BFC Annual Report 2014-2015

Total Page:16

File Type:pdf, Size:1020Kb

BFC Annual Report 2014-2015 2 BRITISH FASHION COUNCIL 2014 THE UK FASHION INDUSTRY INDUSTRY FASHION UK THE CONTRIBUTES £26 BILLION TO THE UK THE ECONOMY. TO 5 1 4– 1 OVERVIEW BFC ANNUAL REVIEW 20 BRITISH FASHION COUNCIL 2014 3 BRITISH FASHION COUNCIL 2014–15 ANNUAL REVIEW CONTENTS 9 Chairman’s Letter 51 PILLARS 15 OVERVIEW 55 BUSINESS 24 Mission Statement 60 Training & Mentoring 61 Designer Support Pathway 62 NEWGEN 25 Our Aim 64 NEWGEN Men 70 BFC/GQ Designer Menswear Fund 28 Five Pillars 76 BFC Fashion Trust 78 BFC/Vogue Designer Fashion Fund 88 Headonism 30 Pillar Presidents 90 Rock Vault BFC Fashion Film 34 Governance 91 Fashion Business Network 92 LONDON show ROOMS 5 1 Funding 4– 1 Executive Board 97 REPUTATION Patrons 106 London Fashion Week 36 Advisory Board 126 Vodafone London Fashion Weekend 132 London Collections Men 158 British Fashion Awards 38 Business & Cultural Ambassadors 174 Positive Fashion 175 Fashion Arts Foundation Press Committee 179 Diversity 180 BFC Partnerships BFC ANNUAL REVIEW 20 40 Calendar of Events 189 EDUCATION 194 Education Foundation Scholarships 195 Apprenticeships Post Graduate Traineeship Colleges Council 196 Annual Programme Graduate Preview Day Heads of Course Seminar 197 Creative Pattern Cutting Seminar Competitions 199 INNOVATION & DIGITAL 211 INVESTMENT 216 Fashion Forum 226 THE BFC TEAM 6 7 CHAIRMAN’S LETTER In 2014–15 the British Fashion Council focused on The fashion industry lost two incredible champions of consolidating its activity to enable it to build the most talent. Professor Louise Wilson OBE has left the most robust platform to start, develop and grow a designer incredible legacy of talent development and creation. fashion business. Much of the activity delivered this year Her passing was a stark call to action for the industry is groundwork for this focus. It is only through industry to invest in its pipeline of talent through education from collaboration that this will become viable in the long-term Foundation Year to MA. Anne Tyrrell MBE, also passed and with that in mind many new patrons have joined the away this year. As Chair of the BFC’s Colleges Council, British Fashion Council this year, demonstrating the Anne focused on developing skills, training and creating industry’s enthusiasm to work together. employment opportunities for graduating students every year. The British Fashion Council will work to honour the A great deal of planning has gone into future proofing names of both of these incredible women. British Fashion Council activity. We completed a six-year partnership with Vodafone and in March this year There are many who give their time pro bono to assist announced that Sunglass Hut will become the principal the British Fashion Council team to deliver our strategy sponsor of London Fashion Week, enabling us to deliver and shared goals. I would like to thank all of our Pillar a new format fashion week from 2015–16. We launched Presidents, ambassadors, committee members and the Digital & Innovation and Business Pillars and mentors for their time and dedication in making this 5 1 delivered our inaugural Fashion Forum. industry what it is today. We wouldn’t be able to deliver 4– 1 half of the activity we do were it not for our patrons, London Collections Men extended by one day and sponsors, suppliers and our many friends and partners. is now, led by Chairman Dylan Jones OBE, seen as Thank you. a leading global menswear showcase with increased designer participation. As part of the global outreach we announced our first international ambassador, Hu Bing, who will form just part of our strategy of OVERVIEW engagement in China. The British Fashion Awards doubled its media coverage, BFC ANNUAL REVIEW 20 putting the excellence of both British and international talent in the spotlight. Natalie Massenet MBE 8 9 WE HAVE SOME OF THE MOST EXCITING AND DIVERSE COLLECTIONS SHOWN HERE IN LONDON. BRITISH TALENT HEADS UP SOME OF THE MOST IMPORTANT BRANDS AROUND THE 5 1 4– 1 WORLD. WE PIONEER CREATIVITY AND BRITISH FASHION COUNCIL BRITISH FASHION COUNCIL WE CHAMPION BUSINESS. WE TRAIN OVERVIEW BFC ANNUAL REVIEW 20 FUTURE THINKERS AND CREATIVE NATALIE MASSENETNATALIE MBE GENIUSES TOGETHER WITH FASHION MASSENETNATALIE MBE INNOVATORS AND BUSINESS LEADERS. LONDON IS A TRULY GLOBAL HUB FOR FASHION AND OUR INFLUENCE IS FELT ALL OVER THE WORLD. 10 11 ROKSANDA SS15 14 BFC ANNUAL REVIEW 2014–15 OVERVIEW EMILIA WICKSTEAD SS15 OVERVIEW 17 THE BRITISH FASHION INDUSTRY HAS NEVER BEEN STRONGER, NOR HAS ITS REACH AND SCOPE. BRITISH FASHION IS THE MOST INFLUENTIAL 5 1 IN THE WORLD, ESPECIALLY ITS 4– 1 BRITISH GQ BRITISH MENSWEAR. LONDON IS THE CRUCIBLE GQ BRITISH OF CREATIVITY, AND THAT IS ON OVERVIEW BFC ANNUAL REVIEW 20 DYLAN JONES OBE DISPLAY IN THE SHOWROOMS OF DYLAN JONES OBE DESIGNERS, ON THE STREET, AND ON THE CATWALK DURING EVERY SHOW DURING LONDON FASHION WEEK AND LONDON COLLECTIONS MEN. 18 19 BURBERRY PRORSUM SS15 THE BRITISH FASHION COUNCIL IS A THROUGH ADVOCACY, PROMOTION NOT-FOR-PROFIT ORGANISATION THAT AND SHOWCASING EVENTS BOTH AIMS TO FURTHER THE INTERESTS IN THE UK AND KEY EXPORT 5 1 OF THE BRITISH FASHION INDUSTRY MARKETS, THE BRITISH FASHION 4– 1 AND ITS DESIGNER BUSINESSES BY COUNCIL ASSISTS IN THE GROWTH HARNESSING AND SHARING THE AND ECONOMIC IMPACT OF THE OVERVIEW COLLECTIVE KNOWLEDGE, EXPERIENCE DESIGNER FASHION INDUSTRY BFC ANNUAL REVIEW 20 AND RESOURCES OF THE SECTOR. TO UK PLC AND ENHANCES THE INTERNATIONAL, CULTURAL AND CREATIVE REPUTATION OF OUR WHOLE INDUSTRY. 22 23 MISSION STATEMENT OUR AIM THE BRITISH OUR AMBITION IS 5 1 4– 1 FASHION COUNCIL TO STRATEGICALLY LEADS THE FASHION REPOSITION BRITISH INDUSTRY THROUGH FASHION IN THE OVERVIEW BFC ANNUAL REVIEW 20 CREATIVE INFLUENCE. GLOBAL FASHION ECONOMY. 24 25 26 ED BURSTELL LIBERTY LONDON FOR THE FINANCIAL TIMES JUST WHEN YOU THINK LONDON HAS HAS LONDON THINK YOU WHEN JUST PEAKED, IT REACHES A NEW LEVEL. ANEW REACHES IT PEAKED, 5 1 4– 1 OVERVIEW BFC ANNUAL REVIEW 20 ED BURSTELL LIBERTY LONDON FOR THE FINANCIAL TIMES 27 FIVE PILLARS We have refocused our mentoring programmes to create BUSINESS new opportunities to support more businesses. We are developing an online portal to create open access to business support information and seminars. WE IDENTIFIED FIVE PILLARS We are increasing the international profile of British REPUTATION fashion and British Fashion Council-led events, working with strategic partners globally to champion our industry. THROUGH WHICH WE HAVE FOCUSED We aim for our event experiences and content to exceed all expectations, to attract new audiences and further OUR ENERGY AND THE SUPPORT develop our reputation for professionalism and creativity. 5 1 4– 1 SO GENEROUSLY PROVIDED BY We aim to attract talented young people into the EDUCATION industry, both through further education scholarships ORGANISATIONS, INDIVIDUALS and vocational routes to learn much needed skills. Business education is a new strand to this strategy, working with business colleges to attract future AND GLOBAL INFLUENCERS FROM fashion business leaders. OVERVIEW OTHER SECTORS. BFC ANNUAL REVIEW 20 We want British businesses to follow in the footsteps INNOVATION of its brands and lead in innovation and digital. We are identifying challenges to support more businesses to get & DIGITAL online, to continue to launch new technology and to look CREATIVITY IS AT THE HEART OF at using it to support businesses to be more efficient. EVERYTHING WE DO AND IS THE We aim to attract more investors into the sector, HALLMARK OF SUCCESS OF EVERY INVESTMENT establishing early stage investment vehicles underpinned by philanthropy and prepare designer businesses to be BRITISH FASHION BUSINESS. investor ready. 28 29 PRESIDENTS BUSINESS Each of the five strategic pillars has been appointed James McArthur a President who, along with the British Fashion Council Senior Management Team, drive forward each element of the strategy. REPUTATION Sophia Neophitou 10 Magazine EDUCATION Meribeth Parker Sarah Mower MBE 5 1 BFC Ambassador for Emerging Talent 4– 1 INNOVATION & DIGITAL Peter Fitzgerald Google UK OVERVIEW INVESTMENT PILLAR PRESIDENTS BFC ANNUAL REVIEW 20 Jonathan Goodwin Lepe Partners 30 31 AW15 DESIGNER FAUSTINE STEINMETZ AW15 GOVERNANCE EXECUTIVE BOARD An Executive Board was established Natalie Massenet MBE Chairman in 2009 with the appointment of Caroline Rush CBE the organisation’s first full-time Chief Executive management team. The Executive Simon Ward Board meets 10 times per year and Chief Operating Officer is responsible for setting the overall Anya Hindmarch MBE Non-Executive Director strategy of the business. Christopher Inman OBE The Executive Board briefs an industry Treasurer Advisory Board quarterly on strategy, PATRONS 2014 –15 5 achievements and challenges. 1 Amazon Fashion 4– 1 FUNDING AMERICAN EXPRESS Arcadia Group Bicester Village The British Fashion Council is funded by industry patrons Burberry SS15 and commercial partners. It receives grant support from the Condé Nast Publications Mayor of London to enable it to strengthen the content and Debenhams OVERVIEW international profile of London Fashion Week (LFW) and the Eiesha Bharti Pasricha ERDEM profile and impact of London’s designers. Fenwick Limited GAP Funding from UK Trade & Investment (UKTI) supports Grazia BFC ANNUAL REVIEW 20 specific initiatives that directly deliver increased Harrods opportunities for British businesses to grow export sales. Harvey Nichols Since July 2011, the European Regional Development Fund Hearst Magazines UK (ERDF) Programme 2007–2013 has supported LONDON House of Fraser show ROOMS, London Collections Men, the BFC’s HSBC business support seminars and digital showcasing. Hunter ISSA London The BFC prides itself in developing long-term partnerships Jimmy Choo with sponsors for its events and initiatives, delivering John Lewis Partnership opportunities for both designers and partners alike. Karen Millen Kering The BFC thanks all of its patrons, partners and sponsors KPMG LLP who have helped make the growth and profile of the Land Securities designer sector possible.
Recommended publications
  • Volume 2, Issue 3, Autumn 2018
    The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit.
    [Show full text]
  • 2017-2018 Updated Fashion Design
    Fashion Design The Hoot Addendum #4 This addendum replaces the Fashion Design section (pages 231 – 238) of the 2017-18 The Hoot. Revised December 1, 2017 BACK TO CONTENTS | 231 FASHION DESIGN Innovation in fashion design results from a rigorous process of developing and editing ideas that address specific design challenges. Students in our program work alongside expert, professional faculty and guest mentors, who are current and visible designers, to become educated and practiced in all aspects of the design process. Throughout their experience, students produce original designs and develop collections for their portfolio. In their Junior and Senior year, students have the opportunity to work in teams to create unique designs under the guidance of mentors, emulating professional designers and following the industry's seasonal schedule. Recent mentors for the Junior and Senior class have included Anthropologie, Urban Outfitters, Nike, Roxy, Armani Exchange, BCBG, Trina Turk, Ruben & Isabel Toledo, and Bob Mackie. Junior and Senior designs are featured at the annual Scholarship Benefit and Fashion Show at the Beverly Hilton. FASHION DESIGN WITH AN EMPHASIS IN COSTUME DESIGN Students may choose to pursue an emphasis in Costume Design. With a focus on new directions in character development for film, television, live performance, concept art, and video, students emerge from the Costume Design Emphasis track as relevant, creative professionals prepared for the future direction of this exciting field. Under the guidance of critically-acclaimed costume design professionals and leading costume houses, students will produce original designs and dynamic illustrations, combining traditional and digital methods, for their portfolios. Costume Design mentors have included: Disney, Cirque du Soleil, Theadora Van Runkle, Betsy Heimann, Western Costume, Bill Travilla, and Bob Mackie.
    [Show full text]
  • Florence Nelson Kennedy FASHION ILLUSTRATOR
    ^sp-""* ' Florence Nelson Kennedy FASHION ILLUSTRATOR Pat Kennedy Crump lorence Nelson Kennedy often called herself a "stubborn Swede." Determined would have been a better description. She started to draw at an early age and loved doing it; she ac­ knowledged that she was an artist and deter­ Fmined to pursue a career in fashion illustration. At first, she may not have known that this ambition had great potential in her time. In the early decades of the twentieth century, opportunities were plentiful for commercial artists of all types, as advertising and pub­ lishing depended heavily on illustration, rather than photography. One means of preparing for such a career, espe­ cially for students who lived far from metropolitan ar­ eas, was instruction by mail. Universities had proven that home study was an excellent method of training, but it was a new idea in the field of commercial art. The Federal School of Commercial Designing, estab­ lished in Minneapolis in 1914, was adapted from a thor­ ough course employed by the Bureau of Engraving, a Minneapolis printing and engraving firm. Early school advertisements drew immediate responses, and the firm's success grew. The school started thousands of artists on successful careers, and Florence Nelson Ken­ nedy was one of them.' 'Colgate Buckbee, "How An Idea Grew Into the World's Largest Home Study Art School," The Illustrator (Minneapo­ lis), Winter-Spring 1964, p. 4-5; Joseph G. Almars (son of Joseph Almars, one of the Federal Schools' founders), tele­ phone interview with the author, Feb. 11, 1992; Minneapolis Star, Jan. 2, 1964, p.
    [Show full text]
  • LVMH 2017 Annual Report
    2017 ANNUAL REPORT Passionate about creativity Passionate about creativity W H O W E A R E A creative universe of men and women passionate about their profession and driven by the desire to innovate and achieve. A globally unrivalled group of powerfully evocative brands and great names that are synonymous with the history of luxury. A natural alliance between art and craftsmanship, dominated by creativity, virtuosity and quality. A remarkable economic success story with more than 145,000 employees worldwide and global leadership in the manufacture and distribution of luxury goods. A global vision dedicated to serving the needs of every customer. The successful marriage of cultures grounded in tradition and elegance with the most advanced product presentation, industrial organization and management techniques. A singular mix of talent, daring and thoroughness in the quest for excellence. A unique enterprise that stands out in its sector. Our philosophy: passionate about creativity LVMH VALUES INNOVATION AND CREATIVITY Because our future success will come from the desire that our new products elicit while respecting the roots of our Maisons. EXCELLENCE OF PRODUCTS AND SERVICE Because we embody what is most noble and quality-endowed in the artisan world. ENTREPRENEURSHIP Because this is the key to our ability to react and our motivation to manage our businesses as startups. 2 • 3 Selecting leather at Berluti. THE LVMH GROUP 06 Chairman’s message 12 Responsible initiatives in 2017 16 Interview with the Group Managing Director 18 Governance and Organization 20 Our Maisons and business groups 22 Performance and responsibility 24 Key fi gures and strategy 26 Talent 32 Environment 38 Responsible partnerships 40 Corporate sponsorship BUSINESS GROUP INSIGHTS 46 Wines & Spirits 56 Fashion & Leather Goods 66 Perfumes & Cosmetics 76 Watches & Jewelry 86 Selective Retailing 96 LVMH STORIES PERFORMANCE MEASURES 130 Stock market performance measures 132 Financial performance measures 134 Non-fi nancial performance measures 4 • 5 LVMH 2017 .
    [Show full text]
  • A Study of Fashion Art Illustration
    Journal of Fashion Business Vol. 6, No. 3. pp.94~109(2002) A Study of Fashion Art Illustration Kang, Hee-Myung and Kim, Hye-Kyung* Lecturer, Doctoral, Dept. of Fashion Design, Dongduk Women’s University Professor, Dept. of Fashion Design, Dongduk Women’s University* Abstract The advent of the information age, advancement of the multi-media, and proliferation of internet are all ushering-in a new era of a cyber world. The artistic expression is unfolding into a new genre of a new era.. In the modern art, the boundary between the fine art and the applied art is becoming blurred, and further, distinction of fine art from popular art is also becoming meaningless. The advancement of science and technology, by offering new materials and visual forms, is contributing to the expansion of the morden art’s horizon. As fashion illustration is gaining recognition as a form of art which mirrors today’s realities, it has also become increasingly necessary to add variety and newness. Fashion illustration is thus becoming the visual language of the modern world, capable of conveying artistic emotion, and at the same time able to effectively communicate the image of fashion to the masses. The increasing awareness of artistic talent and ingenuity as essential components of fashion illustration is yielding greater fusion between fashion illustration and art &technology. This has resulted in the use of the advanced computer technology as a tool for crafting artistic expressions, such as fashion illustration, and this new tool has opened-up new possibilities for expressing images and colors. Further, the computer-aided fashion illustration is emerging as a new technique for expression.
    [Show full text]
  • Announcement of the 2019 Andam Finalists
    FRIDAY, MAY 31ST, 2019 ANDAM ANNOUNCES THE FINALISTS OF ITS 30TH EDITION After reviewing the applications received this year, the 27 members of the 2019 judges panel have selected the 2019 ANDAM finalists. On June 27th, the finalists will be given the opportunity to present their project to the judges panel. The 4 winners will be selected on both creative and business potentials and granted with a €430.000 global endowment, thanks to the support of the French ministry of culture, DEFI and its fifteen private sponsors. “With its unique heritage and know-how, French fashion strongly contributes to promoting our country across the world. Fashion is both a daily art affecting everyone and a major cultural and economic stake for France. I am particularly attached to upcoming designers who provide the dynamism and renewal of the fashion ecosystem. The French ministry of Culture participates to ANDAM in its mission of supporting creation and I would like to thank its team for the work done since 30 years, ensuring the creative continuity.” FRANCK RIESTER, FRENCH MINISTER OF CULTURE “This year’s selection of ANDAM finalists was particularly diverse and interesting, not uniformed by a single market trend or too business-driven. And it was very international and culturally rich. I am looking forward to meeting the chosen finalists and to listening to their vision. No matter who the final winner will be, just being in this selection is a great chance of exposure and exchange for them” RENZO ROSSO, OTB PRESIDENT AND MENTOR OF THE 2019 ANDAM FASHION AWard’s winner “This anniversary edition is a great opportunity to thank all the personalities who have contributed to ANDAM and have enhanced the prestige of its competition, since 30 years.
    [Show full text]
  • The Language of Clothes: Curriculum Evalua Tion of Four Fashion Design and Merchandising Programs in Canada
    THE LANGUAGE OF CLOTHES: CURRICULUM EVALUA TION OF FOUR FASHION DESIGN AND MERCHANDISING PROGRAMS IN CANADA JUDI DORMAAR B.A., University of Lethbridge, 1993 A Project Submitted to the Faculty of Education of the University of Lethbridge in Partial Fulfillment of the Requirements for the Degree MASTER OF EDUCATION Lethbridge, Alberta February 2003 111 Abstract A high level of educational attainment carries both economic and social benefits. The popularity of continuing education programs and adult high school completion programs attest to people's interest in educational development and to the growing importance of education, skills and training in today's workplace. In general, higher levels of educational attainment are associated with improved labour market outcomes. Employment rates increase and unemployment rates decrease with higher levels of education. Education in the area of Fashion Design and Merchandising is one such area that is continuing to grow and MUST grow to keep up with the dynamics of our society. Fashion in the global market and in Canada today is big business. Its component parts - the design, production and distribution of fashion merchandise - form the basis of a highly complex, multibillion-dollar industry. It employs the greatly diversified skills and talents of millions of people, offers a multitudinous mix of products, absorbs a considerable portion of consumer spending and plays a vital role in the country's economy. Almost every country in the world depends on the textile and apparel sectors as important contributors to their economy. In Canada, more and more people will need an increasing amount of training and retraining throughout their careers.
    [Show full text]
  • Wfw19-Magazine-2
    Apr/May 2019 WINCHESTER FASHION WEEK Complimentary #WFW19 Programme of Talks Workshops Showcases Shopping Experiences #INDIEWINCH EDIT Winchester’s fashion independents on Instagram Sponsored by Brought to you by @WinFashionWk A CELEBRATION OFwinchesterfashionweek.co.uk STYLE FREE FILM SCREENING The University of Winchester is proud to sponsor Winchester Fashion Week 2019 and to host a special free screening of an acclaimed fashion documentary that delves behind the scenes of 2015’s China-themed Met Gala, the fashion world’s most dynamic annual event. THE FIRST MONDAY IN MAY Hello & Welcome, e are delighted to warmly welcome you to the ninth annual Winchester Fashion Week coordinated by Winchester Business Improvement District (BID). W It’s lovely to meet you. Let’s start with the introductions… We are Sarah and Hannah from Winchester BID, who have worked together to produce and promote this year’s event. We are proud to present a fresh, new theme and programme for Winchester Fashion Week – A Celebration Of Style (WFW19). This includes in store shopping experiences, workshops, talks and showcases, as well as catwalk shows and a fashion fair. This year, we have revised and developed WFW19 to celebrate style in the city. We have introduced a new brand that pays homage to its heritage with a focus on sustainability, local charity and the city’s circular economy throughout the event. This year, we have revised and developed the 6 day event, which we see as a great way to bring local businesses together with some exciting collaborations, interesting presentations and to showcase all things new on offer in Winchester, whilst building subjects like sustainability, local charity and the city’s circular economy into the proceedings.
    [Show full text]
  • 101 CC1 Concepts of Fashion
    CONCEPT OF FASHION BFA(F)- 101 CC1 Directorate of Distance Education SWAMI VIVEKANAND SUBHARTI UNIVERSITY MEERUT 250005 UTTAR PRADESH SIM MOUDLE DEVELOPED BY: Reviewed by the study Material Assessment Committed Comprising: 1. Dr. N.K.Ahuja, Vice Chancellor Copyright © Publishers Grid No part of this publication which is material protected by this copyright notice may be reproduce or transmitted or utilized or store in any form or by any means now know or here in after invented, electronic, digital or mechanical. Including, photocopying, scanning, recording or by any informa- tion storage or retrieval system, without prior permission from the publisher. Information contained in this book has been published by Publishers Grid and Publishers. and has been obtained by its author from sources believed to be reliable and are correct to the best of their knowledge. However, the publisher and author shall in no event be liable for any errors, omission or damages arising out of this information and specially disclaim and implied warranties or merchantability or fitness for any particular use. Published by: Publishers Grid 4857/24, Ansari Road, Darya ganj, New Delhi-110002. Tel: 9899459633, 7982859204 E-mail: [email protected], [email protected] Printed by: A3 Digital Press Edition : 2021 CONTENTS 1. Introduction to Fashion 5-47 2. Fashion Forecasting 48-69 3. Theories of Fashion, Factors Affecting Fashion 70-96 4. Components of Fashion 97-112 5. Principle of Fashion and Fashion Cycle 113-128 6. Fashion Centres in the World 129-154 7. Study of the Renowned Fashion Designers 155-191 8. Careers in Fashion and Apparel Industry 192-217 9.
    [Show full text]
  • Wvb Dossier Report Lvmh Moet Hennessy - Louis Vuitton Se
    WVB DOSSIER REPORT LVMH MOET HENNESSY - LOUIS VUITTON SE LVMH MOET HENNESSY - LOUIS VUITTON SE Generated On 22 Dec 2020 COMPANY PROFILE BUSINESS SALES BREAKDOWN WVB Number FRA000090103 Date 31-DEC-18 31-DEC-19 ISIN Number ARDEUT111929, FR0000121014, US5024412075 Currency EUR ('000) EUR ('000) Status ACTIVE [ PUBLIC ] FASHION AND LEATHER GOODS 18,455,000 22,237,000 SELECTIVE DISTRIBUTION 13,646,000 14,791,000 Country of Incorporation FRENCH REPUBLIC (FRANCE) PERFUMS AND COSMETICS 6,092,000 6,835,000 Industry Classification WINE,BRANDY & BRANDY SPIRITS (2084) WINE & SPIRITS 5,143,000 5,576,000 Address 22 AVENUE MONTAIGNE, PARIS, PARIS WATCHES & JEWELRY 4,123,000 4,405,000 Tel +33 144132222 OTHER AND HOLDINGS 714,000 1,214,000 Fax +33 144132223 ELIMINATIONS -1,347,000 -1,388,000 Website www.lvmh.fr Principal Activities The Company is a France-based luxury goods company. It owns a portfolio of luxury brands and GEOGRAPHIC SALES BREAKDOWN its business activities are divided into five segments: Wines and Spirits, Fashion and Leather Date 31-DEC-18 31-DEC-19 Goods, Perfumes and Cosmetics, Watches and Jewelry and Selective Retailing. Currency EUR ('000) EUR ('000) ASIE (HORS JAPON) 13,723,000 16,189,000 DIRECTORS/EXECUTIVES ÉTATS-UNIS 11,207,000 12,613,000 EUROPE (HORS FRANCE) 8,731,000 10,203,000 Chairman YVES-THIBAULT DE SILGUY AUTRES PAYS 5,323,000 6,062,000 Chairman BERNARD ARNAULT FRANCE 4,491,000 4,725,000 Chief Executive Officer BERNARD ARNAULT JAPON 3,351,000 3,878,000 Chief Financial Officer JEAN-JACQUES GUIONY Secretary MARC ANTOINE
    [Show full text]
  • The Fashion Awards 2019 Voting Panel
    The Fashion Awards 2019 Voting Panel Country Voter Type Company FirstName Surname United Kingdom ARTS British Library Dame Carol Black United Kingdom ARTS DESIGN MUSEUM Deyan Sudjic United Kingdom ARTS ROYAL ACADEMY Tim Marlow United Kingdom ARTS SERPENTINE Yana Peel United Kingdom ARTS TATE Maria Balshaw United Kingdom ARTS VICTORIA AND ALBERT MUSEUM Edwina Ehrman United Kingdom BFC Advisory Board Arcadia Group Paul Price United Kingdom BFC Advisory Board Bicester Village Desirée Bollier United Kingdom BFC Advisory Board Burberry Rebecca Martinez United Kingdom BFC Advisory Board Capco Michelle McGrath United Kingdom BFC Advisory Board Central Saint Martins Fabio Piras United Kingdom BFC Advisory Board CLM Camilla Lowther United Kingdom BFC Advisory Board Department for International Trade Sue Bishop United Kingdom BFC Advisory Board Evening Standard Maurice Mullen United Kingdom BFC Advisory Board Farfetch Susannah Clark United Kingdom BFC Advisory Board Jimmy Choo Emma Woolley United Kingdom BFC Advisory Board Kering Emmanuel Gintzberger United Kingdom BFC Advisory Board Klarna Luke Griffiths United Kingdom BFC Advisory Board MATCHESFASHION.COM Jess Christie United Kingdom BFC Advisory Board Mayor's Office Justine Simons United Kingdom BFC Advisory Board McArthurGlen Group Shaeren McKenzie United Kingdom BFC Advisory Board Mulberry Charlotte O'Sullivan United Kingdom BFC Advisory Board Reserved Michal Knaiz United Kingdom BFC Advisory Board River Island Liza Crompton-Pall United Kingdom BFC Advisory Board Rodial Maria Hatzistefanis
    [Show full text]
  • 40Th Anniversary London Ball Brochure
    Clare Brownlow trained as an artist at Edinburgh College of Art and then the Leith School of Art, where she specialised in oil painting and landscapes. Clare has exhibited in LA, Boston, New York, Singapore, Hong Kong, Calgary, Amsterdam, Edinburgh and London to name but a few. Clare’s work has been exhibited throughout the UK and she has fulfilled several commissions for overseas clients. “I love being able to travel to clients’ homes to see where they would like my art placed and what inspires them and discuss what they are after. I love a challenge.” Clare’s roots are firmly in the countryside, both with her family and through her art. Clare has grown up fishing, shooting and stalking where an enormous amount of her inspiration comes from and you can see that she is passionate about all wildlife. Clare has raised a considerable amount of money for various charities close to her heart through her original artwork. “There are so many worthy charities that need so much. If I can help just a little through what I love and give back to the wildlife that inspires me every day that makes me so happy.” Further Donation: Clare will donate 10% to the GWCT from orders made on www. clarebrownlow.co.uk by using the promotion code “GWCT40x” . pheasantfeatherart www.clarebrownlow.co.uk Clare Brownlow Pheasant Feather Art 07768 619777 [email protected] The Game & Wildlife Conservation Trust 40th Anniversary London Ball The Savoy 20th November 2019 Programme Contents page 6.30pm Champagne Reception Chairman’s Welcome 6 7.50pm Chairman’s Speech
    [Show full text]