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Presentation on Coco Chanel and her key designs.

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Key looks, idols, icons and subcultures of this decade.

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Presentation about Selfridges and its creator Harry Selfridge

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In groups, we went to different shops to evaluate the customer experience within different stores.

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In groups, we went to different shops to evaluate the customer experience within different stores.

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Group work done about what is sustainable fashion and which designers seem to be leading the way.

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Madonna wearing the cone bra in Japan 1990. 

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Madonna wearing the cone bra in Japan 1990. 

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She wore  it as a symbol of female empowerment.
The corset rebelled against the beautiful definition of the female body that for so many centuries had been dictated.

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Brands that embrace genderless fashion, focusing on clothes for people and not genders only.

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Brands that embrace genderless fashion, focusing on clothes for people and not genders only.

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Fifty-six percent of Gen-Z consumers already shop outside of their gender."​Bussiness of Fashion, 2019​

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Fifty-six percent of Gen-Z consumers already shop outside of their gender."​Bussiness of Fashion, 2019​

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By Bloomberg December 6, 2019 17:32

NEW YORK, United States - While gender-free clothing has been on runways and in fashion magazines for years, building a retail space around the concept was until recently seen as financially risky. Now, some companies are out to prove that the cultural fulcrum has shifted enough to give it a try.

According to Pew research, 35 percent of Generation Z knows someone who identifies as non-binary and prefers gender neutral pronouns - and millennials and even Generation X aren't far behind. Retailers, and in particular clothes sellers, have taken notice.

"I do believe gender-neutral fashion is the future," Fashion Institute of Technology Professor Dawnn Karen said. "I feel like we're moving towards that."

Holding itself out as the first gender-free store in New York, The Phluid Project in Manhattan's Soho neighbourhood is part of this nascent segment. The space is a combination store, café and event space geared toward the LGBTQIA+ community.

Phluid Project founder Rob Smith, 54, spent 30 years as a retail executive before opening the store. While Phluid has been up and running a few years now, only recently has the concept of making a commercial go of gender-free clothing spread to bigger corporate retail.

The ascent of Generation Z, Smith explained, is the moving force.

"There is a paradigm shift that is currently happening in our society. An unlearning and a relearning," Smith said. "By next year, Gen-Z [will account] for one-third of the national population, which accounts for 40 percent of US spending power. It's time to change with the times and generations, because their voice and power is undeniable."

It's time to change with the times and generations, because their voice and power is undeniable.

"It became clear to me," Smith said, "that there was a need to shatter the historic infrastructure of companies we're operating under."

On a visit to the Phluid Project earlier this year, there were none of the traditional signs to send you to specific clothing departments. Non-gendered mannequins stood atop tables, sporting dresses, pants, shirts and graphic tees that say, "They Power," a reference to the pronoun preference of many non-binary individuals.

The company said that, after spending its first year focusing on establishing the brand and a unique open sales floor experience, it's now looking to better develop its social media and e-commerce platforms, as well as strategic partnerships.

This summer, Phluid partnered with HBO and its series "Euphoria," a drama about growing up in Gen-Z America, and set up several pop-ups across the country, offering shoppers a capsule collection and panel discussions. Phluid also has a partnership with French clothing label Equipment on a gender fluid collection.

Big clothing retailers like H&M are starting to incorporate gender fluidity into a larger retail strategy, launching collections such as Denim United and last year's collaboration with . Still, H&M doesn't plan to completely eliminate gendered clothing or gendered clothing sections. LVMH-owned Sephora also started a campaign this summer aimed at an image of broader inclusiveness.

Big clothing retailers like H&M are starting to incorporate gender fluidity into a larger retail strategy.

Fifty-six percent of Gen-Z consumers already shop outside of their gender, ignoring clothing that's labeled and categorised into gendered sections, according to a study by advertising agency J. Walter Thompson. Smith is very much acquainted with how those decisions are made. Before the Phluid Project, he worked for Nike, and eventually moved on to become an executive vice president at Macy's, and then Victoria's Secret. He also served on the board of shoe-seller Steve Madden.

"I started to share the idea with friends and business partners and got a cold reaction," Smith said of the Phluid Project's beginnings. "It is difficult, and understandable, to go to investors with an unproven concept."

"Other brands have to worry about losing customers because their concepts and missions are often antiquated," Smith said. "We are a blank canvas."

His store not only sells gender-neutral clothing: it seeks to guarantee that its clothing comes from designers who support the gender-free clothing mission. The store's original clothing only makes up 50 percent of its inventory. The rest is made by designers aligned with the company's mission and concept. The store doesn't shop vintage or buy from wholesale.

The Phluid Project isn't the lone retailer in this space. Labels such as Radimo and Official Rebrand - which emphasises sustainability - are on the same path.

According to The Business of Fashion 's 2018 State of Fashion research, 66 percent of millennials worldwide are willing to spend more on brands that are sustainable. In response to this data, Official Rebrand is "turning unsold goods into new, one-of-a-kind collections," said MI Leggett, its founder. Official Rebrand modifies donations with design and alterations, including by painting clothing with phrases and figures.

"The first pieces came from my own closet," Leggett said. "Now I take clothing donations from friends, family, and clients commissioning custom work."
By Alexis Benveniste; editor: David Rovella.

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By Bloomberg December 6, 2019 17:32 NEW YORK, United States - While gender-free clothing has been on runways and in fashion magazines for years, building a retail space around the concept was until recently seen as financially risky. Now, some companies are out to prove that the cultural fulcrum has shifted enough to give it a try.

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Group 3 Kate Middleton and Prince William's kiss

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Group 3 Kate Middleton and Prince William's kiss

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Kate and William are kissing publicly for the first time. Their bodies are facing the camera. Even though they're kissing they still seem very composed, as they knew they were being watched by millions. The children next to them seem cheerful and the small girl in the bottom left is holding her ears with her head, looking angry or uncomfortable.

The photo is trying to show their happiness and wealth. The audience was the whole world, it was the most watched wedding since Charles and Diana.

Denotation: White, pearls, tiara, lace, badges, red, gold buttons.

Connotation: Wealth, conservativeness, power, royalty, happiness.

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They look at you on the same level, portraying confidence, as if saying "if you look like us, you're good".
Community, seriousness, inclusivity.

White: they're all wearing white, which can signify peace.

Blocks of wood: history heritage.

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Integration of economies, industries, markets, cultures and policy - making around the world.

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Integration of economies, industries, markets, cultures and policy - making around the world.

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- Lower cost for products;
- Decrease in poverty;
- Increase in employability;
- Spread of technology;
- Higher standards of living;
- Trade agreements;

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- Cheap labour;
- Harder to control standards;
- Increase of shipping;
- Loss of cultural identity;
- Wealth not distributed fairly;

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Department stores

Boutiques

Convenience stores

Supermarkets

E-commerce stores

Super Stores

Haute Couture

M commerce

Chain stores

Outlet

Markets
Mailorder
Franchise
Concession
Hybrid stores

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FEATURES NEEDED TO MAKE A GOOD INDEPENDENT RETAILER

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FEATURES NEEDED TO MAKE A GOOD INDEPENDENT RETAILER

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- Lighting
- Good VM
- Welcoming environment
- Personalised customer service
- Good temperature
- USP
- Good use of Omnichannel
- Customer loyalty scheme
- Events
- Careful volume of stock

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Digital roles: since covid, companies have felt the need to hire people to work for the digital team. Customers are shopping online more than ever so it's very important for a company to have a good team dedicated to it. There's way more data available in digital, which help companies understand trends, sales, etc. "One in seven UK retailers have created new digital roles as a result of an increase in online shopping driven by the pandemic, a study by Barclays Corporate Banking in September showed"

Diversity team: A company that has actively hired people from all sorts of backgrounds and races can perform better as it has a better group thinking. "employees to become more aware of their own potential biases", "diverse teams may outperform homogenous ones in decision making because they process information more carefully."

Sustainability/Ethical team: team that works to meet the sustainability goals of the company. Maintaining ethical behaviour with suppliers etc.

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Emerging from the depths of digital came something rather unusual these past few days: London Fashion Week, in real life. Since September 15, London has played host to some 130 designers and countless parties, as well as the industry's usual camera-loving hordes gathered outside every venue. In many ways, it felt as though the last 18 months had never happened.

But the return of fashion week was tempered by a sense of nostalgia. From one designer to the next, the collections reflected on the past - some further back than you'd think - while also looking to the future. Labels such as Stefan Cooke refined their signatures, while S.S.DALEY showed the industry how to pull off an unforgettable debut that dominated the conversation on Sunday evening. Above all, it was heartwarming to see the city's talents back on their feet after a grueling period for young creatives. Spring/Summer 2022 felt like the result of months of calm - and out of that comes chaos and glee.

Below, check out HYPEBEAST's most noteworthy presentations of the week, as the industry's attention turns towards Milan.

Most designers, when putting on their first solo show, opt for a low-key debut. Not so, Steven Stokey-Daley. In a collection that HYPEBEAST described as the designer "finding his voice," Stokey-Daley didn't just serve up garments, but an emotive mini-play (with help from the National Youth Theatre). But the raw emotion paired with a collection as polished as this made for a debut to remember, showcasing a choice array of paisley silk pieces and oversized knits. Thus far, Stokey-Daley has been best known for his red carpet collaborations with the likes of Harry Styles and Josh O'Connor. At this presentation, he emerged as a designer with a fully-fledged creative vision.

After rapidly gaining attention for his daringly revealing womenswear - which has already been worn by the likes of Rihanna, Zendaya, and Michaela Cole - Maximilian Davis has steadily been turning his attention to menswear. In his first runway collection, as part of the Fashion East incubator program, Davis transposed his slick, sexually charged minimalism onto men's looks, from block-printed denim to tailored coats backed with tomato-red nylon. Notable, too, were the headpieces, created in collaboration with Nasir Mazhar.

Labrum is another brand that tells a story with everything that it does - its raison d'etre is to uplift and elevate the perception of British immigrants through design. For SS22, the London-based label presented "The Sound of Movement," a collection informed by the style and culture brought over to Britain in the '70s by Caribbean and African migrants. This resulted in purple satin trousers paired with tie-dyed green shirts and matching coats also in purple, as well as coats finished with billowing, curvaceous lapels, crisp double-breasted suits, and macs finished with exaggerated sleeves.

Also presenting his first London Fashion Week runway collection was Saul Nash, who for SS22 rewrote the codes of a school uniform. It was another performative display, seeing models interact with each other as they gathered around a familiar spot - a London bus stop after school - while simultaneously transforming their "school uniforms" into a new look, perfect for staying out past your curfew once the bell has rung. Standout looks included the reversible nylon cagoule that revealed a printed interior and the trenchcoat that became a bomber in the blink of an eye.

Best known as a womenswear designer, Molly Goddard 's signature ruched tulle designs have been aped and copied by pretty much every high street brand. In recent seasons, she has begun turning her attention towards menswear - and her SS22 show, inspired by "baby clothes," was the fullest expression yet of her men's design vision. It's a challenging silhouette, for sure: elongated, babydoll-shaped smocks, worn with jeans and ballet flats. But her sense of color and proportion was compelling.

One man's trash is another man's treasure: the Irish Richard Malone makes his clothes from the scraps, offcuts, and wasted parts left behind by the fashion system. This time, that included a collaboration with Mulberry to make use of their unwanted leather, transforming it into color-blocked shirts, patchworked trousers, and a dual-toned trench. A metallic silver shirt with ruffles was part New Romantics, part Jacobean-era chemises, while tailoring was subversive and somewhat androgynous. This season was the Irish designer's most flamboyant, esoteric, and pioneering to date.

"Nothing is overworked. Silhouettes are sharp, sexy, precise: important," read the show notes at Stefan Cooke. For SS22, Cooke and his design partner Jake Burt tapped into the "mythology of contemporary British fashion." Backed to a thumping techno track, models stomped down the runway wearing dazzling, jingling metal button vests, Union Jack sweaters, and reconfigured satin sleeveless bombers. Thus far, the brand's signature slashed sweaters have proven to be dynamite at retail, selling swiftly at stockists including Matches Fashion and Browns. This show pushed the label into new territory.

Honorable mention goes to a new name on the block: Daniel Gayle's label denzilpatrick, which comes with a rich fashion pedigree. Having worked for the likes of Kenzo and Victoria Beckham, the designer wanted to find a more sustainable approach, creating singular pieces from surplus cotton, deadstock denim, and recycled nylon. A cropped argyle-knit vest with matching jeans was atypical yet still masculine, while a dip-dyed aran knit cardigan was a smart addition to an eclectic lineup. One to watch, for sure.

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London Fashion Week's Best Shows Were Nostalgic, Reflective, and Highly Personal

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Emerging from the depths of digital came something rather unusual these past few days: London Fashion Week, in real life. Since September 15, London has played host to some 130 designers and countless parties, as well as the industry's usual camera-loving hordes gathered outside every venue.

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Influential designer SS22 and what I would pitch as a buyer

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Influential designer SS22 and what I would pitch as a buyer

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Supriya Lele was my designer of choice.

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Fashion buyer speaks about about the changes she has had throughout the decades in her job.

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Fashion buyer speaks about about the changes she has had throughout the decades in her job.

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Why the role of the buyer has changed so much

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Julia Redman, head of buying for menswear, kidswear and homeware at value retailer M&Co, explains how the role of the buyer has evolved over her 25-year career.

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In 2015 all United Nations Member States came together to create a "universal call to action to end poverty, protect the planet, and ensure that all people enjoy peace and prosperity by 2030." which, together, create a holistic guide to achieving the UN's goals. From ending poverty and reducing gender inequality to tackling climate change and reviving biodiversity, The 2030 Agenda for Sustainable Development includes 17 Sustainable Development Goals (SDGs) At Remake we strongly believe that fashion must integrate efforts to protect the environment and the people working throughout supply chains in order to truly be a sustainable industry. Here's how the SDGs relate to today's fashion industry. the SDGs recognize that the fight for human rights and the fight for the health of our planet must go hand in hand.

Goal 5: Gender Equality
"Achieve gender equality and empower all women and girls."
Female empowerment is a trendy discussion topic within the fashion industry right now. From the UN council to conglomerate CEOs, everyone wants to be a part of the "right side of history." Unfortunately, the data suggests that many aren't practicing what they preach. The New York Times' 2018 article " Fashion's Woman Problem " reported that 85% of graduating fashion design majors were women. Yet, senior management continues to be overwhelmingly controlled by men. And this remains consistent at the other end of the supply chain. Around the world, most factory managers, supervisors and owners are men. Women continue to be excluded from fashion's collective consciousness even though they are the backbone of the industry. It has been inspiring to see women of influence within the fashion industry share their #metoo stories, shedding light on the pervasive problem at all levels of the industry.

Furthermore, Remake's "Made In " docuseries found countless women confirming our fear that low wages, sexual harassment and assault, short-term contracts, and pregnancy discrimination run rampant within the very facilities which produce the clothing on our backs. Why is it that fashion - which benefits from women's labor, money, and influence - is still largely run by men?

GOALS 8 & 10: Decent Work and Economic Growth and Reduced Inequalities
"Promote sustained, inclusive and sustainable economic growth, full and productive employment and decent work for all." "Reduce inequality within and among countries."
In many industries, but especially in fashion, the wealth disparity between the women making clothing and the corporations selling said clothing is shocking. Companies must bridge the gap and provide garment workers a fair wage.

GOAL 9: Industry, Innovation and Infrastructure
"Build resilient infrastructure, promote inclusive and sustainable industrialization and foster innovation."
Like most modern industries, technology is rapidly progressing within fashion. Human labor continues to be replaced by automation and demand for increased efficiency. As new technology scales and provides sustainable solutions in some cases, how do we ensure that it doesn't disenfranchise workers in the process? What will happen to displaced labor, especially in fragile nation states that are prone to conflict? In order to combat widespread job loss the industry must commit to training up women from the factory floor to more skilled positions within companies. The fashion industry needs to utilize technology in a way which can grow alongside workers rather than surpassing them. Technological progress is inevitable, but job loss doesn't have to be.

GOAL 12: Responsible Consumption and Production
"Ensure sustainable consumption and production patterns."
Both brands producing fashion and customers consuming fashion must acknowledge their roles in causing environmental and human harm. Fashion must take a step back from the oversupply of clothing and rethink the system as we know it. At Remake, we believe that to turn fashion into a force for good, it will take action from individuals, corporations, and governments. Find out what sustainable brands we think are leading the charge and how we are evaluating them .

GOAL 13: Climate Action
"Take urgent action to combat climate change and its impacts."
By now we are well aware of the direct connection between climate change and the fashion industry. We know that an industry which involves many other carbon-heavy industries (such as agriculture and transportation) has a detrimental impact on our environment. How will the industry decarbonize supply chains? How can fashion create a carbon circular economy? What will it take to create reliable environmental regulations for the fashion industry? While imperative for consumers to take proper care of their clothing after purchase, it remains vital for the industry at large to make it easier for individuals to participate in sustainable fashion.

Goals 1-4: No Poverty, Zero Hunger, Good Health and Well-being and Quality Education
"End poverty in all its forms everywhere." "End hunger, achieve food security and improved nutrition and promote sustainable agriculture." "Ensure healthy lives and promote well-being for all at all times" "Ensure inclusive and equitable quality education and promote lifelong learning opportunities for all."
How can fashion build up the regions in which clothing is manufactured instead of tearing them down? What can brands do to ensure responsible and equal partnerships within the communities they work with? Brands must partner with those in their supply chain to improve their quality of life instead of exploiting them for cheap labor. Fair wages, documented hours, and maker well-being programs are essential in evening the playing field between brands and the women who make their clothes.

GOALS 6 & 7: Clean Water and Sanitation and Affordable and Clean Energy
"Ensure availability and sustainable management of water and sanitation for all." "Ensure access to affordable, reliable, sustainable and modern energy for all."
Seemingly beautiful fashion is produced through reckless pollution and inhumane labor conditions across the world. What can corporations do to ensure clean energy, water, and sanitation in the areas where they operate?

GOALS 11 & 15: Sustainable Cities and Communities and Life on Land
"Make cities and human settlements inclusive, safe, resilient and sustainable." "Protect, restore and promote sustainable use of terrestrial ecosystems, sustainably manage forests, combat desertification, and halt and reverse land degradation and halt biodiversity loss."
So often clothing production is out of sight, and unfortunately, out of mind. How can the industry begin to invest in the communities where they utilize artisan's skills and garment workers labor? How can fashion begin to replace the currently fragmented supply chain with local systems?

GOAL 14: Life Below Water
"Conserve and sustainably use the oceans, seas and marine resources for sustainable development."
Every time a synthetic garment is washed, microfibers, aka microplastics, are released into the water. These microplastics eventually end up in our oceans, the seafood we eat, and even rain. While there are innovative consumer products available to individuals, how can legislation enforce safe microplastic capture within domestic and professional washing facilities?

GOAL 16: Peace, Justice and Strong Institutions
"Promote peaceful and inclusive societies for sustainable development, provide access to justice for all and build effective, accountable and inclusive institutions at all levels."
Fashion can no longer be an industry of passive consumption without consequences. How can fashion use its immense influence to fight corruption? How can industry-leaders take responsibility for furthering conversations around climate injustice, labor violations, and gender inequality?

GOAL 17: Partnerships for the Goals
"Strengthen the means of implementation and revitalize the global partnership for sustainable development."
What can fashion do to be an example collaborative sustainable development?

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How the United Nations' SDGs Relate to the Fashion Industry

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The United Nations' SDGs recognize that human rights and health of our planet must go hand in hand. Here's how the SDGs relate to the fashion industry.

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For some, the name of the material means very little, unless they happen to be a fashion designer. For others, the name represents beautiful clothing while for still others, the names of fabrics tell them exactly what the material is all about and how to use it.

Jersey, rib, elastane, and many more names are placed on different types of knit fabrics. While they share the same construction style, each knit title tells you more about the material. For example, elastane lets you know it stretches well but is very hard to work with

To learn more about the different types of knits out there, just continue to read our article. it brings you as much information about as many knit types as it can. Sometimes the same fabric will be found under different names like spandex, lycra, and elastane.

You can't always go to color, texture, stretch, and other common identifying characteristics to discover which material or clothing item is knit or woven. A lot of fabrics look exactly the same and the only way to tell them apart is to look for minute details that are different.

To qualify as a knit fabric, the material has to be constructed in a manner that loops long lengths of a single fiber together. The yarn is made to go one way and when you look at the surface of the material there is only one direction the fibers go in.

What this technique does is help the fibers and the fabric stretch and that is what knit fabrics are known for. There will be those times where you will be thankful that you were wearing knit clothing.

That is usually when you have to stretch more than you are ready to. You can avoid some embarrassing moments when you wear knit clothing items. Other qualities like durability and comfort come in a close second to the ability to stretch.

Those three elements make knit fabrics very popular. They are the keys to being able to go about your day worry-free.

Well, that is according to some sewers anyways. We think the above three elements are as important as knowing the percentage of stretch in any given knit fabric. The percentage is important to know as it helps you design your sewing project better and helps make fabric selection a lot easier.

To figure out the stretch percentage all you will need will be a ruler, the material, and a couple of pins. Also, the following instructions will work for both directions on a given fabric piece.

1. Fold the fabric in half

2. Mark of a 5-inch section in a straight line. You can use pins to make this mark.

3. Hold the fabric against the ruler and line up your markings.

4. Holding the fabric firmly on one end, pull the other to see how far it will go along the ruler. Record the total and do the other direction repeating this process.

Every 1/2 inch equals 10% stretch. So if the fabric stretches an inch and a half, then you have 30% stretch in the material, no matter the direction. Then once you know how much stretch is in the fabric, you can compare it with how much stretch you need or want in the clothing item.

You just keep checking fabrics till you find the right one in the right color. When you find the right one, you make your purchase and your sewing project stands to look and respond better.

The exact number tends to vary depending on who you talk to and which websites you visit. Some say 12, others say 5 and on it goes. Of course, under the common knit fabric categories are many sub knit fabrics. If you include those names then you have a fairly long list.

You are free to add more to the numbers included in this list if you want to. We may miss one or two that you know as knits but that is expected as different people classify fabrics in different ways or know those fabrics under different names.

Some generic categories that knits fall into are as follows:

1. Super-stretch knits- these fabrics have 100% stretch in both directions. That means your fabric test should reach 10 inches when you pull on the material. These fabrics need negative ease.

2. Stable knit- the stretch percentage in these materials only reach 15 to 20% in the width direction. They are often treated like woven materials. A little extra ease is needed with these materials.

3. Moderate stretch knits- the stretch factor is a little higher in these fabrics, reaching 25 to 30% in the width. usually, the materials in this category are used for loose-fitting sportswear.

4. Stretchy knit- both the length and the width stretch about 50% and still have great drape. These materials are great for tight-fitting clothing items and work well with athletic wear, dresses, and tops.

5. Rib knits- there is 100% stretch in this knit option but their use is limited somewhat. While used for tops rib knits are used in waistbands, cuffs, and bindings.

In this section, we will name and describe 11 and there may be more. Everyone seems to have a different number.

1. Jersey knit- the most common and probably the most well-known knit fabric you can buy. This is the style that is used most often for T-shirts and dresses and that is because it has a good drape.

2. Elastane- this material is soft as cotton but it is very difficult to work with. You will find that elastane is used instead of spandex or lycra labels but they are all the same material.

3. Rib knits- this material has distinct vertical ribs and those ribs are found on both sides of the fabric. You will find this reversible material in turtleneck sweaters, hems, cuffs, and similar uses. Figure flattering clothes can be made from this material

4. Double knit- there is less stretch in these fabrics but the material looks the same on both sides. It fits the stable category of knits mentioned above. Its best characteristics are its fluffy nature and it can be a very thick material.

5. Interlock- Some people confuse this knit style with jersey knit but unlike that competitor, this material looks the same on both sides. It's about double the thickness of jersey knit as well and great for making dresses and some tailored clothing items.

6. Lace knits- while it is a very attractive fabric to turn into special clothing items, it is a very hard material to maintain. Its other key feature is that it does stretch well but just be careful how you clean it.

7. Mesh knits- transparent, lightweight, and has good stretch with the look of tulle materials. That is a good combination to have when your outfit requires a unique romantic look. You can add sequins to the material and enhance its look.

8. Piled knit- this category of knits also includes eyelash, terry cloth, stretch velvet, velour, and fleece knit styles. They all come with a piled look with eyelash mimicking fur and terry mimicking towels. These materials come with either a 2 way or 4-way stretch.

9. Sweater knits- as the name says, this material is reserved for making sweaters. Another name for this fabric is raschel knits and it comes with a close-knit style with a stable strong feel to it. Can also come with an open weave.

10. Purl knit- this is bulky material for when you want to feel really warm It comes with a 2-way stretch and looks the same on both sides of the fabric. This material makes sweaters as well

11. Tricot knits- the ribs on these fabrics go both ways. On one side they are crossways and on the other, they are lengthwise. This material is usually thin and very soft. The stretch is found greater in the crossways direction than the lengthwise direction.

Honorable mention - Hand-made knit fabrics- these are those fabrics you knit yourself using knitting needles. According to some people, this option produces the best-looking knit fabrics you can find.

Creating these fabrics does take a lot of time and a lot of patience. But the love the person has for knitting and who the project is intended make that effort worthwhile and the fabric all the more beautiful.

There are lots of examples of knit fabrics under the different categories. The difference between them will be the fabric fibers used in their construction. For example, there is cotton jersey and cotton spandex. Two different knit types using one of the same fibers.

Jersey knits can use cotton but the other fibers that can be used are polyester and rayon. The latter two usually have an excellent drape to them and add a nice stretch element to their overall construction.

Cotton spandex is a blend of spandex and cotton. When you need stretch as well as comfort, this may be the best combination you can get. Ribbed knits are generally made from cotton as well but often spandex is used to make sure there is enough stretch in the material

That stretch is needed when this material is used for areas on clothing that need extra reach like waistlines. Then there is the French terry knit which has a smooth jersey top and different looping styles on the back. This type is more of a pile knit than anything else.

Sweatshirt fleece is exactly as it says. It comes with a smooth top with a brushed fleece wrong side. The material is used for hoodies and other sweatshirt styles. but they also can be used for sweat pants or jogging bottoms.

Hacci sweater knits or just sweater knits have a very loopy style to them and it is an open-knit texture. More than what is found in cotton knits. This material is made mostly from blending fibers, both natural and synthetic ones.

Then there is the lycra spandex knits which are often used for swimwear and other activewear clothing. Those items need lots of stretch and these fibers are the ones to provide that stretch. These fibers are often blended with nylon, rayon and have a 4-way stretch.

Ponte de Roma knits are an example of a good double knit fabric. They are usually made from cotton and rayon fibers but many have been found with different fibers blended. These materials are also very stable and easy to sew.

Some of the knit types we did not mention are found in what is called the specialty knit category. This category covers a lot of knit styles and fibers including vegan leather, lace, techno scuba and stretch knit denim, and so on.

The fabrics in this section tend to be used for jackets, jeans, and specialty clothing like scuba outfits and so on. Just make sure to test the stretch before buying to make sure it has the amount you need.

We know that the following structures fit regular knitting methods but they can be found in machine knitted fabrics also. The structure of knitted fabrics depends on the knitting method used to create them. The knit structure terms refer to how fabrics are formed through the interlocking of loops whether done by hand or machine.

There are two methods used, one is the warp and the other is the weft method. The latter method produces both single and double knit fabrics which include- single jersey, lacoste, rib, purl, interlock, cable bird's eye, cardigans, milano ribs, and pointelle.

Then there are specialized weft knits like - intarsia, jacquard jersey, knitted terry, knitted velour, sliver knit, fleece, and French terry. The warp method produces knits like- tricot and raschel.

4 basic stitches are used in the weft method of filling knits. The first is the jersey stitch or the plain stitch; the second is the purl stitch, the third, rib stitch, and finally, the interlock stitch, and the last one is used for both single and double knit fabrics.

There will be some differing opinions here and one reason for that is people may only mention the knits they know most about. For example, they may say jersey knit made with cotton fibers is the softest because that is what they are most familiar with.

The softest knit will be the one you like the most and made from the fabric you like. There are some good soft knits made from polyester but they do not compare to those styles made from natural materials.

Cotton and the right kind of wool usually make up the softest material you can find in a knit fabric. Double knits may be the softest knit type as it is a fluffy and thick material. That always feels good next to the body.

Sweater knits will also be nice and soft when made from the right materials. In the end, it will be the style and fiber that feels good to you. many knits feel good and soft once they are broken in and worn for some time.

Jersey is very lightweight as any T-shirt wearer can attest. Then there are the mesh knits which are sheer and very lightweight in nature. It would be pretty hard to top those as the lightest knits you can find.

A lot will depend on the style of knitting done to the fibers as you can make lightweight fibers out of cotton, wool, rayon, viscose, and synthetics. Pile and double knit are certainly not lightweight materials.

In the Jersey type, you will find a lot of lightweight fibers including silk. Rib knits are not that lightweight as they need to be durable to handle the stress that comes from their placement on clothing items.

Lace knits will compete with mesh knits for the title of the lightest knit fabric. It is just harder to care for this material which may be why you do not see it as often.

Some Final Words

There are lots of different types of knits. Any one of them can meet your sewing project needs. The key will be to find them in the fibers you want to wear. The different knits do have different purposes so you can wear them all at one time or another.

Just find the right color and don't forget to do the stretch test to find the perfect fabric for the project you want to do.

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11 Types of Knit Fabrics (Examples of Knit Fabrics and Names)

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For some, the name of the material means very little, unless they happen to be a fashion designer. For others, the name represents beautiful clothing while for still others, the names of fabrics tell them exactly what the material is all about and how to use it.

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Merino wool tops are stretched, but not set, during what is known as Optim™ processing, constructing the fabric at a very high level of thread density in warp and weft. It is only when the fabric is wet finished that the stretch is released, causing the yarns to contract, and the creation of the immensely dense fabric. Advancements using Optim™ processing and stretch technology have led to double-faced fabrics, luxurious drape fabrics, and soft hand-feel qualities.

An increasing number of brands continue to remove traditional fur from their collections. Merino wool presents a natural alternative to animal hide and synthetics. Innovatively knitted from Merino wool yarn, wool faux fur fabrics are cropped and brushed to replicate a traditional fur or shearling look and feel. Garments created with wool faux fur have the added natural benefits of thermoregulation, breathability, odour resistance and the peace of mind that the fabric comes with a less impactful environmental solution than synthetic faux fur.

When it comes to wool innovations, digital printing has paved the way for near-photographic printing on wool. Counter to traditional print methods, digital printing is quick and personalised, using direct-to-fabric machines minimising the investment in screens, print tables and additional washing equipment.

Similar to a home inkjet printer, the fabric is passed under the head of the printer allowing for printing on smaller lengths of fabric, lessening its demand for water, chemicals and textile waste. Chemicals and water usage are significantly reduced when choosing digital printing, and inks can be recycled to minimise environmental impact.

Velvet, or velour when knitted, is a fabric prevalent in textile history and synonymous with luxury. The addition of wool elevates the already premium velvet fabric features whilst also adding an elegant drape, improved stain resistance and most importantly warmth and insulation to the end use product. Manufacturing both traditional velour and velvet includes a shaving or thread cutting process which results in fibre shredding - wool's natural properties mitigate excessive landfill contribution whilst avoiding chemical waste generation associated with synthetic velvet.

Wool offers a natural alternative to traditional synthetics or down used in quilted garments, outdoor sleepwear or outerwear. Wool's natural stretch and crimp creates insulating air pockets, offering superior protection from the cold. In fact, wool fill offers warmth with 25% less weight compared to polyester filling and because of the fibre's breathability, it also creates a drier, more comfortable microclimate within garments. Wool wadding is created with layers of carded wool batts, that range from 85gsm to 250gsm. The innovation of wool filling replaces down or feathers with small wool balls called wool nepps or wool noils.

Advancements in knitting technology have facilitated the use of wool in footwear. Combining wool with different yarns in a shoe upper draws on wool's natural properties to promote dryness, breathability, freshness (anti-odour), comfort and warmth. With fully fashioned knitwear uppers, waste is reduced by directly mounting the shaped piece onto the sole of the shoe. Filament-wrapped wool yarns add strength and resistance to abrasion, extending the wear of the shoe.

Discover more about the latest innovations in wool.

This guest blog is written by our partner, The Woolmark Company, one of the world's most recognised and respected brands, representing a commitment between woolgrowers, brands and consumers on the authenticity and quality of the fibre that connects us.

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Latest Wool Innovations · Sustainable Materials · SupplyCompass

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Merino wool tops are stretched, but not set, during what is known as Optim™ processing, constructing the fabric at a very high level of thread density in warp and weft. It is only when the fabric is wet finished that the stretch is released, causing the yarns to contract, and the creation of the immensely dense fabric.

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plan product ranges and prepare sales and stock plans in conjunction with buyers

liaise with buyers, analysts, stores, suppliers and distributors

maintain a comprehensive library of appropriate data

work closely with visual display staff and department heads to decide how goods should be displayed to maximise sales

forecast profits and sales, and optimise the sales volume and profitability of designated product areas

plan budgets and present sales forecasts and figures for new ranges

control stock levels based on forecasts for the season

use specialist computer software, for example to handle sales statistics, produce sales projections and present spreadsheets and graphs

analyse every aspect of bestsellers (for example, the bestselling price points, colours or styles), ensuring that they reach their full potential

maintain awareness of competitors' performance

monitor slow sellers and take action to reduce prices or set promotions as necessary

gather information on customers' reactions to products

analyse the previous season's sales and report on the current season's lines

make financial presentations to senior managers

accompany buyers on visits to manufacturers to appreciate production processes

meet with suppliers and manage the distribution of stock, by negotiating cost prices, ordering stock, agreeing timescales and delivery dates and completing the necessary paperwork

identify production and supply difficulties and deal with any problems or delays as they arise

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Working closely with buyers, retail merchandisers predict up-and-coming sales trends to ensure maximum profitability

Your role as a retail merchandiser is to ensure that products appear in the right store or website, at the right time and in the right quantities. This involves working closely with buying teams to accurately forecast trends, plan stock levels and monitor performance.

While the buyer selects the lines, the merchandiser decides how much money should be spent, how many lines should be bought, and in what quantities.

In smaller companies, the same person may be responsible for both buying and merchandising.

Merchandisers play a key role within retail, as profits can be affected by how successfully they undertake their work. Merchandisers set prices to maximise profits and manage the performance of ranges, planning promotions and markdowns as necessary.

They also oversee delivery and distribution of stock and deal with suppliers.

Responsibilities

As a retail merchandiser, you'll typically need to:

plan product ranges and prepare sales and stock plans in conjunction with buyers

liaise with buyers, analysts, stores, suppliers and distributors

maintain a comprehensive library of appropriate data

work closely with visual display staff and department heads to decide how goods should be displayed to maximise sales

produce layout plans for stores, sometimes called 'statements'

forecast profits and sales, and optimise the sales volume and profitability of designated product areas

plan budgets and present sales forecasts and figures for new ranges

control stock levels based on forecasts for the season

use specialist computer software, for example to handle sales statistics, produce sales projections and present spreadsheets and graphs

analyse every aspect of bestsellers (for example, the bestselling price points, colours or styles), ensuring that they reach their full potential

maintain awareness of competitors' performance

monitor slow sellers and take action to reduce prices or set promotions as necessary

gather information on customers' reactions to products

analyse the previous season's sales and report on the current season's lines

make financial presentations to senior managers

accompany buyers on visits to manufacturers to appreciate production processes

meet with suppliers and manage the distribution of stock, by negotiating cost prices, ordering stock, agreeing timescales and delivery dates and completing the necessary paperwork

identify production and supply difficulties and deal with any problems or delays as they arise

manage, train and supervise junior staff.

Salary

Starting salaries for an assistant merchandiser range from £16,000 to £18,000, rising to £22,000 with experience.

After several years' experience, a merchandiser can expect to earn between £28,000 and £36,000.

Salaries for a senior merchandiser range from £45,000 to £65,000, plus a benefits package. At the top of the profession, a head or director of merchandising in a large company can earn in excess of £85,000, plus benefits.

Salaries vary depending on location, employer size, turnover and product type. Large, high-street multiples often offer the highest salaries. Other benefits, such as a company car and private health insurance, are common.

Income figures are intended as a guide only.

Working hours

Working hours are normally 9am to 5pm, Monday to Friday. However, longer working hours may be necessary to support the opening of a new store, during a special sales promotion, to launch a new product or range, or to deal with unforeseen production difficulties.

Weekend or evening work is occasionally necessary to visit stores or for competitive shopping.

It can be difficult to get part-time work because of the need to be available daily to deal with problems with suppliers. However, some companies may offer flexible working hours.

What to expect

Work is mainly office based with a balance between independent work and regular team contact. Some of your time will be spent each week visiting stores or suppliers and occasionally attending trade fairs or fashion shows.

Merchandising can vary in different retail organisations and it can be a head-office or a branch-based function. Most retail merchandisers work from head offices, the majority of which are in London and the South East, or in other large cities.

The job involves working in a fast-moving and competitive environment, with high levels of responsibility for potentially very large budgets, where even minor errors can result in vast reductions in profit. This aspect can either be motivating and challenging or a source of stress.

You may occasionally need to spend short periods away from home and there can be opportunity for overseas travel, particularly in fashion, for example, to accompany buyers to Latin America, East Asia or South East Asia. At senior level, you may be required to travel to find new suppliers, select and buy goods or solve problems with manufacturers.

Self-employment or freelance work are only viable options if you set up as a retail consultant.

Qualifications

Although this profession is open to all graduates, a degree in the following subjects may increase your chances of finding work:

accountancy and finance

business or management

economics

IT or computer studies

marketing

mathematics or statistics

retail management.

Many companies prefer to recruit graduates from business-related or maths-based degrees due to their analytical abilities, but others will consider graduates from any discipline as long as they have the necessary skills.

Having an interest in the products that the company retails will be an advantage.

This occupation is also open to those with an HND, particularly in the following subjects:

accountancy and finance

business or management

transport, distribution, logistics or operations management.

Entry without a degree or HND is possible for candidates with other relevant qualifications or experience. Some allocator or assistant merchandiser posts require good A-level results.

A postgraduate qualification isn't needed, although there are relevant courses available. Search postgraduate courses in merchandising.

Skills

You'll need to have:

strong analytical and numerical skills to work out budgets and understand sales figures

the ability to work under pressure in a dynamic environment and to quickly identify problems and recommend solutions

sound decision-making skills and the ability to plan and prioritise

excellent communication and negotiation skills

the ability to work well as part of a team and to build and maintain effective working relationships with a range of people

strong commercial acumen and the ability to understand what will appeal to customers

computer literacy

creative flair

self-confidence

a driving licence - is also often a requirement.

Work experience

Strong competition for vacancies means that pre-entry office-based work experience is often essential. In addition, work experience with one of the major high street retailers may help to demonstrate both an interest in retailing and an understanding of stock control levels, which can be advantageous at the application and interview stage.

There are relatively few graduate training schemes for merchandising, although some retail management training schemes include merchandising as one of the specialist areas. Most graduates will need to apply directly for junior or entry-level posts, usually as an allocator whose main responsibilities include data analysis, assisting the merchandiser to allocate stock to stores, and liaising with suppliers over stock delivery times.

Other junior-level positions include the roles of distributor and merchandise administrative assistant (MAA). It may be useful to make speculative applications directly to the merchandising departments of major retailers.

When you're looking for merchandising vacancies, it's important to fully understand that particular organisation's definition of the role, as the job description and work activities can vary greatly between companies.

Many larger retailers have in-store merchandise teams whose job it is to carry out the instructions of the head office merchandiser by organising and placing stock on the shop floor. Experience on one of these teams may provide knowledge of how merchandise plans need to be interpreted.

It may be possible to start in a similar role, such as visual merchandising, and progress to the retail merchandise position. A visual merchandiser creates window and in-store displays in shops and department stores, taking responsibility for the 'look' of the store, with the aim of promoting goods to maximise sales.

Find out more about the different kinds of work experience and internships that are available.

Employers

The retail industry employs around three million people. The industry is currently in a state of change, largely due to the rapid growth of online retail. Over the next five to ten years, online retail sales will continue to increase - while the number of traditional high street stores is expected to decline, according to the Centre for Retail Research.

The types of employers most likely to recruit retail merchandisers include:

fashion retailers

department stores

multiple high-street chain stores

supermarkets

fast food, sandwich and coffee chains

larger independent high-street retailers

wholesale suppliers

manufacturers

mail order companies

internet shopping providers.

There are opportunities to work abroad, particularly with retail firms which have international outlets.

Look for job vacancies at:

Fashion and retail recruitment agencies frequently handle merchandising vacancies, for example:

Professional development

Training for retail merchandisers is largely on the job and competency-based, and usually involves working towards specific set tasks and undertaking projects, either individually or as part of a larger team.

Most retail companies will have a training scheme. This will vary according to employer but may include courses on:

assertiveness

communication

consumer behaviour

negotiation

system training

time management.

There are a number of courses that can be taken in merchandising, including short courses in fashion merchandising at the London College of Fashion, and postgraduate taught courses and research opportunities at a variety of universities.

A number of further education colleges offer courses that focus on retail display and merchandising. Distance-learning foundation courses in buying and merchandising are also available.

To support those wishing to embark on a career in fashion retail there is the Fashion Retail Academy. The Academy aims to work in partnership with the retail industry to deliver professional and vocational training programmes, including the Level 4 Merchandising for Fashion.

The Academy has strong links with fashion retail head offices in London, enabling students to gain first-hand experience as part of their studies. Shorter merchandising courses are also offered at introductory, intermediate and postgraduate level.

Other professional qualifications that may appeal to merchandisers are offered by:

Career prospects

The entry point of a retail merchandiser can vary between companies and will depend on relevant experience and qualifications. Usually, new entrants begin as allocators, distributors or MAAs.

There is a clear career development path in merchandising. Companies often have a competency-development programme in place, with a set of competencies that have to be achieved in order to qualify for the next level and gain promotion.

The next level up from working as an MAA is assistant merchandiser (although in some companies, there is an additional step in between these two roles as senior allocator or senior distributor). Remaining at assistant level for a couple of years before promotion to merchandiser, and then to senior merchandiser, is common.

Working up to merchandise manager, head of merchandising and then merchandising director is possible for those interested in management. These roles will be based at a head office.

Career development can be rapid but this is largely dependent on individual performance. It's possible to have responsibility for a large budget and a team of people within five years, and common to have reached senior merchandiser level within eight years.

Merchandisers usually specialise in a certain product area, such as homeware, food or fashion, but skills and experience are transferable between products. It's also possible to move sideways into a business analyst role. However, moving between career areas within a company (from merchandising to buying, for example) is not always as simple.

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Working closely with buyers, retail merchandisers predict up-and-coming sales trends to ensure maximum profitability Your role as a retail merchandiser is to ensure that products appear in the right store or website, at the right time and in the right quantities. This involves working closely with buying teams to accurately forecast trends, plan stock levels and monitor performance.

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LIST WHAT SALES FACTORS YOU NEED TO PLAN FOR A FASHION RETAIL BUSINESS  

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LIST WHAT SALES FACTORS YOU NEED TO PLAN FOR A FASHION RETAIL BUSINESS  

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- Season;
- Sales from previous season;
- Categories;
- Gender;
- Margins;
- Trends;
- Levels of stock needed;
- Sourcing availability.

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In class we were told to make a moodboard with 2020's trends.

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BCI Cotton and brands using this initiative

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BCI Cotton and brands using this initiative

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Acetate fiber is a semi-synthetic polymer also known as cellulose acetate used to make textile fabrics for clothing. It's a type of rayon, a regenerated cellulosic fiber, made from wood pulp, like viscose, modal, cupro, and lyocell.

Many people don't know much about acetate, how it's made, its properties, and its advantages. Acetate fabric has a luxurious feel and appearance.

Acetate fibers are generally made of filaments of cellulose created from wood pulp in trees. Acetate fabrics are made with spun acetate fibers.

Although it's made from a natural and renewable raw material, wood pulp, acetate fabric is considered a semi-synthetic or chemical fiber textile. The main advantage of semi-synthetic acetate fiber compared to natural fibers is its very low cost.

Acetate flakes are formed by the combination of acetic acid with cellulose from wood. Acetate fiber is the second-oldest man-made fiber in the United States and was used as a coating for airplanes.

Cellulose acetate is the acetate ester of cellulose. It was first discovered in 1865 by French chemist Paul Schützenberger.

Acetate fabric was first introduced in 1924 in the United States and later commercially produced once chemists found a solution to easily dye the fabric with durable colors.

But semi-synthetic fabrics made of acetate fibers aren't the most environmentally friendly. Their manufacturing has a disastrous environmental impact.

Here is everything you need to know about acetate fiber fabrics, its uses, manufacturing, properties, advantages, downsides, environmental impact, and sustainable alternatives.

Acetate fiber uses

Acetate fibers are the second most used man-made cellulosic fiber after viscose globally. They are semi-synthetic fibers and very cheap to produce.

Man-made cellulosic fibers like acetate, viscose, cupro, or lyocell are slowly replacing petroleum-based synthetic fibers such as nylon, acrylic, and polyester.

Acetate fabrics are regularly used in fashion to produce clothing and accessories because they are smooth, sheen, and affordable. They resemble luxurious silk.

In the textile and apparel industry, acetate fabric is often used to make knitwear, evening dresses, wedding attires, formal shirts, suits, blouses, coats, sweaters, sportswear, hats, and undergarments.

Acetate is also used in umbrellas, furniture, upholstery, drapes, curtains, carpets, and home decor, like other soft and luxurious fabrics.

Cellulose acetate is widely produced to make cigarette filter tow used in the majority of cigarette filters worldwide. It helps remove tar and nicotine while keeping a convenient taste.

The overall cellulose acetate fibers market has been declining due to a decreasing number of smokers globally. The market is expected to slightly rise in the coming years, as new apparel and home furnishing applications develop, especially in China.

Acetate fibers are often blended with over types of synthetic or natural fibers such as nylon, cotton, wool, silk, and more to lower raw material costs.

Many fashion brands and designers around the world choose acetate fabrics to create relatively affordable and low-quality clothes. Acetate fiber is used in cheaply produced garments as the primary fiber content or a substantial part of the fiber composition.

Every year, 6.7 million tons of man-made cellulosic fibers are produced globally, according to Lenzing. They account for 6.2% of all fiber production worldwide.

Viscose rayon is the most widely used semi-synthetic fabric. It has around 79% market share with 5.3 million tons produced in 2018, as reported by the Textile Exchange.

Types of acetate fibers

Acetate fibers refer to fibers made of cellulose acetate. There is a difference between acetate and triacetate fibers. There are separated based on the number of cellulose hydroxyl groups that are acetylated.

The most common form of cellulose acetate fiber is classified as diacetate or secondary acetate. It has an acetate group on approximately two of every three hydroxyls. It contains at least 76% but no more than 92% by weight of acetylated cellulose hydroxyl groups.

Fibers that contain at least 92% by weight of acetylated hydroxyl groups are called triacetate or triacetate cellulose. Triacetate fiber is often blended with wool to mix heat retention and quick-drying properties. It's also used in sportswear and other garments that keep their shape because of its low moisture absorption.

How is acetate fiber made

Acetate is manufactured by deconstructing wood pulp into a purified fluffy white cellulose using acetic acid, acetic anhydride, sulfuric acid, and acetone.

Acetate fibers can also be manufactured by treating cotton linters, the relatively short fuzz left on cottonseed after the cotton ginning process.

Treating cellulose with acetic acid produces secondary acetate fibers or acetone that can be converted into triacetate using acetic anhydride and an acid catalyst, such as sulfuric acid.

The resulting cellulosic solution is extruded by spinning to form filaments that are finally spun into acetate fibers. Spinnerets transform the viscous solution into acetate fibers.

A lot of chemicals and water are needed to condition wood pulp, treat cellulose fibers, dissolve cellulose triacetate, purify, and wash the regenerated fibers.

Spinning is a manufacturing process used to create polymer fibers like acetate fibers. It's a specific form of extrusion that employs a spinneret to produce multiple continuous filaments. The various types of spinning are wet, dry, dry jet-wet, melt, gel, and electrospinning.

Wet spinning is the oldest type of spinning. Polymers that need to be dissolved in a solvent to be spun often use this manufacturing process. Acetate fiber is usually produced via wet spinning, like many other synthetic fibers, such as nylon and acrylic.

Dry spinning has much lower productivity than wet spinning. The solution is extruded through controlled nozzles with extremely small pore diameters ranging from 30 to 50 micrometers. The solvent is then evaporated in warm air to form long filaments of cellulose acetate.

Dry spinning is being abandoned for most synthetic fibers. It's used only for expensive specialty fibers, such as spandex, that cannot be spun by any other process.

During the wet spinning extrusion process, the polymer is dissolved and extruded through several thousand holes into a large spin bath, washing rolls, and drying rolls. After being purified and extended to make long filaments, the acetate fiber is ready to be spun into threads.

Making extended filaments is an important step in acetate fiber production. Fiber extension is a crucial process to make commercial textiles. It creates acetate fibers many times longer than their original length, which increases production efficiency and lowers the overall cost.

Once spun into yarn, acetate fibers are shipped to textile manufacturers who weave them into various fabrics to create apparel and other applications.

Common trade names for acetate include Celaire, Chromspun, Estron, Soalon, Lynda, Tenite, Arnel, Tricel, Acele, and Avisco.

Here are some of the most well-known manufacturers of acetate fiber and additives to improve the quality of fibers and garments.

In the United States:

Acetate fiber is a unique material with many unique properties. It's generally used in the same applications as silk. Cellulose acetate fiber is one of the earliest synthetic fibers.

Semi-synthetic acetate fabrics look and feel like luxurious silk. They are comfortable, soft, and lightweight. They are very pleasant to the touch. They are also resistant to moths and mildew.

Acetate fiber drapes and hangs well. It has excellent resistance to pilling but a rather low tensile strength.

It also has multiple sheens and color options. It can be dyed only with special types of dyes, which are unsuitable for most other fibers.

Unfortunately, acetate fabrics aren't very strong or durable. They lose strength when wet. They rip and don't resist high temperatures. They wrinkle easily as well.

When blended with other synthetic or natural fibers, acetate fiber lowers the overall cost of the garment but also reduces its lifespan considerably.

Acetate fiber advantages and disadvantages

Here are some of the best advantages of acetate fabrics:

1. High comfort and softness

2. A luxurious feel and look

3. Good pilling resistance

4. Moth and fungus resistance

5. Hypoallergenic

6. Affordable

7. Breathable

8. Lightweight

9. Absorbent

10. Quick-drying

11. Easy to wash

The main drawbacks of using semi-synthetic acetate fibers are:

1. Low heat resistance

2. Low thermal stability

3. Low wrinkle resistance

4. Low abrasion resistance

5. Poor elasticity

6. Poor tensile strength

7. Poor resilience

8. Poor durability

9. Low chemical protection

10. Low resistance to UV and sunlight

11. Gathers static electricity

How to wash, dry, and iron acetate fabrics

Take good care of your garment to ensure that they last longer. It's one of the best ways to be more sustainable with clothes. Give special attention to acetate fabrics, as they are delicate and easily melt.

Before washing acetate fabrics, read the care instructions that can be found on the care tag. This way, you can easily determine if the acetate fabric is washable.

The washing instructions may vary depending on the fabric's blend. Pure acetate fabrics generally need to be hand washed.

Prefer cold water and hand wash it without any chlorine-based detergent. Cleanse and rinse acetate fibers in cold water and avoid the dryer.

Semi-synthetic acetate fabrics made with blends of acetate with other fibers are usually easier to wash. They can be washed in the washing machine on the cool wash setting.

Use a gentle cycle and avoid high spin speeds. Otherwise, acetate fabrics may become very creased.

To avoid dye bleeding, make sure to soak the fabric for the least amount of time.

When the acetate fabric is washable, don't wash it at high temperatures. It not only consumes an unnecessarily high amount of energy but also can melt and damage the fabric.

Do not dry acetate fabrics in a tumble drier. They have very low thermal resistance and will melt under high temperatures.

Wash acetate fabric carefully and air dry it. Lay the fabric down on a towel for a while, then flip it over. Or you can hang it up on a hanger to help it dry naturally.

To iron acetate fabrics and acetate blends, use the lowest temperature setting. Iron the fabric through a damp cloth if possible. Acetate fibers can easily melt and too much ironing will eventually damage the fabric.

Acetate doesn't resist chemicals very well. Keep chemical-based glues, perfume, and nail polish remover, and alcohol-based solvents far away from acetate fabrics in your clothing and furniture.

Don't use acetone or organic solvents to remove stains either. They will dissolve acetate fibers and cause irreversible damage to the garment.

Are Acetate fiber fabrics sustainable

Like viscose rayon, acetate production involves toxic solvents. In Europe and the United States, environmental regulations have made acetate production more expensive than it used to be.

Acetate fiber production is usually associated with massive deforestation. It isn't generally eco-friendly or sustainable.

Even if cellulose acetate is made of natural renewable materials unlike petroleum-based fibers, its production is very polluting and wasteful.

Acetate production in poorly regulated facilities not only damages the nearby environment but also endangers workers' health. Acids and other toxic chemicals can easily leak into waterways and pollute water sources.

Manufacturing fabrics from plants or wood requires heavy processing. The large majority of acetate is created with a chemically-intensive process that's harmful to people and the environment.

Acetate fiber fabrication requires a lot of energy, water, and toxic chemicals, such as acetic acid, acetic anhydride, sulfuric acid, and acetone. These highly dangerous substances irritate the nose and throat and harm the nervous system at high concentrations.

Through skin contact, ingestion, or inhalation, they can lead to dizziness, drowsiness, confusion, nausea, and headaches.

They are highly corrosive chemicals that can severely burn the skin and eyes. These toxic compounds can cause severe lung damage at high concentrations.

Sustainable alternatives to acetate fiber

Making acetate fiber in highly regulated and sustainable production facilities could improve its eco-friendliness.

A better alternative to acetate fabric is lyocell. Tencel, a very popular brand of lyocell, is an environmentally friendly cellulosic fiber produced sustainably.

Tencel lyocell is made of cellulose from wood pulp like acetate. It's a semi-synthetic fiber made from renewable materials. Lyocell isn't natural but its impact on the environment is very low compared to other synthetic fibers.

Closed-loop processes can almost fully recover and reuse all water and chemicals used during the manufacturing of lyocell.

Here are some successful fashion brands that produce sustainable clothing from Tencel lyocell:

Thought makes classic shirts and dresses from natural and sustainable fabrics.

Reformation makes sustainable women's clothing and accessories.

Everlane, modern, and beautiful essentials, at the best factories, without traditional markups.

Patagonia, industry leader in ethical and sustainable active and outerwear.

prAna makes clothing for positive change, to inspire new generations to thrive and stay active.

People Tree (UK), a fair trade fashion pioneer, and online garment retailer making clothes from environmentally-friendly materials.

Alex Assoune (MS) is a global health and environmental advocate. He founded Panaprium to inspire others with conscious living, ethical, and sustainable fashion. Alex has worked in many countries to address social and environmental issues. He speaks three languages and holds two Master of Science degrees in Engineering from SIGMA and IFPEN schools.
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Everything You Need To Know About Acetate Fiber

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Acetate fiber is a semi-synthetic polymer also known as cellulose acetate used to make textile fabrics for clothing. It's a type of rayon, a regenerated cellulosic fiber, made from wood pulp, like viscose, modal, cupro, and lyocell. Many people don't know much about acetate, how it's made, its properties, and its advantages.

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Beige Minimalist Sales Report Presentation

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WHAT CRITERIA DO WE USE TO MEASURE BEST AND WORST SELLERS?

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WHAT CRITERIA DO WE USE TO MEASURE BEST AND WORST SELLERS?

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Sales versus last week, last year, plan, forecast, events and launches;
Cover: The number of weeks in which

an option would sell out;

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Classwork exercise to find out New Look's Merchandising Mix on EDITED.

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Exercise done in class about River Island and its competitors on loungewear

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Exercise done in class about River Island and its competitors on loungewear

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WHAT IS THE METAVERSE? Article by The Verge

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WHAT IS THE METAVERSE? Article by The Verge

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Metaverse is “a multiverse which interoperates more with the real world,” incorporating things like augmented reality overlays, VR dressing rooms for real stores, and even apps like Google Maps.

Metaverse is a digital world that is replicating reality.

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In recent months you may have heard about something called the metaverse. Maybe you've read that the metaverse is going to replace the internet. Maybe we're all supposed to live there. Maybe Facebook (or Epic, or Roblox, or dozens of smaller companies) is trying to take it over. And maybe it's got something to do with NFTs?

Unlike a lot of things The Verge covers, the metaverse is tough to explain for one reason: it doesn't necessarily exist. It's partly a dream for the future of the internet and partly a neat way to encapsulate some current trends in online infrastructure, including the growth of real-time 3D worlds.

But let's get to the fun part. Will you start checking your Facebook feed in Fortnite with a pair of augmented reality glasses? Will your friends invite you to cyber-brunch instead of normal brunch? Time to jack in and figure it out.

So, the metaverse. That started as a science fiction thing, right?

Correct. Neal Stephenson famously coined the term "metaverse" in his 1992 novel Snow Crash, where it referred to a 3D virtual world inhabited by avatars of real people. Lots of other science fiction media includes metaverse-like systems (some of them predating Snow Crash). But Stephenson's book remains one of the most common reference points for metaverse enthusiasts, along with Ernest Cline's 2011 novel Ready Player One.

Aren't both those books set in horrible dystopias?

Snow Crash's metaverse is an outgrowth of Stephenson's satirical corporation-dominated future America, but it's undeniably depicted as having a cool side. (The protagonist is a master hacker who gets in katana fights at a virtual nightclub. No amount of narrative self-awareness can fool readers into thinking that's not supposed to be fun.) Ready Player One 's virtual world is symbolically named the OASIS, and Cline portrays it as an almost utopian source of escapism in a horrible future.

On one hand, emulating the virtual worlds of Snow Crash or Ready Player One is less deliberately creepy than naming your tech initiative "Skynet" or your nutrient shake after Soylent Green. On the other hand, science fiction stories can conjure a vivid picture of "the metaverse" without illuminating how it should work or why it should exist.

Then what is the real metaverse?

There's no universally accepted definition of a real "metaverse," except maybe that it's a fancier successor to the internet. Silicon Valley metaverse proponents sometimes reference a description from venture capitalist Matthew Ball, author of the extensive Metaverse Primer:

"The Metaverse is an expansive network of persistent, real-time rendered 3D worlds and simulations that support continuity of identity, objects, history, payments, and entitlements, and can be experienced synchronously by an effectively unlimited number of users, each with an individual sense of presence."

Facebook, arguably the tech company with the biggest stake in the metaverse, describes it more simply:

"The 'metaverse' is a set of virtual spaces where you can create and explore with other people who aren't in the same physical space as you."

There are also broader metaverse-related taxonomies like one from game designer Raph Koster, who draws a distinction between "online worlds," "multiverses," and "metaverses." To Koster, online worlds are digital spaces - from rich 3D environments to text-based ones - focused on one main theme. Multiverses are "multiple different worlds connected in a network, which do not have a shared theme or ruleset," including Ready Player One 's OASIS. And a metaverse is "a multiverse which interoperates more with the real world," incorporating things like augmented reality overlays, VR dressing rooms for real stores, and even apps like Google Maps.

If you want something a little snarkier and more impressionistic, you can cite digital scholar Janet Murray - who has described the modern metaverse ideal as "a magical Zoom meeting that has all the playful release of Animal Crossing."

But wait, now Ready Player One isn't a metaverse and virtual worlds don't have to be 3D? It sounds like some of these definitions conflict with each other.

Look, I just read an article saying we were all going to live in the metaverse, and I want to know what that means.

Right now, tech industry figures who talk about "the metaverse" are usually excited about digital platforms that include some of the following things:

Feature sets that overlap with older web services or real-world activities

Real-time 3D computer graphics and personalized avatars

A variety of person-to-person social interactions that are less competitive and goal-oriented than stereotypical games

Support for users creating their own virtual items and environments

Links with outside economic systems so people can profit from virtual goods

Designs that seem well-suited to virtual and augmented reality headsets, even if they usually support other hardware as well

But in most current discourse, "the metaverse" arguably isn't a fixed set of attributes. It's an aspirational term for a future digital world that feels more tangibly connected to our real lives and bodies.

So is Fortnite a metaverse? Or Facebook Horizon? Or is the metaverse all of them put together?

People like Tim Sweeney (CEO of Fortnite publisher Epic) and Facebook CEO Mark Zuckerberg often say they're just building one piece of a larger interconnected metaverse, similar to an individual social network on the present-day internet. "The metaverse isn't a single product one company can build alone. Just like the internet, the metaverse exists whether Facebook is there or not," one recent Facebook statement reads.

But informally, "metaverse" is also used to describe a single platform that meets the criteria listed above. Second Life, a virtual world that isn't a traditional game, has been frequently described as a metaverse. Sweeney has described Fortnite's user experience as a metaverse because it's a virtual 3D space that mixes gaming and non-gaming elements. Roblox CEO David Baszucki coyly notes that "some people refer to what we're building as the Metaverse."

If you like Koster's "multiverse" definition, there are also arguably several standalone multiverses. Microsoft's Minecraft gets less hype than Roblox these days, but it enables similar activities through modding. So do lower-profile services like The Sandbox, which incorporates a complex cryptocurrency-based economy as well.

Why is the term "metaverse" even useful? "The internet" already covers mobile apps, websites, and all kinds of infrastructure services. Can't we roll virtual worlds in there, too?

Matthew Ball favors the term "metaverse" because it creates a clean break with the present-day internet. "Using the metaverse as a distinctive descriptor allows us to understand the enormity of that change and in turn, the opportunity for disruption," he said in a phone interview with The Verge. "It's much harder to say 'we're late-cycle into the last thing and want to change it.' But I think understanding this next wave of computing and the internet allows us to be more proactive than reactive and think about the future as we want it to be, rather than how to marginally affect the present."

A more cynical spin is that "metaverse" lets companies dodge negative baggage associated with "the internet" in general and social media in particular. "As long as you can make technology seem fresh and new and cool, you can avoid regulation," researcher Joan Donovan told The Washington Post in a recent article about Facebook and the metaverse. "You can run defense on that for several years before the government can catch up."

There's also one very simple reason: it sounds more futuristic than "internet" and gets investors and media people (like us!) excited.

Didn't we have a whole metaverse hype cycle around Second Life in the '00s? What's different now?

It's true: plenty of new "metaverse" phenomena aren't really novel. People were becoming digital land barons and selling virtual items in Second Life nearly two decades ago. Schools and businesses have opened satellite campuses in that world and others. Social 3D spaces like CyberTown long predate Second Life. Even before that, early virtual worlds popped up in the 1970s with text-based multiuser dungeons or MUDs. Many older worlds also inspired the kinds of utopian predictions we see around the metaverse today.

One reason we might be experiencing the hype cycle again is that graphics technology and internet connectivity has significantly advanced since, say, Second Life's 2003 launch. Many video games operate under a "live service" model where the developers constantly update a game to encourage players to return, creating a more convincing illusion of a living, breathing, ever-changing world. Non-metaverse games like League of Legends or Overwatch make significant changes to gameplay years after release, treating the experience more like a virtual space than a static game. From there, a leap to in-game concerts and fashion shows doesn't seem that far.

At the same time, virtual and augmented reality have gotten closer to consumer application, even if VR remains niche and AR nascent. One estimate suggests Facebook has sold around 8 million Oculus Quest 2 headsets, and several dozen VR games have made over $1 million in sales. Those are tiny numbers compared to phone and console sales, but huge compared to the practically nonexistent home VR market 10 years ago. Apple is reportedly working on VR / AR headsets, and Chinese company Nreal has successfully shipped full-fledged consumer AR sunglasses at a comparatively low price.

Another possible reason is that modern pop culture is built on sprawling and highly intertextual media franchises owned by a few companies that promote their huge intellectual property catalogs as shared universes. That enthusiasm has translated into dreams of - as Verge editor Liz Lopatto describes it - "an online haven where superhero IP owned by different companies can finally kiss." (This is the entire premise of Ready Player One.)

And if you believe the metaverse shouldn't be owned by a handful of companies, there are new technologies that could facilitate less centralized virtual worlds, like cryptocurrency and non-fungible tokens or NFTs. These metaverse visions overlap with the concept of Web3, a term covering decentralized internet services where users retain more personal control over the data they put online.

Or maybe we're in a global pandemic that's kept billions of people away from casual real-world human contact for more than a year?

People keep saying NFTs are part of the metaverse. Why?

NFTs are complicated in their own right, and you can read more about them here. Loosely, the thinking goes: NFTs are a way of recording who owns a specific virtual good, creating and transferring virtual goods is a big part of the metaverse, thus NFTs are a potentially useful financial architecture for the metaverse. Or in more practical terms: if you buy a virtual shirt in Metaverse Platform A, NFTs can create a permanent receipt and let you redeem the same shirt in Metaverse Platforms B to Z.

Lots of NFT designers are selling collectible avatars like CryptoPunks, Cool Cats, and Bored Apes, sometimes for astronomical sums. Right now these are mostly 2D art used as social media profile pictures. But we're already seeing some crossover with "metaverse"-style services. The company Polygonal Mind, for instance, is building a system called CryptoAvatars that lets people buy 3D avatars as NFTs and then use them across multiple virtual worlds.

Is using one avatar or item across different worlds as simple as it sounds?

On the contrary, people like Raph Koster think it's one of the metaverse's toughest problems.

There are a few ways designers support people "moving" items between worlds right now. One is to build all the worlds within a single platform like Roblox, where players can do things like accessorize an avatar with virtual gear and use it across different experiences. But this breaks down across worlds that are more technically and aesthetically different. Even leaving aside wonky problems like file format support, something as simple as a 3D hat model might look good on a Lego-like Roblox character but make no sense on a pixelated avatar from Minecraft. An item might have a particular ability in one world (like playing music) that another world doesn't support at all.

A second option is to manually create a different version of the same asset for every world. Fortnite and Halo both feature Master Chief avatars, for instance, but with a design tailored to each game. (This is typically how media franchises kiss with the companies' official blessing - Warner Bros. can't just take a Bruce Wayne model from the Batman: Arkham series and drop it in a Lego Batman game.)

This method can look seamless to users, but it can be a lot of work for developers and not worth the payoff in all cases. Epic and Microsoft might both benefit by adding a popular character to a popular game, but does Microsoft really want to model its own version of every single Fortnite skin for Minecraft, just so players can use another company's avatars in its world?

A third option, available in the popular virtual world VRChat, is having players or third-party designers upload their own 3D models with a specific set of characteristics. But uploading a model demands more work and technical skill from users. (Arguably this is the closest analog to Stephenson's Metaverse, where a good avatar requires either money or great computer skills.) Meanwhile, the developers cede some control over the aesthetic of their space. And if companies approach them with deals for licensed characters or items, they could find a world already populated by knockoffs.

This could change in the future. Epic could try to implement a shared item library for its popular Unreal Engine, for example. New AI visual filters could tweak a single 3D model to match different world designs the way existing ones turn selfies into anime. But any fix would require a level of coordination that we haven't seen so far.

Is the metaverse a kind of internet? Will it replace the internet?

People are certainly talking about it that way! In an interview with The Verge, Mark Zuckerberg described the metaverse as "an embodied internet," basically an upgraded version of the internet where people can have "different experiences that you couldn't necessarily do on a 2D app or webpage."

Tim Sweeney takes a similar line in The Washington Post, imagining the metaverse as "a kind of online playground where users could join friends to play a multiplayer game like Epic's ' Fortnite ' one moment, watch a movie via Netflix the next." If you're imagining a place where you can watch videos, play games with friends, and buy things, it's going to end up looking a lot like the internet.

One of the metaverse's key benefits is supposed to be "presence" - a sense that you're physically engaging with places and people instead of watching them through a window. Gathering your co-workers around a virtual table in a service like Spatial and Facebook Horizon, for instance, could feel more natural to some people than looking at a grid of Zoom thumbnails.

But many pieces seem as likely to supplement the internet as replace it. A virtual dressing room makes sense if you want to see how an outfit would look on you. It doesn't necessarily require a whole virtual store, though, just an easy way to switch between flat and spatial experiences. A good comparison point might be the mobile internet, which saw a slew of app-based services supplement or even replace traditional websites - but hasn't made desktop-based options obsolete, either.

A text-heavy, non-real-time internet also has some noteworthy advantages. High-end computers, gaming consoles, and VR headsets that support detailed virtual environments can be expensive. People with mobility issues or slow internet connections might find moving an avatar around a real-time 3D world inconvenient. And people with low or no vision can use screen readers to access text on webpages, while navigating an environment based on images can be harder. Accessibility experts can help mitigate these issues, but there's still a long way to go before they're solved.

Will the metaverse turn into just another form of advertising, like social media?

People like Tim Sweeney say they don't want it to. Sweeney told The Washington Post that present-day social media has "trapped" companies and users in walled gardens and bombarded them with ads. Roblox designers make money that's not ad-driven by selling digital goods in their individual worlds and letting the company take a ( sometimes surprisingly large) cut. Proponents of new options like NFTs see them as a viable alternative to ad-supported systems, although NFTs have potential negative side effects of their own.

But "advertising" is a slippery word. Fortnite, Sweeney's version of a world beyond ads, is still packed absolutely full of big pop culture franchises and brands building name recognition - in the same Post interview, he imagined auto companies dropping models of their cars into the metaverse to let people test-drive them. With varying levels of skepticism, media coverage refers to the metaverse as "an expansive, digitized communal space where users can mingle freely with brands" or "a realm of culture and digital identity for brands to further discover their fullest potential."

This might not come as a shock to fans of Snow Crash, where brands have supplanted nations, or Ready Player One, where pop culture franchises have all but conquered reality. Fortunately, if it doesn't sound like much fun, there's still time to help shape the future of the metaverse - assuming it actually arrives.

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What is the metaverse, and do I have to care?

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In recent months you may have heard about something called the metaverse. Maybe you've read that the metaverse is going to replace the internet. Maybe we're all supposed to live there. Maybe Facebook (or Epic, or Roblox, or dozens of smaller companies) is trying to take it over.

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Innovations to diminish the use of water in fabric dying and finishing

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Innovations to diminish the use of water in fabric dying and finishing

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Reusing Wash Water
Countercurrent Washing: the least contaminated water from the final wash is reused for the next-to-last wash and so on until the water reaches the first wash stage, after which it is discharged. This technique is useful for washing after continuous dyeing, printing, desizing, scouring, or bleaching.

Digital printing is one example from a growing list of new, more sustainable fabric-coloring technologies from both major suppliers and smaller chemical and biotech start-ups.

Reducing Carryover: Proper draining in batch drop/fill washing and proper extraction between steps in the continuous washing process are important.

Anti-microbial finish by natural ingredients: Many plants have chemicals that have antibacterial effect when applied, such as tannin, flavonoids, and terpenoids.

Implementation of nanotechnology:
In the dyeing and finishing industry, nanotechnology is one of the most sustainable technologies.
Following finishes can be obtained by implementation of nanotechnology:

Antimicrobial finish

Water repellent finish

Self-cleaning finish

UV Protective finish

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Exercise done in class with the retail maths.

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Exercise: I am a BAA, where can I get info to create a monthly comp shop?

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Exercise: I am a BAA, where can I get info to create a monthly comp shop?

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Desk Research:
- Edited;
- Global Data;
- Wgsn;
- Drapers;
- Newsletters;
- Competitor's websites;
- Online articles.

Active Research:
- Going to our competitor's shops. Try different shops every time (not only Oxford street stores).

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Information I need to capture as a part of comp shop report

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Information I need to capture as a part of comp shop report

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- Competitor's best sellers;
- Innovations;
- Sales they might be doing;
- Current trends they have in store/online;
- Price points;
- Marketing strategies;
- V&M;
- Return policy;

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You are the knitwear buyer for Zara starting to thinking about AW22. Where are you going to look for inspiration?

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You are the knitwear buyer for Zara starting to thinking about AW22. Where are you going to look for inspiration?

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Inspirational brand stores, high fashion brands and emerging new designers ie Prada, Nensi Dojaka

Think of brands your customer would buy from if they could afford it. Fabrics, cuts etc

Travelling to other cities for inspiration;
Bloggers, Vintage, Festivals

Wgsn

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People who influenced fashion over the years

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People who influenced fashion over the years

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Ningbo-Zhousan may not exactly be a household name, but find something in your house made in China - from apparel and accessories to tech gadgets and homewares - and it was likely delivered from there. Overlooking the East China Sea, some 200km south of Shanghai, Ningbo-Zhousan is China's second-busiest port, handling the equivalent of some 29 million 20-foot containers every year. As of mid-August, the port had more than 50 ships waiting to dock. This was because the Ningbo-Meishan terminal, which handles about one fifth of the port's total volumes, has been closed for a week after a member of staff tested positive for COVID.

While this proved to be a temporary, two-week shuttering of operations, it is merely the tip of the iceberg in shipping. China has eight of the top ten busiest ports in world, and they are running at well below normal capacity because of COVID restrictions. From Shanghai to Hong Kong to Xiamen, ships are in long queues to unload - and the diversions from Ningbo only made this worse. Not limited to China, the U.S. west coast has also seen bad congestion, with many ships anchored in California's San Pedro Bay, awaiting access to the ports of Los Angeles and Long Beach.

This drove the cost of shipping rates for containers through the roof in recent weeks, with the cost of moving a 40-foot container from China to Europe is currently running at around $14,000 or about ten times what it would normally be. So, how long will this continue, and what will the knock-on effects be?

The Pandemic and Other Problems

The situation is noticeably different than it was in 2020. COVID restrictions had, of course, weakened the cargo-handling capacity of ports then, but it was less of an issue because global demand for consumer products was so much lower earlier in the pandemic as consumers focused almost exclusively on essential goods as opposed to discretionary products. Now that many countries have vaccinated large numbers of people and their economies are reopening, demand has bounced back with a vengeance. Look for further than the latest revenue reports of luxury goods giants for proof. With consumers shopping again, ports are not coping well.

On top of that, there have been other problems, not least of which was the Suez Canal blockage in March. With ships stuck for a week after the huge Ever Given container ship got stranded, transport companies were under more pressure than usual to return to Asia after they finally reached their destinations in Europe and the Americas. As a result, many did not wait to be fully loaded with empty containers, which, in turn, contributed to a lack of shipping containers in Asia, something that was already becoming an issue because of ships not always calling in at their usual ports during the pandemic because demand was much lower than normal.

The upshot is that containers have become more expensive, thereby, forcing shipping companies to charge higher freight rates to cover the cost.

At the same time, weather has caused problems over the summer. Both the southern Chinese port of Yangtian and part of the port of Shanghai have spent periods closed in recent weeks because of typhoon alerts. The backlog has also been worsened by major importers baulking at the shipping costs and chartering their own ships instead. Home Depot, the big U.S. home improvement retailer, was among the companies that did this in June.

Looking Forward

There was actually a slight decrease in shipping rates in over an almost two-week period in mid-August, which prompted the Freightos Baltic Index - the metric for global container freight rates - to fall from $10,380 to $9,568 per 20-foot container. But this is nothing to get excited about. It broadly reflects the fact that the price of shipping goods from China to the U.S. has come down after many ships diverted to that route to make the most of the high prices. Other routes, such as China to Europe and Europe to the Americas, are still mostly going up in price.

As for whether this will continue, it is extremely difficult to say. Some freight companies have ordered new container ships to help address the shortage, but these vessels take two or three years to build. So, that is not going to make any difference in the short term.

What matters is future COVID outbreaks and to what extent China and other major port nations have to impose tough regulations to protect their populations. Perhaps, we will be lucky and the situation will steadily improve from here, or perhaps this mismatch between supply and demand will endure for several years. In the meantime, we can expect inflation to rise as importers pass on the costs of shipping to customers. Given that governments and central bankers were already worried about rising inflation for various other reasons, they could do without this extra dimension.

If the problem with shipping rates endures, it is also likely to feed into already-existing boardroom discussions - including among fashion and luxury goods purveyors - about whether it is wise to rely so heavily on China as the manufacturing hub of the world. With relations between China and the west already at a low, and much talk of globalization giving way to regionalization, many companies are already arguing that they should make more consumer goods closer to home - or prioritize " nearshoring," as it is known in the trade.

But more imminently, one big issue will be putting enormous pressure on retailers: Christmas. All of the ships that diverted from their usual China-Europe route to help serve the U.S. are cutting it close to get back to China in time to restock. The crossing takes about 45 days, and they need to then leave China by about mid-October to make the 35-day crossing to get goods to Europe in time for December. If there is still congestion at the Chinese ports by October, this may not be possible.

Against this background, many brands are busy preparing for the holiday season with a level of urgency that has not been felt in recent years. New York-based Tapestry, which owns the Coach and Kate Spade brands, has been "stockpiling its handbags and other accessories ahead of the holiday season to ensure it can meet consumer demand amid ongoing delays in the delivery of products from suppliers," Bloomberg reported last month.

"We find ourselves in a dynamic where the consumer demand backdrop is strong, while supply chain remains challenging," Scott Roe, Tapestry's chief financial officer, said in a quarterly earnings call in August, telling analysts and investors that the group is working overtime to "secure significant expedited deliveries, at an additional cost, in order to mitigate the impact of supply chain disruptions, at least through the holiday period."
Stavros Karamperidis is a Lecturer in Maritime Economics at the University of Plymouth. (This article was initially published by The Conversation)

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A Large-Scale Disruption in Container Shipping is Expected to Wreak Havoc on Retail This Christmas - The Fashion Law

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Ningbo-Zhousan may not exactly be a household name, but find something in your house made in China - from apparel and accessories to tech gadgets and homewares - and it was likely delivered from there. Overlooking the East China Sea, some 200km south of Shanghai, Ningbo-Zhousan is China's second-busiest port, handling the equivalent of some 29 million 20-foot containers every year.

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What to consider when creating customer profiles?

Lifestyle

Age

Location

Income

Interests

Buying patterns

Purchasing preferences

Stage of life

How can it be used?
Understand who our target market is and know which marketing strategy to use in order to entice our customer.

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Buzz Words to consider when building strong relationships with suppliers

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Buzz Words to consider when building strong relationships with suppliers

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Group Presentation on Suppliers for Boohoo

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Group Presentation on Suppliers for Boohoo

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Technology Developments on Textile Production

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Technology Developments on Textile Production

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Printing technology: Laser Printing; Digital Printing; 3D Printing
3D cad Design
Robots that sew and cut fabric
VR mirrors in dressing rooms

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Who is responsible for the critical path?
BAA

What is a Lap dip and why do you need them?
Lab dip is a document with sample colours and cads. You need them to analyse the samples and approve them/make alterations.

What is a strike off?
Print production methods.

What is a first fit, second fit , sealer, production sample.
First time a sample is fitted, second time a sample is fitted after alterations from first one, production sample is when sample is ready and sealed and ready to be produced.

When can you expect trim cards to come for approval?
After the lab dips have been sent to the supplier.

What kind of tests would you need?
Hypoallergenic, colour transfer, colour fastness, pilling, wash testing, seams testing, etc.

What is bulk fabric?
Fabric bought for your order.

What is a bulk test report?
Bulk fabric is tested for colour

fastness to light, washing and water.

What areas are short lead and which are long lead?
Short lead: Europe. Long lead: Asia

WHAT CAN GO WRONG?
Colour, print, wrong spelling, labels etc.

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Where to attend?
- Showrooms
- Fashion shows
- Trade shows
- Meetings with brands
- Forecasting websites like Wgsn
- Social media

Why?
- Showrooms are where a buyer goes to choose the pieces to buy from each brand.
- Trade shows are great to find new brands
- Meetings with brands are important to negotiate the deals on the collections
- Trend forecasting websites help to find next season's trends

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- Is it appropriate for my target customer?
- Brand fit
- Is it on trend?
- Interpretation of the trend
- Do I have a good merchandising mix?
- Consider the colour trends
- Price architecture
- Store Allocation
- Store display
- Launch date

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This image illustrates an effective negotiation where the negotiator read the room well and theres an assertiveness in their hand shake. The whole group looks happy and content.

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Vogue has done an article on Virgil Abloh's history and career.
It was helpful on my research as I could understand how he rose to fame.

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Virgil Abloh died on November 28, 2021, after a private battle with cardiac angiosarcoma, a rare form of cancer. He was 41. The founder and Men's Artistic Director of Louis Vuitton was most recently seen in Doha, Qatar, at the opening of his exhibition "Figures of Speech."

"I am all about championing this new era of designers becoming the new rock stars," wrote Virgil Abloh on the blog The Brilliance in 2007. Fast-forward a decade and Abloh is exactly that. The American designer has risen from a Chicago kid obsessed with fashion, art, design, and culture to the artistic director of Louis Vuitton 's menswear operation.

As Abloh prepares to take the reins at one of fashion's most iconic brands, we're looking back on his career trajectory, from onetime Fendi intern to Kanye West collaborator to Off-White founder and collaborator nonpareil.

1980

Abloh was born on September 30 outside of Chicago. He and his sister are raised in nearby Rockford, by Ghanaian immigrant parents. Abloh attends the Boylan Catholic High School-official colors green and white-and graduates in 1998. His mother is a seamstress and teaches him the tricks of her trade.

2002

Abloh completes his undergraduate degree in civil engineering at the University of Wisconsin-Madison. (In 2015, he would return to design commemorative tees for the university.) Rumor has it that on the day of his graduation, he skips his final critique to take a meeting with Kanye West's then-manager John Monopoly. West and Abloh begin officially working together soon after.

2006

Abloh completes his master's degree in architecture from the Illinois Institute of Technology. During his time at IIT, a Rem Koolhaas building is completed, which Abloh says, "piqued my interest and opened my gateway into fashion."

2009

Abloh and West become interns at Fendi in Rome. Louis Vuitton CEO Michael Burke recently told The New York Times, "I was really impressed with how [Abloh and West] brought a whole new vibe to the studio and were disruptive in the best way. Virgil could create a metaphor and a new vocabulary to describe something as old-school as Fendi. I have been following his career ever since."

2009

Abloh and West, along with a crew of famous friends, make the rounds at Paris Fashion Week, turning heads in the process. They're photographed by Tommy Ton for Style.com outside of the Comme des Garçons show in what becomes a widely circulated pic. Abloh tells , "We were a generation that was interested in fashion and weren't supposed to be there. We saw this as our chance to participate and make current culture. In a lot of ways, it felt like we were bringing more excitement than the industry was."

2010

Abloh officially assumes the role of creative director at Donda, West's creative agency.

2011

Abloh art directs the album Watch the Throne by Jay-Z and West, an achievement that earns him a Grammy nomination. The album cover is designed by Riccardo Tisci, then the creative director of Givenchy, a role Abloh was rumored to be up for after Tisci's departure in 2017.

2012

Abloh launches his first brand, Pyrex Vision, in New York. He purchased deadstock Ralph Lauren flannel shirts for $40 each, and screen printed them with the word Pyrex and the number 23, an homage to his childhood hero, Michael Jordan. They sell for $550 each.

2013

Abloh shutters Pyrex and founds Off-White, a multi-platform creative endeavor based in Milan. Its main medium is fashion. At Off-White, he combines ideas of streetwear, luxury, art, music, and travel, defining the brand simply as, "the gray area between black and white as the color Off-White." From the get-go, hovering quotation marks become Abloh's signature.

2014

Abloh launches womenswear for Off-White and begins showing his men's and women's collections during Paris Fashion Week.

2015

Abloh's womenswear operation gains steam when Beyoncé wears a palm-print sweatshirt with the word Nebraska on it, an homage to Raf Simons's Fall 2002 Virginia Creepers collection, in Nicki Minaj's video for "Feeling Myself." That same year, Off-White is named a finalist for the LVMH Prize. He loses the grand prize and special prize to Marques'Almeida and Jacquemus, respectively.

2016

Abloh opens his first concept store in the Aoyama area of Tokyo. The store features a watercooler with Off-White branded cups that visitors take for free and resell on the secondary market.

Abloh debuts his Grey Area furniture collection in Milan, his first furniture venture under the Off-White brand. It features iron grid chairs, benches, and tables with leather cushions and Carrara marble tops.

2017

Even with the announcement of a collaborative exhibition with Takashi Murakami opening at Gagosian; the release of his first song; the opening of his New York store; the British Fashion Award for Urban Luxe Brand; and collaborations with Warby Parker, Jacob the Jeweler, and Jimmy Choo, the biggest news for Abloh in 2017 is The Ten, his sneaker partnership with Nike. Abloh re-creates 10 of Nike's iconic silhouettes in a work-in-progress style, each adorned with a safety tag around the laces. The limited release leaves the sneaker market hungry for more, and Abloh hosts panels and workshops with Nike and additional releases throughout the year.

2018

Abloh is named the artistic director of Louis Vuitton's menswear collections, stepping into the role vacated by his friend and mentor Kim Jones. "It is an honor for me to accept this position. I find the heritage and creative integrity of the house are key inspirations and will look to reference them both while drawing parallels to modern times," he says in a statement.

This summer, he will perform at Lollapalooza.

2019

Virgil Alboh's artworks will be the subject of an exhibition at the Museum of Contemporary Art in Chicago, and his Ikea collaboration will be released through the brand's international stores.

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A Brief History of Virgil Abloh's Meteoric Rise

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How did Virgil Abloh go from an architecture student to the artistic director of Louis Vuitton men's? Let Vogue explain.

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Business Insider also wrote a brief history of Virgil's life.

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Virgil Abloh was one of the most popular designers in the modern age. Known for his line, Off-White, he was also the artistic director of Louis Vuitton's menswear.

Virgil Abloh gained prominence in the last decade with the rise of luxury streetwear, with some noting him as being the trend's pioneer.

He was the founder of Off-White, one of the top luxury streetwear brands in the world. Aside from its own collections, the brand and Abloh collaborated with furniture store Ikea, water company Evian, luggage brand Rimowa, Jimmy Choo, Sunglass Hu t, and even McDonald's.

Abloh had 6.9 million followers on Instagram and was good friends with his often-creative partner Kanye West. His designs have been seen on everyone from Rihanna, Beyonce, and model Hailey Baldwin.

He attended the University of Wisconsin-Madison, where he earned a BS in civil engineering in 2002. He then went on to receive a master's in architecture from the Illinois Institute of Technology in 2006.

According to Vogue's Steff Yotka, the rumor is that, in 2002, on the day of Abloh's graduation from University of Wisconsin-Madison, he skipped his final critiques to meet with Kanye's then-manager John Monopoly.

He told The Cut in 2017 that he didn't really know he could be a creative full-time. "I felt that a random Black kid from the suburbs of Chicago shouldn't be doing that," he said.

In his senior year, he took his first art history class, in which he learned about the Renaissance and Italian painter Caravaggio. "It flipped my head backward," he continued. "I'd spent so much time thinking practical things."

While finishing his master's degree at IIT, Abloh said, he saw a building that was under construction by renowned architect Rem Koolhaas. This helped spark his interest in fashion.

It was also during this time that he began to design his own clothes, and work on a blog known as The Brilliance.
Source: The Cut

In 2009, Abloh began a 6-month internship at Fendi in Rome alongside Kanye West.

Louis Vuitton CEO Michael Burke once told The New York Times that he was "impressed" with Abloh and West and how they "brought a whole new vibe to the studio and were disruptive in the best way."

He then went on to say that Abloh brought in a "new vocabulary to describe something as old-school as Fendi." Burke added that he would be following Abloh's career.
Source: The New York Times

It was also around this time when Abloh and West began to be seen with the fashion crowds in Paris.

Abloh and West were seen outside of a Comme des Garçons show in Paris, photographed by Tommy Ton for Style.com.

Abloh told W magazine in 2017 that, at the time, they were just "a generation that was interested in fashion and weren't supposed to be there" and that they "saw this as our chance to participate and make current culture. In a lot of ways, it felt like we were bringing more excitement than the industry was."
Source: Vogue

In 2009, Abloh married his high school sweetheart, Shannon Sundberg.

They lived in Chicago with their two children.
Source: Inside Weddings

In 2010, West appointed Abloh as creative director of his creative agency, Donda.
Source: Vogue

The following year, Abloh earned a Grammy nomination for his art direction of Kanye and Jay-Z's album, "Watch the Throne."
Source: Vogue

In 2012, Abloh opened his first brand, Pyrex Vision.

As reported by Yotka at Vogue, Abloh had simply taken deadstock Ralph Lauren shirts, screen printed his company's name on it along with the number 23, and sold them for $550 each.
Source: Vogue

In 2013, Abloh closed Pyrex and opened Off-White. The company is based in Milan, and focuses primarily on streetwear. Abloh defined the brand as "the gray area between black and white as the color Off-White."

Off-White is known for its quotation marks around words, as pictured above. In an interview with W magazine, Abloh said he "loved" the idea that Off-White "can be questioned" and said he knew that one day, someone would "critique that Off-White is un-inspirational."

The brand is sold at Selfridges and Bergdorf Goodman, and has been sold at Barneys and Colette. He also had boutiques in Tokyo, Beijing, New York City, and Hong Kong.

The year 2017 was monumental for Abloh: He announced a collaborative exhibition with artist Takashi Murakami at the Gagosian, opened his first New York store, collaborated with Warby Parker and Jimmy Choo, and released a shoe with Nike.

He has also collaborated with artist Jenny Holzer for a political collection inspired by refugees, immigration, and Planned Parenthood. The exhibition with Murakami opened in October 2018.

"Young architects can change the world by not building buildings," he said at a lecture at Columbia in 2017. "You don't have to be a designer to be a designer," is his contradictory credo.
Source: Vogue, Vogue

In 2018, Virgil was appointed artistic director of Louis Vuitton's menswear. He was also listed as one of Time's 100 Most Influential People in the World.

"It is an honor for me to accept this position," he said in a statement announcing his appointment. "I find the heritage and creative integrity of the house are key inspirations and will look to reference them both while drawing parallels to modern times."

Abloh also designed the outfit Serena Williams wore to the 2018 U.S. Open. This outfit, along with the look he designed for Beyoncé as a choice to wear on the cover of Vogue, was chosen to be on exhibition at the Museum of Contemporary Art Chicago.
Source: GQ, Chicago Tribune, New York Times

In 2019, Abloh was chosen to be on the board of the CFDA. He was also nominated for a CFDA Award for Menswear Designer of the Year, for his work with Off-White.
Source: CFDA, Footwear News

That same year, he gave an interview with Dazed magazine where he said that streetwear was "probably going to die soon."

As Business Insider previously reported, Abloh gave an interview with Dazed where he predicted that streetwear was going to die "soon."

"In my mind, how many more T-shirts can we own," he told Dazed. "How many more hoodies, how many sneakers?"

He then went on to say: "We're gonna hit this like, really awesome state of expressing your knowledge and personal style with vintage," he said. "There are so many clothes that are cool that are in vintage shops and it's just about wearing them."

Abloh came under fire last year for only donating $50 dollars to help bail out protesters that were arrested during the George Floyd movement.

Abloh wrote on Instagram, "The Miami community ~ I'm crazy inspired. For kids in the streets that need a bail funds [sic] for George Floyd protests, ... If it heals your pain, you can have it."

He then posted a screenshot of the $50 he donated to a bail fund. He made the donation after receiving backlash for attacking looters who broke into the store of one of his friends, designer Sean Wotherspoon. In a comment on Instagram regarding the looting, he said:

"You see the passion blood sweat and tears Sean puts in for our culture. This disgusts me. to the kids that ransacked his store and RSVP DTLA, and all our stores in our scene just know, that product staring at you in your home/apartment right now is tainted and a reminder of a person I hope you aren't. We're apart of a culture together. Is this what you want?? When you walk past him in the future please have the dignity to not look him in the eye, hang your head in shame."

However, Abloh's small donation sparked more backlash, as many people brought up the fact that $50 isn't even enough to buy a pair of socks from his brand Off White.

It was also pointed out that the people were arrested for protesting police brutality against black men, such as Abloh. And he was then accused of not doing all he can to help out the Black community whose culture propelled him to fame.

-jade bentil (@divanificent) June 1, 2020

-Ourfa Zinali (@ourfazinali) June 1, 2020

-Derek Guy (@dieworkwear) June 1, 2020

It was also noted that other celebrities, such as Chrissy Teigen, have donated as much as $200,000 to help protesters.

In February 2020, New York Times Fashion Director Vanessa Friedman wrote an article asking if Abloh could be considered the "the Karl Lagerfeld for Millennials."

High-fashion Twitter quickly broke out into group discussions, and the conversation escalated once Abloh responded to Friedman, saying he would like to give a "lecture" on the article because "riffing online is far too low hanging fruit for such an easy and massive 'case & point."

Freidman responded by simply saying, " Come do it at the Times Center."

Abloh then sent Friedman an image from Joseph Beuys' 1974 art piece " I Like America and America Likes Me," in which the artist spent 8 hours with a coyote as a commentary on American society in the 1970s. Beuys said the coyote was America's spirit animal and that the piece commented on a nation divided along multiple lines, including the Vietnam War and relations between the majority and minority populations.

Friedman's response: "Am I the coyote in this picture? Are you Beuys? Are these relevant questions?" Abloh did not directly respond to those questions of Friedman's.

Friedman's question prompted a discussion and even a response from Abloh himself.

Friedman made a pretty compelling case as to why Abloh could at least, in some ways, be regarded as the "millennial" Karl Lagerfeld. Both, she wrote, made their marks "in part by embracing irony."

"Like Mr. Lagerfeld he has made a community that can seem like a cult of personality around himself," she wrote. "Like Mr. Lagerfeld, he speaks in rolling sentences and is a pleasure to listen to, especially in a world where the most celebrated names often seem to be tying themselves up in knots at the prospect of answering a question."

"Mr. Lagerfeld was criticized for doing too much, a lot of it not well enough, as is Mr. Abloh. So far, Mr. Abloh has proved himself best as a designer when building atop a foundation established by someone else," she continued. "His Vuitton is more interesting than his Off-White, which often seems like a pallid copy of other people's ideas, just as Mr. Lagerfeld's Chanel was more effective than his namesake label."
Source: New York Times

Still, his influence on the industry cannot be denied.

As Business Insider previously reported, many luxury houses followed in the streetwear foundation that Abloh helped build. Balenciaga was selling puffer jackets and chunky sneakers, while hoodies and oversized logos were everywhere.

The "post-streetwear movement" saw Dior collaborating with Nike to make limited-edition Air Jordans, Louis Vuitton launching a collaboration with Supreme, and Gucci working with legendary Harlem designer Dapper Dan.

The lines between streetwear and luxury were torn down; suddenly, they were one and the same.

Aside from designing, Abloh was also a DJ, a creative and artistic director, and a social media influencer. He also had a collection of famous friends, and many people who aspire to dress, look, and be like him.

More: Features BI Select Arts & Culture Virgil Abloh

For you

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Virgil Abloh, Off-White founder and artist director of Louis Vuitton is dead at 41. Here's a look at the life of the luxury designer.

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Virgil Abloh was one of the most popular designers in the modern age. Known for his line, Off-White, he was also the artistic director of Louis Vuitton's menswear. Virgil Abloh gained prominence in the last decade with the rise of luxury streetwear, with some noting him as being the trend's pioneer.

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Business of Fashion is another source where I found relevant content about his life and career. This was probably the most detailed source.

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American designer, DJ and stylist Virgil Abloh came to prominence as 's creative director, but has since made waves in the fashion world with his luxury streetwear label, Off-White, and his role as artistic director of menswear at Louis Vuitton . "This opportunity to think through what the next chapter of design and luxury will mean at a brand that represents the pinnacle of luxury was always a goal in my wildest dreams," he said of his appointment in March 2018.

Born in 1980 to Ghanaian parents, Abloh grew up in the outskirts of Chicago. He obtained his bachelor's degree in civil engineering from the University of Wisconsin-Madison in 2002 and went on to study architecture at the Illinois Institute of Technology.

After working for an architecture firm for two years, Abloh shifted his focus to fashion. In 2009, he founded RSVP Gallery, an art gallery and menswear boutique in Chicago. That same year, he joined Kanye West's creative agency Donda as creative director, overseeing projects like stage shows and concert merchandise.

In 2012, Abloh launched his first fashion brand, Pyrex Vision, which screen-printed logos onto Champion t-shirts and dead stock Ralph Lauren rugby shirts. Alongside this, he collaborated with Matthew Williams and Heron Preston as part of a collective called Been Trill. Pyrex shuttered in 2013. That same year, Abloh launched luxury men's and women's streetwear label Off-White. The Milan-based brand was picked up by stockists such as Barneys and Colette, and is worn by the likes of Jay-Z, ASAP Rocky, Rihanna and Beyoncé. In 2015, Off-White was an LVMH Prize finalist.

Abloh's first show for Louis Vuitton was held in the gardens of the Palais Royal in Paris in June, on a rainbow-coloured runway with friends in attendance that included rapper Kanye West and musician Kid Cudi. "The Palais Royal on Thursday was unlike any fashion event in recent memory, with its anticipatory outpouring of goodwill. For all its scale, it felt almost like a family affair," said BoF editor-at-large in his review.

Alongside running his fashion brand and consulting, Abloh DJs under the alias Flat-White.

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American designer, DJ and stylist Virgil Abloh came to prominence as 's creative director, but has since made waves in the fashion world with his luxury streetwear label, Off-White, and his role as artistic director of menswear at Louis Vuitton .

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Vogue Business wrote an interesting article about the Albanian designer Nensi Dojaka. This gave me enough information to know her origins and work inspiration.

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Make better business decisions

Sign up to our newsletter for a truly global perspective on the fashion industry

The Albanian designer discusses her future plans after winning the British Fashion Council's 2021 Fashion Award for emerging designer talent, two months after scooping the LVMH Prize.

To receive the Vogue Business newsletter, sign up here.

Nensi Dojaka, the Albanian womenswear designer best known for her layered, deconstructed designs with intricate cut-outs and strings, is the name everyone wants to know this year. She won the prestigious LVMH Prize for emerging talent back in September - and now she's also collected the British Fashion Council Foundation Award for emerging designer talent, presented to her on Monday night at the BFC's annual fashion awards event.

Speaking from her studio in London's Highbury & Islington a week earlier, Dojaka was super-busy, as she has been in the weeks following her first solo show at London Fashion Week for Spring/Summer 2022. The show secured her orders from 59 stockists, including Ssense, Mytheresa and Matchesfashion. That's quite a leap from previous seasons: Dojaka had 23 stockists for Spring/Summer 2021 and 31 for Autumn/Winter 2021.

The 2021 LVMH Prize included a €300,000 endowment and a year of mentorship. She's using the funding to expand both her team and product offering, as well as shift production from the UK to Italy. With those changes in place, the aim is for her self-financed brand to be profitable within the next year. However, Dojaka must juggle short-term buzz and wholesale demand with building a brand with longevity, as well as a young customer base who expect her body-positive look will be matched with a broader array of sizes.

Moving to London at 17, Dojaka completed a BA at the London College of Fashion, where she studied lingerie design, then progressed to the Central Saint Martins MA course, where her graduate collection resulted in a capsule collection with Ssense in 2019. A year later, Lulu Kennedy, founder of Fashion East, an incubator of young design talent, took her under her wing.

As Dojaka's brand awareness and business grew, she found herself having to manage the expectations of both wholesale partners and press, who expected to see constant newness in her product and merchandising. "After the LVMH Prize, I felt a lot more pressure because people were expecting to see what's next, and they still are," she says. "The industry expects too much, too fast. Things take time."

It's a trap many young designers fall into at a moment they should be focusing on the storytelling of their brands, says retail and luxury specialist Susanne Tide-Frater, who is also board director of Browns. "This is tricky, as retailers always want more. There is a huge temptation to create big ranges in order to express creativity and to build the brand. In reality, a strong tight range is far more impactful and costs less to produce."

A fresh view of femininity

A turning point for Nensi Dojaka came when Bella Hadid wore one of her pieces to the 2020 MTV Video Music Awards, ahead of her Spring/Summer 2021 presentation. Hadid also posted a photo of the outfit on Instagram, which racked up over 20,930 likes. "It was great exposure and a lot of buyers came to see me for the first time," says Dojaka.

Dojaka's black asymmetric mini dress was on global fashion shopping platform Lyst's index of the ten hottest women's products for the first quarter of 2021, placing her design alongside coveted styles from Gucci, Bottega Veneta and Hermès. The dress has accumulated on average over 7,000 searches a month for the rest of the year, Lyst says.

Emerging designers Isa Boulder, Charlotte Knowles, Rui Zhou and Hyein Seo also offer contouring styles that highlight the body in subversive and unconventional ways. Dojaka stands out because of her "fresh view of femininity in the context of showing more of your body, but it's balanced with tailoring and speaks to how young women want to dress", according to Sarah Mower, Vogue 's chief critic and the BFC's ambassador for emerging talent.

The LVMH Prize jury rated Dojaka as a designer "at the forefront of an important new trend in fashion where clothes expose the body much more than we have been used to," says Sophie Brocart, Patou's chief executive and also LVMH Prize mentoring director. The message from Dojaka, as well as Karl Lagerfeld Special Jury Prize co-winner Rui Zhou: "Whatever your body, feel free to show it. Be proud of who you are," Brocart explains. "It's a complete reaction to streetwear, which hides the body and blurs the line between traditional masculinity and femininity."

Dojaka's technical knowledge is her biggest advantage, says Mower. "She has the most incredible professional insight into the engineering of lingerie because of her first degree. She engineers straps so that they stay on the body, and they're adjustable too. Not everybody can necessarily do that without being a specialist." Dojaka's recent collection featured new hosiery styles, swimwear and tailored separates. "Some people might put designs on a runway and it would just be an idea, but Nensi has developed it into a product that sells."

Customers are buying and dressing in clothing that makes them feel enhanced and empowered, a significant trend that will continue into next year as people reclaim their power and sexuality in a way that works for them. That's the view of Liane Wiggins, head of womenswear at Matchesfashion, which picked up Nensi Dojaka for Autumn/Winter 2021. "Her designs emphasise your best features, with a focus on new erogenous zones that feel body-friendly. There's also a lot of thought around using fabrics that flatter all shapes in the most effortless, approachable way."

Sizing is a problem. Her skin-tight looks are available in UK 6 to UK 14 (sizes 2 to 10 in the US). Dojaka points out the huge cost implications of broadening her range of shapes and sizes from grading to product development. One solution might be to replace traditional sizing with a less precise XXS to XXL range, which can work for more gender-neutral brands. That's much harder for a body-conscious label like Nensi Dojaka, observes Tide-Frater.

She suggests the responsibility shouldn't be on young designers, who are working with tight budgets in a turbulent marketplace, but on the wider industry, possibly starting with mentoring from retailers and institutions on practical size-inclusive pattern-cutting and grading.

Scaling up sensibly

Dojaka's fabrics are sourced from mills in Italy, UK, Germany and Japan. As of last season, her production shifted to Italy, working with factories recommended to her. Tomorrow London, the fashion accelerator and wholesale platform, is Dojaka's exclusive sales and distribution partner. Her factories ship directly to Tomorrow, which pays for production and then resells the goods to retailers such as Selfridges or Dover Street Market.

"We are very aware that the new generation of designers have an incredible opportunity, but they also have operational and cash flow challenges," says Tomorrow co-founder and CEO Stefano Martinetto. The group has helped Dojaka to find customers in new territories: her core distribution is in the UK and Italy, but the brand is starting to make inroads in other European capitals as well as China, Korea, Japan and Singapore.

Dojaka works closely with a handful of freelancers who support production and operations. She plans to grow the team as she develops new categories, such as outerwear and knitwear, which she hopes to present at the Autumn/Winter 2022 show in February next year. "Let's see, they still need some development," she says. "It's important for me to do something well. Jumping into new categories too quickly doesn't work because you need to learn."

Expanding her collections will mean improved margins but also bring her closer to her goal of creating a brand universe. She wants to build a strong identity with holistic values beyond the clothes, she says, citing the example of Rick Owens. "You feel it the moment you walk into one of his stores." She also plans to focus over the next five years on growing her direct-to-consumer channel.

For the year ahead, the kind of support Dojaka will receive will be "very organic" as LVMH's Brocart puts it. Branding is high on the list of priorities, she says. "It is really the first stone to build everything else on." A second focus will be on business expertise, which includes merchandising, supply, legal, sales and finance. "Want it or not, today's fashion brand founders need to be both creative directors and CEOs," says Brocart. "It is unrealistic to find a knowledgeable business partner at the beginning of their brand journey."

The goal at Tomorrow is longevity, which requires a steady pace of growth, says Martinetto. "Three hundred stores in the world want to sell Nensi Dojaka and we have to say no. The risk of burning the brand is there, so our job is to be extremely careful and selective with who we sell to and how much we allow people to buy."

Slow but steady progress is also Dojaka's personal guiding principle. For now, she is carefully watching which pieces buyers are picking up and what consumers react to best. "Every decision is still well thought out," she says. "I could have done more in previous seasons but I don't want to expand like crazy. It's important for the sell-through to be good overall. You need to make slow decisions."

Key takeaway: Nensi Dojaka is among fashion's hottest new brands, scooping the prestigious LVMH Prize and BFC Foundation Award for emerging talent with her highly-technical, body-centric pieces. Her focus is on tight-knit wholesale with exclusive brand partner Tomorrow London, but she sees a future in growing direct-to-consumer.

Comments, questions or feedback? Email us at feedback@voguebusiness.com.
More from this author: How young designers create powerful brand identities Saving emerging fashion brands Fashion startups: Surviving and the investment potential

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Award-winner Nensi Dojaka on her future in the fashion business

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Sign up to our newsletter for a truly global perspective on the fashion industry The Albanian designer discusses her future plans after winning the British Fashion Council's 2021 Fashion Award for emerging designer talent, two months after scooping the LVMH Prize. To receive the Vogue Business newsletter, sign up here .

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Recent Central Saint Martins graduate Nensi Dojaka is making waves with her namesake label. The young Albanian designer heavily references 90s aesthetics in her designs, experimenting with sheer fabrics and asymmetric shapes. Think 90s Kate Moss via Helmut Lang, with a fresh take on modern femininity.

Nensi Dojaka really caught our eye with her Fashion East show at London Fashion Week in February. But when Bella Hadid wore a look from Dojaka's AW 20 collection to the recent VMA awards, it quickly catapulted Nensi Dojaka to the status of the new 'it-girl' label. After Hadid posted an Instagram photo of the look, needless to say, the pieces sold out almost instantly.

Now, the Central Saint Martins graduate has won one of the most prestigious prizes a young designer can acquire - the LVMH Prize. The prestigious award will give the opportunity for Dojaka to receive a year long mentorship with the multinational conglomerate.

The designer of her eponymous label was up against some of the most recognized emerging international talent in the current fashion landscape, like Christopher John Rogers and Rui Zhou. Talent that is so prolific, in fact, that the Karl Lagerfeld Special Jury Prize, a €150k award, was awarded to three: Rui Zhou of Rui, Colm Dillane of KidSuper, and Lukhanyo Mdingi this year.

This is no doubt a proud moment for Dojaka and for Britain as a whole. To celebrate, you can look out for Nensi Dojaka's first solo runway show on the London Fashion Week schedule next week.

For those who are unfamiliar with Dojaka's work, where did it all begin?

Nensi Dojaka launched her label in 2017 while she was still completing her Bachelor of Arts at the London College of Fashion. While studying, Dojaka interned at Peter Pilotto, and Fyodor Golan and continued to develop her label throughout a Master of Arts course at Central Saint Martins. Dojaka's Central Saint Martins MA 2019 graduate collection showcased strap dresses with signature deconstructed details and sheer panels, which saw her labelled as a designer to watch and picked up by international online retailer Ssense. Nensi Dojaka had arrived.

Dojaka references Helmut Lang, Ann Demeulemeester, and Alessandro Dell'acqua as the designers that she personally admires. On her website, the designer lists her main goal for the label to be "to repaint the image of women; showing both sides: the vulnerability, but mainly the strength that characterises them".

Dojaka's latest collection is modern yet timeless, as the monochromatic pieces rely on texture and volume to create new and exciting shapes. And if you're lucky enough to be adding one of her pieces to your wardrobe, Nensi Dojaka is currently stocked in Ssense, H Lorenzo, Opening Ceremony, and Macondo.

As for the pieces we're coveting right now, we have our eye on this classic oversized black blazer. And this black and brown twisted mini dress, featuring panelled silk and mesh, indicative of Dojaka's signature style.

For more of our London favourites, see our report on the best of London Fashion Week for Spring Summer 2021.

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Who is Nensi Dojaka? Everything you need to know about the 'it' label

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Recent Central Saint Martins graduate Nensi Dojaka is making waves with her namesake label. The young Albanian designer heavily references 90s aesthetics in her designs, experimenting with sheer fabrics and asymmetric shapes. Think 90s Kate Moss via Helmut Lang, with a fresh take on modern femininity.

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Balenciaga and Gucci's landmark collaboration finally lands in stores today. Dubbed "The Hacker Project," the link-up of the luxury-minded brands is an exercise in blowing up logomania to its most extreme. BBs and GGs are rampant, and the well-funded masses with taste of questionable levels are already gobbling up the goods.

Select items have already sold out, including several of the bags and accessories that have seen Gucci's monogram reconfigured with Balenciaga marks. That formula is more or less the beginning and end of the ideation behind all the clothing and accessories that make up the capsule at Balenciaga's point of purchase, with stray "This is not a Gucci bag" graffiti thrown in here and there, but the mere truth of their existence is enough for hype-minded consumers to exuberantly press "purchase."

Prices start out at $195 for the BB monogram socks and top out at $3,350 for the Hacked BB Puffers, all of which have also sold out already. If you're looking for something a bit more imaginative, and perhaps nominally less ostentatious, we turn over to Gucci for the second half of the collab.

There's a tad more variety to be found on Gucci's website, notwithstanding the original "GG" monogram overlayed with Balenciaga's sans-serif logo. This arrangement can be found on a $4,500 technical jacket made out of canvas, as well as a range of bags and even the Balenciaga Triple S sneaker ($1,290) now years removed from its reign as "it" shoe of the moment.

Standing tall on its own is an unadulterated monogram Hourglass Jacket ($5,980) for women with a matching skirt ($1,980), a ruffled lycra top ($2,700) with red and green striping and a crystal and pearl brooch, and plain black silk pants with a rolled-up hem ($1,500). Elsewhere, you'll find an additional floral print more subtly incorporating Balenciaga's name on pumps ($980), knife boots ($2,500), another set of Triple S sneakers, and additional apparel.

While Gucci does a better job of justifying an unprecedented partnership with another luxury house, the whole thing reeks of a cynical read of the market that says "we should make this because people will buy it." It's a two-pronged collection too big to fail, and any indictment of the affair lands equally on the consumer as the parties eager to give them what they want.

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Balenciaga and Gucci's insane collab is here to take all your money

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Balenciaga and Gucci's landmark collaboration finally lands in stores today. Dubbed "The Hacker Project," the link-up of the luxury-minded brands is an exercise in blowing up logomania to its most extreme. BBs and GGs are rampant, and the well-funded masses with taste of questionable levels are already gobbling up the goods.

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For challenge week we were split into groups. I was part of group 2 and our theme was Beachwear. Firstly we thought we could do swimwear so we started looking for trends on WGSN. After Sarah spoke to us we were told we had to focus on accessories only.
We shifted our focus and divided our tasks. I was researching trends and deciding on which products to add to our range. We settled for multifunctional items that the customer could use in and out of the holiday setting. We also decided to use Luminology Technology fabric that made the garments 50+ UV protected. We thought this was a gap in the market and could be used as an area of opportunity.
After realising our comp shop we decided on our last product: beach towel and bag. This would be 100% terry cloth (cotton) and recyclable.
Our final range was decided: bucket hat, sarong, head scarf and beach bag/towel.
Regarding sustainability we looked into a biodegradable poly bag. The latter could also be re-used as it is waterproof.

Overall, our team work was very good and we managed our time well.

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Looking at previous assignments, what did I do well?

• Good writing skills;
Good understanding of fashion trends;

What should I make sure that I continue to do well in my INP? What key skills should I be demonstrating?

• Detailed padlet annotation;

What do I need to improve? Have I improved this through projects 1-3?

• Thorough research on sustainability and tech.
More in-depth SWOT, PESTLE and 4 P's analysis.

What action do I need to take to address these areas for

my INP?