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Balenciaga Graffiti Bag I have looked at past collections that have included graffiti to gain inspiration for my range.

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Balenciaga has opened pre-orders for a graffiti-adorned Explorer neck pouch and has dropped two clean embossed iterations for this season's carry options.

All three Explorer neck pouches are made from Arena lambskin leather - the buttery soft crinkled material synonymous with Balenciaga designs from the past - and feature semi-shiny palladium hardware. The white graffiti piece features addresses, websites, branding and a map scribbled onto its otherwise clean facade, and is paired with a black drawcord.

The black and red iterations are simply embossed with white Balenciaga branding on the front and are also paired with a black drawcord. All three bags feature front zip fastening, a larger interior pocket with velcro fastening, and hang at 43cm long. The graffiti Explorer is priced at $850 USD and is available for pre-order, while you can pick up the black and red version for $695 USD now from Balenciaga boutiques and online.

If you're looking for something a bit more practical, then take a look at the Balenciaga x Barneys New York deli bag, which is releasing for Pride month.

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Balenciaga Drops Graffiti-Covered Explorer Neck Pouch

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Balenciaga has opened pre-orders for a graffiti-adorned Explorer neck pouch and has dropped two clean embossed iterations for this season's carry options. All three Explorer neck pouches are made from Arena lambskin leather - the buttery soft crinkled material synonymous with Balenciaga designs from the past - and feature semi-shiny palladium hardware.

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Louis Vuitton: Artist Collaborations I have looked at previous art collaborations to see how they have been done in the past.

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When it comes to art-fashion collaborations, Louis Vuitton wrote the rulebook and found itself transformed from venerated luggage maker to cultural force. This is the kind of game-changing magic that can happen when two brilliant minds meet.

And in anticipation of Louis Vuitton's upcoming Time Capsule exhibition in Malaysia (which we will announce more details next week!), we chronicle the French house's most iconic art-meets-fashion moments.

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Creative Collision: Louis Vuitton's most iconic art-fashion collab of all time

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When it comes to art-fashion collaborations, Louis Vuitton wrote the rulebook and found itself transformed from venerated luggage maker to cultural force. This is the kind of game-changing magic that can happen when two brilliant minds meet.

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Men's Key Items: Cut and Sew this is where I have picked out mens key trends for a/w 19/20

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The Vision 2019: Purpose Full further trend research on menswear a/w 19/20

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This is where I have pulled the info for the pricing architecture and the product mix. Also looked at items trending instock. Edited: Assortment Mix For Moschino

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Aeffe Spa: Total Revenue and Net Income
I looked at global data to see how Moschino was trading. It comes under the group Aeffe Spa which includes other brands.

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This article was general research on menswear clothing.

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The UK menswear clothing market grew by 3.5% in 2017 reaching a value of £15bn, according to Mintel, and now accounts for 26% of the total clothing market. The womenswear market is valued at £28.4bn.

Menswear is predicted to grow by a further 11% between 2018 and 2022, and will be valued at £17.1bn in total.

More than half (53%) of men spent £50 or more on their last shopping trip, compared to only 39% of women. Male shoppers (18%) are also significantly more likely than women (12%) to have spent over £100.

Samantha Dover, senior fashion analyst at Mintel said: "Growth in the menswear market has been robust, with an increasing number of retailers focusing their attention on men's clothing and strengthening this category to boost sales. Not only are retailers looking towards menswear to offset the challenges they face in womenswear, but retailers have realised there are a multitude of untapped opportunities as men become increasingly invested in their personal style.

"However, the increased choice for men has made the market much more competitive and made male shoppers more demanding and less brand-loyal, meaning retailers need to do more to stand out and differentiate their offer. Getting the product assortment right has become even more imperative at a time when it is much easier for consumers to compare products and prices online before buying."

London Fashion Week Men's runs from 8 - 11 June and features more than 50 designers.

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The UK menswear clothing market grew by 3.5% in 2017 reaching a value of £15bn, according to Mintel, and now accounts for 26% of the total clothing market. The womenswear market is valued at £28.4bn. Menswear is predicted to grow by a further 11% between 2018 and 2022, and will be valued at £17.1bn in total.

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An article about Browns East opening and about their intention for the new store.

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Browns opens Browns East, its first new store in 20 years, in Shoreditch

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Luxury boutique store Browns has opened its first new bricks and mortar store in twenty years in Shoreditch, London. Located at 21 Club Row, just off of R

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Men's Prints & Graphics Forecast A/W 19/20: Free Style This is where the majority of the inspiration for my trend has come from. The graffiti print is included in this report.

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Men's Prints & Graphics Forecast A/W 19/20: Free Style This is where the majority of the inspiration for my trend has come from. The graffiti print is included in this report.

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Customer profiling

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The Urban segment is intrinsically linked to inner city living - young people living in busy multicultural hubs, with rich and varied influences, where wealth and poverty sit side by side - and with access to the latest sounds, clubs and fashion.

Across all segments, Urban Tribes are strongly influenced by what they see and experience in their immediate environment - many cite family, church and the local community as huge influences. Being part of the 'local' scene is key - there's enthusiasm for supporting grass roots talent and local movements, and many Urbans identify themselves with a specific area in the city - such the grime duo Newham Generals or gangs across big cities.

Urbans are best known for music - from r'n'b, grime, UK bass and funky to old school jungle and rap. Members are proactive in their search for new sounds, getting behind new releases, picking up digital mix tapes and sharing them with their social networks. Urban Tribes play a hugely important role in dictating the artists that break through to the mainstream - just ask Tinchy Stryder!

Fashion-wise, street wear rules - from classic sports brands to independent urban labels, such as King Apparel. Drawing inspiration from US street fashion, these Tribes were among the first to adopt the baseball jacket and snap back combo - a look now adopted by Leading Edge Tribes aplenty.

There's no getting away from it, urban sounds and styles dominate the mainstream and mean big business. The explosion of grime and street wear is testament to this segment's wield over popular culture.

Get Paid Crew
Get Paid Crew are highly aspirational, driven by money and being their own boss.
More straight-laced than their innovative DIYer cousins and likely to be working hard to set up their own business, get a good job and make money, money, money - once connected to dodgy dealings, there is now a huge amount of respect for the success orientated GPCs.

Stylers
Still representing status and style, it's about partying, looking good and staying ahead of cool.
Stylers hold strong on the UK Tribes map - innately cool and stylish, the rising influence of Urban fashion and music have made them a hugely aspirational Tribe for youth today. As luxe sportswear and Urban high fashion has hit the Aspirants (check out the Hypebeasts), more young people than ever before are looking like a Styler and aspiring to their luxury lifestyle.

Trackies

Trackies are laid back enthusiasts motivated by the need to chill, whether that's gaming, watching films or listening to music.

They're all about hanging out, playing sports and computer games, ordering pizza and getting their hands on a bit of weed! Typically seen as those with the potential to achieve but lacking in motivation, these guys just want to chill out man!

Wasteman
Rebellious, loud and little bit dodgy.
Part Chaver, part Chav, part Trackie and part Get Paid Crew - this is the updated Chav, a low level wheeler dealer, likely to be shotting weed, wearing trackies and trading knock off trainers than being admired by other segments, in fact, most run a mile when they see them.

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The Urban segment is intrinsically linked to inner city living - young people living in busy multicultural hubs, with rich and varied influences, where wealth and poverty sit side by side - and with access to the latest sounds, clubs and fashion.

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This is where I got the info for my customer profile.

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CACI's Acorn is a powerful consumer classification that segments the UK population. By analysing demographic data, social factors, population and consumer behaviour, it provides information and understanding of different types of people.

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Article about how Gen Z and Millenials shopping habits have changed. This was useful for the customer profile and also the marketing choices I made.

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Between them, Generation Z and millennials - broadly, shoppers in their late teens, twenties and thirties - attract endless attention, and represent fashion's consumers of both the present and future.
In this report, Drapers takes an in-depth look at how the two groups are changing, and how they feel about the fashion industry. What are the similarities between them, what are the differences, and where are the opportunities for brands designing and making clothes for these groups?

We also speak to a range of retailers about how they are creating propositions that appeal to these shoppers, and the feedback that they hear from them.

It is all too easy to become fixated on a certain age range, and younger shoppers are often the group of choice for retailers. They are, after all, the shoppers of the future, and brands that do not evolve alongside them are unlikely to survive long term. But while this report is aimed at delving into younger people's likes and dislikes, the aim is not to depict these shoppers as being more important than or even dramatically different to many of their older counterparts.

Many of the trends we observe in their changing behaviour are happening just as strongly for people over 40 as they are for those under. People's interests and tastes are rarely determined solely by their age, and Gen Z is no different.

But even with that in mind, it is interesting to watch a particular generation evolve, and determining what matters to them is still a worthwhile activity. Furthermore, much of the change we observe across all consumer groups is often driven by or more strongly represented among the young, whose strength of feeling about issues of the day can be greater than older generations.

One thing is clear, and that is the emergence of a more values-led, purpose-driven approach to fashion. Younger shoppers may not want to or are not yet able to pay more for ethically made items, but that doesn't mean they don't want them. In addition, the digital and multichannel shifts of the past two decades are not over yet. There is still plenty of work to do to meet those expectations.

Beyond the shifts in behaviour, it is heartening to see that younger shoppers are not disillusioned with fashion: most still see it as fun and inspiring, as well as a chance to express themselves, and they appreciate any brand attempting to keep up with them ethically. They appreciate even more those who are leading the way.

Having come of age during turbulent economic years and having never known life without the internet, they have little patience for rules and conventions that were designed for a different time. Gen Z and their older millennial brothers and sisters have the potential to make fashion an altogether better place to be: what brands need to do is exhibit a willingness to meet them there.

We hope you find the report useful. Please send any feedback or questions to rebecca.thomson@emap.com to help us continue improving our research into this group.

Rebecca Thomson, head of commercial content, Drapers

For the purposes of this report we define members of Generation Z as anyone born between 1995 and 2015, making the youngest four and the oldest 25. Millennials are those born between 1980 and 1995, and are roughly aged 26 to 38. We surveyed 2,000 consumers aged 18 to 38.

'Gen Z' has become just as much of a buzzword as 'millennial' did a few years ago, and is already synonymous with certain traits. If the headlines are to be believed, they are strident environmental activists, they are progressive, they are careful with money and they have short attention spans. But lumping such a broad, diverse group into one amorphous age bracket is a mistake.

Jonathan Reynolds, a retail and ecommerce expert at the University of Oxford says: "It's right to disaggregate Generation Z. We are wrong to use age definitions and put everyone into one age bracket. People have different contexts, motivations and there are different sub-groups within that demographic."

It is also easy to get swept away by the perceived newness of a fresh group of teenagers. But in many ways, Gen Z and millennials have similar patterns of behaviour to young people of previous generations.

To begin with, there is a larger, more mainstream group who watches what the Kardashians wear and is hooked on Love Island, and makes purchasing decisions that are driven by upcoming holidays and Saturday nights out. And there is also a much smaller, albeit articulate and vocal, more alternative group that is perhaps more progressive, and sometimes more controversial. This is best represented in 2019 by 16-year-old Swedish activist Greta Thunberg. Her emergence as a leader in this space is helped by the fact that anyone aged 25 or under is unlikely to remember the most significant events of the previous decade, such as 9/11 or the Iraq war. Terrorism was the defining issue as millennials entered adulthood ten years ago, but as this fades slightly in the collective memory, climate change is taking its place.

Reynolds says the activist group is the most interesting part of Gen Z, because they're exhibiting new kinds of behaviour. "They're not being influenced by big brands. They're very much a smaller subset of Generation Z but they're articulate and loud, so we hear a lot about them. And they probably have the brands more worried. If it grows, it's dangerous to brands because they often dont have the flexibility to shift."

What is different about Gen Z as a cohort, however, is they are the first group to have grown up with social media and related digital technologies, and this is creating new rules for how things get done. It has given them a new set of communication tools, which they are extremely adept at using, and which enables messages such as Greta's to spread faster and with more intensity than they might have a few years ago. The amplified impact and speed of change this has enabled means that Kylie Jenner is a billionaire by the age of 21, and global leaders are listening to Greta's every word.

In some ways, this is a re-labelling of trends that have gone before. What has changed, however, is access to information and virtual relationships.

Jonathan Reynolds, University of Oxford

Reynolds says any changes that do occur for this generation are tending to proliferate faster than they have in the past: "By and large, we have seen greater transparency for all those subsets than in previous generations because of technology and electronic word of mouth.

"In some ways, this is a re-labelling of trends that have gone before. What has changed, however, is access to information and virtual relationships."

But while Kylie Jenner and Greta Thunberg represent drastically divergent cultural trends, their followers are not necessarily different people. It is possible to be interested in celebrities while also being interested in sustainability; it is also possible to care about sustainability while engaging in unsustainable behaviours, partly because it is often simply not possible to make ethical consumption choices. Plus, younger shoppers do appear to want two very different things. "On the one hand, they're very idealistic," says Pamela Church-Gibson, the author of Fashion and Celebrity Culture. " But that is diametrically opposed to the fact we have got a lot of people who just want to buy cheap clothes online."

The other thing to note about Gen Z and Millennials is that they are growing in confidence. They are natural online communicators and their talent is being applied to topics other than sustainability - they are diverse, inclusive and they question norms. "What also strikes me about this group is its confidence," says Reynolds. "They're realistic, they're pragmatic and they engage in dialogue rather than protesting for the sake of it."

Contradictions

What is difficult, Reynolds says, is that some members of these generations want to shop with fully sustainable brands who are helping to change the status quo, but they also want immediacy and convenience in how they access any product. They want constant newness and immediate gratification, but they acknowledge the system that enables that is not environmentally feasible. "There is a contradiction - certain people are doing both things."

This means that, even as consumers lead this shift towards a more sustainable way of making and selling fashion, there may also need to be a concerted educational effort to ensure these young shoppers realise that this may mean some loss of convenience and increased effort from them; perhaps buying fewer, higher quality items per year may be necessary, and recycling clothes they are finished with is a must.

Reynolds says that for some, this is starting to translate into different ways of consuming. "My son, who is 23, is less concerned about ownership. The stuff he does have is very different and unusual - he places a premium on finding things that aren't very popular. That's a challenge for brands used to dealing with large chunks of the population."

Loyalty

While these trends play out, shoppers continue to interact day-to-day with the fashion industry. Hearteningly, our data shows that broadly, consumers appear to feel fairly positive about fashion. They report finding it fun and inspiring, and they see it as an opportunity for self expression.

Broadly, do you feel the fashion world is:

Despite having a reputation for lacking brand loyalty, this cohort doesn't necessarily think of itself as disloyal. They are, however, always on the lookout for new brands - possibly related to that desire for uniqueness. Over a third said they consider themselves loyal shoppers, and a half said they are 'relatively' loyal. Only 16% of shoppers said they rarely return to a brand.

Would you describe yourself as loyal to brands?

In the rest of this report we explore the shopping behaviours currently exhibited by Gen Z and millennials - as well as what they like and dislike about the propositions on offer.

Convenience scores highly for younger shoppers, who have high expectations surrounding it. More than half say the convenience of online shopping is its biggest appeal, and when asked what they would like to see more of, convenience-focused services are the most popular options.

Their biggest bugbears relating to online shopping are all delivery related: having to wait for a delivery, missing deliveries and paying for delivery or returns are the most annoying factors.

This area is a huge focus for the retailers we spoke to: see chapter 6, on convenience, for their comments on how they are developing their delivery and payment services.

What do you enjoy about online shopping?

What would you like to see more from brands online?

Improving fit technology is also a priority for this group, who seem clear on the benefits of sharing size data with retailers in return for better-fitting items and less returns administration.

But as Mike Branney, managing director of young fashion etailer Oh Polly, says, the technology has further to go: "Improving online fit technology is important but it's still quite gimmicky at the moment. When the systems move more towards virtual avatars with a combination of augmented reality, it will become a much more useful tool that people will actually choose to engage with."

What do you tend to find most annoying about online shopping?

Payment is another significant part of the process for these shoppers: 82% say it is either very or quite important. It has been an area of focus for retailers for years.

Nicola Thompson, global customer development director at Asos, says convenience and removing friction from the shopping experience is a priority: "That's why we offer 'buy now, pay later' through Klarna to give customers a chance to try product on without having to pay for it, and our premier delivery service that offers unlimited next-day delivery for just £9.99 a year.

"We're constantly following customer demand, bringing in new payment or delivery options as they become available, such as our same-day delivery proposition, Asos Instant in London, Leeds, Manchester and Birmingham."

How important is a quick checkout process to you when deciding if you will make a purchase or return to a retailer?

Comprehensive and descriptive product information is also important: 95% of people read product descriptions either every time or sometimes.

Do you read product descriptions when shopping online?

Most people read them for information on how an item fits - perhaps mining them for as much information as possible in the absence of advanced fit tech - but shoppers also look for information on the materials and methods used in manufacture.

Do you read the descriptions for:

Buying from overseas brands is also popular, despite the taxes and fees that can sometimes apply. Nearly 60% purchase from overseas brands either sometimes or often.

Do you ever get clothing, shoes or accessories shipped from overseas?

Simon Kinsey, commercial director at TranslateMedia, which helps retailers translate and adapt their brands for new markets, says this is the first generation of global online shoppers. "Gen Zs and millennials are happy to order from overseas brands and they expect the experience to be authentic, personal yet consistent. It is a tricky proposition for retailers to balance an online experience which takes different local cultures into account alongside the need for consistency relating to fit and delivery."

He adds that global content platforms are starting to become more flexible, which is helping to serve this global demand. "It's now possible for product descriptions to 'write themselves' using content asset data derived from product photography, fabric and washing instructions which means that copywriters can spend more time crafting their brand message to appeal to local trends for online shoppers."

For our shoppers, the main reasons behind the desire to buy overseas include cheaper product, and finding those unique items.

Why do you often shop for clothing, shoes or accessories internationally?

When it comes to store shopping, Generation Z and millennials like having the ability to try things on, the social aspect, and the ability to browse and get inspiration. This is consistent with other age groups.

Just as predictable are the elements of store shopping they do not like: crowds and sizes being out of stock.

What do you enjoy about shopping in store?

Retailers' store strategies are changing in response to this to focus more on the social and inspirational elements of store shopping.

Giorgina Waltier, sustainability manager at H&M UK and IE, says the retailer is "continually experimenting with new services" that go beyond the remit of traditional retail: "In many instances these new services tap into the development of our sustainability work and our ambition to become a circular business. For example, we recently launched a garment repair and embroidery service within selected H&M stores globally, to enable customers to increase the longevity of their clothes.

"We are also trialling the sale of eco-friendly washing detergents and microfibre-filter laundry bags - both of which are not products that we have traditionally sold but we see as important additions that meet changing customer needs."

She says H&M group is experimenting with the sale of vintage items at & Other Stories, and is also starting to work with advanced analytics to tackle over-production by creating more alignment between supply and demand. "This in turn will enable us to provide a more targeted, streamlined customer offer in our stores, freeing up more space to further test and experiment with new services."

Paul Forkan co-founded lifestyle brand Gandys with his brother Rob in 2012, and the brand has three stores in London. He says the brand's approach to store retailing has changed.

"In recent years the way we see our stores as part of our brand has definitely changed. Instead of being a main hub for sales they have become places where our community come to connect with our brand and the individuals that work in our shops."

He adds that people come in to not only get a feel for the product and fit, but to also get updates on the brand's charitable foundation, as well as advice and stories about travelling.

"With the current generation of young people spending less time on the high street, the challenge lies in creating this experience online," he says. "Technology will make this possible through chat rooms and live "digital try-ons" powered by web cams and artificial intelligence, but that is still a few years away from being opened up to the masses. For now, stores are still an essential part of the shopping experience, especially for those who care more for brands as a whole as opposed to just a single product."

What things do you not enjoy about shopping in store?

Potentially more concerning for some retailers is that 27% of respondents say they would stop going to stores altogether if the final issues with the online customer experience could be ironed out. A further 42% say they would be "quite likely" to abandon store shopping if all delivery was free and fast, and if they could envisage how an item would fit.

If all issues with online shopping could be erased, do you think you would cut out store shopping altogether?

However, this utopian ideal of online shopping is a way off yet - for now at least, stores provide a crucial way for consumers to meet their favourite brands in the physical world.

Environmental sustainability is important to these shoppers. More than three-quarters (76.7%) say it is either very or quite important. This is pretty consistent for every age range, although slightly more men rate it as very important (39.6%) than women (32.8%).

How important for you is it that a brand shows it is environmentally sustainable?

Equality in all its forms is just as important: 77.1% rate it as very or quite important. Only 9% say it is not important at all. All age groups are in agreement, but the 18-to-24-year-olds are particuarly focused on it: 82.7% say it is important to them and just under half say it is very important.

We wanted to know about all forms of equality, rather than only gender equality, because racism, and discrimination against LGBTQI and disabled people are just as important to many in this group. The efficacy of being vocal on these topics can be seen in the success of brands such as Levi's - a long-term supporter of LGBTQI equality - which has been driven by its ability to remain relevant to younger shoppers via its principles and its storytelling.

For you, how important is it that a brand shows it is pro-equality (across ethnicity, gender, sexuality or disability lines)

Nearly half of our respondents say they have at some point decided against a purchase because of a brand's lack of sustainability efforts. Retailers often report that customers do not appear to be willing to pay more for more ethically produced items, which makes it challenging to build a business case internally for investment in sustainable practices.

However, this suggests brands are losing sales to other, more sustainably driven retailers, which is a trend that will not be immediately visible in sales figures. The evidence was strongest among the 18-to-24-year-olds, of whom 55% say they had abandoned purchases. Men are also more likely to fail to complete purchases than women (54% versus 44%). There are also regional variations in how shoppers are approaching sustainability, with shoppers in the South East and London more likely to rate it as important. In London, 63% of shoppers reported having abandoned a purchase.

Have you ever abandoned a purchase because you felt that the brand didn't reflect your values on either sustainability or equality?

Nearly half of our respondents say they actively hunt out brands that are sustainable or vocal about equality. This supports the theory that demand for sustainable products and support for equality-focused brands may be invisible to some retailers at the moment, because rather than buying sustainable ranges from otherwise non-sustainable brands, shoppers are using their time and money to look for brands that align more comprehensively with their values.

While there may well be a gap between what people say they are doing, and what they are actually doing, this is nonetheless a trend to take seriously. The fact it is not always showing in sales figures yet could relate partly to the fact that shopping ethically and sustainably takes a significant amount of work and research on the part of the consumer. With comparatively few sustainable options available, it is also still hard for a customer to make sure their purchasing behaviour reflects their values - they may still be shopping unsustainably because choice is limited. Plus, retailers have an uphill battle when it comes to communicating their efforts. Few customers will know, for instance, that Primark's jeans are among the most sustainable available on the high street, and H&M is often accused of greenwashing, despite a 20 year effort to improve its sustainability credentials that significantly pre-dates the topic's current fashionable status. In addition, sustainability is not easy for retailers - it is a labyrinthine project that takes years to build expertise in, and is expensive to develop properly.

Simon Kinsey, commercial director at TranslateMedia, says customers' interest in equality can be seen in a current trend for product descriptions to be written in gender neutral language. "Demand for language neutrality is coming from international brands, often those in Benelux and Scandinavia specialising kids toys and accessories, adult sneakers and outdoor brands and, more recently, the skincare and beauty market. The trend for language neutrality is being closely tracked by brands in the UK and the US," he says.

Do you actively hunt for brands that are sustainable or vocal about furthering equality?

Shoppers' interest in sustainability is a trend that is backed up by search data. Over the last five years Google searches for the term "sustainable fashion" have been on a steady upward trend worldwide, with the biggest rises occuring in Australia, the UK, Hong Kong, Denmark and Singapore. Searches for the term "sustainable fashion brands" in the UK have rocketed by 450% since January 2016. Retailers such as US brands Everlane and Reformation are popular related terms, and both have experienced large rises in search volumes over a similar period.

However, while consumer interest in sustainable fashion is increasing, the retailers leading the way are not necessarily being driven by consumer demand.

Giorgina Waltier, sustainability manager at H&M UK and IE, says: "While it is truly brilliant that sustainability awareness has increased so significantly with consumers over the last couple of years, our commitment to and communication around sustainability is not consumer led.

"We started talking to our customers about sustainable materials back in 2011 when we launched our H&M Conscious line, about the importance of recycling clothes in 2013, when we launched our global in-store garment-recycling scheme, and about supply-chain transparency in 2013 when we were one of the first brands to publicly share our supplier list.

"So, communicating to customers about the importance of sustainability is not new for us. What is new is the increase in appetite for this information, and what we are still yet to master is a balance in the level and detail of information that we share with the consumer."

Generation Z and millennial shoppers are predictably high users of mobile and social channels, but it is interesting to see the extent of these habits. Just over 70% of respondents report shopping via mobile apps, and users return regularly to their favourite retail apps to check for new product and content.

Do you shop using mobile apps?

This tallies with the findings of our Connected Consumer report, published in late 2018. That found these shoppers are avid mobile users: 77% use their phones to browse fashion, and 68% use them to buy fashion. It also found that they like apps: nearly 80% have downloaded at least one retailer or brand app, while 23% have downloaded four or more.

Over 70% of our shoppers said that they have purchased via social - some of the brands we spoke to say they have seen this reflected in their sales figures.

James Gold, co-founder of accessories brand Skinnydip London, says: "We have noticed our social transactions increasing." He adds that it is something the brand is looking at in careful detail, using focus groups to determine the images, products and captions that are most effective.

"Skinnydip was born on social and it is where we engage with our customers on the most authentic level. We believe that Gen Z and millennial customers identify most with brands that share their values and are honest, so that's our main focus in providing genuine, engaging content."

He adds getting the mix right is important for different groups. Those in their thirties respond well to different posts from those in their twenties. However, some trends are more universal.

"We notice an increase in new customers on social especially around new collaboration launches, or when we produce IGTV [Instagram video] content."

Have you ever purchased from a brand by clicking through from a social post?

Asos has 23 million followers across its various social platforms, and is focusing on having engaging two-way conversations with them.

Global customer development director Nicola Thompson says: "We know that our twentysomething customers spend a lot of their time on their mobile phones and using social media, so that is where we need to be to having engaging, two-way conversations with them." The focus is on inspiring them on the channel, she adds.

The networks used by these shoppers are shifting quickly, but in late 2018, those aged 18 to 24 reported in our Connected Consumer report that 74% of them use Facebook and 70% use Instagram.

With missed deliveries or inconvenient services causing annoyance for younger online fashion shoppers (see chapter 1), focusing on convenience has become a significant priority for retailers.

James Gold, co-founder of accessories brand Skinnydip London, says it is an area the brand is constantly working on improving: "Within the last six months, we have launched Doodle returns options, collection point delivery and free collection from an selection our Skinnydip stores. For us, the delivery process is critical. When there are companies like Amazon as competitors, we know that we have to try to meet customers' expectations as best as we can."

He adds it also already offers a pay-later service with Klarna, and is looking at being able to "slice" payments, so shoppers can pay in instalments, in the coming months.

Jo Tutchener-Sharp, founder of Scamp & Dude, says the childrenswear brand is working on introducing free shipping: "We have been looking at how we can incorporate the fulfilment and shipping costs into the overheads so we can get rid of shipping costs for the customer, as I know this is an issue for some customers when large operators such as Amazon offer free shipping. But at the moment it's not viable to pay for the packing, fulfilment costs and shipping ourselves."

Other brands are looking even further into the future.

Mike Branney, managing director of Oh Polly says the young women's clothing brand is looking beyond buy now, pay later: "We offer 'buy now, pay later' on our site for UK customers, and plan to roll out the same service in the US and Australia in the next few months. We are also investigating accepting payments in electronic wallets and cryptocurrencies, although the latter is still not particularly mainstream."

Andrew Cooper, head of direct to consumer trading and operations at Pentland Brands, says: "We constantly review these two areas and have recently added more delivery options so consumers can order later in the day for next-day delivery. We have bespoke payment options for different regions, and we are actively looking at how we provide more payment choices."

In our survey, consumers report being keen on convenience-boosting services. Almost two-thirds say they add items to their baskets for pay day purchases, and 69% of respondents say they would be likely to bring purchases forward if they were able to defer payment.

How often do you add items to basket and then wait for payday to make the purchase?

How likely are you to bring a purchase forward if you could pause payment until payday?

How do you feel about making purchases using a deferred payment method?

However, reaction to the idea of another convenience-focused service, renting clothes, was more mixed. While nearly a third said they would like to rent clothes from their favourite brands, nearly half said they would not. One-fifth were undecided.

Oh Polly's Branney says the complexity of large-scale rental is off-putting: "Moving from a model that already sees return rates of 30% to 40% to a return rate of 100% would require a step change in process. The rental market is also better suited to outerwear and hard-wearing fabrics, as most materials lose their lustre and structure after a few washes."

While renting is a newer idea for some, a third of our shoppers still said it appeals. It is likely that for many brands, a rental service could be a part of their future. This is especially true for longer-wearing items, one-wear purchases such as wedding outfits, or items whose wearers grow out of them quickly, such as children's clothes. Rental also plays into consumers' desires for both convenience and sustainability.

Would you rent clothes if your favourite brands offered that service?

This is also an area of the market where innovation will continue to have an impact. The sharing and rental economy is evolving quickly - both in the UK, but also in markets including China, where some rental platforms include the option of peer-to-peer rental. In the UK, it is an area where further development is likely to take place and where consumer attitudes could evolve quickly.

The behaviour of millennials and GenZs has already had a huge influence on the retail market.

They are proficient in navigating multiple channels, comfortable engaging with brands on social media and accustomed to broadcasting opinions about their shopping experiences online.

Both groups share an appetite for cross-border shopping if it means that they can buy distinctive products that are not available locally, but are also concerned with the methods of manufacture and that they are ethically sourced and sustainable. Product fit is also of huge importance and they spend time reading product descriptions to check measurements and materials. They also tend to lack the brand loyalty displayed by previous generations which means that retailers are faced with increased competition both locally and from abroad and have to work harder than ever before to produce the high-quality product descriptions and editorial content they need to stand out from their competitors.

At TranslateMedia, we specialise in translation and the cultural adaptation of content for brands and retailers to ensure quality and brand tone-of-voice consistency.

TranslateMedia develops technology to seamlessly integrate with all of the major CMSs and eCommerce platforms - drastically reducing localisation turnaround times, increasing speed to market and boosting ROI from global marketing campaigns.
Simon Kinsey, Commercial Director, TranslateMedia

It's no secret that the younger generations hold the key to the future of retail.

In an era of instant gratification, same day delivery, and the ability to shop through social channels, younger consumers expect a completely different and totally tailored shopping experience, that brands need to fulfill.

Klarna's research into the future of fashion technology has shown over half (53%) of fashion shoppers aged 16-24 would be happy for a retailer to use their online data to offer tailored discounts or recommendations. While more than one in five (22%) would like to be able to leave a store and pay for items later once they've decided what to keep. It's a different world now to what retailers have been catering to over the last 20 years.

But while retailers need to ensure they truly understand the demands of younger tech-driven shoppers, this approach can't be limited to those in a certain age bracket. We know that experience is the lifeblood of the retail economy, so offering the best experience whether through flexible payments, or a smooth returns process, solely to those in a certain age bracket would be an error.

Experience really is the new loyalty, and a truly tailored experience from perusal to payment needs to be embedded into a retailer's shopping cycle, for all consumers young and old.
Luke Griffiths, General Manager of Klarna UK

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Between them, Generation Z and millennials - broadly, shoppers in their late teens, twenties and thirties - attract endless attention, and represent fashion's consumers of both the present and future. In this report, Drapers takes an in-depth look at how the two groups are changing, and how they feel about the fashion industry.

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Article on art and fashion collaborations. Looked at how brands had previously gone about creating successful collections.

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When it comes to fashion's love affair with collaboration, few of its unions sit quite as comfortably as that of leading designers and the art world's most interesting talents. From walking works of art like Yves Saint Laurent's 1965 Modernist collection, which featured his now iconic Piet Mondrian dresses, to complete creative exchanges that become part of a house's DNA (see Kim Jones 's Dior menswear), these increasingly symbiotic relationships are fed by an enduring appetite for artfully erudite couture.
Read more: From Sketch To Catwalk: The Dior SS19 Collection
While many of us consider fashion an art form itself, both industries continue to collaborate to forge deeper creative conversations. Painters, illustrators and photographers have become important contributors to the fashion industry, their input often adding instant value to a collection. The direction is often set by the designer and fuelled by a mutual appreciation of each others' work.

Read more: Inside The World Of Elsa Schiaparelli
Elsa Schiaparelli and Salvador Dalí were friends who shared such an appreciation, one of the earliest examples of the artistic cross-pollination that designers now seek. The Italian couturier's exquisite surrealist evening gown featured a large Dalí-esque lobster painted across the crotch area - an exploration of sexuality.

Read more: 5 Things To Know About Saint Laurent SS19
The arrival of Andy Warhol in the '60s signaled a new breed of cultural icon that reignited fashion's appetite for art. Yves Saint Laurent and Warhol became friends and collaborators - Warhol painted a series of colourful portraits of the designer, while Saint Laurent designed his autumn/winter 1966 Pop Art collection, a sartorial embodiment of the artistic movement. Countless designers have featured Warhol's work in their collections since - including Gianni Versace, Jean-Charles de Castelbajac and Raf Simons - cementing his status as fashion's favourite artist.
Read more: Why Prada And Louis Vuitton Are Heading To New York In May
Beyond Warhol's enduring influence, Raf Simons, Miuccia Prada, Marc Jacobs and Kim Jones have continued to call upon lesser-known artists to enhance their creative process - not just referencing the artwork, but featuring it front and centre. Prada's standout collaboration was with French artist Christophe Chemin for the celebrated autumn/winter 2016 menswear collection.

In recent years, Louis Vuitton has been leading the charge in artist collaborations. During his time as creative director, Marc Jacobs helped establish a tradition of partnerships between the French house and global artistic talents. He commissioned Stephen Sprouse to reimagine its monogram print in graffiti form for Vuitton's spring/summer 2001 ready-to-wear collection, and went on to forge a 13-year relationship with Takashi Murakami. The Japanese artist introduced the Multicolore monogram bag in 2003 which quickly became the It bag of the early 2000s. Jacobs was also inspired to work with provocateur Richard Prince for his spring/summer 2008 runway show, which featured models (including Naomi Campbell) dressed as nurses and yet another iteration of the Vuitton cult monogram print. Nicolas Ghesquière, the current creative maestro behind the French label's womenswear lines, has continued to build on this heritage with Vuitton's Masters Series, giving American artist Jeff Koons unprecedented freedom to play with the house's signature canvas.
Read more: Behind The Scenes At Kim Jones's Dior Men Pre-Fall 2019
Elsewhere, former Vuitton menswear designer Kim Jones has begun to establish a similar culture of artistic collaboration at Dior Men. Jones teamed up with New York-based contemporary artist Kaws for his debut collection, which saw the artist reimagine the house's signature bee logo for a capsule collection. Kaws also created a giant version of his BFF character made entirely from flowers that formed part of Jones's runway set, as well as becoming part of Dior Men's SS19 campaign imagery. And Jones's latest pre-fall show in Tokyo featured an imposing 12-metre high robot by Japanese artist Hajime Sorayama - the artist also designed a limited-edition bag for the collection.

Art has always influenced fashion, but when designers move beyond references and subtle nods and instead work directly with artists, truly extraordinary and original work is created. Such collections - many now cult collectibles - occupy an exciting new space where the two fields meet, standing not only as works of art in their own right, but as fun, highbrow sartorial offerings that allow designers to create beyond the normal realms of fashion.

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Fashion X Art: The Best Crossovers Of All Time

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When it comes to fashion's love affair with collaboration, few of its unions sit quite as comfortably as that of leading designers and the art world's most interesting talents.

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Top 10 Most Iconic Art and Fashion Collaborations

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Top 10 Most Iconic Art and Fashion Collaborations

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More research on past collections

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Art and fashion are two fields of ongoing innovation and creative expression. Yet they are decidedly distinct from another: while art is free from any restrictions, fashion is bound to the demands of a fast-paced industry. Naturally, fashion designers have repeatedly turned to art to imbue their creations with this flair of artistic freedom, giving way to sensational art-meets-fashion collaborations. Follow along some of the most iconic pairings between these two worlds...

1. Elsa Schapiarelli x Salvador Dalí

Elsa Schiaparelli and Salvador Dalì, Lobster dress (1937)

The "Organza Dinner Dress with Painted Lobster" is probably one of the earliest collaborations between a fashion designer and an artist. Designed by Elsa Schiaparelli and Salvador Dalí, this quirky, yet elegant piece is the result of a fruitful collaboration between these two creative minds. Worn by Wallis Simpson for a Vogue spread in 1937, the dress is considered to be one of the most iconic garments of that era.

2. Longchamp x Tracy Emin

Dubbed as "monster bags" by some critics, this accessory line was designed by Tracey Emin in collaboration with Longchamp. Coinciding with their 10th anniversary, the French luxury brand invited the British artist to design a bag collection that featured some of her signature techniques, like patchwork, destroyed textiles, and painting. Drawing from Emin's confessional work, the designer bags were linked to a love story, in which a woman would travel from one city to another in search of an "international love".

3. Rei Kawakubo x Merce Cunningham

Merce Cunningham, Body Meets Dress, Dress Meets Body, 1997.

As the creative director of Comme des Garçons, Rei Kawakubo has always been known for her concept-driven approach to design that blurs the lines between fashion and art. Inspired by legendary choreographer Merce Cunningham, she created the groundbreaking 'Body Meets Dress, Dress Meets Body' Summer/Spring collection in 1997. A stunning interplay between contemporary dance and avant-garde fashion that reimagines the body.

4. Louis Vuitton x Richard Prince

Richard Prince, Nurse Barclay's Dilemma, 2002 (left); Spring/Summer 2008 Louis Vuitton collection (right)

For the Spring/Summer 2008 Louis Vuitton collection, Marc Jacobs and Richard Prince decided to bring the artist's recent iconography to life. A nod to his famous Nurse paintings, the models walked down the runway dressed in see-through nurse dresses. Other references to Prince's art were worked into the LV bags - a coup that had previously proven successful with the famous Takashi Murakami x LV bag collection, as we will see in the following.

5. Yeezy x Vanessa Beecroft

From dressing her performers in Gucci bikinis to collaborations with Louis Vuitton, Vanessa Beecroft was no stranger to the fashion world when Kanye West invited her to collaborate with him on his Season 3 Yeezy collection in 2016. Together they staged a performance for the Yeezy runway show, which showcased hundreds of performers dressed in West's uniform like designs.

6. Prada x Michael Elmgreen & Ingar Dragset

Elmgreen & Dragset, Prada Marfa, 2005

Set against the stunning scenery of the Texas desert, this site-specific installation is Michael Elmgreen and Ingar Dragset's ironic take on luxury shopping. Echoing the design of Prada stores you can find in the most elegant neighborhoods around the world, the installation, succinctly titled "Prada Marfa", displays the brand's Spring/Summer 2005 collection. Since its creation, the piece has become a site of cultural pilgrimage to art lovers, but also victim to repeated vandalism.

7. Alexander McQueen x Damien Hirst

It was the shared skull iconography that prompted British fashion house Alexander McQueen to enlist controversial art market star Damien Hirst for a collaboration. To celebrate the 10th anniversary of the brand's iconic skull print scarf, Hirst created a limited edition of 30 designs adapted from his Entomology series. In this collection, the butterflies and insects that populate the artist's Dante inspired aesthetic are laid out to create Alexander McQueen's skull motif.

8. Stella McCartney x Ed Ruscha

In 2016, American artist Ed Ruscha lent his signature style to Stella McCartney's winter campaign, #Stellacares. Reflecting the fashion designer's cruelty-free production ethics, the campaign images shot by photographer Harley Weir were superimposed with phrases such as "Meat-free" and "Veg out" in Ruscha's characteristic 'Boy Scout Utility Modern,' a sans serif style font, which he created in the 1980s and became a central component of his work.

9. Louis Vuitton x Takashi Murakami

Probably one of the most commercially successful fashion-art collaborations, the 2003 Louis Vuitton x Takashi Murakami accessory collection revealed the economic potential that arises from a collision between fashion and art. Featuring a colourful LV monogram designed by the Japanese pop artist, these bags can safely be considered to be some of the most paradigmatic It Bags of the 2000s.

10. Raf Simons x Robert Mapplethorpe

Shown at the Pitti Uomo in 2017, the Spring/Summer men's wear collection by Raf Simons took inspiration from Robert Mapplethorpe 's incredible photography. Some of the artist's seminal pieces like his Patti Smith portraits, as well as lesser-known, erotic photographs were worked into the garments in print form. But Mapplethorpe's art was also present in more referential ways, like in the white wide-necked shirts that could be seen on the runway in reverence to Smith's androgynous style. Incidentally, it was the Robert Mapplethorpe foundation that reached out to Simons, allowing him to go through the photographer's archive in order to translate his transgressive work into fashion.

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Top 10 Most Iconic Art and Fashion Collaborations - Artland Magazine

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Learn about some of the most iconic pairings between Art and Fashion. What do they have in common and how are they distinct from each other?

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How to use drops in the Instagram Age - BOF

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How to use drops in the Instagram Age - BOF

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This is an article on how to create a hype around a brand and a drop.

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LONDON, United Kingdom - Like it or not, drops have taken fashion by storm. From its lesser-known roots in the backstreets of Tokyo's Ura-Harajuku district to overnight queues outside Supreme's London outpost, drop culture has become a way for luxury brands to turbocharge the perceived scarcity - and desirability - of their products to a millennial audience.

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Looked at the success of the Kusama and Vuitton collab. What made it successful and how I could use these methods in my range.

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Dotty: Yayoi Kusama

She usually paints in comfortable pyjamas, one of her assistants tells me, her grey hair pulled up into a bun, but today she is upstairs having her hair and make-up done, ready to greet her guests.

READ: All aboard the Louis Vuitton express

When she finally comes down in the lift, a frail but colourful 83-year-old resplendent in a red wig and polka-dot ensemble, pushed in a polka-dotted wheelchair, she asks an assistant to show us some press cuttings of the Tate show, especially one from a paper from Matsumoto City, where she grew up. There's something touching about this need to prove herself, but it's also confusing - akin to J K Rowling showing off a review in The Gloucestershire Echo to verify that she is a published author.

Talking to Kusama can be a surreal experience. She is easily distracted, and although she lived in America for 20 years, she now speaks no English. She is surrounded by a team of assistants who translate for her, addressing her with respect as 'sensei' ('master' or 'teacher'), and with whom she often seems to have long discussions before answering even the blandest questions. It's hard to know what is being lost in translation, and what is down to the vagaries of age and health. But occasionally a question will engage her, and you'll get a brief but fierce flash of the intelligence and focus she has so clearly poured into her work over the years.

SEE: the Louis Vuitton autumn/winter 2012 collection

Finally she sits down to paint, leaning over a large gold canvas covered in blue designs, her brush adding thick red patterns over the blue. An assistant hovers at her shoulder ready to wipe away the odd accidental drip, but on the whole Kusama's hand is steady and she works quickly, decisively, her face bent to the canvas. It's an uncomfortable way of working, and she says she often suffers with her back as a result, but can no longer stand up to paint. Many of her physical problems, she adds, stem from her years in New York. 'I was working too hard at the time, and I was on my knees for so long that I damaged them. It was because of things like that that I decided to come back to Japan.'

Born in 1929 in Matsumoto City in central Japan, Kusama was the unloved younger daughter of an unhappy marriage. Her mother was the only daughter of a prosperous family who owned a thriving seed nursery business in the Japanese mountains. Her father was forced to take his wife's family name, and retaliated by having a string of affairs, and by running off to Tokyo for a while to live with a geisha.

Caught between her warring parents, Kusama found refuge in art, drawing obsessively from early childhood. But her ambitions to paint professionally were crushed by her family, who were deeply conventional: women from her background could collect art, but not create it. 'My parents said they would buy me as many clothes as I wanted, but anything to do with painting was absolutely out of the question,' she says, which is why some of her earliest works were painted on hessian seed sacks, using paints mixed with sand and organic materials she found nearby.

'My mother was very strong-willed. My elder sister had married into one of the richest families in Matsumoto City, and my parents wanted me to achieve a similar marriage. But I had no desire for such a life, because if I got married, I would be unable to continue painting. There was a lot of pressure and a lot of lecturing. My parents planned to marry me off to someone from a good family background and social standing, but I didn't know him. So I left home and never came back.'

Kusama went to Kyoto to train in traditional Japanese painting, although she rebelled against it immediately and longed to become part of a more innovative art scene in Paris or New York. But although travel outside the country became possible for Japanese nationals after the Second World War, it was still very difficult to get the relevant permits. She even wrote to Georgia O'Keeffe, the only female American painter she could find, asking for help. (O'Keeffe responded to her letters and came to visit her protégée when Kusama finally made it to New York.) She was eventually granted permission to leave Japan when she was 27 in 1956, with money sewn into her clothes and silk kimonos to sell while she established herself as an artist.

In New York she became friends with struggling fellow artists such as Donald Judd, the minimalist sculptor, and slowly achieved recognition, but nowhere near that of her male peers: as a foreigner and as a woman, she was twice the outsider. But she continued, doggedly, to work and to innovate. Her 1001 Boats installation (which was included in the Tate show) was a rowing boat covered in fabric phalluses, then photographed and reproduced a dizzying 1,000 times across the floor, walls and ceiling of the gallery. She invited her friend Andy Warhol along when it was first shown in 1963; a few years later he was celebrated for decorating the surfaces at one of his shows with similarly repetitive silkscreened images of a cow's face.

'For her it was infuriating that she did it first and then Warhol got all the acclaim,' says Glen Scott Wright of the Victoria Miro Gallery in London, who has worked with Kusama for several years. 'It was the same with Claes Oldenberg and Lucas Samaras. These guys were taking her ideas and becoming successful, getting the big galleries, selling work, making money, while she was being ignored by the market and the establishment.'

When the hippie era began, Kusama found a world in which she belonged. She surrounded herself with young gay men and organised 'happenings' - protesting against the Vietnam War, and campaigning for gay rights and sexual liberation. She designed shockingly revealing clothes, wrote and produced a musical, and began staging parties where people could pay to daub naked hippies with paint. 'I felt there was a need to fight with my art,' she says, 'to create a new form of civilisation.'

Yet despite posing nude and even publishing a magazine called Kusama's Orgy, the artist herself remained curiously asexual. She has often said that the phallus was a recurring image in her sculptures because she was so revolted by it, while her only long-term relationship in the New York years was with the artist Joseph Cornell, who was impotent and lived with his overbearing mother. The closest the relationship came to consummation was when the couple would sit naked, drawing portraits of each other. Even now, she shudders when asked if she got over her fears. 'I don't like sex,' she says.

In her autobiography Infinity Net, published in English by Tate in 2011, she describes Warhol, with his Factory crew, and herself with her gay assistants at her Kusama Enterprises, as 'like rival gang leaders'. But while Warhol's reputation in the art world soared, Kusama's happenings devalued her other work. Ill, exhausted and creatively burnt out, she returned to Japan for what she thought would be a temporary stay, had a breakdown and ended up checking into Seiwa Hospital in 1977.

By then her parents were dead, although there is a moving passage in her autobiography in which she talks about forgiving, and even growing to understand, their cruelty. And here, in the hospital, her story could well have ended, were it not for a desire to create that seems irrepressible. She no longer had a studio or even a home, but she began writing novels and poetry that gained her a growing following in Japan, then began producing new artworks.

Slowly, her reputation grew, and her earlier work came to be reassessed. There were important shows in Britain and in the States, and she represented Japan at the Venice Biennale in 1993. The art world, too, was changing, and Kusama wasn't the only female artist whose work was re-examined. 'Women were just not taken that seriously by the male-dominated art world in the past,' Scott Wright says. 'But we're in a very different art world now. It's virtually run by women.'

Now Kusama's thoughts are starting to focus on her legacy. Her team is overseeing the construction of a new five-floor building opposite the current studio, which will eventually house a private museum and an extensive archive, as well as a bigger studio and administrative offices. At the moment, however, she is more concerned that it is also going to be earthquake-proof.

During the 2011 earthquake in Japan, she was so frightened that she ran outside on to the street. 'I am very afraid of nature, especially at night. I was asleep, and the building shook so badly that I ran out in my bare feet. The earthquakes [aftershocks] kept on for a long time, there were dozens of them. That's why we're hurrying to construct this building. We consulted a specialist in earthquake-resistant construction.' Despite this, she has no plans to live there. 'It's very comfortable at the hospital,' she says.

The Tate show was an indication that the wider art establishment has, finally, recognised Kusama as a major talent. In 2008 one of the large Infinity Net paintings made during her early, poverty-stricken days in New York sold at auction for just over $5 million. But Kusama is still unsure of her place in art history, and needs reassurance: while the Tate's curator Frances Morris was working on the exhibition, Kusama asked if it would make her as famous as Donald Judd.

She takes us upstairs to see the cramped office where her administrative team works. Amid the usual office clutter of computers, papers and books, there are spare wigs sitting on stands, tiny maquettes for the huge fibreglass sculptures, and a photo of Kusama with Marc Jacobs on prominent display. 'I was very happy when he came to visit,' she says. 'He brought me a big bunch of flowers.'

READ: Marc Jacobs interview

Since taking charge of the luxury fashion house Louis Vuitton in 1997, Jacobs - a keen art collector - has initiated collaborations with several contemporary artists, from Richard Prince to Takashi Murakami. But the partnership with Kusama, to be launched this month, has produced the most varied collection of products so far.

Kusama's collaboration with Vuitton: sunglasses £350, zippy wallet, £595; money purse, £20; pumps, £710.

I had first encountered Kusama at Louis Vuitton's Bond Street flagship store in London in February. She had made the journey to Britain to attend the opening party for her Tate exhibition, the first time she had left Japan in 12 years. A couple of days later, the Vuitton store's staff were gathered in the first-floor art gallery ready to greet the artist. Here there was a selection of her recent work, from films and sculpture to paintings, and the shop's main entrance area was dominated by one of her huge, brightly coloured flower sculptures.

'Smile!' Tom Meggle, Vuitton's MD for Britain and Ireland, instructed his team. 'And keep smiling for the next 20 minutes!' But once Kusama's polka-dot wheelchair was pushed in, the smiles became genuine, the applause far more than just polite. There is something instantly endearing about Kusama, who had dressed up for the occasion in another vibrant wig and polka-dot ensemble.

Afterwards, she took a lift up to the private apartment above the store, where one of her recent paintings hangs alongside an impressive collection of work by artists such as Gilbert & George, and a line of Vuitton top brass was waiting to welcome her. Kusama, however, had eyes only for her picture, shooing them out of the way so that she could admire it before finally acknowledging her hosts.

I asked where she gets the energy to continue making work at such a prolific rate. 'I don't honestly know,' she replied. 'I don't think about creating the art myself, it's just my hands move and they do it. It's not as though I put any intellectual energy into thinking about it, it just develops by itself. It's wonderful, it's a mystery how it all happens.'

For the Vuitton collaboration, her polka dots and the nerves pattern are featured on wallets, bags, sunglasses, scarves, bikinis and beach towels and clothes, the first of which are due in store this month. My favourites are a pair of red patent polka-dot heels that look as though they could be owned by Minnie Mouse, and a gorgeously soft, transparent mac covered in black dots.

For the launch, Kusama has designed dramatic window displays for the Bond Street shop, and a pumpkin pop-up shop for Selfridges on Oxford Street, which will also devote its windows to the collection. But still desperate for reassurance, in Tokyo she asks again and again whether we like the Vuitton product, if Marc Jacobs is happy with it, and repeats that she would like to do more.

In the 1970s, she says, the clothes she created were stocked by outlets such as Bloomingdales, and she could have moved into fashion. Then, when her novels began winning awards in Japan, she could have reinvented herself as a writer. She enjoys making all these things, and music too, but in the end, the art always pulled her most strongly.

'I've been active in many different spheres of the arts, whether it be writing novels, creating fashion or pure art by itself. What I would like to put across through all of my art is, I suppose, questions of what human life is, what humans are about, what the earth is about, what the universe is about. And the single message is, really, "love forever".'

It is these two words that adorn much of the merchandise for sale, and if that seems trite we should remind ourselves that Kusama lived through a devastating war and saw nuclear bombs wipe out two Japanese cities. For her it is no mere slogan: it is a message she has spent her life communicating, a struggle that has come at great personal cost. 'Love is the most important thing,' she says. 'Peace is a very important part, but if you wanted to sum it all up in one word, that word would be love.'

The Louis Vuitton/Yayoi Kusama collaboration will be in Louis Vuitton stores from Tuesday. A pop-up store will open in Selfridges, London, on August 24

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The dotty art of Yayoi Kusama comes to Louis Vuitton

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Dotty: Yayoi Kusama She usually paints in comfortable pyjamas, one of her assistants tells me, her grey hair pulled up into a bun, but today she is upstairs having her hair and make-up done, ready to greet her guests.

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Another art and fashion collaboration.

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In Woody Allen's 2000 comedy "Small Time Crooks," a British art dealer played by Hugh Grant tries to figure out the nouveau riche Frenchy (Tracey Ullman) by asking this loud, louche woman - who struck it rich...

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Jeff Koons' and Louis Vuitton's unstoppable fashion terrorism

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In Woody Allen's 2000 comedy "Small Time Crooks," a British art dealer played by Hugh Grant tries to figure out the nouveau riche Frenchy (Tracey Ullman) by asking this loud, louche woman - who struck it rich...

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A current and ongoing fashion and art collab.

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New York - Andy Warhol has occupied the creative mind of Raf Simons ever since he arrived at Calvin Klein in late 2016 with the mandate to restore relevancy to the the once-great American powerhouse, and now the artist occupies space in Calvin Klein's Manhattan headquarters at 205 W 39th St.

In a custom-built industrial-style gallery on the ground floor in the spot where runway shows are held, "Shadows," a series of the artist's abstract unframed canvases hang edge to edge along the four white walls. Four benches are arranged in the center of the room to allow full range contemplation of the paintings which have not been exhibited in New York for twenty years and which coincide with a major retrospective at the Whitney Museum of American Art entitled "Andy Warhol-From A to B and Back Again."

Calvin Klein shows Andy Warhol "Shadows"

When Simons was hired, Calvin Klein still mattered financially, but the house's 15 minutes of fame seemed over. It lacked urgency, energy, and audacity, characteristics that Andy Warhol's art has in abundance, and through entering into a collaboration with the Andy Warhol Foundation extending for three years, Simons has made the artist's work a significant part of his re-imagining of the brand.

To coincide with the original 1979 exhibition of the paintings Warhol wrote in New York magazine, "This show will be like all the others. The reviews will be bad--my reviews always are. But the reviews of the party will be terrific." Although the series was created of 102 panels. the Calvin Klein space accommodates about half that number but demonstrate the artist's interest in the serial repetition of images, in this case large-scale silkscreens of sweeping paint gestures using a sponge mop which vary in color from canvas to canvas.

Simons told the NY Times last month, "I liked the idea of connecting an American major brand to an American major artist, whose body of work spoke about things very relevant to Calvin Klein." Currently, Warhol imagery appears on Calvin Klein underwear, denim, towels and tableware.

Fashion has long fostered a close bond with art (Raf Simons also works regularly with Sterling Ruby), from Schiaparelli's 1930's collaboration with Salvador Dalí, to Yves Saint Laurent's 1965 Piet Mondrian collection, to Damian Hirst's insects crawling across Alexander McQueen's chiffon in 2013. And Warhol already made an appearance on Gianni Versace's 1991 Pop Art runway when a bejeweled Marilyn Monroe hugged the supermodel curves of Naomi Campbell.

But Warhol's message seems to have renewed appeal in our influencer era, with a reality TV star for a president, and one can't help imagining Warhol himself would be in his element, delving into the shallow waters of fame via Instagram, pouting for selfies with the Edie Sedgwicks of the blogosphere, and commenting on the thrill of clocking up followers and likes with Gen Z nonchalance.

Andy Warhol "Shadows" is on show at Calvin Klein Inc until December 15th 2018.
Fashion editor Jackie Mallon is also an educator and author of Silk for the Feed Dogs, a novel set in the international fashion industry.
Photos calvinklein.us and FashionUnited.

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Fashion meets art: Calvin Klein Exhibits Andy Warhol

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REVIEW New York - Andy Warhol has occupied the creative mind of Raf Simons ever since he arrived at Calvin Klein in late 2016 with the mandate to restore relevancy to the the once-great American powerhouse, and now the artist occupies spa

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Very successful collab between graffiti artist Gucci Ghost and brand Gucci. This was quite recent and involves streetwear and a graffiti artist so it is an important collection to draw from.

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Three years ago, Trevor Andrew was an ex-Olympic snowboarder working in Bed-Stuy with a peculiar obsession with the Italian luxury label Gucci. He needed a last-minute costume for Halloween, so he cut a pair of holes in his fine Gucci bedsheets and called it a night. As he walked around, New Yorkers everywhere catcalled him: "Hey! Gucci ghost!" An idea took hold.

Encouraged, Andrew began to run all over New York painting his interpretation of the iconic Gucci logo on every surface he could find, later posting the images to his personal Instagram using the hashtag # guccighost. To his surprise, he attracted a following.

Last week, nearly 3,000 posts and 26,000 followers later, he found himself in an unlikely spot: front and center at Gucci's Milan headquarters not just in the presence of Alessandro Michele, but collaborating with the critically adored creative director.

"There were no crazy guidelines that I had to follow," Andrew said in his Brooklyn studio still dizzy from his Milan sojourn. "It was like, come in, create, and let's have fun." Originally from a small town in Nova Scotia, Canada, Andrew, grew up embedded in skate and snowboard culture, riding professionally for 15 years for Burton Snowboards and even competing as part of the national Canadian team at the 1998 winter Olympics in Nagano, Japan (he ranked 9th in the men's halfpipe at the 2002 Olympics in Salt Lake City).

It was with the money he won snowboarding that he bought his first Gucci watch at 17. He had seen Inspectah Deck wearing one just like it on a Wu Tang Clan album cover and he had to own it. "The value of that and what it represented to me was so much more than what I paid for," Andrew recalled. "When this GucciGhost concept came up kind of as a fluke, it made sense. And once I saw people react to what I was making, it told me that other people feel the same way about how something like Gucci can make you feel."

Today, Andrew still wears a Gucci watch, although it's one of many. He also has a two gold teeth and wears sunglasses inside. The GucciGhost logo was everywhere in his studio alongside shelves of old VHS skate videos, boom boxes plastered with Thrasher stickers, and a painting of the phrase "Life is Gucci." "It means 'Life is good,'" Andrew said. "Gucci is like a language. What's Gucci? Everything is Gucci. It's good. It's greatness. The fact that it's made it into English slang, that's so dope."

Andrew's interest in ripping up high fashion and putting it back together stems from his years thrifting with his mother while he was growing up. "I wouldn't use the world knockoff," he said. "I repurpose things." Skate culture also taught him to have an appreciation for the power of branding.

"People ask if I'm mocking [Gucci] and I'm honestly not at all. When I started the project, I wanted Gucci to notice me. Now more than ever before is a time when they would actually get what I was doing and see that it applies to high fashion and can reach a wide range of people," he said. "And it worked!"

Since Michele took over Gucci, he's expressed an interest in Internet culture and has brought into his fold artists who've earned a following through their Instagrams. After his fall 2015 show, he invited the artist Helen Downie, best known as @unskilledworker, to create a series of paintings based on the collection. And not only is fashion embracing skate culture and street artists, but designers like Michele are also tapping into something much deeper - one might call it a " new romance" - of boys and girls; high and low; vintage and new.

Andrew, who is married to the musician Santigold, actually came to Michele's attention through mutual friend and skate photographer Ari Marcopoulos, who shot the brand's pre-fall 2016 look book.

When Andrew met Michele, he said they enjoyed an instant bond, just like when he met other skateboarders when he was younger. "It was like we vibed immediately," he said. The collaboration on the fall collection flowed just as easily, with Andrew painting on bags his now-signature "REAL LOVE" logo above Gucci's own, as well as the iconic double 'G' and, of course, ghosts.

"We played music and it was really casual," Andrew said of working with Michele. ( Trouble Andrew is Andrew's musical moniker, and he's worked with everyone from Diplo to Zoe Kravitz.) "Alessandro completely works off of love and no fear," he said. "His collections touch upon so many different things. It's not like, 'Okay, this works. So we're going with this.' It's like, a bunch of things work and he's so free. I never felt uncomfortable around [him]. Before I met him, I didn't know what to expect. But immediately, he's just such a gentle and awesome guy."

Now that he's returned from his first Milan Fashion Week ever, Andrew can hardly believe his luck. Later this week, he's getting the phrase "It was all a dream" tattoed on his left arm.

"When I first started this GucciGhost project, a lot of people were like, 'Yo, you're crazy man. It's never going to work. They're never going to talk to you. Those guys don't even light their own cigarettes!'" he said. "But that's just so not true and I'm so glad I kept pushing the concept. I was so honored for it to have gone as far as it did. But I would have been content with, 'He's cool.'"

Life is Gucci, indeed.

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Three years ago, Trevor Andrew was an ex-Olympic snowboarder working in Bed-Stuy with a peculiar obsession with the Italian luxury label Gucci. He needed a last-minute costume for Halloween, so he cut a pair of holes in his fine Gucci bedsheets and called it a night.

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This is the main category I looked at for range inspiration. They mention Basquiat in this trend report and his show at the Barbican.

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this is where I looked to find the idea about projecting Basquait's art work and having a smartphone projector as an add on.

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The Smartphone Projector will allow you to transform your bedroom into a cinema experience for your friends and family. As well as magnifying the visuals, the silicone grip will hold your phone securely in place. - L.M.
Features:

Smartphone Projector

Projects videos from your smartphone onto a wall

8 x magnification lens

Silicone grip holds the phone in place

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The Smartphone Projector will allow you to transform your bedroom into a cinema experience for your friends and family. As well as magnifying the visuals, the silicone grip will hold your phone securely in place. - L.M.

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Article about sportswear sales about Browns. I looked at past collections that they have had in store to make sure the marketing and in store look was in keeping with Browns aesthetic.

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Featuring the likes of Rapha and Pas Normal, the High Performance collection caters to fashion-conscious men with an active lifestyle. Here's everything you need to know (and the best products to buy)

Titled "High Performance", Browns' predictably hip new sportswear features brands such as Byborre, Salomon and Moncler, making it perfect for stylish men (like you) who want to lead an active lifestyle and look good while doing it.

Whether you're trekking through Epping Forest, running across Hampstead Heath or embarking on a hardcore class at Barry's Bootcamp, there's a piece for every pursuit, from water-resistant pants by Arc'teryx to compression leggings by 2XU and ski goggles by Anon.

The selection isn't solely catered to gym bods, either: Browns has infused active-led pieces for the everyday wardrobe into the collection too, from raincoats by Rapha to belt bags by Moncler. So if you're searching for durable clothes that still slot into luxury fashion, this edit will satisfy - big time.

That's all down to Dean Cook, head of menswear buying at Browns, who has made it his last six months' work to introduce these new labels to the retailer's (traditionally high-fashion-focused) buy. "We came at it from a lifestyle perspective," Cook told us following his East London presentation earlier this week. "The man that shops at Browns is already a very intelligent shopper for fashion-led items, so we are building on this and offering styles that look at excellence and creativity for a fashion-forward customer with an active lifestyle.

"I wanted brands that excel in perfection and strive to be the best, not only in aesthetics and mood but technicality also. There is something for everyone, at every level - traditional team-focused sports but also solo activities. The High Performance category has created a true 360 experience for our customer at Browns."

We'll race you to the starting line - you'll find it at Browns's home in Shoreditch, Browns East (oh, and online).

Browns' High Performance collection is now available in store and at brownsfashion.com

Read More

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Exclusive: Browns is now doing sportswear (and it's fit)

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Featuring the likes of Rapha and Pas Normal, the High Performance collection caters to fashion-conscious men with an active lifestyle. Here's everything you need to know (and the best products to buy) Titled "High Performance", Browns' predictably hip new sportswear features brands such as Byborre, Salomon and Moncler, making it perfect for stylish men (like you) who want to lead an active lifestyle and look good while doing it.

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More research on Browns past collections and the installations they have done.

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LONDON - Browns is expanding into the activewear category and launching today with 33 brands and an exclusive capsule with streetwear label Misbhv. There will be a mix of luxury to performancewear brands available such as Versace Active to Adidas and Nike.

"Brands are really starting to focus on understanding and creating performancewear pieces geared toward women instead of just 'shrinking it and pinking it.' I felt that with this new category, it could really represent the whole of Browns ' audience," said Ida Petersson, women's wear buying director at Browns.

In an effort to represent as much of the Browns audience as possible, Petersson has included items that stretch far beyond the gym wear range such as performancewear for yoga, running, cycling, basketball and football.

"There is so much happening on the women's activewear side and I want to make sure we cater to all those women. We've seen the cycling genre becoming stronger and stronger and with our global audience, basketball is big in the U.S.," Petersson said.

Browns will also be offering three exclusive styles with Misbhv that include neon bodycon dresses, other key drops include pieces from Fantabody, Adam Selman Sport and Adidas x Daneille Cathari.

There will also be an installation in the Browns East store, where activewear items such as a sports bra and performancewear leggings will be hung and stretched from the ceiling with neon green string. A selection of sneakers from brands like Reebok and Adidas will be displayed underneath.

"Our point of difference is styling up these performancewear pieces, so you can wear them as functional pieces but also having fun with them and pairing a beautiful dress with sneakers. A lot of these items are functional but they don't necessarily need to be, and it is important that we reflect this, too," Petersson said.

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Browns Introduces Women's Activewear With 33 Brands

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LONDON - Browns is expanding into the activewear category and launching today with 33 brands and an exclusive capsule with streetwear label Misbhv. There will be a mix of luxury to performancewear brands available such as Versace Active to Adidas and Nike.

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More research on previous collections. Tony Hawks was in store and it created a real buzz.

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More research on Browns East opening of the store and their intention for the store.

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Iconic fashion retailer Browns has opened its first new bricks-and-mortar store in 20 years in Shoreditch, east London.

Located on the corner of Club Row, the two-storey shop has been aptly named Browns East and is housed in a former print factory.

The store also complements the famous flagship on South Molton Street, Mayfair, which was first opened 1970 by Joan Rubenstein - popularly known as Mrs B - and her husband Sidney.

Browns East's interiors follows a Nomad theme that is based on the Store of the Future concept by Farfetch - the online retail giant that acquired Browns in 2015 - and is eco-friendly thanks to the use of recycled floorboards and fixtures and furniture crafted from 100 per cent recycled plastics.

Alongside Browns' range of luxury fashion items, there are art installations, a cafe, a gallery, an immersive experience room, an event space for gatherings, workshops and Q&As, plus a dedicated area for capsule collection drops and collaborations.

Browns East is also gender-neutral space, blurring the line between what was once strictly male or strictly female fashion.

"We've blended our love of fashion with incredible in-store experiences and we've always ensured that we change and evolve with our customers," Browns chief executive Holli Rogers said.

"In creating the overall Browns Nomad concept and opening Browns East, we've gone back to our roots, with innovation at the heart."

The store also marks Farfetch's debut into augmented retail.

Farfetch Store of the Future managing director Sandrine Deveaux said: "In this amazing new retail space, our engineers will work alongside the sales associates to really get to know the Browns East customer, and to see how they are interacting with the products and services.

"Insights will be constantly gathered by our team to adjust the technology. This iterative approach will allow us to shape the connected store retail experience, where we believe technology is there to enhance and to augment the customer experience in subtle, magical ways."
Click here to follow Retail Gazette on LinkedIn

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Iconic fashion retailer Browns chooses Shoreditch for first store in 20 years - Retail Gazette

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Iconic fashion retailer Browns has opened its first new bricks-and-mortar store in 20 years in Shoreditch, east London. Located on the corner of Club Row, the two-storey shop has been aptly named Browns East and is housed in a former print factory.

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Looked at Browns East website to see how the market their upcoming events and collections.

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More research on Browns East opening.

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Since its founding in 1970, London retailer Browns has become one of the best known and most respected stores in the UK. Its initial location - the flagship in Mayfair - was the first place in the UK to stock brands such as Calvin Klein and Jil Sander, and the store was influential in launching the careers of designers, such as Alexander McQueen and Christopher Kane.

After almost half a century in West London, the store has branched out and opened a new space in a converted East London printing factory. Similarly to the flagship, the new store features an enviable brand list with pieces from Off-White™, Balenciaga and Raf Simons taking pride of place on the shop floor. For this space, the buying team has also introduced some new brands. "Sacai we only stock in East London," explains Menswear Buying Director Dean Cook, " Yohji [Yamamoto] we have only for East London, we just felt it was right for the mood round here."

As well as an updated brand selection, the store is innovative in other ways. The space features an art gallery, a rotating cafe and an "Immersive Experience Room," which allows visitors to check in for a meditation session. Arguably the biggest change, though, is the use of augmented reality to change the retail experience. The store uses Farfetch 's "Store of the Future" technology, which allows VIP visitors to view their potential purchase in different settings, as well as request new sizes to the changing room, see recommendations, and sync their digital wish list to the physical store.
"You have all the great restaurants, great hotels [in East London]. It just needs a little bit more fashion."
Another feature of the store is its entrance, which functions as a separate gallery space for either branded or creative installations. The opening installation will see Travis Scott's ten-piece Ksubi collaboration - Brown's are the only European stockists - displayed in the space. The gallery theme continues throughout, with the staircase dedicated to displaying a carefully curated selection of artworks, all of which are available for purchase.

The brand selection needs to be different because the location is different, with different tastes, demographics and trends from the other side of London. "I just think you get a totally different mood around here," says Cook, "whereas the Mayfair one you get a lot of celebrities, footballers and regulars that have been coming to the business for 48 years, here it's a new type, it's a younger consumer that comes here."

For Cook, Browns East is filling a gap that has been left as the area rapidly gentrified and became one of the capital's new centres. "You have all the great restaurants, great hotels," he says, "it just needs a little bit more fashion." It also marks the first in a series named the "Browns Nomad" project, which will see the iconic London store taken on a tour of semi-permanent locations across the world. We went down to Browns East to take a look around the store and check out the best pieces it had on offer. For more information head to the Browns website.

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Look Inside Browns' New East London Store

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Since its founding in 1970, London retailer Browns has become one of the best known and most respected stores in the UK. Its initial location - the flagship in Mayfair - was the first place in the UK to stock brands such as Calvin Klein and Jil Sander, and the store was influential in launching the careers of designers, such as Alexander McQueen and Christopher Kane.

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In depth article about how Supreme have become so successful. This is important to my research as they are a very successful streetwear brand who have mastered the art of limited collections and creating a hype around brands.

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The three Cs of Supreme success

Control of supply with limited drops of product for which there is huge global demand

"Cool" cult status created though a lack of engagement with mainstream media channels and trade shows

Collaborations within fashion, pop culture and celebrities set the bar for the rest of the fashion world

With its headline-grabbing collaborations, cult-like following and consistent sell-out products, Supreme might be one of the biggest brands in the world right now.

Launched in New York in 1994 as a small underground skate shop by publicity-shy James Jebbia, a British-born, US-based skateboarder, it has quietly evolved from an insider secret to a mysterious holy grail of cool cachet among skaters, streetwear fans and international fashion followers alike - its typographical bold red logo is instantly recognisable.

The Supreme empire now spans 10 stores around the world: New York, Los Angeles, London and Paris, as well as six in Japan.

Hundreds of websites, forums and social media pages are devoted to discussing the brand and its launches, while a controversial secondary market has sprung up around it. Consumers buy and resell items at hugely inflated prices - there are more than 40,000 Supreme pieces listed on the streetwear resale marketplace Grailed, for example, a bomber jacket said to have been originally sold at €3,000 (£2,735) is priced at $20,000 (£15,000).

Collaborations with everyone from big brands and niche labels, to pop culture icons, artists and celebrities - most recently a link-up with global luxury brand Louis Vuitton for autumn 17, which debuted on the catwalks of Paris Fashion Week - set the bar for the rest of the fashion industry.

And while its signature "box logo" T-shirts - well made and reasonably priced at £36 - remain a key item and collectors' favourite, its ever-broadening product range continues to bring consistent sell-out success.

"For me Supreme is and always will be successful because it's cool," says Kristopher Babet, brand consultant and former menswear buying manager at Urban Outfitters. "It was set up by cool guys, in a cool place and works with cool people. It's cool product, with cool references, that's worn by cool kids. It [also becomes] a way for people who are not cool to feel like they are. It's bought cool, implied cool and there are a lot of people out there who want that and are willing to pay for it - no matter the price."

Cool factors

While this "cool" is impossible to bottle and replicate, there are several elements that have contributed to Supreme's stealthy ascent to global success, and remaining "cool" 20 years after launching.

Its retail strategy has certainly helped feed the hype around its products. First, the brand is all but silent, eschewing interviews, limiting advertising and consistently sticking to its own independent plan - it never exhibits at trade shows and it is only officially available via its own stores and website.

Although not new, it has also popularised the system of product arriving at structured times or in "drops". It creates two collections a year, but these are spaced out in weekly deliveries online and in store - now dubbed "Supreme Thursdays" - with new releases every week at 11am Greenwich Mean Time.

"The fashion system is changing and Supreme know that better than anyone else. The limited drops are what keeps it relevant," says Silas Adler, founder of Danish menswear brand Soulland. "No one is better at this than Supreme."

"I am fan of what Supreme has created from a business perspective - how they changed the retail landscape," adds Stavros Karelis, founder of London designer store Machine A, a neighbour of Supreme's store on Peter Street in Soho. "They're not waiting for the passing trade to support their business - they control what they need to sell, when they need to sell it and from which locations."

What is more, despite its popularity and ever-growing demand, an air of exclusivity is maintained as another significant factor. Although never officially labelled as "limited edition", each item is sold in seemingly small numbers and, most importantly, once a style has sold out it rarely reappears - only a handful of items are restocked.

"The limited nature is a great marketing tool," adds Karelis. "It makes a simple T-shirt unique. And that is very difficult to achieve in this age and time."

A similar strategy is proving successful for other brands, particularly relaunched luxury houses Gucci and Balenciaga, both of which also produce a constant stream of new products and fresh styles, but limit stock numbers to create an appetite for items in a cycle of short supply and high demand.

At Supreme, this has helped build a frenzied desire for its products, prompting its cult-like customers to camp outside its stores days in advance and online stores to crash under digital traffic. Products sell out not in weeks, days or hours, but often in minutes and sometimes seconds. Last month, a black T-shirt featuring a photograph of the rapper Nas sold out online in the UK in 18 seconds, while all six colours had gone in 53 seconds, reports fan site Supremecommunity.com.

"This strategy creates demand and this is the key," says Darren Skey, founder of Nieuway sales and consultancy agency, and former head of menswear at Harvey Nichols. "They limit the releases to ensure pent-up demand," says Darren Skey, founder of Nieuway sales and consultancy agency, and former head of menswear at Harvey Nichols. "It engages the consumer and creates a heightened buzz around what is going to be next." Skey says he encourages the brands he consults to adopt a similar approach, as "the modern consumer wants newness - they want constant seduction from a brand".

The brand dominates resale sites and apps such as Grailed and Depop, and even luxury marketplace Vestiaire Collective. Supreme is resold at hugely inflated prices, while the market for counterfeit products is also growing.

Another element of Supreme's success is its approach to collaborations. These range from a plethora of fashion labels (everyone from Nike, The North Face and Levi's to luxury labels Comme des Garçons and Louis Vuitton) and lifestyle brands (including Braun, Budweiser and Fender) to pop stars, artists and cultural icons (such as Damien Hirst, Kate Moss and Kermit the Frog), setting the pace for collaboration across the rest of the fashion industry.

As fashion consultant Skey notes, these different link-ups bring another element of constant, and often unexpected, newness to the brand, while also putting Supreme in front of new audiences that helps it "transcend age groups".

It is rare that you see the same brand worn at skate parks and the front rows of international fashion weeks - worn by young shoppers to older luxury consumers, but that is the power and crossover of Supreme, thanks largely to its smart use of collaboration.

"The collabs are the key to keeping the brand fresh and top of mind. Constantly re-establishing [its] links to different subsections of consumers is a master stroke," adds Skey. "They have no boundaries when it comes to collaborations. Sometimes the most unexpected is often the best. Who would have really thought Supreme would actually collaborate with Louis Vuitton?"

A way of life

The brand's collaborations have also helped the skate brand evolve into a true lifestyle offering, adding new and different products to its range with integrity, and often an element of humour. As well as clothing, it now sells everything from Supreme-branded guitars and chopsticks, kitchenware and calculators, and even a much-hyped - and sold out - £28 Supreme clay house brick.

"Collaborations have taken Supreme from in-the-know favourite to global mega-brand. It's hardly been a failure for them," comments Nick Paget, senior menswear editor at trend forecasting agency WGSN. "Supreme sums up the success of the culture of the collab. It's the extent of these ambitious projects that industry commentators look to when they're expecting the [collaboration] bubble to burst. What skater needs a [Supreme x Louis Vuitton] trunk for their skateboard that costs nearly $70,000 (£54,000)?" he says. "But that bubble is looking pretty intact for now."

Whether it is smart product delivery, constant newness, unexpected link-ups or an interesting take on supply and demand, there is no denying Supreme's success - both in terms of building and maintaining hype around a small brand, and turning it into a global cultural phenomenon. Essentially, it is selling lots of clothes that consumers cannot get enough of.

As independent retailer and Machine A founder Stavros Karelis concludes: "Supreme are very connected with their customer, having quite possibly the most loyal audience. That is something that I do admire as an entrepreneur."

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The three Cs of Supreme success Control of supply with limited drops of product for which there is huge global demand "Cool" cult status created though a lack of engagement with mainstream media channels and trade shows Collaborations within fashion, pop culture and celebrities set the bar for the rest of the fashion world With its headline-grabbing collaborations, cult-like following and consistent sell-out products, Supreme might be one of the biggest brands in the world right now.

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This shows how Supreme's strategy and marketing has made them so successful.

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Unfolding the unconventional strategy that led a streetwear brand to billion dollar valuation and a cult fan following

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More research on how to create a hype around a brand.

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Don't worry about work experience or formal training, spurn the seasons, and deliver in your own time: the first rule of making a bestselling brand in 2018 is that there are no rules.

Believe in the 'Big Flat Now'

The fashion industry often talks about the retail landscape. But what if that landscape has been completely erased by the millennial consumer?

"We call it the 'Big Flat Now'," says Joerg Koch, editor of the German independent magazine turned fashion brand 032c. "It doesn't matter if it is art or fashion or design. Everything is digital. Everything is accessible. There's no future, there's no past, there's just the Big Flat Now."

Since founding 032c in Berlin in 2001, the magazine has always covered disruptive brands, mixing them with complex pieces on art and ideas. Koch is 43. "We feel that we're the last generation that really discerns between categories," he adds. "The younger generation don't recognise these categories any more. For them, what matters is if something is interesting or not."

Koch, who works alongside his wife Maria, considers the traditional ways of thinking about fashion and retail irrelevant, and 032c itself has blurred its own brand borders.

The 032c fashion label, designed by Maria, debuted a first full collection at Pitti Uomo, the international men's collections event in Florence, in January. "In today's world, everything is media," says Koch. "If we feel strongly about something, we can put it out within four weeks. It could be a T-shirt, it could be an ashtray."

Don't be boring

Before millennials, retail was about playing safe. Catwalks were filled with colour, but stores still bought the version in black. Not any more. Helen David, the chief merchant at Harrods, says: "For traditional retailers, what was thought of in the past as safe is actually the most unsafe thing to order for your store because it's boring and nobody wants it."

Gucci is the most blatant example of this, a €6.21bn brand with a 69.1 per cent rise in operating profits in 2017, largely driven by millennial spending. "The quirk of Gucci has become commercial," says David. "The louder, the more fun, the more colourful it is, the more we are likely to sell it." David cites social media as a driver for this movement. "Instagram is a big part of millennials' lives. They want their outfits to be Instagrammable. They want to look different and statement-making. They aren't going to Instagram themselves wearing a luxurious vicuña sweater."

Downtown is the new uptown

"It's that mix and match," Kim Jones, the former men's artistic director of Louis Vuitton, told me the day before his era-defining collaboration with the streetwear label Supreme was revealed. Louis Vuitton relies on its reputation at the pinnacle of luxury goods. Supreme is a skatewear brand born on the New York streets. The collaboration would once have been unthinkable, but millennials see no distinction. "Anyone can be anyone, you can do anything," says Jones, who is now set to bring millennial heat to Dior Homme. "It's about the possibilities."

No experience required

Fashion's new wave of designers don't worry about formal training. Virgil Abloh, the founder of Off-White and newly appointed men's artistic director of Louis Vuitton, studied civil engineering and architecture. It's not something he tries to hide. "I come from a bunch of kids that wanted to participate in fashion," he said after his most recent Off-White men's show in January, "printing T-shirts and calling it a brand, calling yourself a fashion designer."

Embrace the sneaker

Harrods reports that 55 per cent of its men's footwear business is made up of sneakers, and that they comprise 50 per cent of its entire footwear turnover. "It's pretty astounding to think that half our shoe business at Harrods is sneakers," says Helen David, "and to think of the number of occasions one can't wear sneakers for."

Sneakers have possessed heritage brands as well. Luxury labels such as Christian Dior, Fendi, Gucci and Louis Vuitton have all launched versions, while Prada chief executive Patrizio Bertelli acknowledged last year that one cause of the brand's disappointing sales in recent years had been its failure to hop on the sneaker trend earlier. Is it any coincidence Prada's new Cloudbust running shoe has been accompanied, according to Bertelli, by an exit from the "grey area" of previous quarters to "a brighter one"? Probably not. It might seem like a millennial fad, but sneakers have heritage themselves - the first plimsoll was invented in 1870. Today's fortysomethings grew up with sneakers. These roots have grown deep: for millennials, footwear now means sneakers.

Collaborate, collaborate, collaborate

On March 12, Supreme announced it was collaborating with the Japanese clothing brand Undercover on a collection using graphics by hip-hop legends Public Enemy. On March 26, Supreme revealed it had worked on a collection using images by artist Nan Goldin. On April 4, news broke they had worked on a collection with outdoor specialists The North Face. Five days later came the announcement of the hook-up between Supreme and LVMH-owned luggage-maker Rimowa. At the time of writing, a new collaboration between Supreme and Lacoste had just been announced. That's five collaborations in little over a month. Millennials need brands to keep those deals coming.

Ignore the seasons

Fashion used to be bound by seasonal deliveries. Millennials don't want to wait six months for something new. Skate brands such as Supreme and Palace Skateboards have pioneered new ways of thinking about fashion, not just in the general acceptance of hoodies and sweatshirts as daywear, but in their method of delivery. Neither brand stages shows, nor releases any information about what's to come. Instead, collections are delivered through regular drops, causing queues that stretch for blocks to buy the latest product. "Palace and Supreme are spearheading a lot of the developments throughout the industry," says Joerg Koch, "especially that notion of drops instead of seasonal collections that nobody needs."

Target your customers

Earlier this month, Vetements used Instagram to let its 2.7m followers know about its limited-edition pink unicorn hoodie. "Matchesfashion.com sold 500 of them in hours," says Guram Gvasalia, Vetements chief executive and brother of the brand's designer Demna Gvasalia. "On the sale of this one hoodie, Matchesfashion.com did €445,000 in sales."

Don't change your DNA

The best way to engage millennials is to keep doing what you do, well. Dolce & Gabbana is a fine example of a brand reinvigorated by its new customers. "They have made a way of making their brand work for millennials without changing their DNA, which is pretty genius," says Helen David. Their method is to be the most audacious version of themselves: extreme decoration on garments, extravagant thinking and exclusive shows staged for - and starring - millennial clients. In November, the brand held a show in Harrods Food Hall, as well as taking over all 23 of the store's windows and installing a festive market (at an estimated cost to the brand of about £7m). For Gabbana, the exposure was worth far more than the equivalent costs of taking out advertisements in glossy magazines. "It was wild," says David. "Nothing was a 'no', Everything was, 'Oh, why not?' They were so fun to work with."

Be more Hermès

The waiting lists for the Hermès Birkin bag are a luxury-industry legend. Of course, they could speed up production, but why meet demand? Limited delivery is a canny trick. Look at the recent mania for the Supreme x Rimowa collaboration, which sold out in 34 seconds. "Luxury is like dating," says Guram Gvasalia. "If something is available and in front of you, it's less desirable. Scarcity is what defines it. One of the ways to create scarcity is to reduce the supply curve. The more demand there is, the more desire it creates."

Quit when you're ahead

You're one of the most influential millennial brands. Why continue? On April 4, Gosha Rubchinskiy posted on his Instagram feed that "we will stop Gosha Rubchinskiy brand as you've known it". Rubchinskiy is a Russian designer who grew his brand within the fashion system, showing in Paris, then Florence. But, for the past three seasons, Rubchinskiy has flouted the schedules by showing in Russia. Where does he go next? Nowhere. Speaking to Rubchinskiy a few months ago, he intimated that his next step would be a different path entirely.
Snowflakes or hard workers: how do you feel about the term 'millennial'? And how is this generation changing society today? Share your views here. Follow @FTStyle on Twitter to find out about our latest stories first. Subscribe to FT Life on YouTube for the latest FT Weekend videos

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Don't worry about work experience or formal training, spurn the seasons, and deliver in your own time: the first rule of making a bestselling brand in 2018 is that there are no rules. The fashion industry often talks about the retail landscape. But what if that landscape has been completely erased by the millennial consumer?

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Looked at Moschino's Instagram to gain an idea of how they might market the collection. Also to make sure the collection was in keeping with their aesthetic.

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Looked at Brown's Instagram to see how they market their garments and how they manage their social media.

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BROWNS (@brownsfashion) * Instagram photos and videos

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283.4k Followers, 1,203 Following, 2,370 Posts - See Instagram photos and videos from BROWNS (@brownsfashion)

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A lot of primary research was done through talking to friends, classmates and tutors and getting feedback on my range.
I also spent a lot of time in the Browns East store where the staff were extremely helpful. They explained to me how the exclusive drops worked and what it was like on the opening day of a successful drop. They were willing to look at my advice and assured me that it was in keeping with Browns East aesthetic. They were excited by the QR Code addition and the installation that would be included in the entrance of the shop. They felt that this was in line with Browns East intention of pushing shopping into the future.

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The range is made up of 13 options which fall under 4 categories. It has a total buy cost of £267,717 and a a turnover of £1,226,120 making a total profit of £958,403.

The highest planned sales are in tops as these have a lower entry price and are an easy way to wear a statement piece without having to commit to a high price tag. There are also some plainer items in this category which are a bit less daring than some of the other garments, these are falling into the core category and therefore have higher volume of buy units. Tops also hold the highest percentage in Moschino's assortment mix.

The Rate of Sale is very high for this range but is reflecting the hype drop style of marketing that has been adopted for this range. It also reflects the fact that Moschino is a global brand people from overseas will be able to order online. The full range will be available both online and in store.

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Below is a pie chart pulled from Edited this shows the percentage of categories that Moschino has instock on the date 01/08/19.
Although this is a good indication of how Moschino divide their offer it does also contain the off shoot brand LoveMoschino who do a lot of accessories and more footwear. When deciding on the balance in my range I looked at Moschino's current and past collections to gage the ratio of tops to bottoms etc.

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Below are articles I read to get an understanding of what Political, Economical, Social and Technological issues could affect the brand and the range.

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Britain will have to reach a new trade agreement with the European Union following its decision to sever links with Brussels. The task will be complex and will have to be carried out under the pressure of a two-year deadline. Here are some of the key issues.

1) Will a post-Brexit UK need a new trade deal with the European Union?

Yes. Once the UK's formal decision to leave the EU is notified to the European council of EU leaders, under article 50 of the Lisbon treaty, the UK will be giving formal notice that it will be leaving the EU. Article 50 sets a two-year window to renegotiate a new legal basis for Britain's trade relationship with the EU - although it also allows for an extension.

These discussions will need to consider the framework for exporting and importing goods (cars and food) and the basis for continued services trade (such as legal advice on big company takeovers) to and from the EU. In addition, negotiations will have to cover customs procedures, passport controls for business travellers and regulation on issues such as environmental, health and safety standards.

2) Will tariffs be imposed on UK goods and services under a new trade deal with the EU?

This is entirely possible and up for discussion under a grand UK-EU deal. Currently, UK companies are able to trade with the EU on a tariff free and quota free basis. During negotiations for a new trade deal, there is nothing to stop Brussels seeking to impose a 5% tariff on all UK car exports (more than eight of 10 UK-made cars are sold abroad). The UK can, of course, threaten tit-for-tat tariffs on BMW or Fiat cars, but it means consumers on both sides of the Channel suffer. There is also the risk that the EU will impose quotas, which limit the amount of goods and services that can be sold into Europe.

3) Will the negotiations take place on a country-by-country basis?

No. According to John Forrest, the head of international trade at law firm DLA Piper, the UK will simply be required to negotiate a single deal with the 27 remaining EU states under the EU's common commercial policy. "It will definitely not be on a country-by-country basis. The EU maintains a single harmonised customs border and the UK will simply negotiate with the EU the continued terms of trade with the EU," he says.

4) Does the British government and civil bureaucracy have the skills to negotiate an EU trade deal?

According to Forrest, there is a high degree of expertise in the British government in terms of understanding which sectors need to be covered by a new agreement. "The UK government retains a high degree of expertise, backed up by input from UK companies and trade associations, with regard to the UK's priorities for any trade agreement."

But, he adds, there might be an issue over securing the right number of skilled individuals required to pull off a wide range of bilateral and regional trade deals within a short time frame. "There may be a degree of concern over the level of negotiating resources. Undertaking a broad suite of regional and bilateral trade negotiations requires a significant number of qualified and experienced individuals."

5) What happens to Britain's financial services industry?

Britain's financial and professional services industry - banks, accountants, corporate lawyers, investment managers is a significant contributor to GDP (around 12%, which is more than manufacturing). On Saturday, a senior figure at the European Central Bank said banks in the City of London risked being stripped of their lucrative EU "passports" that allow them to sell services to the rest of the union. The City, as the industry is better known, will want to retain that passport; otherwise it will not, for instance, be able to advise on a mega-euro takeover in Germany or sell euro-denominated products such as derivatives. To do that simply, the City will need to join the single market, or the European Economic Area that encapsulates the EU and non-members such as Norway. That will, in turn, require accepting freedom of movement.

Or the City can go it alone and operate in a much looser regulatory environment, which will please hedge funds and bankers keen to avoid an EU-imposed cap on bonus payments.

6) Will it affect trade with the US?

No. The ability to trade with the US on current terms will not be affected. However, the UK will not be part of the controversial TTIP trade deal between the EU and US.

7) Who will be on the other side of the negotiating table to the UK?

UK negotiators will need to engage via a number of bodies including the European council, individual European member states and the European commission (the EU's executive arm, which administers EU law).

8) Will the UK be able to pull off a trade deal in two years?

This will be challenging, particularly if the option of joining the EEA is pursued but the British government balks at accepting freedom of movement as a quid pro quo.

9) What if no deal is reached within two years?

According to Forrest, there are a number of potential scenarios, including that the current status quo prevails and the UK carries on trading with the EU under existing free movement principles. "That outcome is not beyond the realms of possibility," he says. However, that means freedom of movement for goods, people and capital between the UK and EU will continue to operate. For millions of people who campaigned and voted for leaving the EU, this is will be difficult to accept.

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How will Brexit affect Britain's trade with Europe?

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Britain will have to reach a new trade agreement with the European Union following its decision to sever links with Brussels. The task will be complex and will have to be carried out under the pressure of a two-year deadline. Here are some of the key issues. Yes.

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African fashion sourcing consultant and founder of the social enterprise Africa Fashion Guide, Jacqueline Shaw, discusses the Brexit effect and how a UK alliance with Africa could positively affect the fashion industry.

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African fashion sourcing consultant and founder of the social enterprise Africa Fashion Guide, Jacqueline Shaw, discusses the Brexit effect and how a UK alliance with Africa could positively affect the fashion industry.

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On June 23rd, 2016. Britain voted to leave the European Union, the 28-nation trading bloc. The pound plummeted to its lowest level in 31 years, $2 trillion wiped off the global stock market, and the shock waves are going to be felt in the global apparel industry as well.

Britain's exit from EU might take away EU's single market facility out of its hands, well a hard Brexit will surely do so, but nothing has yet been clearly expressed. Though UK Prime Minister, Theresa May, has assured that the negotiation process for Brexit will be done with the intention of protecting the rights of UK citizens in other EU countries and other EU citizens in the UK. This sure signals her inclination towards a soft Brexit, which is a sigh of relief for the apparel industry.

Tariff-free trade in the EU, free movement of talent and skills, EU funding and investments were the lifeline of UK's apparel industry. Actual effects of Brexit will be clear only after the terms of trade have been negotiated and formalized.

But what it can entail needs to be discussed.

Brexit will have a further devaluating effect on the pound and will increase the economic uncertainty, which will most certainly lead to lowering of the domestic consumer confidence and thus hit the UK's retail sector hard.

The UK accounts for 1.72%, i.e. around $37 Billion worth of apparel exports globally, and 3%, i.e. $131 billion worth of global apparel imports. This makes the UK, the fourth biggest apparel importer globally, after USA, Germany, and Japan. With such a large share of global apparel trade dependent on the UK, Brexit sure is going to have a negative impact on it.

With Brexit, free movement of EU and UK's citizens across Europe will be compromised, which is going to create problems for apparel firms where foreign employee base accounts for a large share of the total workforce. Such a scenario makes it hard for these companies to recruit and retain talent at the current staffing costs. This will further impact the profitability of the Britain's apparel industry and thus their relations with foreign suppliers and customers.

Before its exit, Britain had a trade agreement with the EU, but now, all the trade between Britain and EU would be as per the WTO rules. This means trade between Britain and EU will be subject to trade tariffs on imports and exports, the Textile goods tariff being around 12% in duties. Obviously, only the British Apparel companies are going to face the blow by these trade tariffs, but these companies will pass on this extra cost on to their customers which will further impact retail and to suppliers which will impact the companies doing business with British apparel firms globally. There may be chances of a negotiable free-trade deal as well , similar to Norway (EFTA) and Switzerland.

UK's apparel industry is dominated by firms financed through EU funding, and if the government steps out to replace that funding, then these companies might sail through. Otherwise many of these apparel companies might even face extinction.

Though the consumer confidence within the UK will be shaken, but falling pound value will surely bring in foreign tourists and customers to the UK retail market, which in short term will boost the sales for many fashion brands in UK market.
End thought
UK government can negotiate for partial membership in EU, where it can pay fees to sustain the free movement and tariff-free trade within EU, but the chances of that are bleak. Though, partial membership will not ensure EU funding in British apparel industry. They can even go for a free trade deal, but lose access to the single EU market. Whatever the case may be, global apparel industry, especially the players involved in trade with Britain, will need to reassess their global presence and supply chains to brave the shock that Brexit is going to bring their way.

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How Will BREXIT Affect Apparel Trade Relations?

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On June 23rd, 2016. Britain voted to leave the European Union, the 28-nation trading bloc. The pound plummeted to its lowest level in 31 years, $2 trillion wiped off the global stock market, and the shock waves are going to be felt in the global apparel industry as well.

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British retailers have recorded the worst month for sales in July since records began, as consumers tighten their belts with Brexit approaching.

According to British Retail Consortium sales data compiled by the accountancy firm KPMG, total sales increased by 0.3% in July, compared with a rise of 1.6% in July last year.

With the British economy facing growing uncertainty, the industry lobby group said the rise was the weakest since its records began in 1995.

Helen Dickinson, the chief executive of the BRC, said low real-wage growth for UK households and Brexit had left consumer spending languishing. The average growth in sales over the past 12 months was 0.5%, the weakest expansion on record.

"Whereas last year's glorious sunshine and World Cup finals led to strong consumer demand over the summer, this year has been weak in comparison," she said.

Official sales figures gathered by the Office for National Statistics have proven to be stronger than retail industry surveys have indicated. The volume of goods bought in May increased by 1% on the month, beating City economists' expectations of a fall in sales.

The BRC and KPMG said that June and July were the worst on record. A separate survey of retailers by the Confederation of British Industry also found sales fell in July, marking the worst period in eight years for the high street.

Barclaycard, which processes nearly half of credit and debit card transactions in the UK as the largest credit card provider, said British families had also begun to rein in their spending on essential items.

It said that consumer spending rose by 1.7% on the year in July. However, sales of essential items - recorded by spending in supermarkets and on petrol - fell by 0.9%.

Esme Harwood, a director of Barclaycard, said: "Spending has remained relatively subdued over the past few months, with an underlying uncertainty about the wider economic and political landscape causing many to hold off making purchases on bigger ticket items."
Topics

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UK retailers experience worst July since sales records began

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British retailers have recorded the worst month for sales in July since records began, as consumers tighten their belts with Brexit approaching. According to British Retail Consortium sales data compiled by the accountancy firm KPMG, total sales increased by 0.3% in July, compared with a rise of 1.6% in July last year.

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Top 7 trends that will shape the fashion industry in 2019 - PixelPool

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Explore the top 7 trends in the fashion industry for 2019. Look beyond the mounting challenges to the growing opportunities of a dynamic marketplace.

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Speaking at the Drapers Sustainable Fashion panel on transparency in fashion, Mostafiz Uddin, managing director of Bangladeshi supplier Denim Expert, said there was still too much talking and too little action on sustainability: "The amount of talk about transparency has increased since the Rana Plaza disaster [in 2013] but only a few things have changed.

"A lot of change is still needed. A couple of organisations are working hard, but it is not enough. We all need to stand up - retailers need to stand up, consumers need to stand up - otherwise there will be no real change and just a lot of talk."

Uddin added that suppliers are prepared to be transparent, but questioned whether fashion retailers are willing to follow suit: "We are not scared of transparency. All of my factories are audited - the data is out there. If retailers are demanding transparency, they can look at all of my audits. We're not scared. But I don't get the same from my customers.

"We also have to catch the people who aren't transparent. Retailers need to work with suppliers. Instead of saying, 'You've done something wrong, so now we don't want to work with you,' they should say, 'This isn't what we want, but here's how we want you to work.'"

We are not scared of transparency, says Bangladeshi supplier

We are not scared of transparency, says Bangladeshi supplier

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We are not scared of transparency, says Bangladeshi supplier

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Speaking at the Drapers Sustainable Fashion panel on transparency in fashion, Mostafiz Uddin, managing director of Bangladeshi supplier Denim Expert, said there was still too much talking and too little action on sustainability: "The amount of talk about transparency has increased since the Rana Plaza disaster [in 2013] but only a few things have changed.

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Another article found in Drapers detailing the rise of Menswear.

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Menswear is no longer the neglected younger sibling of the more established womenswear market. Dynamic and exciting - but not without its own challenges - this is a burgeoning sector that is maturing as more brands and retailers wake up to its potential.

"Growth in the UK menswear market remains robust, but does appear to be slowing, signalling that after a sustained period of success it is becoming a more developed clothing category," explains Samantha Dover, senior retail analyst at Mintel. "To put this into context, in the last five years, consumer spending on men's clothing has consistently grown at a faster rate than consumer spending on women's clothing. However, in 2018, that trend reversed, and womenswear sales are estimated to have risen 4.1% compared with 3.5% growth in the menswear market."

She adds that although the sector's ongoing growth makes bolting on a menswear offer a potentially attractive proposition for womenswear retailers, a proper understanding of the market is key for success. The importance of a clear offer is illustrated by the retailers who have dived into the menswear market, only then to quietly withdraw.

Premium player Whistles pulled the plug on its menswear range in February this year amid whispers of limited interest from customers. Just two months later, New Look announced plans to remove menswear from its UK and Irish stores and make the category online only.

Dover points to men's ongoing preference for branded fashion and desire for convenience as some potential challenges for the high street.

"Although growth in the UK menswear market is slowing, it remains healthy, which will make it an attractive proposition for both existing and new players in the market," she adds. "In the next five years, Mintel forecasts that sales of menswear will grow 15.4% to £17.9bn. As a result, we expect that there will be continued efforts to grow menswear sales among retailers. However, it is now a highly competitive market and it is not necessarily easy for womenswear-centred brands [who add a menswear offer] to thrive."

Several key players are broadening their offers and casting a wider net for customers in a reaction to increased competition as the menswear market hots up. One business taking this route is heritage shirt brand TM Lewin, which is jostling to reposition itself as a fully fledged menswear brand. It launched a casualwear offer in 2012, but at the new London flagship that opened in May, the casual range takes centre stage for the first time. Chief executive Sven Gaede told Drapers at the time that TM Lewin was "on a real mission for customers to not just think about us as a shirt retailer, but for them to think about us as a menswear brand".

Fellow heritage label Hackett took a similar route by launching new entry-level label HKT, which is aimed at a younger consumer, for spring 19.

The opportunities for those with fantastic product and an authentic message are exciting

James Eden, Private White VC

Premium menswear brand Private White VC, best known for its outerwear, has also widened its range by significantly expanding its shirt offer for spring 19. The shirts are created by its new academy programme, which launched 12 months ago and aims to teach employees how to make shirts before moving onto more complex outerwear.

Eden adds that although generally the menswear market remains challenging, he believes brands with the best product and customer proposition are able to shine through the gloom.

"Trade, in general, is very tough. However, the opportunities for those with fantastic product and an authentic message are exciting. The world now is very small, so a brand like ours has a tremendous opportunity to engage with customers overseas. We're seeing particular interest from the US, as well as Germany and Scandinavia."

Jake Hardy is the owner of contemporary menswear independent Number Six, which has two stores in London. He says male shoppers are demanding more information about products than ever before and that the trend for utility and workwear-inspired pieces has been particularly strong amongst his customers.

"Our customers, particularly at our Lamb's Conduit Street store, want to know every detail about the garment - the fabrics, the production, how sustainable the brand is. They want to know that the product is going to last. In terms of product trends, we've had excellent sell-through with trousers from [lifestyle brand] Gramicci, and Barbour continues to shine."

A more casual, streetwear-inspired aesthetic has long held a powerful sway over the menswear market, but the tide has begun to turn towards a more tailored look. Rising stars at the spring 20 edition of London Fashion Week Men's - including Charles Jeffrey Loverboy, Stefan Cooke and Per Götesson - played with print and shapes to give tailoring a fresh update at the directional end of the market.

Streetwear has cooled off at the high fashion brands, which have shifted back to tailoring-based looks

Nick Paget, WGSN

This new sensibility is creating opportunities for retailers seeking to present a new view of the menswear market. Michael Kliger, chief executive of German women's and children's wear retailer Mytheresa, which will launch menswear at the start of next year, recently told Drapers that this new aesthetic makes now the perfect time to move into the category.

"The menswear market has become somewhat saturated with streetwear collaborations - the autumn 17 collection between Louis Vuitton and Supreme represents the pinnacle of the trend and remains the one to beat," explains Nick Paget, senior menswear editor at trend forecaster WGSN. "Since then, streetwear has cooled off at the high fashion brands, which have shifted back to tailoring-based looks. Younger designers are also featuring tailoring as part of their ranges, but are playing with the look."

Paget adds that he has noticed a move towards menswear designers taking an experimental approach to more classic shapes and wardrobe staples, creating wearable products that still have the power to excite customers.

"What was really clear at the [spring 20 editions of] men's fashion weeks is that designers are playing with a small set of key items, but in a really interesting way - so adding statement pockets, embellishments or ornamentation and using print and pattern. They know that what makes money is pieces such as suits, tailoring and structured coats, and are focusing on how to build their ranges."

Mark Williams, creative director of menswear brand Ben Sherman, is also excited about how the menswear market can successfully blend elements of streetwear and more traditional tailoring for a fresh look that gives customers something new: "There is a still a lot of streetwear in the market, but we're looking towards the future and a sharper menswear sensibility and casualwear worn in a smarter way - sweatshirts paired with more tailored trousers, for example, or a deconstructed blazer. Tailoring is becoming more accessible and there's a preppiness coming through. Sports and streetwear are still relevant, but the interesting thing is that, for customers, it is about how you mix those pieces in without looking like you're going skateboarding."

He notes that rising demand for design-led product is driving sales of Ben Sherman's higher-priced items. The brand's pricing architecture tops out at around £200 for heavy wool coats.

"One thing we noticed during the autumn 19 selling season is that sales of investment pieces really started to pick up. That's the feedback we got from key retailers and agents and we were pleasantly surprised when we sat down to analyse the bestsellers. You take it for granted that pieces like a classic Harrington jacket will perform well but is refreshing to see more investment and statement pieces - like more expensive outerwear - appearing in the bestseller list. Customers are looking for a higher level of design."

As male shoppers become ever more interested and sophisticated in their approach to the clothes they buy, a deep understanding of the target consumer is becoming increasingly integral for success in the menswear market. Widening your offer to appeal to a more diverse group of consumers may make good business sense, but brands and retailers also need to maintain a clear handwriting and stay on top of trends as male shopper become more engaged. Those looking to lead the way in the market will also need to find a creative way to blend the two powerful but contrasting influences of streetwear and tailoring.

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Menswear is no longer the neglected younger sibling of the more established womenswear market. Dynamic and exciting - but not without its own challenges - this is a burgeoning sector that is maturing as more brands and retailers wake up to its potential.

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Emerging luxury markets are propelling the global fashion business as the sector sees shifts in creative strategies and more brands embrace long-term goals for technology and sustainability.
In Asia-Pacific and Latin America, emerging-market countries saw growth between 5 and 7.5 percent from 2017 to 2018, according to the McKinsey Global Fashion Index. Fashionbi's Global Fashion Industry report also showed that continued consolidations of luxury brands, primarily in Europe, have also given the high-end fashion industry some financial stability.

"The fashion business became faster," said Yana Bushmeleva, chief operating officer at Fashionbi, Milan. "In general, the 'life cycle' of a product and a trend became shorter.

"If before the consumption of the premium and luxury goods was dominated by the Western countries, today the focus has shifted towards Asia and the most creative marketing campaigns are happening there," she said.

Global growth

As the fashion industry continues to evolve, brands are more prone to revealing their revenue by geographical region as some markets reach maturation and others continue to develop.

In 2018, European luxury conglomerates LVMH and Kering both saw growth of 35 percent in Asia, primarily propelled by China and Japan.

French fashion house Hermès saw growth of 33 percent in Europe and 18 percent in the Americas. However, Hermès saw 48 percent growth in Asia, 13 percent of which came from Japan alone.
Hermès saw almost 50 percent growth in Asia in 2018. Image credit: Hermès
One exception is Capri Holdings, which saw 70 percent growth.

In December 2018, Michael Kors Holdings completed its acquisition of Italian fashion label Versace, and changed its name to reflect the group's growing multi-brand organization. Now including Michael Kors, Jimmy Choo and Versace, Capri Holdings is planning to grow its collective revenues and international business.

Another notable acquisition in 2018 was Richemont's takeover of Yoox Net-A-Porter Group.

YNAP shareholders approved Richemont's bid to buy out the rest of the company's stock this past May. The luxury giant now controls 94.9 percent of YNAP's shares, fulfilling the threshold for its public tender.
Burberry debuts Robert Tisci's first campaign. Image credit: Burberry
Movements and departures among executives and creative directors are also reshaping luxury fashion.

Early on in their tenures, Louis Vuitton's men's artistic director Virgil Abloh and Burberry's chief creative officer Riccardo Tisci have changed the directions of their respective labels. Both fashion brands have also ramped up collaborative efforts.

"The collaboration is a way to refresh the style of the brand, even rejuvenate it, attract the attention of certain groups of customers, create a buzz around the company or possibility to sell in a new online or offline retail space," Ms. Bushmeleva said. "Brands will continue to fight for the attention of demanding customers via unexpected business and creative collaborations."

Tech and sustainability

For continued success, luxury conglomerates and companies must continue to innovate, especially when it concerns technology and sustainable efforts.

For instance, Kering is strengthening its focus on omnichannel tools including 360-degree client views, as the group pivots towards digital in an effort to keep up with luxury consumer demand.

Pilot projects are working towards delivering personalized messages and experiences to customers, based on their profile and purchasing history. Other digital priorities include forming a China-based digital team and creating mobile applications that will enhance in-store experiences.

The luxury group is also working to establish a better network of agricultural sourcing for greater sustainability in its production.

Kering has teamed up with charity organization Savory Institute, whose mission is to regenerate the world's grasslands, to tap the positive impact regenerative agriculture can have in the fashion industry. Kering hopes to integrate regenerative agriculture framework into the supply chains of the fashion industry.

Consumers are also demanding more from luxury companies, even though they do not always agree.

As more luxury brands eliminate or reduce the use of animal fur in their items, the shift towards more ethical manufacturing is too slow for some environmental activists while consumer groups argue that fur bans negatively impact customer freedom.

Fashion labels Prada and Burberry are among the latest to draw attention to their use of fur, while a major U.S. city moves towards banning the sale of new fur products. Reactions from environmental and consumer groups have been mixed, leaving brands and shoppers caught somewhere in the middle.

"There was sudden concern about a sustainable way of making business," Fashionbi's Ms. Bushmeleva said."In 2018 we saw the massive denial of using real fur in fashion collections, and this trend on 'eco-fashion' will be continued."
Image credit: Versace Article originally published onLuxury Daily. Republished with permission.
Published on Jan. 29, 2019 under

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Luxury Fashion Market Continues to Shift Towards Consolidation

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Emerging luxury markets are propelling the global fashion business as the sector sees shifts in creative strategies and more brands embrace long-term goals for technology and sustainability. In Asia-Pacific and Latin America, emerging-market countries saw growth between 5 and 7.5 percent from 2017 to 2018, according to the McKinsey Global Fashion Index.

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Below is some wider reading I did to get an understanding of the issues surrounding sourcing from Italy.

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Rules of Origin sounds like it should be a cult video game.

But it is actually an important concept in international trade that will have a big impact on the Brexit negotiations, as they begin to focus on the future relationship between the EU and the UK.

It's all about how you define where products really come from and what Made in Britain really means.

At issue is the kind of economic and trade agreement that will replace the UK's current membership of the European Union.

What do we know so far about what that agreement could look like?

Well, we know Theresa May's government is committed to leaving the single market and the customs union.

And we also know that, given the red lines the UK has established, the EU is saying that the best it can offer is a free trade agreement, along the lines of the EU-Canada deal (known as Ceta) which came into force last year.

The UK wants something more ambitious, but leaving the customs union has a big impact on rules of origin.

The big advantage of being in the customs union is that there are no tariffs (taxes on imports or exports) charged on goods traded between its member states.

The disadvantage, from a UK perspective, is that you lose the ability to negotiate your own trade deals with other countries around the world.

Can't you have the best of both worlds?

Well, you can get rid of most tariffs in a free trade agreement, and still retain the ability to negotiate your own trade deals. But unfortunately it's not that simple.

This is where rules of origin complicate the picture.

To comply with rules of origin requirements, companies that make things need to tell customs authorities where all the component parts come from.

To put it another way, they need to prove the "economic nationality" of their products. That means working out the total value, and where that value was added along the way.

Why do they need to do that?

The idea is to prevent abuse of the system, by making sure that products can't enjoy preferential or zero tariffs as part of a free trade deal after being manufactured mostly on the cheap elsewhere.

At the moment, because the UK is in the EU customs union, any value added to a UK product anywhere in Europe is considered local, and vice versa. Once the UK leaves, that will no longer be the case automatically.

And that makes supply chains important. Some products have much more complex supply chains than others, so rules of origin requirements will affect some industries more than others.

So which sectors are likely to have a problem?

For some sectors it's not an issue at all because they are exempt.

But chemicals, various kinds of machines, and cars are all potentially vulnerable.

For example, rules of origin in trade deals usually require around 55% of the components of cars to be considered local.

But - according to the Society of Motor Manufacturers and Traders - the average car manufactured in the UK currently has only about 44% UK content at best, because so many parts cross borders several times before the finished product emerges.

And once you take account of the fact that many of the sub-contractors down the supply chain also source many of their parts from abroad, the SMMT estimates that that figure for cars made in the UK could be as low as 25%. A huge challenge.

Are there any solutions?

Yes, there are ways to reduce the risk to business. Free trade deals often include measures that allow both parties to consider value added in the other jurisdiction as local - and it seems safe to assume that a future EU-UK trade deal would do just that.

But a report published this month by the Food and Drink Federation said everyday food products manufactured in the UK, such as chocolate bars and frozen pizza, could fail to meet some rules of origin requirements anyway if a free trade deal similar to Ceta was negotiated between the EU and the UK.

That's because the food industry relies on ingredients that are sourced from across the globe.

So this is not just about the EU market?

No, it's not. Many supply chains are global.

And it's also worth bearing in mind that rules of origin will have an impact on the UK's efforts to replicate its current EU trade agreements with other countries around the world, or to sign new ones.

UK manufacturers with products that are made in both the UK and the EU may well find it difficult to meet rules of origin requirements with these other countries.

Again, deals can be done to broaden the definition of what "local" origin means. But if the UK wants a broader definition, other countries could demand the same in return.

Either way, there could well be an extra burden on businesses.

So what are the costs?

There are significant costs, administrative and legal, for businesses that have to prove the origin of goods.

In some cases, that could even mean that it's cheaper just to pay a low tariff than to go through the bureaucracy involved in getting an exemption.

"There are steps that can be taken to mitigate the costs," says Sam Lowe of the Centre for European Reform. "But outside the customs union you cannot eliminate those extra costs entirely."

It sounds complicated...

Yes, and there are other layers of complexity that we haven't got into here. But you could well begin to hear a lot more about rules of origin once talks on the future relationship between the UK and the EU get under way.

The task for EU and UK negotiators is to come up with a new agreement that limits the disruption to supply chains as much as possible. But it will not be frictionless trade.
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Reality Check: What does Made in Britain mean for Brexit?

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Rules of Origin sounds like it should be a cult video game. But it is actually an important concept in international trade that will have a big impact on the Brexit negotiations, as they begin to focus on the future relationship between the EU and the UK.

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The rise of 3-D printing has been hailed as a game changer by many. Envisioned as a fast, cheap way to print even the most complex things, supporters see a world in the not-too-distant future where 3-D printing has empowered individuals, small businesses and corporations with creativity and shortened supply chains.

Despite this Jetsonian vision, most industries outside of manufacturing, medicine and some DIY arts and crafts sectors have been slow to adopt 3-D printing. That is beginning to change, and fashion is one industry leading the charge.

3-D technology already allows for faster visualization and prototyping of new fashion designs and has the potential to replace physical samples altogether. Used in retail, 3-D technology could deliver a competitive advantage as customers can create customized products on the spot utilizing 3-D renderings for the customer to preview their designs before purchasing. The diminishing upfront cost coupled with proven returns means we're on the very front end of the possible change.

Even five years ago, an emerging designer likely couldn't afford the $50,000-100,000 required to invest in a commercial-grade, high-quality 3D printer for prototyping. Now, high-end SLA desktop 3D printers can be had for under $5,000. This democratization of the technology will empower smaller designers and unleash a wave of creativity in both design and business models.

This is because 3-D technologies translate directly into time and money savings for designers. The creation of product samples is one of the most time and money intensive phases of the design process. As the fashion industry moves to a faster, more seasonally driven sales cycle, 3-D modeling and printing can cut months from traditional development timelines. Those cost savings can be huge for the large fashion brands that have a company the size of Coach which has hundreds of new SKUs delivered to stores each season.

Lizz (Hill) Wiker leads a small team responsible for prototyping hardware and jewelry designs for the brands under the Tapestry, Inc. umbrella, including Coach, Stuart Weitzman, and Kate Spade. She recently told me that 3-D printing was first used in the jewelry industry and even the athletic shoe industry before larger fashion design houses became interested. Coach initially dabbled in 3-D printing for their own hardware design efforts but has since broadened to jewelry and other accessories categories when they realized the potential. While she says it took a while for the workflow to be formally adopted by the company, 3-D printing is now a core part of how Coach designs and develops products.

Ironically, Wiker was not eyeing a career in technology as a child. Growing up, she says she was curious about how things were made and loved working with her hands to create. She taught herself how to sew, learned darkroom photo developing, and was even trained as a floral designer. Wiker pursued these interests to the Fashion Institute of Technology (FITT) where she received two degrees: Textile Development & Marketing and Accessories Design.

After graduation, Wiker landed a job as a product developer and then her dream job as a Hardware Materials Developer at Coach. After four years in this role, she learned Rhino 3D under the mentorship of a coworker with 15 years of CAD experience, ultimately transitioning into a full-time role as a 3-D modeler and technical designer.

In her job now, Wiker oversees a small team of 3-D modelers responsible for the technical design and prototyping of hardware components and jewelry. At the highest level, their job is to turn loose ideas into refined product designs. To accomplish this, they work closely with the design teams for the various brands to help conceptualize and test their new design ideas through 3D modeling, photo-realistic rendering and in-house SLA 3D printing. She loves the detail work that goes into turning 2-D renderings into working 3-D models that ultimately become pieces worn by people on the streets of her home city of New York.

Wiker says one of the biggest misconceptions about her job is that it exists in a vacuum. She says that being a really good 3D modeler requires an understanding of fabrication, manufacturing and engineering so that you can turn a hand sketch or 2-D illustration into a 3-D model. In fact, one of her team's biggest contributions during this engineering process is to find and resolve conflicts between the intended design aesthetic and the functional requirements of the end product. They can even anticipate the challenges that factories will have when sampling the part and can work closely with design partners to create a finalized 3D model that is manufacturable and still achieves the original design intent.

Wiker sees 3-D fashion technology as a natural fit for other women. She says that women are already a big part of the fashion industry, but what most people don't know is that product development roles far outnumber design roles for newer entrants. So 3-D technology - both modeling and printing - provides a good way for many women to enter the field, or for those women already in it to expand their skillsets.

Overall, Wiker expects 3-D technology to remake the world outside of fashion as well. The potential for reinvention and innovation is enormous, and businesses will be incentivized by the cost and reputation advantages. All of this will open up even more doors for creative, technology-savvy women.

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3-D Printing Poised To Revolutionize The Fashion Industry

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The rise of 3-D printing has been hailed as a game changer by many. Envisioned as a fast, cheap way to print even the most complex things, supporters see a world in the not-too-distant future where 3-D printing has empowered individuals, small businesses and corporations with creativity and shortened supply chains.

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Particulate matter, ozone, nitrogen dioxide. Europe's air quality is significantly threatened by these pollutants, mostly in urban centres, according to the latest report of the European Environment Agency (EEA), entitled Air Quality in Europe 2015. It examines the European population's exposure to air pollutants and provides a snapshot of air quality based on data provided by official monitoring stations across Europe.
The report finds that despite a decrease in total emissions has been registered over the past 10 years, concentrations are still above the World Health Organisation's recommended levels. " Despite continuous improvements in recent decades, air pollution is still affecting the general health of Europeans, reducing their quality of life and life expectancy," said EEA Executive Director Hans Bruyninckx. "It also has considerable economic impacts, increasing medical costs and reducing productivity through working days lost across the economy." The particulate matter (PM10 and PM2.5), ozone (O3), and nitrogen dioxide (NO2) are the most problematic pollutants. As for PM2.5 alone, estimates show432,000 premature deaths in Europe. Italy has the major concentrations of pollutants, along with Germany and France. Indeed, 84,400 premature deaths have been registered in Italy, followed by Germany (72,000) and France (58,400). The causes are mainly linked to thetransport industry, which is responsible for 46% of the emissions of nitric oxide, to the domestic and commercial heating, which produce 43 to 58% of the particulate matter, and to the energy production, which is the major emitter of sulphur oxides. These are followed by industry, agriculture (particularly for the production of ammonia) and waste, which produce a significant amount of methane (31%). In terms of life months lost, according to a report published in June by the Italian associationsCittadini per l'Aria: "This means that pollution shortens the life of every Italian of 10 months on average; 14 for those who live in Northern Italy, 6.6 for those who live in Central Italy, and 5.7 for those who live in Southern Italy".

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Air pollution. Italy is Europe's most polluted country - LifeGate

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Particulate matter, ozone, nitrogen dioxide. Europe's air quality is significantly threatened by these pollutants, mostly in urban centres, according to the latest report of the European Environment Agency (EEA) , entitled Air Quality in Europe 2015 . It examines the European population's exposure to air pollutants and provides a snapshot of air quality based on data provided by official monitoring stations across Europe.

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The ADU-500 Data Logger is an ultra-low power, wireless RTU with data logging and alarming capabilities. The battery-powered RTU integrates two analog inputs, three digital inputs, one pulse counter input and several excitation options for powering measuring transducers.

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Italy: Environmental Issues, Policies and Clean Technology

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The ADU-500 Data Logger is an ultra-low power, wireless RTU with data logging and alarming capabilities. The battery-powered RTU integrates two analog inputs, three digital inputs, one pulse counter input and several excitation options for powering measuring transducers.

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Economic Outline

Economic Overview

Italy's economy was heavily impacted by the global financial crisis and only emerged from recession in 2015. In 2018 growth reached 1.2% of GDP, down from 1.6% in 2017, due to a decrease in foreign demand, partially counterbalanced by an increase in domestic demand. Forecasts by the IMF see a further slowdown to 1% and 0.9% for 2019 and 2020, respectively. Much of the country's performance will depend on the effect of the new policies introduced by the government formed by the 5 Star Movement and the right-wing Lega, particularly the basic citizens' income and a reduction in the retirement age limits (so-called "quota 100"). According to data by ISTAT, the former could contribute to an increase of 0.2-0.3% of GDP as it should have a positive impact on household spending.

Italy's public finances situation is still worrying: the public debt - at 130.3% of GDP in 2018 - remains among the highest in the world, though it is expected to drop to 127.6% by 2020. The country's primary budget (which excludes interest payments) is structurally positive, however the interest cost on government's debt weighs heavily on Italy's accounts: the country registered a budget deficit of 1.3% in 2018, and the budget for 2019 sees this deficit widening to 2,04%. Regarding these figures, the EU institutions applied pressure on the Italian government in order to lower the deficit that was originally planned at 2.4% in its budget act (due to the welfare measures introduced and a rise in public investments). Inflation was stable at 1.3% in 2018, and is forecasted to accelerate to 1.4% and 1.5% in the next couple of years due mainly to an increase in global commodity prices (particularly oil) and the depreciation of the Euro currency.
Politically, the government headed by Giuseppe Conte relies on the coalition between the Five Star Movement and the Lega, which were the leading parties in the last elections and appointed their main representatives in key positions (Luigi Di Mario of M5S as Minister of Economic Development and Minister of Labour and Social Policies and Matteo Salvini of Lega as the Minister of the Interior). The government is still facing a humanitarian crisis linked to the arrival of thousands of immigrants on its territory, which also created tensions with EU partner countries, especially France.

Unemployment rate, which has been on the rise since the global financial crisis, dropped from 11.3% in 2017 to 10.8% in 2018, but youth unemployment remains high at 37.1%. For 2019, IMF analysts see a further contraction to 10.5%. Regional inequalities between the highly industrialised and dynamic North and the poorer, rural southern "Mezzogiorno" areas are still high, and organised crime and black economy remain important open issues. Furthermore, Italy has to face a falling birth rate and a declining population.

Note: (e) Estimated Data

Main Sectors of Industry

Italy is one of the main agricultural players in the EU, being the biggest European producer of rice, fruits, vegetables and wine. The agricultural sector represents 1.9% of Italian GDP and is heavily reliant on the import of raw materials utilised in agricultural production due to the country's limited natural resources (Italian imports of raw materials are responsible for more than 80% of the country's energy). The primary sector employs around 3.9% of the workforce (World Bank, 2018). Italy's main crops include cereals (particularly wheat), corn, barley, rice and oats. Italy is also the first world producer of wine.

Italy is a primary industrial country, with the secondary sector accounting for 21.4% of GDP and employing 26.1% of the active population. The country's industrial activity is concentrated in the northern part of the country, including cities such as Turin, Milan and Venice. Much of Italian industry is comprised of small and medium-sized family businesses, with the majority of Italian industrial companies having less than 50 employees. Italy is the largest global exporter of luxury goods (clothing, cars, etc.). Other major Italian industries include precision machinery, motor vehicles, chemical products, pharmaceuticals, electrical items, fashion and clothing. The country has suffered from disindustrialisation (especially during the global financial crisis), but it remains Europe's second largest manufacturing power and the seventh largest worldwide.

The service sector constitutes 66.3% of Italian GDP and employs 70% of the country's workforce. Tourism - one of the fastest growing and most profitable industries in Italy - comprises the largest part of the service sector (Italy is the fifth most visited country internationally and the third most visited Europe). The business-related services also play an important role in the country's economy. It is estimated that more than half of Italy's 5 million companies are active in the tertiary sector.

Source: World Bank, Latest available data.

Find more information about your business sector on our service Market Reports.

Learn more about Market Analyses about Italy on Globaltrade.net, the Directory for International Trade Service Providers.

Country Risk

See the country risk analysis provided by Coface.

Political Outline

Type of State

Republic based on a parliamentary democracy

Executive Power

The Prime Minister is the head of the government and holds executive power, which includes the implementation of the law and the running of the everyday business of the country. The Prime Minister is appointed by the President and confirmed by the Parliament, on the basis of the support of the majority. He or she has a five year term of office. The Council of Ministers is appointed by the Prime Minister and approved by the President.

Legislative Power

Legislative power in Italy is bicameral and both chambers possess significant powers and prerogatives. The Senate (Senato della Repubblica) has 320 members (and six Senators for Life), while the Chamber of Deputies (Camera dei deputati) has 630 members. Universal suffrage has been part of Italian elections since the writing of the Constitution in 1948, but Italian electoral law has shifted substantially over the years. The electoral system was modified in 2005, in 2015 and once again in 2017. The new electoral system, implemented for the first time during the elections of March 2018, provides that 37% of the seats in both houses are allocated to the winning party of the elections while the rest is distributed proportionally according to each party's score. This system fosters the formation of coalitions. The aim is to finish first in the elections but this does not guarantee a majority in Parliament.

The new electoral law (known as Rosatellum) applies to both chambers of Parliament. In order to win seats in the Parliament, parties must reach at least 3% of the votes and name a leading candidate who will be the first one elected from his party.

The executive branch of Government depends directly or indirectly on the support of parliament, often expressed by a vote of confidence. The Prime Minister cannot dissolve Parliament. Italian citizens enjoy considerable political rights.

Main Political Parties

The Italian parliament is based on a multi-party system, with political forces broadly aligned across three coalitions:

Centre-left:
- Partito Democratico (PD)
- Sinistra Ecologia e Libertà (SEL)
Centre-right:
- Forza Italia (FI)
- Nuovo Centro Destra (NCD)
- Lega Nord
Centre:
- Scelta Civica per l'Italia
- Per l'Italia
The Five Star Movement (M5S) - anti-establishment and Euro-sceptic political party

Current Political Leaders:

President: Sergio Mattarella (since February 2015)
Prime Minister: Giuseppe Conte (since May 23rd 2018) - close to M5S
Vice-President of the Council of Ministers: Matteo Salvini

Next Election Dates

General elections: On or before the 28 May 2023
Presidential elections: 2022

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Economic and political outline Italy - Santandertrade.com

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Italy's economy was heavily impacted by the global financial crisis and only emerged from recession in 2015. In 2018 growth reached 1.2% of GDP, down from 1.6% in 2017, due to a decrease in foreign demand, partially counterbalanced by an increase in domestic demand.

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As our currency plummeted last week, politicians were remarkably quiet. In normal times, a catastrophic slide in the pound would send a shockwave through Westminster. An emergency cabinet meeting might have been called. The chancellor might have made an announcement, calming markets and reassuring the public.

But these aren't normal times. Over the past three years, politics has been increasingly blind to the concerns of ordinary people. The Brexit debate is stuck on abstract constitutional issues such as the backstop. While they are important matters, the relentless focus of public discourse on them means that we are in danger of forgetting about the lives of real people. Westminster is gripped by a fanatical race towards a cliff-edge Brexit and nobody is stopping to think about the impact it would have on the everyday lives of the people we serve as politicians.
Ignore Boris Johnson's empty 'optimism'. The real cheer lies on the left | Frances Ryan
The falling pound is a perfect example. Consider for a moment the situation we find ourselves in. Three years on from the referendum, and sterling has now fallen by 15% against the euro. On average, the pound is now weaker than it was at the height of the financial crisis.

We cannot dismiss this as a trivial bump in the road. This matters, because a no-deal Brexit is now the number one threat to the value of our currency, a fundamental factor driving this nation's prosperity. And as Paul Johnson, director of the Institute for Fiscal Studies, put it, a fall in the pound "makes those of us whose earnings or savings or investment income is in pounds poorer. Period." We simply cannot ignore the impact this is having on people in our country.

August is the most popular month for Brits to go on holiday. This month, some 6 million people will go on a trip to a eurozone destination, during which they will spend an average of £574 per head, according to the Office for National Statistics. Whereas before the referendum, that would have bought a UK holidaymaker €740 on the continent, now the same spend is worth only €620. In other words, our politicians' dangerous no-deal Brexit musings have cost travellers more than £100 per person already.

Supermarket prices are also likely to be affected. Much of what we buy relies on products from the EU - purchases that British importers make in euros. A simple look at UN trade data of what we import from the eurozone reveals that the plummeting pound has already meant an increased import cost each year of £200m on French wines, £50m on fruit from Spain, and £40m on chocolates from Belgium.
Deal or no deal? It's not really up to Dominic Cummings | Martin Kettle
This is a real and present shock to UK businesses. But most importantly, it is consumers who will likely end up paying the price for this. Increased costs in imports for products will be passed on to customers. That means higher prices in the shops.

The sheer drop in sterling since 2016 is only a taste of what's to come if we continue down the destructive route of a no-deal Brexit. Instead of continuing the ideological race to the cliff edge, we have a duty to consider the interests of ordinary people. Leaving people worse off financially is a Brexit outcome nobody supports, whether they voted leave or remain.

That is why it is time to think again. A fresh democratic mandate is key to this big decision, now that the circumstances have changed so much. This is why we must hand the choice back to the British people in a referendum.

* Sam Gyimah is the Conservative MP for East Surrey.
Topics

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The dramatic drop in sterling is only a taste of what is to come | Sam Gyimah

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As our currency plummeted last week, politicians were remarkably quiet. In normal times, a catastrophic slide in the pound would send a shockwave through Westminster. An emergency cabinet meeting might have been called. The chancellor might have made an announcement, calming markets and reassuring the public. But these aren't normal times.

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On June 23rd, 2016. Britain voted to leave the European Union, the 28-nation trading bloc. The pound plummeted to its lowest level in 31 years, $2 trillion wiped off the global stock market, and the shock waves are going to be felt in the global apparel industry as well.

Britain's exit from EU might take away EU's single market facility out of its hands, well a hard Brexit will surely do so, but nothing has yet been clearly expressed. Though UK Prime Minister, Theresa May, has assured that the negotiation process for Brexit will be done with the intention of protecting the rights of UK citizens in other EU countries and other EU citizens in the UK. This sure signals her inclination towards a soft Brexit, which is a sigh of relief for the apparel industry.

Tariff-free trade in the EU, free movement of talent and skills, EU funding and investments were the lifeline of UK's apparel industry. Actual effects of Brexit will be clear only after the terms of trade have been negotiated and formalized.

But what it can entail needs to be discussed.

Brexit will have a further devaluating effect on the pound and will increase the economic uncertainty, which will most certainly lead to lowering of the domestic consumer confidence and thus hit the UK's retail sector hard.

The UK accounts for 1.72%, i.e. around $37 Billion worth of apparel exports globally, and 3%, i.e. $131 billion worth of global apparel imports. This makes the UK, the fourth biggest apparel importer globally, after USA, Germany, and Japan. With such a large share of global apparel trade dependent on the UK, Brexit sure is going to have a negative impact on it.

With Brexit, free movement of EU and UK's citizens across Europe will be compromised, which is going to create problems for apparel firms where foreign employee base accounts for a large share of the total workforce. Such a scenario makes it hard for these companies to recruit and retain talent at the current staffing costs. This will further impact the profitability of the Britain's apparel industry and thus their relations with foreign suppliers and customers.

Before its exit, Britain had a trade agreement with the EU, but now, all the trade between Britain and EU would be as per the WTO rules. This means trade between Britain and EU will be subject to trade tariffs on imports and exports, the Textile goods tariff being around 12% in duties. Obviously, only the British Apparel companies are going to face the blow by these trade tariffs, but these companies will pass on this extra cost on to their customers which will further impact retail and to suppliers which will impact the companies doing business with British apparel firms globally. There may be chances of a negotiable free-trade deal as well , similar to Norway (EFTA) and Switzerland.

UK's apparel industry is dominated by firms financed through EU funding, and if the government steps out to replace that funding, then these companies might sail through. Otherwise many of these apparel companies might even face extinction.

Though the consumer confidence within the UK will be shaken, but falling pound value will surely bring in foreign tourists and customers to the UK retail market, which in short term will boost the sales for many fashion brands in UK market.
End thought
UK government can negotiate for partial membership in EU, where it can pay fees to sustain the free movement and tariff-free trade within EU, but the chances of that are bleak. Though, partial membership will not ensure EU funding in British apparel industry. They can even go for a free trade deal, but lose access to the single EU market. Whatever the case may be, global apparel industry, especially the players involved in trade with Britain, will need to reassess their global presence and supply chains to brave the shock that Brexit is going to bring their way.

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How Will BREXIT Affect Apparel Trade Relations?

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On June 23rd, 2016. Britain voted to leave the European Union, the 28-nation trading bloc. The pound plummeted to its lowest level in 31 years, $2 trillion wiped off the global stock market, and the shock waves are going to be felt in the global apparel industry as well.

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At present, Italy preoccupies both the EU and financial markets. There are unquestionably serious economic concerns. However, within the 28 EU member states, Italy is the second-largest manufacturer, behind Germany. And as revealed by our survey of around 100 Italian executives, which builds on Deloitte Global's survey of 19 leading Asian, European and American countries, Italy is at the global forefront in many aspects of the Fourth Industrial Revolution, the digital revolution.

What also emerges strongly from the survey is that Italian executives fully appreciate digitalisation is fundamental to their companies' futures and are looking to adopt and use digital technologies. A strong industrial base and awareness of the potential of digitalisation means Italy cannot be overlooked when talking about Industry 4.0.

However, the survey findings also point to weaknesses in infrastructure and education, and show that Italian executives are pessimistic about some aspects of digitalisation. They feel their country needs more investment in order to compete, and they are notably less confident than their global peers about how to employ digital technology to its fullest effect. They also fear that the digital revolution will have unfortunate social consequences. The nation's macro-political uncertainty may be contributing to the cautious mood of Italian executives as they grapple with making the digital future a reality.

In this article, we examine Italy's digital strengths and weaknesses, plus government efforts to make up for the country's shortcomings. We then explore Italian executives' views as they engage with the digital revolution and conclude with a look at Italy's macro-political backdrop and the country's outlook.

Digital strengths

Robust European tech force

Political instability, very low growth and, debt crisis fears might seem to put Italy in a poor position to advance with the digital revolution. But our survey showed marked areas of strength; in some aspects, Italy is at the front of the European pack, and even the global one.

With approximately 5,400 high-tech manufacturing companies, according to Eurostat, Italy is one of the top four countries (along with Germany, the UK and Poland) in Europe, which has about 46,000 high-tech companies in total. If all sectors are included - services, as well as manufacturing - Italy remains one of the foremost countries in Europe, with more than 105,000 high-tech companies. Italy is also above the European average in terms of the production and use of industrial robots, and in the adoption of 4.0 technologies such as the cloud, the Internet of Things (IoT) and machine-to-machine (M2M) communication.

Italian companies also invest heavily in scientific and technological research. According to the European Commission, the average annual research and development (R&D) expenditure of Italy's top R&D spending enterprises, at €185.4 million, is higher than the equivalent EU average of €165.8 million.

A European leader in robotics

Although the industrial robotics sector is dominated by China, South Korea, Japan and the United States, Italy is in seventh place worldwide. The country's annual production of 6,500 units (see Figure 1) is expected to rise to about 8,500 units by the end of 2020. Although production is well behind that of Germany, which manufactures about 20,000 robots annually, Italy is in second place in Europe; France and Spain trail behind with 4,200 and 3,900 units, respectively.

In addition, Italy is in the global top ten in terms of robotic intensity: the number of industrial robots compared to the size of the workforce. According to the International Federation of Robotics, Italy has 185 robots per 10,000 manufacturing employees, placing it far ahead of Spain (160), France (132) and the United Kingdom (71) (see Figure 1).

Talking machines show M2M strength

Italy ranks sixth worldwide in terms of M2M communication, which is fundamental to Industry 4.0. This technology permits the automatic, real- time exchange of data within a network of systems, machines, sensors and industrial robots. SIM cards, used in machines and sensors to permit the transmission of M2M data, number 16.4 for every 100residents: a figure equivalent to such countries as China and Germany, and ahead of Japan (12.7) and South Korea (8.3) (see Figure 2).

Cloud-powered advantage

Italy is also advancing promisingly in cloud computing, another technology crucial to digital innovation. Cloud computing makes it possible to implement other solutions - information management, such as big data and cognitive analytics; predictive models; artificial intelligence and machine- learning tools, to name a few.

Eurostat data shows that cloud technologies have been introduced by about 22 per cent of Italian companies (see Figure 3), slightly ahead of the European average of 21 per cent and higher than Spain (18 per cent), France (17 per cent) and Germany (16 per cent). According to the Polytechnic University of Milan, the cloud technologies market in Italy grew by 18 per cent in 2017, to a value of almost €2 billion, with manufacturing companies leading the way.

Fast-rising Internet of Things

IoT use is also rising fast in Italy. The value of the country's IoT market in 2017 was €3.5 billion, which was 32 per cent higher than in 2016. In three years the sector has more than doubled. In 2017, the smart metering and smart car segments were the largest IoT sectors, with output of €980 million and €810 million, respectively, followed by smart buildings (€520 million) and IoT solutions for industrial logistics (€360 million).

Weaknesses and mitigation

As the above findings show, Italy is, in many regards, up with the leaders in the digital revolution. But there are technical infrastructure weaknesses that need to be addressed. Moreover, digital investment by the government and the private sector is seen by some as inadequate. An additional concern is that the education system does not train enough people in advanced technologies.

Inadequate broadband

A clear and very fundamental example of a technical weakness is Italy's poor provision of broadband. At present, only seven per cent of Italian companies have a 100 Mbps Internet connection, which is less than half the European average of 16 per cent (see Figure 4). In Denmark and Sweden, the high-speed broadband frontrunners, the percentage is as high as 42 and 39 per cent, respectively.

National Industry 4.0 plan targets weaknesses

In 2016, the Italian government, then with Matteo Renzi as prime minister, aimed to address some of the deficiencies with its National Industry 4.0 plan, adopted in 2017. The chief focus was enabling technologies for Industry 4.0, to which €3.5 billion was allocated and for which tax breaks (so-called super- and hyper-amortisation) were introduced to encourage investment by Italian companies. Measures were aimed at providing nationwide 'ultra-broadband' (access of at least 30 Mbps), defining open-source standards for M2M communication in the IoT environment and developing high-speed digital networks.

According to ISTAT, the official Italian statistics provider, the plan stimulated corporate digital investment. In 2017, tax incentives encouraged two thirds (67 per cent) of Italian companies to invest in new technologies and machinery. However, the impact was mostly in large companies - 96.7 per cent of those with more than 50 employees made fresh investments because of tax incentives. Among smaller companies, with fewer than 50 employees, only 42 per cent did so.

ISTAT data suggests that 62.1 per cent of manufacturing companies considered super-amortisation very or quite significant in their decision to invest. Hyper-amortisation and tax credits for R&D expenses were seen as significant by 47.6 per cent and 40.8 per cent of companies, respectively.

Education and training deficits

The limitations of the Italian education system, in terms of skills and training related to advanced technologies, are another major concern. Italy's robotics industry has complained that there are not enough specialised professionals and technical experts. According to the Ministry of Economy and Finance, Italy is considerably below the European average as far as its workforce having digital competence 29 per cent, as compared to 37 per cent for Europe as a whole.

Participation in 4.0 training courses in Italy, at 8.3 per cent, is also well below the European average of 10.8 per cent. In this respect, Italy also ranks far behind France, at 18.8 per cent, and the United Kingdom, at 14.4 per cent. The gap is, unsurprisingly, even wider compared to digital leaders such as Sweden, Denmark and Finland, where more than a quarter of the workforce is educated in aspects of digital technology.

However, in the 2018 budget Italy's government put forward a plan to invest €10 million in 2018, and €35 million by 2020, to develop technical institutes. The goal is to train an additional 200,000 university students, 20,000 technical institute students, 3,000 managers and 1,400 PhD holders/candidates, all with a specific focus on Industry 4.0 topics.

Executive mood

Deloitte's 2018 global survey showed Italy to be in quite an advanced position with regard to digital technology. However, perhaps reflecting the country's generally less-than-optimistic mood, Italian executives indicated that they feel their country lags behind. They feel much less confident than their global peers about implementing new digital technologies. They also see the likely social impact of the digital revolution as problematic, rather than beneficial.

Investment short-changing advancement

Only six per cent of Italian executives interviewed consider Italy more advanced than other European countries in the development of Industry 4.0 (Figure 5), and 37 per cent believe it is less advanced. Their unfavourable view reflects 42 per cent of executives' belief that public investment is inadequate; 39 per cent feel the same about private investment.

This sentiment, particularly regarding public investment, probably reflects their perception that the cash-strapped Italian government will not be able to follow through with investments the digital economy requires. More than one in three survey respondents were unconvinced by the National Industry 4.0 plan.

Trepidation in implementation

Italian executives know digitalisation is potentially transformational. Forty-nine per cent fully agreed that the advent of increasingly smart and autonomous technologies is the trend that will influence their businesses the most over the next five years. Globally, only 31 per cent hold this view.

Despite this, Italian executives are less confident than global ones about how to implement the new technologies. Only five per cent of Italian executives described themselves as 'fully capable' of undertaking the organisational changes required by such technologies; global executives are much more certain, with 22 per cent judging themselves 'fully capable'.

Thus, compared to their global peers, Italian business leaders are more aware of the vital competitive opportunity presented by technological transformation but less confident about how to tackle the transformation.

Risk of superficial digitalisation

Executives' uncertainty about implementation may have important consequences; digitalisation may not be employed to maximum transformational effect in Italian business models. Survey responses suggested that, globally, there is a much greater focus on devoting new technologies to developing human resources and new skills, when compared to Italy. Italy risks missing out on a more profound digital revolution.

Fifty-nine per cent of Italian executives said they intend to invest in new technologies related to processes and operations, and 54 per cent in digital help for customer support, such as marketing and sales. Only 38 per cent plan to invest in digitalisation for production and 37 per cent for product development. Just 18 per cent are looking to direct investments to talent management - less than half the global figure of 40 per cent.

Negative social implications

Outright pessimism emerges where the social consequences of new technologies are concerned. As Figure 6 shows, 66 per cent of Italian executives believe digitalisation will produce greater social upheaval and income inequality. The expectation of global executives as a whole is - in stark contrast - positive: 87 per cent foresee greater income equality and social stability, believing that new technologies will create more jobs than they eliminate.

The Italians' perspective is probably influenced by the concern that new technologies will require much different abilities and skills, which could have dramatic repercussions in the job market. They may also be influenced by the far-from-positive political and economic developments of recent years.

Macro-political backdrop

The backdrop to Italy's digital revolution is unquestionably difficult. The country's latest government, the sixth since 2010 and an unusual blend of the right-wing Northern League and the left-wing Five Star Movement, is at odds with the EU over its budget plans. Italy's debt, at over 130 per cent of the gross domestic product (GDP), is the biggest in the EU after Greece's. The yield on Italian benchmark debt, the ten-year government bond, rose in late November 2018 to around 3.2 per cent - not a high figure on a historical basis but one that compares very unfavourably with yields of only around 0.36 per cent on German and 0.7 per cent on French government bonds of the same maturity.

The new government's initial proposal to run a 2.4 per cent of GDP budget deficit has put financial markets and the EU on edge. (In mid-December, the Italian government lowered the proposed target to 2.04 per cent.) This deficit is not exceptionally high and, in fact, is within the EU's Maastricht criteria. But Italy's debt is substantial, and rising yields on that debt will exacerbate the government's fiscal problems, potentially reducing the funds it has available for investment in technology.

More profoundly, the country's economic growth record is very poor, which in turn is depressing tax revenue. The economy has grown little since 2000, and even its recovery in the past three years trails far behind that of Germany and France, and Europe as a whole. Another blow is that the recovery shows signs of fading. In the third quarter of 2018, the Italian economy contracted by 0.1 per cent, compared to the previous quarter, while most other European economies continued to grow.

Conclusion

The EU, financial markets and Italian executives are at one in their fears that Italy's government may not be able to keep the country stable and provide the basis for a prosperous future. But the latest signs, as of December 2018, indicate that the new government is prepared to compromise; it has reduced its targeted budget deficit to 2.04 per cent of the GDP. The EU's concerns, and those of financial markets, may be calmed, at least for a while. But unstable politics and economic anxieties have, unfortunately, become Italy's norm.

This makes it all the more striking that the Italian economy has progressed far along the path of the Fourth Industrial Revolution. In terms of the number of high-tech companies and the use of robotics, M2M communication and the cloud, Italy represents a leading economy, not a laggard. Italian executives and observers of Italy might draw some confidence from this. Despite significant macro-political weaknesses, Italian business has managed to overachieve. In the digital era, it might prove able to continue to do so.

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At present, Italy preoccupies both the EU and financial markets. There are unquestionably serious economic concerns. However, within the 28 EU member states, Italy is the second-largest manufacturer, behind Germany.

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Britain will have to reach a new trade agreement with the European Union following its decision to sever links with Brussels. The task will be complex and will have to be carried out under the pressure of a two-year deadline. Here are some of the key issues.

1) Will a post-Brexit UK need a new trade deal with the European Union?

Yes. Once the UK's formal decision to leave the EU is notified to the European council of EU leaders, under article 50 of the Lisbon treaty, the UK will be giving formal notice that it will be leaving the EU. Article 50 sets a two-year window to renegotiate a new legal basis for Britain's trade relationship with the EU - although it also allows for an extension.

These discussions will need to consider the framework for exporting and importing goods (cars and food) and the basis for continued services trade (such as legal advice on big company takeovers) to and from the EU. In addition, negotiations will have to cover customs procedures, passport controls for business travellers and regulation on issues such as environmental, health and safety standards.

2) Will tariffs be imposed on UK goods and services under a new trade deal with the EU?

This is entirely possible and up for discussion under a grand UK-EU deal. Currently, UK companies are able to trade with the EU on a tariff free and quota free basis. During negotiations for a new trade deal, there is nothing to stop Brussels seeking to impose a 5% tariff on all UK car exports (more than eight of 10 UK-made cars are sold abroad). The UK can, of course, threaten tit-for-tat tariffs on BMW or Fiat cars, but it means consumers on both sides of the Channel suffer. There is also the risk that the EU will impose quotas, which limit the amount of goods and services that can be sold into Europe.

3) Will the negotiations take place on a country-by-country basis?

No. According to John Forrest, the head of international trade at law firm DLA Piper, the UK will simply be required to negotiate a single deal with the 27 remaining EU states under the EU's common commercial policy. "It will definitely not be on a country-by-country basis. The EU maintains a single harmonised customs border and the UK will simply negotiate with the EU the continued terms of trade with the EU," he says.

4) Does the British government and civil bureaucracy have the skills to negotiate an EU trade deal?

According to Forrest, there is a high degree of expertise in the British government in terms of understanding which sectors need to be covered by a new agreement. "The UK government retains a high degree of expertise, backed up by input from UK companies and trade associations, with regard to the UK's priorities for any trade agreement."

But, he adds, there might be an issue over securing the right number of skilled individuals required to pull off a wide range of bilateral and regional trade deals within a short time frame. "There may be a degree of concern over the level of negotiating resources. Undertaking a broad suite of regional and bilateral trade negotiations requires a significant number of qualified and experienced individuals."

5) What happens to Britain's financial services industry?

Britain's financial and professional services industry - banks, accountants, corporate lawyers, investment managers is a significant contributor to GDP (around 12%, which is more than manufacturing). On Saturday, a senior figure at the European Central Bank said banks in the City of London risked being stripped of their lucrative EU "passports" that allow them to sell services to the rest of the union. The City, as the industry is better known, will want to retain that passport; otherwise it will not, for instance, be able to advise on a mega-euro takeover in Germany or sell euro-denominated products such as derivatives. To do that simply, the City will need to join the single market, or the European Economic Area that encapsulates the EU and non-members such as Norway. That will, in turn, require accepting freedom of movement.

Or the City can go it alone and operate in a much looser regulatory environment, which will please hedge funds and bankers keen to avoid an EU-imposed cap on bonus payments.

6) Will it affect trade with the US?

No. The ability to trade with the US on current terms will not be affected. However, the UK will not be part of the controversial TTIP trade deal between the EU and US.

7) Who will be on the other side of the negotiating table to the UK?

UK negotiators will need to engage via a number of bodies including the European council, individual European member states and the European commission (the EU's executive arm, which administers EU law).

8) Will the UK be able to pull off a trade deal in two years?

This will be challenging, particularly if the option of joining the EEA is pursued but the British government balks at accepting freedom of movement as a quid pro quo.

9) What if no deal is reached within two years?

According to Forrest, there are a number of potential scenarios, including that the current status quo prevails and the UK carries on trading with the EU under existing free movement principles. "That outcome is not beyond the realms of possibility," he says. However, that means freedom of movement for goods, people and capital between the UK and EU will continue to operate. For millions of people who campaigned and voted for leaving the EU, this is will be difficult to accept.

Topics

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How will Brexit affect Britain's trade with Europe?

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Britain will have to reach a new trade agreement with the European Union following its decision to sever links with Brussels. The task will be complex and will have to be carried out under the pressure of a two-year deadline. Here are some of the key issues. Yes.

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Unemployment in Italy is set to rise after Brexit - deal or no deal. Photo: AFP

A no-deal Brexit would cause the loss of 1.2 million jobs across Europe, including 139,140 in Italy, according to a newly-released study by Belgium's Leuven University.

The impact study, commissioned by the Belgian government, showed that the UK leaving the EU without an agreement would cause major job losses in every country in Europe.

France would lose 141,320 jobs, while Germany would suffer a massive 291,930 redundancies, the study said.

Of course, the country expected to suffer the most is the UK, where more than 500,000 jobs would be lost - - up to five percent of its total workforce.

The study looked at both the total number and the percentage of jobs that would be lost in each country.

Ireland would be one of the worst-hit countries percentage wise, as it stands to lose 50,330 jobs. Belgium too would lose a higher percentage of jobs, with 42,390 redundancies expected there in a no-deal scenario.

The study also looked at the potential impact if the UK left with an agreement. In that case, the number of jobs lost across Europe would be smaller - but still significant.

Italy, which already suffers high levels of unemployment and poverty, as well as a sluggish economy, would face 31,230 job losses even if Britain leaves the EU with an agreement.

The study took into account how supply chains across the EU and globally would be disrupted, as well as the countries' direct trade links with the UK.

To calculate the impact, researchers defined "leaving with an agreement" as a situation where the UK leaves the EU but remains part of the internal market or the European Customs Union.

For the projected no-deal scenario, researchers assumed the UK would leave the single market and fall back on the rules of the World Trade Organisation.

Meanwhile, a separate data set published in the Financial Times this week showed how personal finances would be hit across Europe under a no-deal scenario, with the UK again worst hit.

It showed that southern Italy is expected to escape the effects, but those in the north and centre of the country can expect to be around 50 euros worse off annually on average.

READ ALSO: No-deal Brexit: Concern in Italy over harsh new residency rules for Brits

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No-deal Brexit 'would mean 139,000 job losses in Italy': report

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Unemployment in Italy is set to rise after Brexit - deal or no deal. Photo: AFP A no-deal Brexit would cause the loss of 1.2 million jobs across Europe, including 139,140 in Italy, according to a newly-released study by Belgium's Leuven University.

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A coalition government between the anti-immigrant League and the populist Five Star Movement was inaugurated in June. In March, the UN high commissioner for human rights deplored the racism and xenophobia that characterized the election campaign.

By mid-November, only 22,435 migrants and asylum seekers had reached Italy by sea according to UNHCR, in large part because of measures to prevent arrivals already put in place by the outgoing government. In contrast, during the whole of 2017, 119,369 people arrived.

Almost immediately upon taking power, the new government began blocking disembarkation of rescued persons in Italian ports. In November, a Sicilian prosecutor filed to close an investigation, launched in August, into Deputy Prime Minister and Interior Minister Matteo Salvini for unlawful detention and kidnapping, among other charges, for refusing to allow 177 asylum seekers from an Italian Coast Guard ship disembark, some for as long as 5 days.

In June, Italy began systematically handing over coordination of rescues in the Mediterranean to the Libyan Coast Guard, despite concerns over their capacity and the fate of individuals returned to Libya. In August, parliament approved the supply of 12 boats and training programs for Libyan crews.

In November, parliament approved a government decree limiting humanitarian visas and restricting access to specialized reception centers. One-quarter of asylum seekers in 2017 was granted permission to stay for humanitarian reasons, and up to 28 percent of decisions taken in January-February of 2018 granted humanitarian visas. In October, prosecutors charged the mayor of Riace, in southern Italy, with irregularities in what was widely held as a model integration project for asylum seekers and refugees.

Episodes of racist violence marked the year. In February, one month before the national elections, a former League candidate in local elections shot and wounded six immigrants in Macerata, central Italy. An anti-racism group recorded a sharp increase in attacks in the two months after the new government took power compared to the same period in 2017.

In July, authorities evicted several hundred Roma people from a settlement in Rome, despite an order from the European Court of Human Rights to delay the move. Minister Salvini called in June for a census of all Roma in Italy in order to deport those without Italian citizenship. There was no visible progress in a European Commission investigation, ongoing since 2012, into discrimination against Roma in access to housing and forced evictions.

In December 2017, the UN Committee against Torture urged Italy to ensure that the definition of the crime of torture in domestic law, introduced last year, conforms with international law.

Sections of the EU Chapter: Migration and Asylum | Discrimination and Intolerance | Rule of Law | Terrorism and Counterterrorism | Croatia | France | Germany | Greece | Hungary | Italy | The Netherlands | Poland | Spain | United Kingdom | Foreign Policy

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World Report 2019: Rights Trends in Italy

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A coalition government between the anti-immigrant League and the populist Five Star Movement was inaugurated in June. In March, the UN high commissioner for human rights deplored the racism and xenophobia that characterized the election campaign.

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Vogue: Why is everyone so crazy about Moschino?

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Vogue: Why is everyone so crazy about Moschino?

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Article about Moschino's design aesthetic and the interest around the brand so I could ensure this was taken into account when deciding on the range.

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As Jeremy Scott is set to unveil Moschino's spring/summer 2016 show today in Milan, thoughts turn to the brand's inception - and how it became the go-to label for girls who love to shock.

Since Jeremy Scott took on the role as creative director in 2013, Moschino has catapulted itself into the spotlight with its logoed designs, slogan T-shirts and pop-culture favourite phonecases being spotted on everyone from Rita Ora to Scott's other BFF and collaborator Miley Cyrus - but being Italian fashion's naughty little sister is nothing new for the brand.

Read next

Encouraged by Gianni Versace, Franco Moschino began his eponymous label with a line of casualwear and jeans before eventually expanding to eveningwear, shoes, lingerie and perfumes.

While his clothes may have come with a high-fashion pricetag, Moschino was never shy of a controversial statement and often poked fun at the industry's "fashion victims" who were also, infact his customers: "My approach is a contradiction, I know, but why not?" Moschino once said.

"Why should I have to embrace the fashion business just because I work in it? Why should I?"A mainstay of Eighties fashion, his collections were filled with details that have now become synonymous with the decade, featuring slogans such as "Fashion, Fashoff" and "Good Taste Doesn't Exist", references that have clearly infiltrated Scott's designs.

When Moschino died aged just 44 in 1994, the brand's reins were handed to Rossella Jardini, Moschino's former assistant, who remained at the helm until 2013, when Scott took over. Jardini's designs, although still colourful and vibrant, were a little less irreverent than Scott's, who has taken the brand back to its original headline-grabbing form.

Already blessed with a knack for tongue-in-cheek dressing for his own label, Scott has embraced the "more is more" nature of Franco Moschino's original aesthetic making the brand one of the industry's most talked about once more.

Over the last few seasons we have seen Moschino re-interpret the iconic logos of Barbie, McDonalds and Coca Cola while most recently Scott sent down street-wear styling down the catwalk illustrated with Looney Tunes characters. This has only increased the popularity of the vintage designs, satin-printed Moschino trousers and logoed denim are some of the Internet's most coveted internet steals.

Taking beauty notes from "momager" Kris Jenner with a pixie crop hairstyle, Perry follows in the footsteps of current cover girl Stella Tennant, Karen Elson and Linda Evangelista, who have all fronted the brand's campaigns in recent years.

What to expect next? Tumblr-ready collections, more haute-fashion twists on surprising pop culture references and killer casting. Don't expect to be having your Barbie mirror phonecase for too much longer, there is bound to be something both bigger and better on the way.

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Why Is Everyone So Crazy About Moschino?

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As Jeremy Scott is set to unveil Moschino's spring/summer 2016 show today in Milan, thoughts turn to the brand's inception - and how it became the go-to label for girls who love to shock.

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An article about Browns being acquired by FarFetch and their intention with Browns East. This was important when considering the instore experience and is what influenced my desision to sell an add on smart phone projector.

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In May 2015, Farfetch acquired Browns, an iconic British fashion and luxury goods boutique. Browns operates two retail stores in London, on South Molton Street and Browns East in Shoreditch, and also leverages applications on our platform. Ownership of Browns enables us to understand the luxury fashion ecosystem through the lens of a boutique. In addition to enhancing our credibility in fashion, Browns also serves the critical mission of pioneering innovations developed under our Augmented Retail strategy, including providing a luxury fashion boutique environment to test our Farfetch Store of the Future technology.

Browns was purchased in the 1970's by Joan and Sidney Burstein from Sir William Piggot Brown. At a time when there were no multi-brand boutiques in the UK, Joan Burstein and her husband Sidney bought the first of five Georgian townhouses on South Molton Street and changed the course of retail and fashion history in the UK. They were known for their pioneering spirit, introducing many now-famous fashion brands to fashion lovers for the first time - this is a spirit which still exists today.

Discover the history of Browns or visit the online store.

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In May 2015, Farfetch acquired Browns, an iconic British fashion and luxury goods boutique. Browns operates two retail stores in London, on South Molton Street and Browns East in Shoreditch, and also leverages applications on our platform. Ownership of Browns enables us to understand the luxury fashion ecosystem through the lens of a boutique.

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The history of Browns. When it opened and its influence on British fashion.

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Another article about Moschino's design aesthetic.

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Brandingmag is the independent journal narrating the global discussion on branding and culture.

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We all know what a is, isn't it? For those of you who don't know, QR Codes are 2D barcodes. These black-and-white squares can link to images, text, videos, and websites. A smartphone with a QR Code scanning app is all one needs to view this information.

When thinking of QR Codes, the fashion industry might not come to your mind. But, believe it or not, QR Codes are popular there too. Listed below are examples of QR Codes in fashion and accessories:

A. QR Codes on Clothing

You might think of QR Codes on clothes but, brands beg to differ. Here are four examples of QR Codes on clothing:

1. Rochambeau

In Oct 2016, Rochambeau , an NYC-based designer label launched a smart jacket, 'BRIGHT BMBR'. The smart jacket comes equipped with an NFC Code and a unique QR Code. Both the smart tags are inside a hidden zipper pocket on one of the sleeves. The jacket was part of the designer label's fall-winter 2016 collection. The wearer can connect with the smart tags using his smartphone. This unlocks a plethora of experiences around the city for the wearer.

Some of the benefits include:

VIP pass to an exclusive event selected by Rochambeau

A signed piece of artwork

An entry to Rochambeau's 2017 runway show at New York Fashion Week

Besides this, wearers can also collect free gifts by scanning the QR Code on the garment. This is possible when the wearer is within 500 meters of all three of The New Stand's outlets. The New Stand is an experimental retail store that sells these jackets. The jacket was priced at $630.

2. Smart PJ's

In July 2016, Idaho-based Smart PJ's introduced a new way of storytelling to children with pajamas. Each pair of Smart PJ's contains 90 clusters of colorful QR Codes. Each cluster holds a story book, i.e, each pair of Smart PJ's contains 90 story books. To read the books, all one has to do is scan the QR Code using the Smart PJ app.

Read more here: Smart PJ's: A Digital Twist In The Tale

3. Rock the Vote

Rock the Vote is a non-profit organization based in the US. It aims to build the political power of young people. Launched in 1990, celebrities like Madonna donned the organization's shirts. This reporteldy made the brand cooler. In July 2012, it came up with QR Code T-shirts. Scanning the QR Code led people to scan to vote website. Here people could register to vote online.

is an independent fashion designer based in Seattle,US. In 2010, Sam launched a range of QR Code inspired clothes for both men and women. Scanning the QR Code directed people to images chosen by the designer. Sam also announced a QR Code scavenger hunt that would start from one of the QR Codes on his line's t-shirts. The t-shirts are available .

B. QR Codes for Marketing

QR Codes help bridge the gap between print media and online content. Brands recognise this and use QR Codes to engage with their offline audience. Here are three examples of major clothing brands using QR Codes for marketing :

1. Levi's Ad Campaign

In 2016, , a clothing company in partnership with media agency, OMD, launched a QR Code campaign in China. The idea was to create brand interest among the youth. The catch? Levi's did not create any ads for the campaign. Titled 'We Are Original', the campaign encouraged people to create their own ads.

As a part of the offline campaign, Levi's allowed users to be the star of a Levi's print ad. People could strike a pose to show their originality, the theme of the campaign. The ad posters were put up at different locations. The posters contained a QR Code. People could scan the QR Code to share them with friends on WeChat.

The campaign increased Levi's consumer engagement by 2.9 million in the form of likes, forwards, comments, and shares.

2. Ralph Lauren

Fashion giant Ralph Lauren has always been a fan of QR Code marketing. Be it during the 2008 US Open or in ads in magazines.

In 2012, the fashion giant partnered with department store Harrods. Ralph Lauren displayed QR Codes on 15 of the department store's windows. Scanning the QR Codes led customers to the brand's latest collection displayed at Harrods.

"Customers are using mobile and digital technology more and more, so we are keen to explore new ways for brands to interact with our customers whilst they visit the store. It's great to be able to reach out to passers-by even when the store is closed." - Guy Cheston, Media Sales Director, Harrods

3. Victoria's Secret

Victoria's Secret is an American premium womenswear and beauty products manufacturer. In 2012, the brand displayed billboards with QR Codes that encouraged people to scan them. Scanning the QR Codes allowed people to view the brand's latest lingerie collection.

C. QR Codes on Jewellery

Technology in accessories is not limited to smartwatches. Even jewellery now has a tech angle, thanks to QR Codes. Here are two examples of QR Codes on jewellery:

1. Cufflinks

UK-based designer Chris Parry creates QR Code cufflinks. These cufflinks are handmade with sterling silver. People can encode secret messages on the QR Code and gift them to their loved ones. Since the QR Code is , the information encoded is changeable.

Similarly, one can also add a QR Code on a memorial locket. The QR Code can encode more photos and images of the deceased helping people remember their loved ones.

The above examples have made it evident that QR Codes in fashion and accessories are here to stay. Also, with brands like Victoria's Secret and Ralph Lauren using QR Codes, who's to stop other fashion companies?

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QR Codes in Fashion and Accessories: Here Technology Meets Style

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We all know what a is, isn't it? For those of you who don't know, QR Codes are 2D barcodes. These black-and-white squares can link to images, text, videos, and websites. A smartphone with a QR Code scanning app is all one needs to view this information.