs-workers- coronavirus-anya-hindmarch-2tq7rbxf8

Virtual Open Days: Higher Education Providers

UCA Virtual Open Day:

Gowns and graduations seem a remote event. Students will be presenting final major projects, portfolios and collections through alternative methods and modes pf communication. Is this so very different from many course final submissions? Digital portfolios, keynote or films, I do or whatever can be more relevant to starting a business or communicating with potential employers in this day and age. Here we show some of the colleges and their ways of communicating their excellence and opportunities. Plus, look at Simon Unglass and Sarah Mower and others to see their posts and reporting on students.

o! https://www.vogue.in/culture-and-living/content/students-graduating-2020- share-what-it-feels-like-to-graduate-in-a-pandemic

Students share what it feels like to graduate during a pandemic. Graduating students talk about the challenges of working in their last semester and putting aside the dreams of picture-perfect graduations

In a short span of two months, citizens across the globe decided to stay home to stem the spread of COVID-19. Zoom calls, virtual gatherings and work from home became the new normal. As countries started declaring lockdowns, several students rushed home and adjusted to online classes and exams to finish off their final semesters. Graduation is a rite of passage for many, and to do so without the community of friends and teachers that have been an integral part of your life, might not be how your pictured the day.

! #$! To understand what it feels like to reach this milestone during this difficult time, Vogue checked in with six graduates and soon-to-be graduates from across the country.

Mitthat Hora: ‘I feel robbed of having to say a goodbye’ Master of Arts in Social Work [Criminology & Justice], Tata Institute of Social Sciences, Mumbai

Sagarika Kaul: ‘After five years, college becomes your home and your friends become your family’ Degree: BA LLB, Jindal Global Law School

Ananya Indwar: ‘Yale plans to hold an in-person celebration on campus, the date of which has not yet been determined’ Economics, BA, Yale University

Rishabh Jain on graduating from IIM Ahmedabad: ‘Not having a graduation ceremony was the most disheartening thing to happen to the Batch of 2020’ MBA, Indian Institute of Management

Gossip:

In the wake of Andre Leon Talley and his vituperative words regarding his ex boss things happen. Hamish Bowles popped up on Instagram with the same boss with a series of images charting their long-term working partnership. Read into this what you may!

Anna Wintour & Hamish Bowles.

! #%!

Thank you T.G.