DOCSLIB.ORG

Understanding the French Fashion Tech Ecosystem

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Understanding the French Fashion Tech Ecosystem UNDERSTANDING THE FRENCH FASHION TECH ECOSYSTEM 2021 ABOUT About This White About Foundry About IFA Paris Paper Powered IFA Paris is a fashion school that offers students around the This white paper was created by by IFA Paris world a vast range of unique and Foundry Powered by IFA Paris, tailored courses at undergraduate a fashion tech lab based inside Our goal is to pioneer fashion tech in Paris and beyond. Foundry Powered and postgraduate level. We give International Fashion Academy. students the choice to study in All our partners and members by IFA Paris is driving the shift to solve complex industry problems three of the most globally influential are working at the intersection of fashion hubs – Paris, Shanghai and fashion & technology with a goal shaping the future of fashion. We aim to do this by providing specialist now in Istanbul that sets us apart to create new opportunities for the from other fashion schools. fashion industry. Whether this be spaces, programs and access to within the themes of sustainability, a network of individuals in areas Our value lies in our exposure to the retail or industry 4.0, this white paper from fashion and tech through to world and the interaction that allows highlights the initiatives happening entrepreneurship. Dedicated to the 50 nationalities constituting its globally and locally. Subsequently bridging the gap between academia student and teacher body to share we are creating a dialogue for the and industry, we’re actively in the projects and daily life taking various stakeholders endeavouring working with start-ups, students place within our schools. to make a meaningful impact within and organisations to push the boundaries of fashion tech. fashion tech. www.ifaparis.com Foundry’s unique ecosystem Note to Reader ensures that it is able to empower About Beyond those that wish to embrace digital This white paper was written with full transformation. The fashion tech Form independence. The organisations lab is an initiative launched in Beyond Form is a venture studio and initiatives featured inside this partnership between IFA Paris, building impact-driven fashion white paper have been done so at a fashion school with campuses technologies. They're on a mission the full discretion of the authors. in Paris, Shanghai & Istanbul, and to modernize the fashion industry Foundry Powered by IFA Paris Beyond Form, a fashion tech through tech innovations across has not received any financial venture studio. the value chain, and in turn create compensation or required to fulfill a more sustainable and efficient any partnership obligations with this Contact Us fashion system publication. 18 - 24 Quai de la Marne, Paris, 75019, France. Beyond Form partnered with IFA Paris to launch the fashion tech www.foundryftlab.com innovation lab in 2019 and runs the [email protected] Startup Program. Every 6 months founders from all over the world are welcomed to Paris to work with the Beyond Form team on building out their early-stage fashion tech businesses. www.beyondform.io Authors Paloma Bouteleux, Vongai N. Ruzive, Creative Director, VRTUOZ Lab & Community Associate, Foundry Powered by IFA Paris Contributors Anne Faubry, Arnaud Pelletier, Peter Jeun Ho Tsang, Consultant, IBM Studios Paris Director, IBM Studios Paris Director, Beyond Form & Foundry Powered by IFA Paris Page - 2 TABLE OF CONTENTS 01 . FOREWORD P.4 0.2 INTRODUCTION P.5-10 Fashion Tech At Foundry Powered By IFA Paris P.5 Definition: Fashion Technology P.6 Spotlight: Stylé P.7-8 Fashion Tech Revolution Viewed by IBM Studios Paris P.9-10 0.3 MACRO OVERVIEW // EUROPE P.12-16 The Makers P.12 A Deeper Look Into The European Activity P.13-14 COSME & DeFINE P.13-14 UK & London P.13-14 Accelerators & Start-up Programs P.13-14 Spotlight: BFC P.15-16 0.4 MICRO OVERVIEW // FRANCE // PARIS P.18-22 LA French Tech P.19 Defi Mode P.19 Private Entities // France // Paris P.19 Viva Technology P.21-22 Station F P.21-22 0.5 FASHION-TECH SPECIFIC PROGRAMS // FRANCE // PARIS P.23-24 LVMH // La Maison De Start-ups P.23-24 IMPULSE by VeePee P.23-24 Platform A // Adidas // Plug & Play P.23-24 0.6 CONCLUSION P.25 0.7 GLOSSARY OF TERMS P.26 0.8 BIBLIOGRAPHY P.27-30 0.9 REFERENCES P.31 FOREWORD It has only been in recent years the relatively small fashion tech where the capabilities of technology ecosystem and why cultivating has been taken seriously by fashion such systems are important for brands, who are still somewhat ensuring that talent is supported nervous in fully embracing in their growth phases. This is innovations within their businesses. currently taking form in a variety of 2020 provided an even bigger ways including, fashion tech specific wakeup call to the industry with accelerator programs, competitions, supply chains severely disrupted, conferences, venture capital and physical stores closed, and teams educational courses. However, working 100% remotely due to there’s more yet still to be done for COVID-19. This sudden change industry-wide acknowledgement. Peter Jeun Ho Tsang has not fared well for many fashion Recent figures show that 85% of Director, Beyond Form & retailers, which has seen them corporates1 say that innovation Foundry Powered by IFA Paris going into bankruptcy. However, is an important element of their what the pandemic has done is growth strategies, yet only about shed a spotlight on fashion tech The tension 10% if innovation projects are and the urgency for the industry actually completed. For brands, it to embrace technology at greater between fashion can be a daunting task navigating speeds and with agility. and technology the world of fashion tech in order The founders of fashion tech start- to successfully execute innovation has been bubbling ups have suddenly become the pilots, especially when there is away for the past white knights for many parts of the currently no go-to reference point. fashion industry. Take for example, Therefore having an understanding decade, with both the huge explosion of 3D digital of what is happening within the fashion within the past 12 months, ecosystem is important for fashion industries trying to which was relatively ignored for the brands as they turn to fashion decode the other’s last 20 years but is now proving tech solutions, entrepreneurs and to be a viable method for creating, initiatives to help them to modernise language. producing and showcasing fashion. their organisations. It’s no longer as The pandemic is also highlighting scary as it once was. what is and isn’t working within 1. Coplex, 25 Corporate Innovation Facts, https://www.coplex.com/25-corporate-innovation-facts 2020 Page - 4 FASHION TECH AT FOUNDRY POWERED BY IFA PARIS Since the fashion tech lab launched This is a clear indication that at the end of 2019, we have seen the incredible talent is out there ready push on technological innovations to work with the fashion brands to through fablabs, makerspaces and make a better industry. 18 hackerspaces as well as push for We have also seen a keen interest textile innovations in major cities STARTUPS TO DATE from larger organisations which in around the world, however, fashion 2021 sees the launch of lab projects tech-focused spaces are still yet with partners such as Li & Fung, to be fully explored in France. The Global Brands Group and Le New French fashion capital has been a Black who are partnered with laggard in launching fashion tech smaller Foundry partners such as initiatives compared to the other Capassity and TG3D Studio. The fashion capitals which have been larger brands are not only interested 70% FEMALE launching programs as early as the in the startups, but also the future late 2000’s. The reason for this is generations of fashion professionals mainly that most of the operating that will be graduating from our MBA fashion brands in Paris are still Fashion Technology program that traditional in many ways. commences in 2021 (which is also Nonetheless, this has slowly seeing talent from all over the world started to change and we have fly into Paris). This demonstrates seen an increase in the number that there are opportunities being 20% SECOND of fashion executives interested created at all levels of the fashion TIME FOUNDERS in the possibilities of integrating tech ecosystem, with a wide variety technologies into their businesses. of perspectives and influences In addition we have seen many coming into play. entrepreneurial talents wanting to However, much of the fashion tech come to Paris to lead that change ecosystem is still fragmented and with the launch of our Startup confusing for anyone wanting to Program in April 2020. approach the subject. This white 75% FOCUSED ON To date we have accompanied 18 paper sets out to illustrate exactly SUSTAINABILITY early-stage fashion tech start-ups what is currently happening, where hailing from all corners of the globe and why. Our goal is to string the including USA, Canada, Vietnam, dots together for the readers of this Turkey, Lebanon, South Africa and guide in order to be better informed all over Europe. Of the founders when commencing any fashion tech that we are working with, 70% initiative. are female, 20% are second-time 80% FROM OUTSIDE founders, 80% are from outside of FASHION INDUSTRY the fashion industry and two thirds are focusing on sustainability. DEFINITION: FASHION TECHNOLOGY Without a clear framework, fashion The industry is facing a “cultural tech is often overlooked within revolution” as described by Ian the fashion industry - especially in Rogers, former Chief Digital Officer France where fashion is renowned at French luxury conglomerate, for its traditions and heritage.
Load more

Recommended publications
  • O/274/21 892Kb
    O/274/21 TRADE MARKS ACT 1994 IN THE MATTER OF APPLICATION NO. UK00003406669 BY BERNARD MULHOLLAND LTD FOR THE FOLLOWING TRADE MARK: gucci.llc IN CLASSES 18 AND 25 AND IN THE MATTER OF OPPOSITION THERETO UNDER NO. 417895 BY GUCCIO GUCCI S.P.A. BACKGROUND AND PLEADINGS 1. On 13 June 2019, BERNARD MULHOLLAND LTD (“the applicant”) applied to register the trade mark shown on the cover page of this decision in the UK. The application was published for opposition purposes on 28 June 2019 and registration is sought for the goods set out in the Annex to this decision. 2. On 30 September 2019, Guccio Gucci S.p.A. (“the opponent”) opposed the application based upon sections 5(2)(b), 5(3), 5(4)(a) and 3(6) of the Trade Marks Act 1994 (“the Act”). Under sections 5(2)(b) and 5(3) of the Act, the opponent relies upon EUTM no. 121988 for the trade mark GUCCI.1 The opponent’s mark was filed on 1 April 1996 and was registered on 24 November 1998. For both sections, the opponent relies upon some of the goods for which the mark is registered, namely: Class 18 Leather and imitations of leather, and goods made of these materials and not included in other classes; handbags; purses; trunks and travelling bags; backpacks; briefcases; card cases [notecases]; pocket wallets; rucksacks; shopping bags. Class 25 Clothing, footwear, headgear. 3. Under section 5(2)(b), the opponent claims that there is a likelihood of confusion because the parties’ respective trade marks are similar and the goods are identical or similar.
    [Show full text]
  • Unlocking the Reuse Revolution for Fashion: a Canadian Case Study
    Unlocking the Reuse Revolution for Fashion: A Canadian Case Study by Laura Robbins Submitted to OCAD University in partial fulfillment of the requirements for the degree of Master of Design in Strategic Foresight & Innovation Toronto, Ontario, Canada, 2019 Copyright Notice This document is licensed under the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International (CC BY-NC-SA 4.0). https://creativecommons.org/licenses/by-nc- sa/4.0/ You are free to: • Share — copy and redistribute the material in any medium or format • Adapt — remix, transform, and build upon the material Under the following conditions: • Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. • NonCommercial — You may not use the material for commercial purposes. • ShareAlike — If you remix, transform, or build upon the material, you must distribute your contributions under the same license as the original. ii ABSTRACT This research aims to explore the potential of clothing reuse as a stepping stone towards a more circular economy for fashion. A systems approach to problem finding, framing, and solving is applied to explore how we might increase fashion reuse behaviours amongst consumers and industry alike. This research includes an analysis of the key barriers that prevent higher rates of participation in fashion reuse despite the potential economic, environmental, and social benefits of doing so (Part 2), and identifies areas of opportunity to focus innovation (Part 3). Research methodology included more than 30 one-on-one consumer interviews, 20 interviews with industry professionals along the fashion value chain, and an extensive environmental scan with a particular focus on the Canadian market.
    [Show full text]
  • The Future of Fashion Is Digital
    7-8/2017 English edition The international premium magazine for the textile chain www.textile-network.com THE FUTURE THE FUTURE OF FASHION OF FASHION IS DIGITAL. IS DIGITAL. Go from Concept to Consumer Seamlessly. 1 0100011110100 1100 101 000 000 11 01 01 11 00 00 10 01 0 1 With the digital revolution now upon us, Gerber 1 0 0 0 0 1 0 0 1 1 Design 0 1 0 1 0 1 Technology has launched an integrated digital 1 1 0 1 0 Develop1 0 0 1 1 0 0 0 0 evolution of its own. Another step forward for 0 1 1 0 1 1 0 0 0 0 0 0 1 0 the company whose intelligent software and 1 1 1 1 1 1 Plan 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 automation solutions have been helping apparel 1 1 1 1 0 0 0 0 1 1 0 0 0 0 0 0 0 0 1 1 1 1 0 0 0 0 manufacturers around the world take their 1 1 0 0 1 1 Source 0 0 1 1 1 1 1 1 1 1 1 0 0 1 1 0 0 1 1 0 0 0 0 1 1 1 1 0 0 products to market faster and more efficiently 0 0 0 0 0 0 1 1 0 0 0 0 1 1 1 1 1 1 0 0 0 0 0 0 0 0 0 0 0 0 0 0 1 1 1 1 1 1 1 1 1 1 1 1 for nearly 50 years.
    [Show full text]
  • Blending Clothing and Digital Expression by Wearing Dynamic Fabric
    “Can I wear this?” : blending clothing and digital expression by wearing dynamic fabric Citation for published version (APA): Mackey, A. M., Wakkary, R. L., Wensveen, S. A. G., & Tomico Plasencia, O. (2017). “Can I wear this?” : blending clothing and digital expression by wearing dynamic fabric. International Journal of Design, 11(3), 51-65. Document status and date: Published: 01/12/2017 Document Version: Publisher’s PDF, also known as Version of Record (includes final page, issue and volume numbers) Please check the document version of this publication: • A submitted manuscript is the version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers. Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal.
    [Show full text]
  • A First-Hand Experience for a Second-Hand Product: the Success of Online Luxury Resellers
    A first-hand experience for a second-hand product: the success of online luxury resellers Beatriz Estrela Duarte Dissertation written under the supervision of Laure Leglise Dissertation submitted in partial fulfilment of requirements for the MSc in Management with specialization in Strategic Marketing, at the Universidade Católica Portuguesa, 2020. Abstract – English Title: A first-hand experience for a second-hand product: the success of online luxury resellers Author: Beatriz Estrela Duarte The purpose of this research is to understand how luxury resellers successful create value-added propositions within the online context, posing a challenge to the exclusivity inherent to the luxury reality. We used a qualitative approach to analyse three online second-hand players and drew our conclusions on the Business Model Canvas. The findings of the present research show that the success of luxury online resellers is built on (1) a diversified, personalised and curated luxury assortment, (2) wider customer reach enabled by online, (3) trusted authentication processes, (4) powerful network effect, (5) proprietary technology and in-house skilled staff. These are assets difficult to replicate which raises barriers to entry and are further complemented with offline expansion and partnerships with luxury brands. This research is relevant for both incumbent companies and new entrants alike, as well as luxury companies to better understand the value of the second-hand luxury market. Keywords: second-hand, luxury, resale, online 2 Abstract – Portuguese Título: Uma experiência em primeira mão para um produto em segunda mão: o sucesso dos revendedores de luxo online Autor: Beatriz Estrela Duarte O objetivo da presente tese é compreender como os revendedores de luxo são bem-sucedidos a criar propostas de valor acrescentado no contexto online, colocando um desafio à exclusividade inerente à realidade do luxo.
    [Show full text]
  • USA- DIGITAL MARKETING STRATEGIES for FASHION Italian Trade Agency - New York
    USA- DIGITAL MARKETING STRATEGIES FOR FASHION Italian Trade Agency - New York JUNE 2020 1 Contents An Overview 4 The 2022 Opportunity 11 Engagement Opportunities 15 Consumer Insights to Drive Approach 18 Digital Marketing and Communications 22 Channels Innovative Retail Trends to Watch 25 Options for Remote Work and Collaboration 32 Fashion Sources in NYC 37 Research Matrix 38 2 A Guide to Help Businesses Adapt their Digital Marketing Strategies and Prepare for What’s Next “Digital Marketing” is an umbrella term for all of your online marketing strategies, and it’s almost impossible to separate digital from the traditional marketing as a whole and the marketing landscape continues to evolve faster than we could have ever imagined” - SmartInsights, 2020. The coronavirus pandemic is shaping up It’s often the case in human affairs that to be the biggest global driver of change the greatest lessons emerge from the seen in most people’s lifetime and it is most devastating times of crises. already forging new consumer attitudes. Companies that were digitally and analytically mature outperformed competitors that hadn’t built robust McKinsey & Company, 2020 digital and analytics capabilities. Entire industries are having to adapt to a new reality that demands flexibility, resilience and, above all, creativity. 3 According to TotalRetail, by 2021 early adopter brands which redesign their An Overview websites to support visual and voice search will increase digital commerce revenue by 30 percent. Retailers that take action and invest in visual search, like the 15 percent of Data will change the respondents who said they will be way companies investing in the channel in the next 12 months, stand the best chance to capture merchandise a piece of a market that’s forecast to grow to nearly $26 billion in 2020.
    [Show full text]
  • Innovation and Sustainability in French Fashion Tech Outlook and Opportunities. Report By
    Innovation and sustainability in French Fashion Tech outlook and opportunities Commissioned by the Netherlands Enterprise Agency and the Innovation Department of the Embassy of the Kingdom of the Netherlands in France December 2019 This study is commissioned by the Innovation Department of the Embassy of the Kingdom of the Netherlands in France and the Netherlands Enterprise Agency (RVO.nl). Written by Alice Gras and Claire Eliot Translated by Sophie Bramel pages 6-8 INTRODUCTION 7 01. Definition and key dates 8 02. Dutch fashion tech dynamics I 9-17 THE CONVERGENCE OF ECOLOGICAL AND ECONOMIC SUSTAINABILITY IN FASHION 11-13 01. Key players 14 02. Monitoring impact 14-16 03. Sustainable innovation and business models 17 04. The impact and long-term influence of SDGs II 18-30 THE FRENCH FASHION INNOVATION LANDSCAPE 22-23 01. Technological innovation at leading French fashion companies 25-26 02. Public institutions and federations 27-28 03. Funding programmes 29 04. Independent structures, associations and start-ups 30 05. Specialised trade events 30 06. Specialised media 30 07. Business networks 30 08 . Technological platforms III 31-44 FASHION AND SCIENTIFIC RESEARCH: CURRENT AND FUTURE OUTLOOK 34-35 01. Mapping of research projects 36-37 02. State of fashion research in France 38-39 03. Key fields of research in fashion technology and sustainability 40 04. Application domains of textile research projects 42-44 05. Fostering research in France IV 45-58 NEW TECHNOLOGIES TO INNOVATE IN THE FRENCH FASHION SECTOR 47 01. 3D printing 48 02. 3D and CAD Design 49-50 03. Immersive technologies 51 04.
    [Show full text]
  • The Fashion Industry As a Slippery Discursive Site: Tracing the Lines of Flight Between Problem and Intervention
    THE FASHION INDUSTRY AS A SLIPPERY DISCURSIVE SITE: TRACING THE LINES OF FLIGHT BETWEEN PROBLEM AND INTERVENTION Nadia K. Dawisha A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Communication in the College of Arts and Sciences. Chapel Hill 2016 Approved by: Patricia Parker Sarah Dempsey Steve May Michael Palm Neringa Klumbyte © 2016 Nadia K. Dawisha ALL RIGHTS RESERVED ii ABSTRACT Nadia K. Dawisha: The Fashion Industry as a Slippery Discursive Site: Tracing the Lines of Flight Between Problem and Intervention (Under the direction of Dr. Patricia Parker) At the intersection of the glamorous façade of designer runway shows, such as those in Paris, Milan and New York, and the cheap prices at the local Walmart and Target, is the complicated, somewhat insidious “business” of the fashion industry. It is complicated because it both exploits and empowers, sometimes through the very same practices; it is insidious because its most exploitative practices are often hidden, reproduced, and sustained through a consumer culture in which we are all in some ways complicit. Since fashion’s inception, people and institutions have employed a myriad of discursive strategies to ignore and even justify their complicity in exploitative labor, environmental degradation, and neo-colonial practices. This dissertation identifies and analyzes five predicaments of fashion while locating the multiple interventions that engage various discursive spaces in the fashion industry. Ultimately, the analysis of discursive strategies by creatives, workers, organizers, and bloggers reveals the existence of agile interventions that are as nuanced as the problem, and that can engage with disciplinary power in all these complicated places.
    [Show full text]
  • Innovating a 90'S Streetwear Brand for Today's Fashion Industry
    FOR US BY US: INNOVATING A 90'S STREETWEAR BRAND FOR TODAY'S FASHION INDUSTRY A Thesis submitted to the FAculty of the Graduate School of Arts and Sciences of Georgetown University in partiAl fulfillment of the requirements for the degree of MAsters of Arts in CommunicAtion, Culture And Technology By Dominique HAywood, B.S WAshington, DC May 26, 2020 Copyright 2020 by Dominique HAywood All Rights Reserved ii FOR US BY US: INNOVATING A 90'S STREETWEAR BRAND FOR TODAY'S FASHION INDUSTRY Dominique HAywood, BS Thesis Advisor: J.R. Osborn, Ph.D ABSTRACT This thesis is a cAse study of how a vintAge fashion brand cAn be innovated through humAn centered design for the current fashion industry. IDEO, global design and innovation company, has clAssified humAn centered design as A method for identifying viAble, feAsible and desirable solutions with the integration of multidisciplinary insights (IDEO). For this thesis, the brand of focus is FUBU, for us by us, a 90’s era streetweAr brand that is a product of New York City hip-hop culture. A succinct proposAl for FUBU’s resurgence in the fashion industry will be designed by first identifying the viAbility of the fashion industry and feAsibility of the brand’s revival. ViAbility will be determined by detAiling the current stAte of the fashion and streetweAr industries. This is to estAblish the opportunities and threAts of new and returning entrants into the industry. FeAsibility will be declAred by reseArching the history and current stAte of the brand, its cultural relevancy, and its strengths and weAknesses.
    [Show full text]
  • London Fashion Week Men's Has Been As Surprising As It Has Been Exhausting
    LONDON FASHION WEEK MEN’S CELEBRATES ITS 5TH ANNIVERSARY Today, 12th June, marks the close of the fifth anniversary of London Fashion Week Men’s. It has been a stellar week, further establishing London as the home of menswear and attracting designers, media, retailers and business leaders from 45 countries. Alongside a show schedule featuring the talent, innovation and heritage that London is known for, this season also saw a number of stand-out events. Things kicked off on Thursday with an intimate celebration at Mark’s Club, co-hosted by Caroline Rush CBE, Elizabeth Saltzman and Tracey Emin CBE, the event also saw Dylan Jones OBE launch his new book: London Sartorial: Men’s Style from Street to Bespoke. Shows, events and presentations took place across the capital, from the brands and partners that are part of London’s past and future menswear history, including 10 Magazine, Barbour International, Belstaff, British GQ & Tom Ford, Burberry, David Furnish x LqD, Dunhill, Hackett, Kent & Curwen, MAN, Mr Porter, Oliver Spencer, Rag&Bone, Stephen Webster, Stella McCartney, TOPMAN Design and Vivienne Westwood. Renowned artist Tracey Emin CBE RA designed a special 5th anniversary logo for LFWM in her signature handwriting; two unique neon works were on display at the home of LFWM, The Store Studios, 180 Strand and a third in a dedicated window at Selfridges, London. The British Fashion Council (BFC) also collaborated with i-D to produce the A-Z of London Menswear, a salute to the vibrant visionaries who make the capital the most exciting place in the world for menswear today.
    [Show full text]
  • Bremaining in Vogue: the Impact of Brexit on the Fashion Industry
    American University Business Law Review Volume 7 Issue 1 Article 3 2018 Bremaining in Vogue: The Impact of Brexit on the Fashion Industry Natalie Cuadros American University Washington College of Law Follow this and additional works at: https://digitalcommons.wcl.american.edu/aublr Part of the European Law Commons, Intellectual Property Law Commons, International Law Commons, and the International Trade Law Commons Recommended Citation Cuadros, Natalie "Bremaining in Vogue: The Impact of Brexit on the Fashion Industry," American University Business Law Review, Vol. 7, No. 1 (2018) . Available at: https://digitalcommons.wcl.american.edu/aublr/vol7/iss1/3 This Comment is brought to you for free and open access by the Washington College of Law Journals & Law Reviews at Digital Commons @ American University Washington College of Law. It has been accepted for inclusion in American University Business Law Review by an authorized editor of Digital Commons @ American University Washington College of Law. For more information, please contact [email protected]. BREMAINING IN VOGUE: THE IMPACT OF BREXIT ON THE FASHION INDUSTRY BY: NATALIE CUADROS* I. Introduction .............................. ....... 130 II. The Fashion Industry's Place in the United Kingdom.................132 A. Intellectual Property in British Fashion as Part of the EU: Trademarks ........................ ....... 133 B. Intellectual Property in British Fashion as Part of the EU: Designs ....................... ............... 136 C. The Current Trade Regime in the United Kingdom.......... 137 D. Model Country for Intellectual Property Protection: Switzerland ........................ ....... 139 III. Applying Swiss Trade and Intellectual Property Models to the United Kingdom ........................ ...... 143 A. International Intellectual Property Protection: Updated Registration Mechanisms ...................... 143 B. Application of the Swiss Model to the United Kingdom's Trade Structure ......................
    [Show full text]
  • The Art of He’S One of Fashion’S Living Legends: a Designer, Hotelier and Restaurateur with a Billion-Pound Business to His Name
    EMBROIDERED SILK BLOUSE, £7,700, Silk SKIRT, £1,550, and SATIN SHOES, £680, GIORGIO ARMANI ArmaniTHE ART OF He’s one of fashion’s living legends: a designer, hotelier and restaurateur with a billion-pound business to his name. But who is the real Mr Armani? Ahead of his outstanding achievement award at the UK’s ‘fashion Oscars’ tomorrow, Jane McFarland is granted a rare audience at home with the fiercely private man the Milanese call King Giorgio – while his friend the model Eva Herzigova wears his latest Resort collection Photographs Anton Corbijn Styling Margherita Moro 34 The Sunday Times Style The Sunday Times Style 35 THIS PAGE SILK VELVET Style Exclusive SHIRT, £860, maTCHING JACKET, £2,300, and TROUSERS, £860, GiorGIO ARMANI. NECKLACE, EVA’S OWN OPPOSITE WOVEN CLOAK, POA, AND SILK SHANTUNG TROUSERS, £860, GIORGIO ARMANI IT’S NOT WHOLLY EXAGGERATING to compare securing surfaces, from panthers to reptiles — perhaps unsurprising, an audience with Giorgio Armani (or Mr Armani as he is given his second home, an hour from Milan, has a zoo. known to his inner circle) to arranging a casual cuppa with Outside, there’s a parked Bentley, doormen and 24/7 the Queen. Or maybe the Duchess of Sussex. He rarely talks surveillance. Across the road are the Armani offices, and to journalists, even less so the British press, so when I’m nearby, his hotel, the Emporio Armani cafe and the Via finally granted a 15-minute conversation at home with the Manzoni concept store. Even the hangar at Milan Linate king of Italian fashion, solo owner of Giorgio Armani SpA, airport bears a giant Armani logo; make no mistake, Mr who Forbes estimates to have a personal fortune of £8.26bn, Armani wields the power in Milan.
    [Show full text]