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Comp shop analysing my chosen brand &OtherStories against competing brands Topshop & Whistles. (Please click, download and zoom on document to read)

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Brand report on &OtherStories

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Subculture research presentation into MOD fashion in the 1960's

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Mood Board - Mellow Yellow

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Notes taken in class exploring common terms in buying/ what does a BBA do?

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Mood Board - Deconstruction

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Notes taken in class exploring what is essential to being a buyer/ look into customer profiling

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Timeline & Research into the Iconic Trench Coat from past, present and into the future

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Trend Report exploring my two chosen trends from S/S 2020

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Range Plan influenced by Deconstruction trend for &OtherStories

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Treasure hunt group exercise exploring High End Brands in Knightsbridge

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Group task presentation exploring icon department store Selfridges - great initial insight into the world of fashion

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First attempt at a mood board - Orange trend

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Research into current trends using Edited in aid of trend report

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SWOT example - Arcadia

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Notes taken in class looking at how to plan range with price architecture

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Group class task - concept of an exciting new retailer in Carnaby Street

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Class task navigating photoshop for the first time to create a mood board

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Taking a look at &OtherStories brand values - research for brand report

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Infographic looking at &OtherStories sourcing strategy for a jumper

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OtherStories infographic | Piktochart Visual Editor

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Exploring fashion trends in 1940's

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Research into S/S 20 trends looking at details

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Group presentation task exploring Primark's sustainability strategies and what can be improved

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Fabric Board exploring Lingerie from properties, care and high end - low end retailers selling lingerie

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Technical Pack for a pair of trousers exploring the details of how a garment is prepared for a supplier

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Notes made in class whilst researching the history of the Trench coat

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Group task attempting to imitate a mood board

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Worksheet reviewing the fabric board

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Class notes exploring the responsibilities of a garment tech team

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Class notes exploring types of sourcing methods/ supplier KPI's

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Class notes exploring PESTEL factors of sourcing

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Class notes exploring the maths side of sourcing - margin, cost, negotiation

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Class notes exploring landed cost

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Class notes exploring what makes up the cost of a garment/ negotiating skills

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Exploring the fitting process - group role play task of fitting a black shearling jacket ( I was the garment technologist - notes below)

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Industry project exploring L.K.Bennett as a brand - great opportunity to give and get feedback from an established brand & buyer

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The purpose of this document collection is to allow students and teachers to develop their own questions and lines of historical enquiry on the social and cultural aspects of 1960s Britain. The documents themselves are arranged according to theme, so that sources relating to a broad issue are grouped together.

The themes, to name a few, include:

protest

youth culture

women and employment

the economy

fashion

modernism

new technology

race relations

the Profumo affair

A few documents have been included for political context, for example on Northern Ireland and Vietnam. As the documents are generally grouped in themes, they have not been arranged in chronological order.

Students will be able to work with a group of sources on a certain theme or linked themes. It is hoped that the documents will offer students a chance to develop their powers of evaluation and analysis and support their course work. Alternatively, teachers may wish to use the collection to develop their own resources or encourage students to 'curate' their own 'exhibition' of the most significant sources on the topic. Finally, there is an opportunity to consider film sources as interpretations of these events in relation to the documents by following the links to Pathé and the BFI provided above.

In October 1965, the Prime Minister, Harold Wilson, officially opened London's new Post Office Tower. A gleaming cylinder of metal and glass, the tower could hardly have been a more fitting symbol of the scientific optimism of a self-consciously 'go-ahead' decade. It was a monument not just to the white heat of the technological revolution, but to the sheer self-confidence of a society basking in unprecedented prosperity. From the new tower blocks springing up in cities across the country to the radios in teenagers' bedrooms, from Beatles hits and Bond films to comprehensive schools and nuclear power stations, Sixties Britain seemed - superficially at least - to be a country reborn in the crucible of affluence.

In some ways, the cliches of the 1960s ring absolutely true. With the economy buoyant, unemployment almost non-existent and wages steadily rising, millions of families bought their first cars, washing machines, fridges and televisions. Millions of teenagers, too, were transfixed by the sound of Radio Caroline and the look of Mary Quant - although, then as now, Carnaby Street catered more for tourists and day-trippers than the tiny handful at the cutting edge of fashion. Television transformed the imaginative landscape of almost every household in the country, not merely through pictures of faraway places, but through satirical programmes such as That Was the Week That Was. Even the nation's diet was changing, transformed not just by the arrival of foreign imports from chicken tikka masala to spaghetti bolognese, but by the relentless advance of the supermarket.

Beneath the glamorous veneer of swinging London, however, Britain under Harold Macmillan, Sir Alec Douglas-Home and Harold Wilson remained a remarkably conservative, even anxious society. Intellectuals worried that affluence and mass communications were undermining traditional working-class culture; in the Pilkington Report, published in 1962, it was hard to miss the disdain for commercial television. Meanwhile, despite the much-discussed stereotype of the 'permissive society', popular attitudes to moral and sexual issues remained strikingly slow to change. For all the excitement surrounding the landmark Lady Chatterley's Lover trial in 1960, or the liberalisation of the divorce, abortion and homosexuality laws later in the decade, most people held similar attitudes to their parents; in this respect, the generation gap was a media invention.

And although students marched on the US embassy in protest at the Vietnam War, or staged sit-ins at universities such as the London School of Economics, it is easy to forget that only one in ten young people became students. Polls showed that like their elders, most young people still supported the death penalty and were uneasy about large-scale Commonwealth immigration; by the end of the decade, it is probably no exaggeration to say that the Conservative maverick Enoch Powell, who was kicked off his party's front bench after his notorious 'rivers of blood' speech, was the most popular politician in the country. Even Mary Whitehouse, a ferocious critic of televised obscenity, especially on the BBC, commanded the instinctive support of tens, perhaps even hundreds of thousands of people.

By the end of the 1960s, the contradictions at the heart of the affluent society were becoming increasingly apparent. Despite Harold Wilson's promises of endless growth thanks to his National Plan, the economy was running into serious trouble. The Aberfan catastrophe in 1966, the devaluation of the pound a year later and the Ronan Point disaster a year after that all hinted at the political and social traumas that would blight the following decade. Perhaps most ominously, Wilson's last stab at modernisation, the trade union reforms outlined in the White Paper In Place of Strife, fell apart completely in 1969. A year later, the public punished the Labour government for its perceived under-achievement. A new and much unhappier era was at hand.
Dominic Sandbrook is the author of 'White Heat: A History of Britain in the Swinging Sixties'.

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The purpose of this document collection is to allow students and teachers to develop their own questions and lines of historical enquiry on the social and cultural aspects of 1960s Britain. The documents themselves are arranged according to theme, so that sources relating to a broad issue are grouped together.

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Marked by sweeping social change, the 1960s is a decade that still holds a special significance, seeing traditional hierarchies begin to dissolve and make way for the birth of the modern age.

The way people dressed was an obvious sign of shifting attitudes. In the 1960s, many chose, very publicly, to start looking different from the norm. Innovative designers and more informal modes of shopping drew a dividing line between the generations, creating a new market for youth fashion. Our collection tracks the different aspects of this fast-accelerating style revolution, with striking pieces from many of the decade's most influential designers.

I had to go to Sunday School with white gloves, hat and a handbag, just like a miniature mum, in a dress made by her - and exactly the same as hers! I mean, who wanted to do that?! We just wanted to kick against it all.

In the 1950s, fashion was dominated by the tastes of a wealthy, mature elite. Paris remained the engine of the fashion industry with sophisticated haute couture garments produced in regular collections by the likes of Cristóbal Balenciaga and Hubert de Givenchy (the creator of Audrey Hepburn's iconic black dress in Breakfast at Tiffany's, 1961). But times soon changed. At the dawn of the 1960s, young people's income was at its highest since the end of the Second World War. Increased economic power fuelled a new sense of identity and the need to express it. The fashion industry quickly responded by creating designs for young people that no longer simply copied 'grown up' styles. The Beatniks and the Mods (an abbreviation of 'Modernists') were particularly influential early in the decade. As committed to European-style clothes - characterised by high-impact colour and line - as they were to American soul and R&B music, Mods helped focus the tastes of young people everywhere, and inspired the look of bands like The Who, The Small Faces and The Beatles.

It took a new kind of shop to break the dominance of Paris and to fully ignite the potential of youth fashion. Boutiques were small, self-service shops set up in London by designers who wanted to offer affordable fashions to ordinary young people, offering a very different experience from the often rather formal 'outfitters' and old-style department stores. Being 'on the ground' allowed them to get to know their customer well and to supply their needs quickly. Designers Mary Quant and John Stephen were the pioneers of this new form of retail, having both opened their first stores back in the mid-1950s. They designed and stocked hugely influential fashions that initially nodded to the Mod aesthetic of bright, tailored minimalism.

Within just a few years the boutique scene had exploded. Young people flocked to 'see and be seen' at vibrant new stores, centred on London's Kings Road and Carnaby Street. These now-iconic shops sold affordable separates suited to a busy, urban lifestyle, allowing their customers to combine items in creative ways. The slim-fitting, brightly coloured outfits produced by London designers became hugely influential throughout the UK, as well as in Europe and America - helping to create the seductive image of 'Swinging London'. The mini-skirt, popularised by Mary Quant, quickly earned its place as the decade's most iconic look, as young women enjoyed the chance to 'dare to bare'. Later in the decade, influential designers included Barbara Hulanicki who, like Quant, focused on fun dresses with daringly short hem lengths, and Marion Foale and Sally Tuffin, notable for their quirky day wear and code-breaking trouser suits for women.

The 1960s fell in love with new, man-made materials, with young designers keen to find new angles on established forms. They exploited the potential of modern plastics and synthetic fibres - Perspex, PVC, polyester, acrylic, nylon, rayon, Spandex, etc. - to create easy-care outfits that were eye-catching and fun. The quest for a truly modern form of clothing was epitomised by the 'paper dress'. Made of cellulose, rayon or polyester, these disposable garments were first created in 1966 as a marketing stunt for an American company that manufactured paper sanitary products. Opportunistic manufacturers in both the US and the UK quickly turned these boldly printed dresses into a novelty must-have that remained popular until 1968.

As the decade went on, dress codes, even for the older generation, became increasingly relaxed: tailoring loosened, public figures like Jackie Kennedy began to favour shorter skirts, and fewer people wore accessories like hats and gloves. High-end fashion also embraced the new mood of informality. From the mid-1960s onwards André Courrèges pushed couture tailoring to create audaciously modern clothes. His angular mini-dresses and trouser suits, often produced in what became known as a 'Space Age' white-and-silver colour scheme, were worn with astronaut-style accessories like flat boots, goggles and helmets. He was also unafraid to champion new, cheap materials when they best served his striking designs.

Pierre Cardin, Emanuel Ungaro and Yves Saint Laurent were among those European designers who successfully translated a couture aesthetic - producing bold, futuristic designs for young people who wanted everyday wear. Cardin, in particular, was excited by new materials including vinyl, silver fabrics and large zips, creating radical forms like his celebrated 'visor' hats. Italian designer Emilio Pucci was also influential. He produced sophisticated clothing for the jet set, but his designs were far from conservative. The first designer to exploit a signature style for high-fashion licensing, Pucci created a range of colourful printed silks. These were used for seemingly endless scarves and ties, as well as the loose-fitting dresses and pyjama suits whose outlines reflected a growing interest in ethnic style. Pucci's busily flamboyant designs prefigured the psychedelic patterns of the drug-fuelled counter culture.

By the late 1960s, style had become quite theatrical. Fashion sanctioned longer hair for both men and women, as well as a flared outline for trousers. Men enjoyed the newly granted freedom to be flamboyant, wearing suits accessorised with bright, bold shirts and high-heeled boots, and, increasingly, as clothes became more unisex, shopped in the same boutiques as women. With war in Vietnam and student uprisings in France, opinion-formers began to disapprove of Pop's materialistic sheen. People moved towards Eastern culture for inspiration. The ideas and mix-and-match aesthetic of California's hippy movement crossed the Atlantic, giving people free rein to 'live different', and to sport clothing from a range of non-Western cultures. Fashion leaders began to sport long, loose and layered outfits, inspired by second-hand, or 'vintage' styles, often from the late nineteenth century and the 1930s. London's Kensington Market became a mecca for young people wanting to create their own alternative look, selling lots of colourful clothing, much of it sourced in India. This new direction was reflected in the fashions of Zandra Rhodes, Foale and Tuffin, and Yves St Laurent, all of whom demonstrated an interest in ethnic textiles.

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Discover how a new kind of fashion helped mark the arrival of the modern age

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From rainy Scotland in the 1820s, to the WWI trenches and later Hollywood (via Burberry and Aquascutum), the trench coat as we know it today has a heritage far beyond the catwalk.

The myth of the trench coat is that it was worn by soldiers in the muddy trenches of the First World War, giving the garment its name and rugged appeal. In reality, it evolved from waterproof coats created by Scottish chemist and inventor Charles Macintosh and British inventor Thomas Hancock (founder of the British rubber industry) in the early 1820s. And those that did wear it during the war were primarily of officer rank and above, who purchased the trench themselves as part of their uniform - a marker of social distinction and class, even in the army.

But, back to the start of the trench coat's lineage in the 1820s. Macintosh and Hancock's rain-repellent garment, the "mack", was made from rubberized cotton and intended as outerwear for the well-dressed man whose days involved riding, shooting, fishing, outdoor activities and military service. As technology evolved, the rubber coating became more breathable, less sweaty, and better at repelling water. In 1853, a Mayfair gentleman's tailor named John Emary developed an improved raincoat, which he produced under the name of his company Aquascutum (from Latin, meaning "water" and "shield"). Thomas Burberry, a young draper from Hampshire followed suit in 1856 with the founding of his eponymous company. By weatherproofing the individual strands of cotton and wool fibre rather than the finished textile, Burberry's "gabardine" fabric, invented in 1879, was the most breathable yet, proving popular with explorers, aviators, and other adventurous gentlemen.

Both Aquascutum and Burberry take credit for having "invented" the WWI trench coat, but the truth is that the two firms helped popularize a type of coat already in existence, adapting it for military use. The image of the dashing upper-class officer, valiantly aiding in the war effort, while wearing his trench coat helped cement the panache of the style. Burberry and Aquascutum trench coats were expensive, affordable only for the well-to-do, but cheaper version were marketed by scores of other retailers - much like today. Foreign soldiers and civilians began wearing the coat during the war, buying in to the patriotic aspect of the style.

This WWI trench coat (the term was first used in print in a tailoring trade journal in 1916) was double-breasted, tailored to the waist, and flared to a below-the-knee hemline. The belt was equipped with D-rings for hooking accessories. The caped back allowed water to drip off, while the storm flap at the shoulder provided ventilation; the pockets were deep, the cuffs could be tightened, and the buttons at the neck helped protect the wearer from poison gas. Some coats came with a warm, removable liner, which could be used as bedding if needed. Epaulettes on the shoulders indicated the rank of the wearer. During the war, the coat was issued in khaki to provide the best camouflage.

Although it was again worn by officers during WWII, the coat began to shed its most overt military utilitarianism in the 1940s, as it began to be romanticized by Hollywood. Replacing the image of the officer with that of the fast-talking journalist, slick gangster, guarded detective, dashing spy and seductive femme fatale, Hollywood helped the trench coat enter a more fashionable wardrobe.

Worn in some of the most iconic scenes in film history - Humphrey Bogart in Casablanca, Audrey Hepburn in Breakfast at Tiffany's, Marlene Dietrich in A Foreign Affair, Meryl Streep in Kramer vs. Kramer - the trench became synonymous with intrepid men and smart women.

Today, the trench coat has been revisited by designers such as Martin Margiela, Rei Kawakubo and Jean-Paul Gaultier, and is still an enduring signature for its originator, Burberry.

Available in various styles, color combinations, lengths, and with or without many of its original details, the trench coat might have lost its functional military connotation, but it still very much retains that classic caché.

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Marie Périer translated by Rosa Cecilia Gosling

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Vogue encyclopaedia: The history of the trench coat

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From rainy Scotland in the 1820s, to the WWI trenches and later Hollywood (via Burberry and Aquascutum), the trench coat as we know it today has a heritage far beyond the catwalk.

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Discover the history of the Aquascutum Trench Coat. Ever since our founder, John Emary, produced the first water repellent woollen...

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Trench Bespoke

An innovative new Burberry trench coat personalisation experience has arrived at our London flagship. Digitally customise one of our iconic silhouettes and create something truly exclusive with our offering of motifs and details - from embroidered monogramming to Vintage check linings. Discover the bespoke service in-store now.

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An innovative new Burberry trench coat personalisation experience has arrived at our London flagship. Digitally customise one of our iconic silhouettes and create something truly exclusive with our offering of motifs and details - from embroidered monogramming to Vintage check linings. Discover the bespoke service in-store now.

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We're Taking Orders Again

Three weeks ago, we closed our retail stores and distribution centers for the health and safety of our employees and customers. After much consultation and a lot of hard work, we're pleased to announce patagonia.com is back in business.

Thanks for Your Patience

As we adjust to our new safety procedures, order processing may take up to 7 days. All orders include free ground shipping; expedited shipping is on hold for now. Returns and exchanges are being accepted but please expect delays due to staffing and safety requirements. Learn more

Keeping Things in Perspective

Selling clothing isn't an essential service. We all know this. More than anything, we are humbled by and extremely grateful for the healthcare professionals, public servants, farmers, grocers, delivery folks and many others who are working their hardest right now. Thank you.

Retail Stores, Repairs and Dealers

We're excited to get back to work, but our values haven't changed. As always, we encourage you to buy only what you need, buy local when possible and repair what you already own. Our retail stores and repair services remain closed for now, but we have DIY repair guides available online and Patagonia Dealers in your area.

We appreciate the words of encouragement and support you've shared with us. Stay safe, be kind to one another and thanks for stopping by.

Shipping and Safety Details

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How to Recycle Patagonia Garments - Patagonia

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We're Taking Orders Again Three weeks ago, we closed our retail stores and distribution centers for the health and safety of our employees and customers. After much consultation and a lot of hard work, we're pleased to announce patagonia.com is back in business.

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Sustainability has rocketed up the fashion agenda over recent months, as brands and retailers come under pressure from all sides - from consumers to MPs - to reduce their impact on the environment.

There is now a clear commercial imperative to become more sustainable. To support the industry in meeting this goal, we launched a survey to find out how you are approaching sustainability today, what barriers you are up against, and what you think is needed to achieve real change.

Following on from the environmental audit committee's (EAC) report, Fixing Fashion, published in February, we wanted to explore how companies across this complex, interconnected industry are tackling the issue of sustainability. The survey was open to companies of all sizes - from smaller brands, retailers, manufacturers and suppliers, to those with a £500m-plus annual turnover - and attracted more than 370 responses.

If companies will not change voluntarily, the government must act to help fix fashion

Mary Creagh, chair of the environmental audit committee

Most - 91.6% - agreed that their customers are showing a growing interest in environmental issues. However, many complained that shoppers are not willing to pay more for sustainable product. Several respondents are producing sustainable collections and using recycled fabrics and packaging, but by no means the majority. Less than half (42.6%) of the fashion brands and retailers that responded said they have a sustainable range, while 53.7% said they use recycled materials in their product.

Asked what the main barriers are to becoming more sustainable, the most common reason - cited by 60.3% of respondents - was that it is drives up costs. This was followed by lack of consumer demand - including an unwillingness to pay for sustainable fashion - at 36.2%, and a lack of the required knowledge and skills in the business (34%).

Encouragingly, however, four out of five (80.5%) agreed that sustainability was important to their senior leadership team, and more than half (59.6%) said their firm is investing more in sustainability this year, compared with 2018.

Many respondents did not know how their company measured sustainability, while others pointed out that it was difficult to measure as there are so many different elements to factor in. This is something Drapers will look at in more detail over the coming months.

The fashion industry agrees that the government must do more to support and enforce change

We also put some of the EAC's key recommendations to you through our survey. The EAC called on the government to change the fashion system to end the culture of throwaway fashion through a series of legislative changes and new taxes. The government has yet to publish a response.

Our survey shows overwhelming support for many of these recommendations. The fashion industry agrees that the government must do more to support and enforce change.

Responding to Drapers' findings, Mary Creagh, Labour MP and chair of the EAC, said: "We were clear in our report that fashion retailers must take responsibility for the clothes they produce. Brands, manufacturers, retailers and suppliers recognise that customers want fashion to be sustainable, yet the evidence that they are delivering on targets is much lower - [Drapers' survey shows] only 40% of companies re-use or recycle unsold stock and 12% offer in-store take-back schemes.

"This has to change. If companies will not change voluntarily, the government must act to help fix fashion and set the industry on a net-zero path to 2050 [achieving carbon neutrality by balancing carbon emissions with carbon removal or offsetting, or eliminating emissions altogether]."

Join the world's leaders in the field at Drapers Sustainable Fashion 2020 in London on 11 March.

The event is for fashion brands and retailers, clothes manufacturers, supply chain experts, innovators and anybody for whom sustainability matters. We are creating a programme of hard-hitting talks, projects showcasing sustainability in action, and start-up innovation that is pushing the boundaries of the possible.

Sustainability in fashion today

Of the brands, retailers, suppliers and manufacturers that responded:

55.6% use recycled materials in their packaging

53.7% use recycled materials in their product

51.9% use organic or sustainable cotton

42.6% have a sustainable range

40.7% re-use or recycle unsold stock

35.2% source in the UK (thus lowering their carbon footprint)

12% offer an in-store take back scheme or textile banks

Shoppers want sustainable fashion

Supportive leadership

Measuring sustainability

Many respondents do not know how their company measures sustainability, while others point out that the complexity of the subject makes it difficult to assess. However, we can pull out some examples of how fashion companies are monitoring their environmental impact:

Measuring the proportion of styles made with sustainable or recycled fibres/fabrics

Working out the difference in carbon and greenhouse gas emissions between the use of different fabrics, and choosing the lowest

Assessing the company's carbon footprint, including collecting information linked to air shipping of products from various sourcing countries

Measuring energy and water usage across different parts of the business

Looking at the proportion of packaging that is recycled

It is very difficult to measure sustainability. It is a huge and diverse subject. Every day, we try to do better than yesterday. However, we are able to measure the amount of styles being made in more sustainable fibres.
[Survey respondent]

We don't measure it, we just do what we can.
[Survey respondent]

We make sure we can say we have switched to a commonly accepted sustainable alternative at every touch point of the business, from packaging to product, to electricity supply, to logistics.
[Survey respondent]

Case study: Fat Face

"We have had a responsible sourcing team in place since 2015, which consists of two full-time employees. It is effective because of the engagement of all the other teams, such as buying, design and sourcing.

"We worked to achieve an agreed, business-wide strategy that improves our performance and customers' perception of our sustainability, making a meaningful impact on the issues that we care about. To do this we focused on making the most sustainable choices for our business; communicating our goals and achievements with crew and customers; always considering the customer and how they perceive our brand; owning our goals and the actions we take to achieve them; and measuring the impact of our actions.

"A focus of the strategy creation was ensuring we set SMART [specific, measurable, achievable, relevant and time-bound] goals. We weren't comfortable with setting goals that couldn't be measured.

"When it comes to measurement, we make the most of existing data and systems rather than reinvent the wheel, and make sure that any work we do in collaboration with either suppliers or external partners has data and measurement built in from the start. "
Barriers to becoming sustainable
Asked what the main barriers are to becoming more sustainable are, the most common reason (cited by 60.3% of respondents) is that it is too expensive/drives up costs. This is followed by lack of consumer demand - including an unwillingness to pay for sustainable fashion - at 36.2%, and a lack of the required knowledge/skills in the business ( 34%).
Investment in sustainability is rising Top priorities
Respondents were asked to name their top three priorities when it comes to sustainability in 2019. By far the most popular response or was some form of recycling - whether to use more recycled fabrics, recycle more unsold stock or encourage recycling of used clothing. This was followed by the use of more sustainable fabrics and fibres (including cotton), improving packaging, eradicating unnecessary/single use plastic, and reducing textile waste.

The top 10:

Re-use, recycling and repair initiatives, including using more recycled materials, and introducing take-back schemes

Technology
Respondents are using a range of technologies to support their sustainable objectives, including: 3D design to cut down sampling waste and the need to travel; electric delivery vans; blockchain to improve traceability; fabric and fibre innovations; returns management software to reduce carbon footprint; new packaging materials; robots and artificial intelligence; microfibre filtration.
Government intervention is needed
85% said the government is not doing enough to the help the fashion industry to become more sustainable.

However, our respondents broadly supported the recent recommendations from the environmental audit committee. The only recommendation that did not receive strong support was the 1p charge per garment on producers of fashion ( 68.7% somewhat or strongly agreed with this recommendation, and 31.8% disagreed - whereas the others had around 90% agreement).

Recommendation

Strongly agree

Somewhat agree

Somewhat disagree

Strongly disagree

Respondents called on the government to do more, including:

Investing in recycling infrastructure

Proving grants to help businesses become more sustainable

Making certain unsustainable practices illegal

Working on ways to educate the consumer about sustainability

About the survey

Carried out online between 19 March and 26 April 2019

372 respondents

52.7% run or work for a fashion or footwear brand/retailer, 19.9% work for an academic organisation, and the rest were a mix of suppliers, manufacturers and agents.

The size of business varied: 45.8% said their organisation had an annual turnover of up to £36m, but 21.9% said it was £500m-plus.

48.4% of respondents classed themselves as managers, including 41 CEOs, 17 owner/proprietors, and 11 managing directors.

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Drapers research: how sustainable is the fashion industry?

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Sustainability has rocketed up the fashion agenda over recent months, as brands and retailers come under pressure from all sides - from consumers to MPs - to reduce their impact on the environment. There is now a clear commercial imperative to become more sustainable.

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Drummond-Smith was appointed in April this year on an interim basis to assist the board through the restructuring options for the group. Following the completion and approval of the group's seven company voluntary arrangements, he has now stepped down. There is now a process under way to appoint a new chairman.

It comes just two days after David Shepherd stepped down from the company as chief operating officer, after more than 25 years at the company.

Ian Grabiner, chief executive of Arcadia, said: "Jamie was appointed on an interim basis to assist the board through the restructuring options for the group. Following the successful completion and approval of the group's CVAs, Jamie has stepped down from his role. On behalf of the board, I would like to thank Jamie for his support and wish him well for the future."

Earlier this week Arcadia denied reports that the business is splitting into separate brands ahead of a possible sale. Reports claimed the company has already started "untangling shared functions such as human resources and IT", but was waiting for its US legal challenges to be resolved before forging ahead.

Two US landlords, Vornado and Caruso, withdrew their legal challenges against Arcadia Group's CVAs last week.

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Drummond-Smith was appointed in April this year on an interim basis to assist the board through the restructuring options for the group. Following the completion and approval of the group's seven company voluntary arrangements, he has now stepped down. There is now a process under way to appoint a new chairman.

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Nicopanda is a fashion and lifestyle brand developed in 2011 by award winning creative director Nicola Formichetti.

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COLLUSION | Shop COLLUSION dresses, denim and knitwear | ASOS

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Discover COLLUSION at ASOS. Free Delivery. Shop our range of COLLUSION dresses, denim and knitwear.

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George Clinton, the Parliament Funkadelic founder and style icon, was front row at Chitose Abe's Sacai show today in a bedazzled cap, jeans, trainers, Sacai T-shirt, and floor-length metallic jacket-dressed down by his standards. While developing her new Spring collection, Abe asked Clinton if she could use the cover of his 1978 album, One Nation Under a Groove. The 78-year-old legend said yes. Message tees have become as fundamental to Sacai shows as Abe's famous hybrids. They illuminate her tastes-she reads the New York Times and likes Coen brothers movies, judging by her past projects. This season there was an especially pleasing synergy between her P-Funk partner and the collection. Abe was after a sense of harmony-there's so little of it in the world at the moment. If anything can bring us together it's Clinton's famous tune, which played on the soundtrack as he bopped along shooting iPad videos.

The Funkadelic record cover T-shirt was one way Abe communicated the sense of unity she wanted. Another was the map print she used for the series of opening and closing looks; the opening in color was more intense than the closing in black and white. These silhouettes had the asymmetry and lightness of scarf dressing; they'd make quite a statement while remaining easy to wear. Elaborating on the idea of harmony, many of the outfits that looked like three separate items-a shirt, pants, and trench, say-were actually jumpsuits. They were feats of patternmaking, but there was less hybridizing here than usual. Abe also experimented with geometric insets. They added new volume to jackets, and circling the leg they produced a flared ruffle hem at the ankle. At many other shows this season, stylists buckled or tied sandal straps on the outside of pants; this felt like part of the same eccentric hem story. Not that Abe's looking left or right. All the scarf asymmetries and loose volumes conveyed another timely sentiment: freedom.

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Sacai Spring 2020 Ready-to-Wear Fashion Show

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George Clinton, the Parliament Funkadelic founder and style icon, was front row at Chitose Abe's Sacai show today in a bedazzled cap, jeans, trainers, Sacai T-shirt, and floor-length metallic jacket-dressed down by his standards. While developing her new Spring collection, Abe asked Clinton if she could use the cover of his 1978 album, One Nation Under a Groove.

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Burberry Spring 2020 Ready-to-Wear Fashion Show

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The complete Burberry Spring 2020 Ready-to-Wear fashion show now on Vogue Runway.

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A-COLD-WALL* Official Online Store | ACW

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Shop the latest A-COLD-WALL* (ACW) presented by Samuel Ross now on the official online flagship. Worldwide express shipping available.

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SS20 is shaping up to be the season where graceful, fluid silhouettes reign supreme - if London Fashion Week was once famed for its art-school edginess, it has come of age. The capital's frontline talent Simone Rocha, Molly Goddard, JW Anderson and Richard Quinn delighted audiences with designs that champion exquisite beauty.
Read more: Vogue's ultimate guide to spring/summer 2020 fashion trends
Here are the five key trends to know from London Fashion Week SS20:

The trend: Drawing-room drama

Where we've seen it: Simone Rocha, Erdem, Richard Quinn

What you need to know: AW19's love affair with voluminous gowns shows no signs of waning. Capacious dress silhouettes are fast becoming a highlight on London's catwalks where designers are reimagining drawing-room opulence (complete with floor-sweeping hemlines) for the Airbnb generation. As LFW draws to a close, revisit Simone Rocha's closing look: a delicately ballooning, round-neck gown that signed off a hauntingly beautiful SS20 show in a once-forgotten north London theatre.

The trend: Draping

Where we've seen it: JW Anderson, Richard Malone, Supriya Lele

What you need to know:London's star designers carried NYFW's revival of goddess-like draping (spotted at Proenza Schouler, Sies Marjan and Oscar de la Renta) forward with an artful reboot of the feminine springtime dress. JW Anderson's fluid, form-grazing designs were a unanimous hit among fashion editors who proclaimed that his easy-going elegance (with added sparkling adornment) has never looked so good.

The trend: Scarf dressing

Where we've seen it: Burberry, Preen by Thornton Bregazzi, Erdem

What you need to know: The once prim silk scarf is leading spring 2020's directional new plans for outerwear. The look, which is sure to inspire cohorts of street-style fans, is all about how you style the formerly outmoded accessory. Will you wear yours fastened around the waist (spotted at Burberry), knotted across one shoulder (as seen at Erdem) or as a dress (Preen)?

The trend: Deconstructed trench coats

Where we've seen it: Burberry, JW Anderson, Ports 1961

What you need to know:Burberry creative director Riccardo Tisci 's ingenious retake on conservative British style can already be felt on the front row and among his legions of celebrity fans (both Rosalía and Hunter Schafer were in town to watch his SS20 catwalk yesterday). The fact that showgoers anticipate the trench coat moment does nothing to take away its starry appeal. How will we consume our gabardine for spring? Slashed to reveal a corseted mini dress or the bare length of the arms (JW Anderson).

The trend: Crisp cottons

Where we've seen it: Molly Godard, Rejina Pyo, Roksanda

What you need to know: Molly Goddard brought audiences in close for her SS20 show. So close, in fact, that the FROW's knees were occasionally grazed by "crunchy cottons" as the models (including label muse, Edie Campbell) weaved through the narrow catwalks that carved out a maze-like pathway through the vaulted central London sports hall. The result? A crash course in sinuous construction and expert layering. If there ever was a celebration that the very simplest of fabric, cotton, can offer a universally lighter state of mind for spring, this was it.
More from British Vogue:

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5 Fashion Trends From LFW SS20 To Know Now

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SS20 is shaping up to be the season where graceful, fluid silhouettes reign supreme - if London Fashion Week was once famed for its art-school edginess, it has come of age. The capital's frontline talent Simone Rocha, Molly Goddard, JW Anderson and Richard Quinn delighted audiences with designs that champion exquisite beauty.

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There was an arrestingly odd elegance stalking the JW Anderson runway. His women in draped dresses-who maybe radiated something of the aura of pagan sibyls from the future-were walking between thought-provoking works by the Canadian installation artist Liz Magor, who specializes in framing the detritus of everyday domestic life in see-through boxes. Her timely influence was on Anderson's mind in fittings: "This idea of looking at how do we take things that we no longer want and reposition them. How can we make the things we create today actually last for a long time?"

That tension between innovation and tradition was palpable in the way he placed crystal jewelry at the heart of the show. Crystal decoration has emerged as a theme of the season in many collections; here, he wrought it into a terrific combination of jeweled bras tied on with rope straps and chunky belts worn to one side of the hip. Reiteration of variations on a theme are persuasive in his work. Cotton canvas dresses had holes surrounded by crystal embroidery ripped into one side. The futuristic goddesses had drapey asymmetrical tunics, sometimes in print, sometimes in gold and silver lamé.

A growing sophistication is a mark of how far Anderson has come. Where his creativity used to be fast and furious, sometimes to the point of confusion, now it's focused on tailoring-experimental " Antoinette-ish" volumes, as he called them, balanced against more regular coats with contrasting lapels-and accessories with the crafty quirkiness he's so good at.

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JW Anderson Spring 2020 Ready-to-Wear Fashion Show

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There was an arrestingly odd elegance stalking the JW Anderson runway. His women in draped dresses-who maybe radiated something of the aura of pagan sibyls from the future-were walking between thought-provoking works by the Canadian installation artist Liz Magor, who specializes in framing the detritus of everyday domestic life in see-through boxes.

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Designers turned up the volume for the new season with a focus on BDE - big dress energy - as oversized dresses and exaggerated silhouettes were seen everywhere. While the extreme styles of the catwalk made a statement, a more pared-down yet equally pumped-up dress and skirt shape will trickle down to the mainstream.
Rainbow road
Bold and bright colours packed a punch on the London catwalks in solid, saturated blocks. Although Victoria Beckham's purples and greens stood out, there is a whole spectrum of rainbow shades to buy into.
Over the top
A fresh approach to layering emerged in London this season, where thin, diaphanous separates in varying degrees of transparency and opacity were worn in an artful, collaged way. Emerging names Charlotte Knowles and Supriya Lele were the best examples, where a play on layering and sheer fabrics created a contemporary yet covered-up sexiness.
Trail blazers
Bet on a blazer for spring 20, as tailoring remains a mainstay of collections and a must-buy. In London, designers elevated boxy blazers with details such as regal sashes at Erdem and embellishments at JW Anderson.
The feeling's neutral
The "new" neutrals trend that began to emerge in London last season, introduced by Burberry, carried forward into another season. Think beige, cream and camel mixed and matched in a palette of similar shades across entire outfits - as much a colour trend as a styling trend, as designers went tonal.
In the trenches
Transitional trenches remain a key spring style, already noted in the New York collections. In London, the city's creative designers reworked trenches to offer something fresh - chopped up and deconstructed at JW Anderson and trench coat stalwart Burberry, or featuring interesting additions, such as pleated silky panels at Huishan Zhang.
Bunches of lilacs
Pastel tones were a trend of note from New York Fashion Week, and while the palette did carry over to the UK capital, it was the soft purples and lilacs that were prominent here, across everything from girly dresses to classic tailoring.
Ready to ruche
Ruching details wriggled their way into many collections this season, creating gathered and pleated details across many different styles. Alongside classic gathering, several designers introduced pull strings and toggles to create more defined ruching and sculpt designs around the body.
Back in the black
Although colour, print and pattern bought an optimistic air to many collections, there was a significant amount of black at LFW, which is unusual for a spring season. Worn in head-to-toe blocks, stark black allowed interesting silhouettes to shine and accented designers' fabric choices - for example, Supriya Lele's sleek and sexy rubber coat.
A twist on lime
A palette of greens also made an impact in the spring 20 collections of LFW. The freshest tones focused on zingy limes and bright slime green shades.

The 10 trends of London Fashion Week spring 20

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The 10 trends of London Fashion Week spring 20

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Designers turned up the volume for the new season with a focus on BDE - big dress energy - as oversized dresses and exaggerated silhouettes were seen everywhere. While the extreme styles of the catwalk made a statement, a more pared-down yet equally pumped-up dress and skirt shape will trickle down to the mainstream.

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People sometimes ask how Primark products can be so cheap. Here we explain how we make savings to keep prices low