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Have also noticed it has happened to my Executive Summary also.

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Having looked at my INP after being notified, I saw that my Merchandising and Evaluation were partially cut. Unsure as to how it happened, have re-uplaoded the missing pieces into my Padlet instead.

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- Innovative designs
- Strong market position
- Established brand image
- Exclusive style
- Globally known, high status and support

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- designs mainly attract a niche market of customers
- affordable only to a small percentage of consumers, price range being too high for majority
- accessibility, only 21 stores worldwide, with few concessions in Harrods/Selfridges for example

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- expanding available stores, particularly beyond main US and UK market
- furthering technology, e-commerce and social media
- looking into diffusion lines, would appeal to a whole new market that they don't currently reach

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- growth of competitors that have similar consumer base and are forwarding their social and technological aspects already
- lack of/placement of stores abroad can affect the company's growth

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- higher trade and tax fares (Brexit has heavy impact)
- specific and lengthily legal requirements for the companies Corporate and Social Respoibilities
- Intellectual Property Rights (IPR) protection, creatively and legally

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"McQueen drew on history and technology to explore his inner demons and reflect his often disquieting vision of a dystopian world, Burton uses those same themes and resources to celebrate her passion for traditions and craftsmanship, and the ways they can be harnessed to flatter a woman."
"Burton’s creative process is a collaborative one. “Each season, either we find a dress or a story or a place,” she explains of her work with her design team, “then it just sort of grows from there. It’s an amazing atmosphere here—a constant conversation. It’s a very organic way of working, and it all comes together in a collage.”

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Alexander McQueen's creative director has put her indelible mark on pragmatically poetic collections that draw on Britain's history and craft heritage. Hamish Bowles travels with Burton and her team to mystic Cornwall for an inspirational walkabout.
Sarah Burton grew up in the no-nonsense North of England, one of five artistic children who was dressed, as she remembers, "in my brother's hand-me-downs-hence the longing for beautiful clothes!"

That longing eventually took her to Saint Martins art school to study fashion print design. At the time, as Burton remembers, everyone was talking about the provocative talent of a recent graduate, Alexander McQueen, who was rapidly securing a reputation as a designer of iconoclastic brilliance. Burton's tutor, Simon Ungless, was a friend of McQueen's and, impressed by his student's passion for research, suggested that she intern with him. "I was a bit scared," the soft-spoken Burton admits, "because I wasn't very 'fashiony.' But meeting him was completely mind-blowing: He was so lovely and very, very warm."

She was also in awe of McQueen's intuitive talent. On her first day in the designer's disordered Hoxton Square studio, "he took some lace and pinned this beautiful dress on the stand in an hour, dancing around the mannequin," Burton recalls. "It was like sculpture-I've never seen anything like it." In those early years, McQueen made a lot of the pieces himself. "In such a short space of time he did everything," Burton remembers. "Tailoring, eveningwear, dresses, embroidery, leather, knits-everything!"

As a result, McQueen's team learned never to say no to a technical challenge-because they would often come into the studio in the morning to find a finished garment on the stand that McQueen had spent the night resolving himself. In the beginning, Burton admits that she "couldn't really sew or pattern-cut-I had to learn really quickly," and with money tight, there was no room for error because, as she says, "you couldn't afford to remake it!" When the brand was acquired by François Pinault's Gucci Group (now Kering) in 2000, and resources and production capabilities were exponentially amplified, Burton spent time in the new Italian factories teaching herself their specialist skills. She realized that if she showed "that you can get your hands dirty," the craftspeople in turn could achieve results that often exceeded her expectations.

After the brilliant, troubled McQueen took his life in 2010, Burton, by then the designer's invaluable right-hand collaborator for fourteen years, was his natural successor-most immediately, she was responsible for finishing the Angels and Demons collection that McQueen had begun but had been unable to complete. After that solemn, elegiac presentation, Burton finally emerged from behind the scenes, though the transition into the spotlight for this modest, self-effacing woman was clearly not an easy one. "I was always in the chorus-I was never a soloist," she explains. But she did a reverent job explaining McQueen's approach in that collection, which, after the technological innovations of his recent works, saw him return to the idea of craft, to "things that are being lost in the making of fashion. He was looking at the art of the Dark Ages but finding light and beauty in it," Burton told Vogue at the time. "He was coming in every day, draping and cutting."

Alexander "Lee" McQueen was admittedly a tough act to follow, and Burton's work was subjected to merciless and unnerving scrutiny, but the truth is that she defined her own identity with the very first look she sent down the runway in her debut collection the following season. After the trauma of McQueen's untimely death, she looked for inspiration to the healing power of nature and the rural English traditions she grew up with. Look number one of spring 2011 was a frock coat cut on eighteenth-century lines of the sort that McQueen himself loved, but Burton built it from ten layers of pale, fraying chiffon: a metaphor for the new, feminine softness she was ushering in. From the beginning, Burton's gender has in many ways defined her point of difference with McQueen himself. In her quiet way, she helped to bring about both catharsis to her grieving team and aesthetic continuity and coherence to the house whose legacy she cherished-and whose secrets and mysteries she alone held in her head and her heart.

"With Lee, each show was so completely autobiographical," says Burton. "The dresses could tell their own stories because the fashion was really an avatar of his personal journey."

But where McQueen drew on history and technology to explore his inner demons and reflect his often disquieting vision of a dystopian world, Burton uses those same themes and resources to celebrate her passion for traditions and craftsmanship, and the ways they can be harnessed to flatter a woman.

"For me it's not just about a show or a review," Burton says. "It's about dressing women and how a piece makes them feel. As soon as you put a McQueen jacket on, you stand differently because it has a waist and it has a shoulder and it makes you feel empowered. It's great if you can do that for women."

The fruits of Burton's training alongside McQueen are abundantly evident: Watching her during a fitting is an object lesson in perfectionism. Though Burton has a dedicated office in McQueen's steel-and-glass HQ in London's once-gritty East End, she admits that she rarely uses it. "Last year I wrapped my Christmas presents there," she confides, "and that was it." Instead, she wants to feel the collection she is working on in a light-flooded top-floor studio upstairs, surrounded by what she calls "a good chaos," along with her gifted team of design collaborators. The soaring space resembles the treasure-stocked attic of a stately home, with carefully labeled containers filled with textile and embroidery samples stacked against its walls and an ever-changing array of panels covered in inspirational images propped next to them. (The company is on the verge of moving to bigger new premises in the same neighborhood. "It wouldn't be McQueen if it wasn't chaotic!" says Burton.)

Burton habitually wears a plump satin cushion bristling with neatly arranged pins on her wrist; she uses these to deftly smooth the line of a bodice so that it clings to the Amazonian body of Russian-born Polina Kasina, the fit model who has been with the house for twelve years and who, like Burton herself, carries a vital memory of hundreds of designs by both McQueen and Burton.

Perfectionism, after all, is in the house's DNA. "When Lee was here," Burton remembers, "we would actually color-code the pins-we'd paint the ends the same color as the fabrics," so as not to impede the visual impact of the piece in progress.

"A lot of clothes today look like they haven't been touched by a human hand, so they don't fit properly," she adds. "I think it's really important that clothes are made for a woman's body."

Burton's creative process is a collaborative one. "Each season, either we find a dress or a story or a place," she explains of her work with her design team, "then it just sort of grows from there. It's an amazing atmosphere here-a constant conversation. It's a very organic way of working, and it all comes together in a collage."

The sample atelier on the floor below Burton's studio is the domain of the formidable Judy Halil, head of atelier, who trained with the queen's dressmaker Sir Hardy Amies and has been a member of the McQueen family for 20 years. Halil presides over a technical team as dedicated and passionate as the designers upstairs. A battalion of mannequins stands sentinel in a corner, each padded to mirror the figure of one of McQueen's celebrated couture clients, who now include Nicole Kidman, Cate Blanchett, Michelle Obama, and the Duchess of Cambridge, whose gown for her 2011 wedding to Prince William-which suavely combined romance, history, high style, and ceremony in a dress for the ages-propelled Burton to global fashion stardom. Added recently to this list are Elizabeth and Cecilia, the four-year-old twins of Burton and her husband, the droll photographer David Burton (the couple also have a year-old daughter, Romilly). For the twins' school nativity play, Halil fashioned a plump robin and a swallow costume with perfectly crossed tail feathers, both crafted from individual feathers of silk taffeta laid over organza-an haute couture marvel that would churn the stomach of any hapless fellow parent struggling with a glue gun and some sticky-back felt, but one that has also been developed into a flock of dresses for Burton's fall 2017 runway show.

With McQueen, research was largely carried out in the library at his and Burton's alma mater Saint Martins, along with British Vogue 's basement archive, although inspiration might be triggered, as she remembers, "by something he'd read or seen on the telly." Or at the bottom of his garden: An ancient elm by his country cottage inspired his fall 2008 collection. There were occasional field trips, too, including one haunting visit to Salem, Massachusetts, where McQueen's ancestor Elizabeth Howe was hanged as a witch in the seventeenth century.

When Burton was thinking about her stirringly poetic and acclaimed spring 2017 collection, she took her design team on their first field trip-to Scotland's Shetland Islands. "When you design collections from books or imagery, you don't have that feeling of what the place is actually about," she explains. "And if you just use Google, you get the same pictures as everybody else."

Burton and company returned from the islands with a haul of inspirations that included Fair Isle sweaters, balls of wool, gloves, shawls knitted as finely as lace, hand-loomed tweeds, and vivid memories of a Nordic, wind-lashed landscape and islanders whose crafts revealed their pride in what they do.

"Brexit had just happened, too," adds Burton, and after the unsettling divisiveness that she felt this represented, the islands reaffirmed "a sense of community and a family sense of belonging, of being together, of real values again, things that mean something-things that you want to pass down to your children." (Perhaps with legacy also in mind, she and her husband are about to renovate a rambling early Victorian house in North London, which Burton was drawn to for its harmonious proportions and untouched period detailing. "We are bursting at the seams," she says of their current house, a charmingly unpretentious and child-friendly place nearby.)

Burton, who admits that she has hoarder tendencies, still cherishes now historic McQueen pieces in her own wardrobe, and on trunk shows around the world she's been touched to discover that many of the brand's clients hold on to their favorite old pieces too. These customers, as she notes, "are really passionate about the clothes, whether it's something that's very functional or something to dream about. That whole 'fast fashion . . .' '' she says with a sigh. "I just couldn't. It's not possible for me. These are things that are meant to be forever-things that you buy and treasure." As a concession, she will show her pre-fall 2017 collection to clients only when it is available in stores.

Burton is almost invariably drawn to Britain's history and nature for her McQueen inspirations, and for this collection she started thinking about Cornwall, the mystic county at England's westernmost tip where she spent many childhood holidays. It is a land of Arthurian legend, smugglers' coves, and a famed diamond light that has attracted artists for more than a century.

Because the 250-piece-strong pre-fall collection is in stores longer than any other collection, Burton explains, "it has to represent everything the house is about." She has decided, therefore, that the subsequent fall collection shown in Paris this month-what she dubs "the icing on the cake"-should build on this initial inspiration and further integrate the retail and runway experiences (the men's McQueen collections will also fold in some of these ideas).

With this in mind, Burton has planned an intense two-day Cornish adventure for core members of her creative team. We arrive on a crisp late November morning at Tintagel, the site of a thirteenth-century castle long associated with the legend of King Arthur, a place of heart-stopping beauty set on a hilltop bluff high above the roiling Atlantic. Burton is struck by its "very eerie calm." Soon it's on to the wide, stirring wilderness of Bodmin Moor, with its mystic Bronze Age standing stones and towering rock formations.

At the picturesque tidal island of St. Michael's Mount near Marazion the following day, the team is collectively mesmerized by the eddying swirls of seaweed in the rock pools that flank its stone path, which are exposed by the sea only at low tide. (McQueen himself, Burton tells me, was obsessed with National Geographic and once based a collection of dresses on images of jellyfish that he had torn from the pages of its magazine.) In the village of Zennor we stop at the twelfth-century fishermen's church of St. Senara, its ceiling crafted like a ship's hull. The church pews have been provided with prayer cushions covered in needlepoint by the industrious embroiderers of the parish, which send the team into paroxysms of delight. At the nearby harbor of St. Ives, an audience with a "local wisewoman" does not materialize, so we wend our way through the winding lanes and picturesque little villages outside of town in search of a field that contains a wishing tree. The dirt path that leads to it is latticed with branches crusted with fan-shaped lichen. "Embroidery, fabric manipulations, sequins-sorted," says Burton with a gentle smile.

Then, at the path's turn, we are all stopped in our tracks by the sight of the tree itself growing at the edge of a spring-fed pond. Its low-spreading branches are tied with hundreds of multicolored strips of cloth representing the wishes and prayers of those who fixed them there. Among them, the team spots an elaborate cat's cradle of thread, like a modern-art cobweb between the branches. Burton herself notices a baby's bib, and then children's socks.

"It's quite upsetting," she says, her voice breaking. "I don't know why. It feels almost . . . intrusive." She is soon sobbing softly to herself. Burton is feeling fragile: Discombobulated by Brexit and the recent American elections, she is formulating her creative responses.

These are revealed back at the London studio in early January. Burton has spent the Christmas holidays with her large family in the English countryside. "I live in two very different worlds!" she says. She confesses that she hasn't taken a real holiday since the twins were born. Luckily, her beloved Irish nanny is getting married in County Cork this year, and Burton is thrilled about the the trip-and its promise of further design inspirations.

She admits she has been dreaming about the fall collection over the holiday break. "It's quite nice when you stop for a minute," she says, "and it's very nice when you come back."

Burton has returned to a studio with thematic boards covered in images from the Cornish trip. "Devil's traps, dream catchers, enchanted sacred trees in the forest . . . the witchy board: I love how pagan this all feels," says Burton. The Shetlands collection, she adds, "was very of-the-sea, but this is of the earth and the trees." On the floor, Kim Avella, head of fabrics, has arranged exquisite color-shaded assemblages of images with fabrics old and new, the fragment of a flapper dress that Burton found years ago in a flea market, eighteenth-century ribbons still wrapped in ancient paper bearing copperplate writing exercises, and a pheasant's plumage among them. "It's not about a Pantone reference here!" Burton says wryly. The rivulets of waving grasses flowing down Tintagel's steep slopes have been translated by knit maven Lucy Shaw into fairy-tale metallic knits "like maiden's hair," while loose-weave tweeds, randomly threaded with colored ribbons, evoke that mystic talisman tree. There are beautifully rendered watercolors of those Marazion seaweeds, and lichen iPhone snaps have been elaborately pieced and computer-engineered to create print prototypes-chez McQueen, these print and embroidery placements are so complicated that small-scale paper versions are constructed first; they sit around the studio like the denizens of a beautifully dressed doll's house.

"We are so lucky," says Burton, surveying her fecund domain. "Although there is time pressure, we have the freedom of being creative and doing what we love. What is so amazing about McQueen," she continues, gently turning the spotlight back on her team, "is that everything that comes out of there has completely been loved."

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Alexander McQueen's Successor, Sarah Burton, on Taking the Brand Beyond Its Dark Past

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Alexander McQueen's creative director has put her indelible mark on pragmatically poetic collections that draw on Britain's history and craft heritage. Hamish Bowles travels with Burton and her team to mystic Cornwall for an inspirational walkabout.

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elle.uk - Briefly looks at a collaboration between A.McQueen and Damien Hirst. This was an artist collaboration for the iconic Skull scarves.

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When Fashion Meets Art: The 12 Best Collabs Out Right Now

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The latest art-fashion linkups are going fast - from limited-edition accessories collections to blockbuster exhibitions you just can't miss

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Final design of the showroom for the collaboration. Couldn't use mannequins - were not available on the software. Also I think I would rather have the clothes rails actually coming out of the walls rather than being stands. Again this wasn't available to do on the software, so I will depict it in the annotations and express in my evaluation.

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Software (free) to design Showroom. Will cover basic design and concept and will annotate further.

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This graph shows the brand positioning of A.McQueen against it's sister brands in the Kering Group.

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These are the sister brands of A.McQueen that are in the Kering Group. These are considered to be A.McQueens main competitors.

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Artist/Brand Collaborations of the Decade

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Artist/Brand Collaborations of the Decade

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vogue.co.uk - the past decade there has been a lot of collaborations. Predominantly musical artists there have been many collabs between brands and also artists from other fashion houses working together to create some of the most memorable fashion moments of the past 10 years.

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Are you even a fashion designer if you don't collaborate with other brands? It's a valid question. Designers at the low, high, and midpoints of the market team up with such abandon, well, we at Vogue are inundated with daily-hourly, sometimes-emails announcing wild partnerships like: "EXCLUSIVE OPPORTUNITY: Taco Bell Teams Up With Top Fashion Brand on A Cheesy Capsule of Gordita-Inspired Bags." Just kidding, that never happened. But in this day and age, when people are pushing collabs more than they're pushing their own singular labels, it's not such a crazy idea. In 2019, people probably would spend $1,000 on a logo bag that looks like a Mexican pastry.

The 2010s were years of peak collaboration, but the phenomenon began back in the '00s. Karl Lagerfeld joined forces with H&M in 2004 in the first of many such yearly partnerships for the Swedish fast-fashion giant (Giambattista Valli is its designer collaborator for 2019). These, along with Supreme inching its way out of underground skate culture and into the mainstream via collaborations with the likes of NYC Transit, Budweiser, White Castle, Braun, and even a random hammer company, marked the beginning of a multitude of high-low activations, some instigated by big box stores like Target and others by smaller multi-brand boutiques including Opening Ceremony. There was also Marc Jacobs bringing talents like Stephen Sprouse and Takashi Murakami to the old-line French fashion house of Louis Vuitton. The success of these projects made it official: Collabs were a viable marketing strategy, maybe the most viable marketing strategy.

As more and more brands hooked up, though, the allure of the high-low fast-fashion collab went a bit stale-at least until a guy named Virgil Abloh came along. Much like Karl Lagerfeld, Abloh, through his own multi-hyphenate persona, came to symbolize a new type of fashion designer for a new era. At Off-White, which he launched in 2013, he's partnered with brands ranging from Evian and Rimowa to Ikea and Nike. Maybe because he'd worked with Kanye West or because he started his own brand before Off-White, Abloh saw the potential of streetwear and of a new generation's need-to-have-it-now attitude towards consumerism. As he said at Vogue 's 2017 Forces of Fashion event, "My internal tool for digesting the word 'luxury' is to determine whether or not something is 'coveted.' If you covet it, it's luxurious to you." Abloh figured out how to commodify cool, giving his fans the clothes and sneakers that they salivated over and saved up for. He's doing something similar at Louis Vuitton, where he was appointed the first African American artistic director of menswear in 2018, judging by the crowds outside the pop-up the brand just opened on New York's Lower East Side.

Celebrities also got in on the collaboration action in the 2010s; stars like Rihanna, Beyonce, Cardi B, and Kanye West partnered with Puma, Balmain, Fashion Nova, and Adidas, respectively. And then there were the high-low collaborations like Christopher Kane and Crocs, or Vetements and Juicy Couture. Nostalgia, mixed with an odd, maybe even ugly garment or accessory, was a winning formula in the 2010s for the way it blurred the classic definition of luxury.

Formula is the operative word. It's easy for insiders to get cynical about collabs, to feel like they're designed to trick us into thinking that a sneaker or a hoodie is more desirable by the mere fact that it has an "X" on its label. There's just so damn many of them! Nearly 20 years into the phenomenon (Stephen Sprouse hooked up with Louis Vuitton in 2001), the partnerships that are meaningful are the ones that surprise us, the ones with purpose: They may shine a light on a young artist, repurpose used garments, or support humanitarian causes. More of these in the 2020s! But for the moment, we're celebrating the 14 best collaborations of the 2010s.
Versace x H&M, 2011
In 2011, Donatella Versace was tapped by H&M to create a capsule collection of affordable versions of her brightly colored and printed designs. It sold out almost immediately after the brands collaborated on a New York runway show and after-party where Prince performed. With apologies to Alexander Wang (2014), Maison Margiela (2012), and Lanvin (2010), Versace was the most monumental of all the H&M designer collabs, and further proved that designer fashion doesn't have to have a high price tag to be relevant or desirable.

Sterling Ruby x Raf Simons Fall 2014 Menswear
As critic Tim Blanks wrote in his review of Raf Simons's Fall 2014 menswear show, this collection was "not a collaboration in the usual sense of a designer hires an artist for a T-shirt, but a full-on, both-names-on-the-label mind-meld." Simons worked with his close friend (they'd been compadres for nine years when these clothes walked the runway) on prints and fabrications using Sterling's paintings and collage work. The duo designed the collection as one entity, conceptualizing the silhouettes together, and the labels too. Instead of "Raf Simons" they said: "RSSR."

Hermès x Apple Watch, 2015
The Apple Watch was arguably one of the biggest tech drops of the decade. It promised to change the way we sent and received emails, spoke on the phone, and tracked our steps and heart rates. It also opened up a conversation around wearable tech. Hermès catalyzed that discussion when it partnered with Apple on a leather watch band in a variety of colors. What followed were a slew of other designer versions of the Apple Watch strap, including versions from Coach and Fendi. While enthusiasm around wearable tech certainly waned towards the end of the decade, it did mark a new dawn for fashion in terms of pivoting towards a more digitally minded approach to design and marketing.
Yeezy Fall 2015
Say what you will about Kanye West (there's a lot to say, not all positive), but he's managed to build a billion-dollar business out of Yeezy, which began as a partnership with Adidas in 2015. His first runway show in New York received mixed reviews, save for the fact that West was applauded for his use of a diverse cast of models. He marked a burgeoning era of the celebrity designer, one that has since grown and expanded in pretty remarkable ways. See, especially, Rihanna's Fenty deal with LVMH.

Crocs x Christopher Kane Spring 2017
Controversial as they may be, there's no denying that ugly shoes like dad sneakers and Uggs had a major moment in the late 2010s. This strange and wonderful phenomenon first popped up on Christopher Kane's Spring 2017 runway in the form crystal- and rock-embellished Crocs. The designer partnered with the foam clog company and totally redefined the high-low concept. Call it the so-bad-it's-good paradox. After Kane debuted his couture Crocs, Balenciaga followed suit a year later, making a platform pair that sold out within hours of dropping online.

Supreme x Louis Vuitton Fall 2017 Menswear
By 2017, James Jebbia's Supreme already had a number of fashion collaborations under its red-and-white-stamped belt. But hooking up with Louis Vuitton was next level. Kim Jones, LV's creative director of menswear at the time, told Vogue 's Luke Leitch he wanted to "create customer excitement" in a "world where everyone wants the new, new, new." Let's just say he succeeded. The Supreme x LV drop felt like a sign of the times, of an era where luxury is defined by logos and status and extreme exclusivity. A hoodie from the collab is for sale on eBay. The asking price? A whopping $29,999.
Heron Preston x DSNY, 2016
Who could've imagined that a young designer would be able to coax the fashion elite to a city sanitation garage? Heron Preston did it in 2016, with a collection designed in partnership with New York's Department of Sanitation. The collaboration was undertaken in order to raise awareness for the city's 0x30 goal, which puts in place a plan to send zero waste to landfills by the year 2030. All of the clothes were designed using upcycled fabric, a term that in the years since has gone into frequent rotation in the fashion industry. Preston's clever idea marked a steady (but not yet complete) shift in awareness surrounding sustainable design and production.

Champion, Juicy Couture, Levi's, and More x Vetements Spring 2017
Demna Gvasalia did something radical for his men's and women's Spring 2017 Vetements show, his first during haute couture week. He designed an entire collection of collaborations, one in which he partnered with brands including Levi's, Juicy Couture, Champion, Eastpack, Dr. Martens, Canada Goose, and Manolo Blahnik-17 in all. The project opened the collaboration floodgates, inspiring labels high-end and low- to work together on something familiar yet totally, completely surprising. To wit, Gvasalia's tightly fitted bright red velour tracksuit with bedazzled "Juicy" logos down the front sleeves.

Beyoncé x Balmain, 2018
Last year, Beyoncé put on one of the most epic performances of all time at Coachella-or Beychella, as it's come to be known. Beyonce was the first black woman to ever headline the music festival, marking the historic and empowering occasion with a stage set that included over 200 dancers and musicians and a theme of homecoming, which served to recognize historically black colleges and universities around the country. Bey also chose to wear a custom wardrobe designed by a man of color: Balmain's creative director Olivier Rousteing. He worked directly with the musician on the marching band-inspired costumes, telling Vogue that he sat on the floor with her between rehearsals "cutting fabric." He added, "She would give me direct feedback about how the lighting should hit the clothes, what the music had to emphasize about each look-I never had to guess what to do next." In this case, it wasn't just another designer working for a celebrity on a performance costume. This collaboration was important because it was about inclusion and the potent symbolic impact of clothes.

Cardi B x Fashion Nova, 2018
Cardi B had a big 2018. The rapper shot to fame almost overnight, not only for her musical talents but also for her fashion sense. Designers like Donatella Versace and Tom Ford started inviting her to sit front row, and others were angling hard to get her to wear their collections, either on the red carpet or for a post on her highly entertaining (sometimes R-rated) Instagram account. Of all of the opportunities that came her way, Cardi chose to link up with fast-fashion label Fashion Nova. The social media-driven, multi-million-dollar brand is one that Cardi wore often on her path to fame, and the partnership indicated that she was sincere about giving her fans clothes that they could afford. She designed a capsule collection, which has since turned into a second sold-out collection. It made nearly $1 million in the first 24 hours.
World Food Programme x Balenciaga Fall 2018
The term "woke" entered the lexicon in 2014 in the wake of the Black Lives Matter movement. The buzzword was used to describe a probably Millennial whose eyes and ears were open to the dire state of the world and who wanted to do something to change it, politically, socially, whatever. Fashion got woke too, with up-and-coming designers and big labels alike churning out feminist slogan T-shirts or collections inspired by the effects of climate change. While their efforts were admirable, too few did much to actually give back, monetarily-speaking. Enter Demna Gvasalia, who put "World Food Programme" logo tees and hoodies on Balenciaga's Fall 2018 runway, proceeds from the sales of which would go to the United Nations organization in an effort to end world hunger. Balenciaga also pledged a donation of $250,000 to the Programme.

Serena Williams x Off-White x Nike, 2018
In 2017, a French Open officials banned catsuits from the competition after Serena Williams wore one that year. The following year, she defied tradition again and rocked two custom tutus, one in black and one in lavender, at the U.S. Open. The ballet-inspired looks were designed by Off-White's Virgil Abloh in collaboration with Nike, and as soon as the tennis ace hit the court, her outfit caused a sensation. Women praised Williams for staying true to her own style, despite the old-school ways of the tennis association's higher-ups. As tennis legend Billie Jean King wrote on Twitter after hearing the news of the catsuit ban: "The policing of women's bodies must end. The 'respect' that's needed is for the exceptional talent @serenawilliams brings to the game. Criticizing what she wears to work is where the true disrespect lies."

Moncler Genius, 2018
Last year, Remo Ruffini relaunched his down jacket brand Moncler with a project he boldly named the Genius Group, featuring a designer roster that included Pierpaolo Piccoli, Simone Rocha, and Craig Green-and that was just for starters. The idea, according to Ruffini, was to bring different personalities and points of view into one label and to tap into the new ways shoppers are consuming. The collections roll out one at a time on a monthly basis. It's a lot of personalities to manage, to be sure, but there are big payoffs: First: It adds high-design to Moncler's high-tech bonafides. And second: The monthly drops ensure that the brand is never far from the customer's mind. Pretty genius, no?
Rodarte x Universal Standard, 2019
This spring, the size-inclusive brand Universal Standard announced a collaboration with Rodarte. It's the only time a high-end fashion label has teamed up with a "plus-size" brand (to use a term that shows just how far the inclusivity conversation has yet to go). Universal Standard, which was founded by Alexandra Waldman and Polina Veksler, offers sizing that ranges from 00 to 40. The dreamy, ethereal dresses, blouses, skirts, and jumpsuits in the Rodarte collaboration add a touch of capital-F fashion to the company's minimally chic, everyday wardrobe offerings. In an interview with Vogue, Waldman and Veksler said they "wanted to get people involved who were not part of the diversity movement per se, but who we felt might be interested in raising their hand and saying, 'This is great, and this is the right thing to do.'" Kudos to the Kate and Laura Mulleavy for signing on.

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From LV x Supreme to Beychella: 14 Collaborations That Actually Mattered in the 2010s

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These are the fashion partnerships we'll still be talking about after 2020 has come and gone.

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The Kering Groups slavery statement, released by their brands, has a section on their suppliers.

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Kering Group Modern Slavery statement 2018

This statement is made pursuant to Section 54 of the Modern Slavery Act 2015 and California Transparency in Supply Chains Act of 2010 (SB 657). It sets out the steps which the Kering Group and the companies in that group have taken during the financial year 2018 to identify and prevent modern slavery, including forced labour and human trafficking from taking place in our supply chains or in any part of our business.

This report covers the following Kering Group brands: Gucci, Saint Laurent, Bottega Veneta, Balenciaga, Alexander McQueen, Brioni, Boucheron, Pomellato, DoDo, Qeelin, Ulysse Nardin, GirardPerregaux, and Kering Eyewear, notwithstanding that some of the Group's brands may also issue their own Modern Slavery Statements.

Our ambition is to be the world's most influential Luxury group in terms of creativity, sustainability and long-term economic performance.

As such, we are committed to improving the labour standards of those who work in our supply chains and businesses. This includes taking steps to both identify and address the risks of modern slavery.

Our business

Our supply chain
Kering operates in the luxury market, where supply chains are structured in a very specific way, with a large supply base in Italy. Additionally, our suppliers are predominantly small companies with an average number of employees below 50.

Modern slavery, labour rights and human rights
We manage risks and impacts related to modern slavery as part of our existing programme on labour rights, ethical trade and human rights, which falls more broadly within our approach to sustainability.

Kering has significantly developed its sustainability strategy over the last 20 years. In 2017 we published our 2025 sustainability strategy which is based on three pillars - environmental, social and innovation - and which sets ambitious targets for all of the Houses which are part of the group.

In 2018 we published our sourcing and production standards, which are in line with the Group's open source policy. One of the five core pillars of the Kering Standards is social impact, with a defined place for human rights, including fundamental freedoms. This includes our efforts to ensure that people working in our supply chains are free from modern slavery.

As part of our 2025 strategy we have carried out a materiality analysis which seeks to identify priority challenges, consistent with the Group's priorities and stakeholder expectations. Through this analysis, we have identified respect for human rights and fundamental freedoms of one of the eight principle non-financial risks identified as being material to our business.

Our standards on modern slavery and human rights
Since 2013, the Kering Group's Code of Ethics has included the Group Suppliers' Charter, which sets out in detail Kering's specific expectations of its commercial partners in respect of social and environmental issues. For any contractor of Kering or one of its Houses, compliance with the Charter is a precondition of the business relationship. The Group requires its suppliers to commit formally to applying high ethical standards themselves and to ensuring respect for human rights, including standards on modern slavery. The Charter reminds them of the need to promote human rights within their production units and among their subcontractors, and to advise Kering and/or its Houses of any serious difficulties in applying the Charter.

Kering and its Houses require their suppliers to commit to the following fundamental principles: to not use child labour; to proscribe the use of slavery or forced or compulsory labour; to prohibit any type of work liable to compromise health, safety or morals; to prohibit all behaviour contrary to the principle of dignity at work, in particular any practice contrary to labour regulations, including on pay, working hours and conditions; to respect freedom of association of employees; to prohibit discrimination, notably on racial, ethnic or sexual grounds; to forbid sexual or psychological harassment; to respect environmental regulations and, beyond that, to work towards the implementation of the Global Compact's three principles of environmental protection, including the precautionary principle. The Suppliers' Charter, as an integral part of the Code of Ethics, was revised in 2018 and will be distributed to all of the Group's business partners in 2019.

Human rights assessment of practices
In 2017 Kering analysed its practices by comparing them to the United Nations Guiding Principles on Business and Human Rights. This assessment enabled Kering to identify specific points for progress in areas including public commitment and policy, scope of internal control procedures, grievance and remediation mechanisms, and external communications. Following on from this analysis, Kering took steps to comply with the requirements of French 'Devoir de Vigilance' legislation, and to identify and evaluate risks, especially as regards human rights. We recognise that violations of human rights and fundamental freedoms can occur at all levels of the supply chain and the production process, for third parties as well as persons directly involved in Kering's business.

Labour and modern slavery risk management
No control system, regardless of how mature and tested it is, can guarantee the absence of risk, whether this relates to modern slavery or other labour or human rights issues. Kering Group and its Houses seek to work with suppliers to develop the most efficient collaborative and control systems in order to keep risk to a minimum and implement any corrective action in cases where noncompliance is identified. To meet these challenges, Kering has established a dedicated central body within the Group to control the compliance of Group suppliers. This was established in late 2015 and began operating in January 2016. The process, known as the Hercules system, is based on six key pillars:

1. Sustainability. The sustainability principles established for all the Luxury Houses in 2015 are divided into three areas, one of which is the social aspects related to human rights, labour rights, and health and safety, including the elimination of child labour, forced labour, and human trafficking in all its forms. In addition, aspects related to the supply of raw materials and packaging are considered, including the prohibition of certain substances and/or certain sourcing regions for reasons related to child or forced labour, for instance. These principles are split into two broad categories: those that are mandatory, due to requirements imposed by international and national laws, and those embodying Kering's additional expectations and best practices in the field of sustainability. Each supplier is in turn tasked with passing on these principles to its own subcontractor network, if it has one. The principles are available to the public on the Group's website;

2. Centralized management: Kering has centralized oversight through a team of 18 people (ten auditors specialized in conducting supplier audits and monitoring anomalies, three people dedicated to management, and five planners); depending on needs (locations, workload etc.). This team can be assisted by an external service provider;

3. Uniform procedures: There are clear and uniform procedures for all the Houses, corresponding to the different stages of the supplier relationship, including the activation procedure, monitoring procedure, termination of contract procedure;

4. Risk-based auditing: A risk evaluation used, on the basis of collective data (information in the possession of the relevant House(s) and self- assessment of the supplier prior to activation), to classify suppliers in accordance with three levels of risk (high, medium or low) and to construct an audit plan. Audit plans are updated monthly based on the needs of the various Houses and/or the occurrence of particular events;

5. Standardised audits: A single and comprehensive audit methodology, including not only the key chapters relating to social compliance, but also the essential components relating to health and safety, and environmental management. Containing 88 questions, the comprehensive audit questionnaire is divided into 13 categories (child labour, forced labour, health and safety, freedom of association and right to collective bargaining, discrimination, environment, etc.) and aligned with the best standards in the field, in particular the SA8000 and SMETA standards. The results are shared between the Houses in order to avoid any overlap in the audits. Follow- up audits with a smaller scope focus on the area(s) in which breaches of compliance were identified or observations were made during the first comprehensive audit;

6. Taking action: Supplier Non-compliances are classified into four categories, with standard response for each:

1. breaches by suppliers' subject to zero tolerance(relating to the most serious situations liable to be encountered, specifically child labour, forced labour, irregular work, undeclared subcontractors, threats, discrimination, serious breaches of regulations, counterfeit, etc.). Identification of a zero- tolerance breach triggers the immediate establishment of a crisis unit bringing together the Kering audit team and the relevant House(s) to decide on the future of the relationship with the supplier: immediate shutdown of the approval process if the supplier is in the process of being activated but has not started working; and discussions about the possibility of remediation and support for the supplier or about the need to terminate the contractual relationship if the supplier is working on one or more orders. The brand is the ultimate decision- maker on the most appropriate response,

2. serious compliance breaches by suppliers.The supplier is given one month to resolve the serious breach of compliance, and a follow- up audit is scheduled to confirm that the issue has been resolved,

3. moderate compliance breaches by suppliers.The supplier is given three months to resolve the moderate breach of compliance, and a follow- up audit is scheduled to confirm that the issue has been resolved,

4. observations.These give rise to a corrective action plan and are the subject of a dedicated checklist at the next audit. The supplier has six months to remedy the observation.

Depending on the results of audits, suppliers are classified as: compliant (no zero- tolerance breaches, no supplier compliance breaches, whether serious or moderate, fewer than five observations); partially compliant (no zero- tolerance breaches, no serious compliance breaches, fewer than five moderate breaches); progress expected (no zero- tolerance breaches, more than five moderate compliance breaches or at least one serious breach); zero tolerance (at least one zerotolerance breach).

In 2018 54.4% of suppliers were rated compliant, 34.3% partially compliant, 9.4% progress expected and 1.9% were classified as having a zero-tolerance item. One hundred suppliers saw their business relationship terminated in 2018 due to unsatisfactory audit results. Robust corrective action plans were put together following the audits, wherever breaches of compliance, and particularly serious breaches, were identified. Follow- up audits were then conducted to verify the resolution of the problem. The zero- tolerance breaches found during the audits were the subject of immediate attention in accordance with established rules and in coordination with the relevant Houses.

As an example of remediation, the Group Audit teams conducted a supplier audit in 2018 during which a zero- tolerance breach of employment conditions was recorded. This supplier had made accommodation available to its employees without a lease. In accordance with the procedure in place for this type of anomaly, a response unit was immediately set up with the relevant House. After analysing the case, the supplier corrected the situation by providing proof that leases had been established.

Collaboration on modern slavery and labour issues
No matter how robust and efficient, a social auditing system is never sufficient to ensure that there are no risks in the complex supply chains of a global Group.
As a major player in the luxury goods industry and aware of its social responsibility in respect of a wide range of suppliers, subcontractors and raw material production chains, Kering engages in continuous and collaborative dialogue on human rights and modern slavery? with key stakeholders in its supply chains and beyond. This collaboration includes:

sector- based initiatives such as membership of the Sustainable Apparel Coalition, Textile Exchange and the BSR- coordinated Business Action for Women initiative designed to drive progress for women in supply chains;

programs specifically designed by the Kering group for its suppliers and subcontractors, such as the project on equal access to professional opportunities for women in the luxury industry in Italy, coordinated by Bottega Veneta with Gucci, Pomellato and Kering Eyewear and, outside the Group, with the Camera Nazionale della Moda Italiana and NGO Valore D;

capacity building programs to support suppliers in human resources and human rights management with their own subcontractors and stakeholders, following the example of Gucci and Bottega Veneta as part of their SA8000 certification.

Kering participates in the Global Business Coalition Against Human Trafficking (GBCAT), formed by major private groups and NGOs to combat modern slavery, primarily by detecting and eradicating it from companies' complex supply chains;

As a member of the Mekong Club, Kering also takes part in the discussions run by the organization and is looking into the possibility of applying the Club's risk metrics to the Group's supply chains; the network set up by UNICEF and Norges Bank Investment Management on children's rights in the textile and footwear sector;

Kering is a signatory to the Pledge Against Forced Child Labour in Uzbekistan Cotton.

Kering also initiates or is involved in many projects that seek not only a positive environmental impact but also a strong social impact and enhanced human rights in the Group's key raw materials supply chains. Such initiatives include Cotton Connect , and the Kering Responsible Gold Fund. Kering also works in partnership with BSR and the Fair Wage Network on expanding one of the main global databases on decent wages, for use as an operational decision- making tool in the industry. In December 2018, Kering shared its experiences by contributing to discussions on the assessment of human rights in the textile sector through the Human Rights Benchmarking in the Apparel Sector webinar run by the Corporate Human Rights Benchmark (CHRB) and Know the Chain. At a personal level, François- Henri Pinault, Chairman and Chief Executive Officer of Kering, is involved in B Team, whose Tactical Guide to CEOs on Modern Slavery was released in 2018.

Training and communication
In 2018, Kering's teams worked on the communication of the Kering Standards, first for the staff within its Houses. Each House held one or more sessions internally, sometimes with support from the Materials Innovation Lab (MIL) or teams from headquarters. The MIL team trained the Brioni, Balenciaga and Alexander McQueen teams in a series of half- day meetings in each House, each attracting between 10 and 40 participants from the creative, product and other departments. The Kering Standards have been shared with all of the Group's key suppliers. A number of explanatory and training sessions were also held in 2018, particularly for suppliers of the Leather Goods, Fashion and Watches activities.

Kering's Sustainability Department worked in 2018 to develop an e- learning program presenting all of the Kering Standards. It is designed to adapt to the learner's profile (design, merchandising, material research, product development, purchasing, production/series production, quality, etc.). For each material or process, it explains the related environmental and social challenges, and then sets out the measures to be taken to ensure responsible sourcing. Scheduled for initial roll- out in the Kering Fundamentals section of the Group's e- learning platform in 2019, the new module will then be offered to all suppliers. These initiatives all contain elements related to modern slavery.

KPIs
Kering has a system for identifying and collecting Key Performance Indicators (KPIs) on environmental performance. During the coming years we will try to develop further KPIs related to social impact and human rights more broadly and modern slavery in particular. Current examples of KPIs are set out below.

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Kering Group Modern Slavery statement 2018 This statement is made pursuant to Section 54 of the Modern Slavery Act 2015 and California Transparency in Supply Chains Act of 2010 (SB 657).

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elle.uk - artist and brand collaborations throughout 2019, a lot of which were mainly artist collaborations with the marketing space (for runways/exhibits etc) and not such an artist collaborating on the clothing.

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Fashion's New Expressionism: The Designer-Art Collaborations Turning Heads This Year

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As of this year, there are so many fashion house x art world collaborations. From sculptural installations in retail spaces, through to artists informing clothing design.

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The only financial information I can find with regards to my brand is through the Kering Group (Global Data don't have A.McQueen as a singular brand available).
As the KG are involved with multiple brands, such as Gucci and Stella McCartney, they don't display individual fashion house financials so I haven't been able to access that information.

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The Kering Group (parent company to A.McQueen and other luxury fashion houses) released this statement to their brands.  It covers slavery, labour rights and human rights as well as their financial information from the year. However with regards to finances it only shows the Kering Group revenue and not individually Alexander McQueens.

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Kering Group Modern Slavery statement 2018

This statement is made pursuant to Section 54 of the Modern Slavery Act 2015 and California Transparency in Supply Chains Act of 2010 (SB 657). It sets out the steps which the Kering Group and the companies in that group have taken during the financial year 2018 to identify and prevent modern slavery, including forced labour and human trafficking from taking place in our supply chains or in any part of our business.

This report covers the following Kering Group brands: Gucci, Saint Laurent, Bottega Veneta, Balenciaga, Alexander McQueen, Brioni, Boucheron, Pomellato, DoDo, Qeelin, Ulysse Nardin, GirardPerregaux, and Kering Eyewear, notwithstanding that some of the Group's brands may also issue their own Modern Slavery Statements.

Our ambition is to be the world's most influential Luxury group in terms of creativity, sustainability and long-term economic performance.

As such, we are committed to improving the labour standards of those who work in our supply chains and businesses. This includes taking steps to both identify and address the risks of modern slavery.

Our business

Our supply chain
Kering operates in the luxury market, where supply chains are structured in a very specific way, with a large supply base in Italy. Additionally, our suppliers are predominantly small companies with an average number of employees below 50.

Modern slavery, labour rights and human rights
We manage risks and impacts related to modern slavery as part of our existing programme on labour rights, ethical trade and human rights, which falls more broadly within our approach to sustainability.

Kering has significantly developed its sustainability strategy over the last 20 years. In 2017 we published our 2025 sustainability strategy which is based on three pillars - environmental, social and innovation - and which sets ambitious targets for all of the Houses which are part of the group.

In 2018 we published our sourcing and production standards, which are in line with the Group's open source policy. One of the five core pillars of the Kering Standards is social impact, with a defined place for human rights, including fundamental freedoms. This includes our efforts to ensure that people working in our supply chains are free from modern slavery.

As part of our 2025 strategy we have carried out a materiality analysis which seeks to identify priority challenges, consistent with the Group's priorities and stakeholder expectations. Through this analysis, we have identified respect for human rights and fundamental freedoms of one of the eight principle non-financial risks identified as being material to our business.

Our standards on modern slavery and human rights
Since 2013, the Kering Group's Code of Ethics has included the Group Suppliers' Charter, which sets out in detail Kering's specific expectations of its commercial partners in respect of social and environmental issues. For any contractor of Kering or one of its Houses, compliance with the Charter is a precondition of the business relationship. The Group requires its suppliers to commit formally to applying high ethical standards themselves and to ensuring respect for human rights, including standards on modern slavery. The Charter reminds them of the need to promote human rights within their production units and among their subcontractors, and to advise Kering and/or its Houses of any serious difficulties in applying the Charter.

Kering and its Houses require their suppliers to commit to the following fundamental principles: to not use child labour; to proscribe the use of slavery or forced or compulsory labour; to prohibit any type of work liable to compromise health, safety or morals; to prohibit all behaviour contrary to the principle of dignity at work, in particular any practice contrary to labour regulations, including on pay, working hours and conditions; to respect freedom of association of employees; to prohibit discrimination, notably on racial, ethnic or sexual grounds; to forbid sexual or psychological harassment; to respect environmental regulations and, beyond that, to work towards the implementation of the Global Compact's three principles of environmental protection, including the precautionary principle. The Suppliers' Charter, as an integral part of the Code of Ethics, was revised in 2018 and will be distributed to all of the Group's business partners in 2019.

Human rights assessment of practices
In 2017 Kering analysed its practices by comparing them to the United Nations Guiding Principles on Business and Human Rights. This assessment enabled Kering to identify specific points for progress in areas including public commitment and policy, scope of internal control procedures, grievance and remediation mechanisms, and external communications. Following on from this analysis, Kering took steps to comply with the requirements of French 'Devoir de Vigilance' legislation, and to identify and evaluate risks, especially as regards human rights. We recognise that violations of human rights and fundamental freedoms can occur at all levels of the supply chain and the production process, for third parties as well as persons directly involved in Kering's business.

Labour and modern slavery risk management
No control system, regardless of how mature and tested it is, can guarantee the absence of risk, whether this relates to modern slavery or other labour or human rights issues. Kering Group and its Houses seek to work with suppliers to develop the most efficient collaborative and control systems in order to keep risk to a minimum and implement any corrective action in cases where noncompliance is identified. To meet these challenges, Kering has established a dedicated central body within the Group to control the compliance of Group suppliers. This was established in late 2015 and began operating in January 2016. The process, known as the Hercules system, is based on six key pillars:

1. Sustainability. The sustainability principles established for all the Luxury Houses in 2015 are divided into three areas, one of which is the social aspects related to human rights, labour rights, and health and safety, including the elimination of child labour, forced labour, and human trafficking in all its forms. In addition, aspects related to the supply of raw materials and packaging are considered, including the prohibition of certain substances and/or certain sourcing regions for reasons related to child or forced labour, for instance. These principles are split into two broad categories: those that are mandatory, due to requirements imposed by international and national laws, and those embodying Kering's additional expectations and best practices in the field of sustainability. Each supplier is in turn tasked with passing on these principles to its own subcontractor network, if it has one. The principles are available to the public on the Group's website;

2. Centralized management: Kering has centralized oversight through a team of 18 people (ten auditors specialized in conducting supplier audits and monitoring anomalies, three people dedicated to management, and five planners); depending on needs (locations, workload etc.). This team can be assisted by an external service provider;

3. Uniform procedures: There are clear and uniform procedures for all the Houses, corresponding to the different stages of the supplier relationship, including the activation procedure, monitoring procedure, termination of contract procedure;

4. Risk-based auditing: A risk evaluation used, on the basis of collective data (information in the possession of the relevant House(s) and self- assessment of the supplier prior to activation), to classify suppliers in accordance with three levels of risk (high, medium or low) and to construct an audit plan. Audit plans are updated monthly based on the needs of the various Houses and/or the occurrence of particular events;

5. Standardised audits: A single and comprehensive audit methodology, including not only the key chapters relating to social compliance, but also the essential components relating to health and safety, and environmental management. Containing 88 questions, the comprehensive audit questionnaire is divided into 13 categories (child labour, forced labour, health and safety, freedom of association and right to collective bargaining, discrimination, environment, etc.) and aligned with the best standards in the field, in particular the SA8000 and SMETA standards. The results are shared between the Houses in order to avoid any overlap in the audits. Follow- up audits with a smaller scope focus on the area(s) in which breaches of compliance were identified or observations were made during the first comprehensive audit;

6. Taking action: Supplier Non-compliances are classified into four categories, with standard response for each:

1. breaches by suppliers' subject to zero tolerance(relating to the most serious situations liable to be encountered, specifically child labour, forced labour, irregular work, undeclared subcontractors, threats, discrimination, serious breaches of regulations, counterfeit, etc.). Identification of a zero- tolerance breach triggers the immediate establishment of a crisis unit bringing together the Kering audit team and the relevant House(s) to decide on the future of the relationship with the supplier: immediate shutdown of the approval process if the supplier is in the process of being activated but has not started working; and discussions about the possibility of remediation and support for the supplier or about the need to terminate the contractual relationship if the supplier is working on one or more orders. The brand is the ultimate decision- maker on the most appropriate response,

2. serious compliance breaches by suppliers.The supplier is given one month to resolve the serious breach of compliance, and a follow- up audit is scheduled to confirm that the issue has been resolved,

3. moderate compliance breaches by suppliers.The supplier is given three months to resolve the moderate breach of compliance, and a follow- up audit is scheduled to confirm that the issue has been resolved,

4. observations.These give rise to a corrective action plan and are the subject of a dedicated checklist at the next audit. The supplier has six months to remedy the observation.

Depending on the results of audits, suppliers are classified as: compliant (no zero- tolerance breaches, no supplier compliance breaches, whether serious or moderate, fewer than five observations); partially compliant (no zero- tolerance breaches, no serious compliance breaches, fewer than five moderate breaches); progress expected (no zero- tolerance breaches, more than five moderate compliance breaches or at least one serious breach); zero tolerance (at least one zerotolerance breach).

In 2018 54.4% of suppliers were rated compliant, 34.3% partially compliant, 9.4% progress expected and 1.9% were classified as having a zero-tolerance item. One hundred suppliers saw their business relationship terminated in 2018 due to unsatisfactory audit results. Robust corrective action plans were put together following the audits, wherever breaches of compliance, and particularly serious breaches, were identified. Follow- up audits were then conducted to verify the resolution of the problem. The zero- tolerance breaches found during the audits were the subject of immediate attention in accordance with established rules and in coordination with the relevant Houses.

As an example of remediation, the Group Audit teams conducted a supplier audit in 2018 during which a zero- tolerance breach of employment conditions was recorded. This supplier had made accommodation available to its employees without a lease. In accordance with the procedure in place for this type of anomaly, a response unit was immediately set up with the relevant House. After analysing the case, the supplier corrected the situation by providing proof that leases had been established.

Collaboration on modern slavery and labour issues
No matter how robust and efficient, a social auditing system is never sufficient to ensure that there are no risks in the complex supply chains of a global Group.
As a major player in the luxury goods industry and aware of its social responsibility in respect of a wide range of suppliers, subcontractors and raw material production chains, Kering engages in continuous and collaborative dialogue on human rights and modern slavery? with key stakeholders in its supply chains and beyond. This collaboration includes:

sector- based initiatives such as membership of the Sustainable Apparel Coalition, Textile Exchange and the BSR- coordinated Business Action for Women initiative designed to drive progress for women in supply chains;

programs specifically designed by the Kering group for its suppliers and subcontractors, such as the project on equal access to professional opportunities for women in the luxury industry in Italy, coordinated by Bottega Veneta with Gucci, Pomellato and Kering Eyewear and, outside the Group, with the Camera Nazionale della Moda Italiana and NGO Valore D;

capacity building programs to support suppliers in human resources and human rights management with their own subcontractors and stakeholders, following the example of Gucci and Bottega Veneta as part of their SA8000 certification.

Kering participates in the Global Business Coalition Against Human Trafficking (GBCAT), formed by major private groups and NGOs to combat modern slavery, primarily by detecting and eradicating it from companies' complex supply chains;

As a member of the Mekong Club, Kering also takes part in the discussions run by the organization and is looking into the possibility of applying the Club's risk metrics to the Group's supply chains; the network set up by UNICEF and Norges Bank Investment Management on children's rights in the textile and footwear sector;

Kering is a signatory to the Pledge Against Forced Child Labour in Uzbekistan Cotton.

Kering also initiates or is involved in many projects that seek not only a positive environmental impact but also a strong social impact and enhanced human rights in the Group's key raw materials supply chains. Such initiatives include Cotton Connect , and the Kering Responsible Gold Fund. Kering also works in partnership with BSR and the Fair Wage Network on expanding one of the main global databases on decent wages, for use as an operational decision- making tool in the industry. In December 2018, Kering shared its experiences by contributing to discussions on the assessment of human rights in the textile sector through the Human Rights Benchmarking in the Apparel Sector webinar run by the Corporate Human Rights Benchmark (CHRB) and Know the Chain. At a personal level, François- Henri Pinault, Chairman and Chief Executive Officer of Kering, is involved in B Team, whose Tactical Guide to CEOs on Modern Slavery was released in 2018.

Training and communication
In 2018, Kering's teams worked on the communication of the Kering Standards, first for the staff within its Houses. Each House held one or more sessions internally, sometimes with support from the Materials Innovation Lab (MIL) or teams from headquarters. The MIL team trained the Brioni, Balenciaga and Alexander McQueen teams in a series of half- day meetings in each House, each attracting between 10 and 40 participants from the creative, product and other departments. The Kering Standards have been shared with all of the Group's key suppliers. A number of explanatory and training sessions were also held in 2018, particularly for suppliers of the Leather Goods, Fashion and Watches activities.

Kering's Sustainability Department worked in 2018 to develop an e- learning program presenting all of the Kering Standards. It is designed to adapt to the learner's profile (design, merchandising, material research, product development, purchasing, production/series production, quality, etc.). For each material or process, it explains the related environmental and social challenges, and then sets out the measures to be taken to ensure responsible sourcing. Scheduled for initial roll- out in the Kering Fundamentals section of the Group's e- learning platform in 2019, the new module will then be offered to all suppliers. These initiatives all contain elements related to modern slavery.

KPIs
Kering has a system for identifying and collecting Key Performance Indicators (KPIs) on environmental performance. During the coming years we will try to develop further KPIs related to social impact and human rights more broadly and modern slavery in particular. Current examples of KPIs are set out below.

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Kering Group Modern Slavery statement 2018 This statement is made pursuant to Section 54 of the Modern Slavery Act 2015 and California Transparency in Supply Chains Act of 2010 (SB 657).

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"There might be a combination of younger people and those well advanced in their careers. A good proportion are single and fewer of the couples will have children. A number may be of Chinese or non-UK European in origin."

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Grade A - common consumer from the brand.

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Entry grade into buying from A.McQueen.
"They can afford to spend fairly heavily and frequently on their credit cards and favour retailers such as John Lewis and Waitrose."

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trendhunter.com - shows past collaborations with brands such as PUMA and Target, as well as with celebrities i.e Beyonce.
Identifies some past runway.
No artist collaborations shown.

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There have been many Alexander McQueen collaborations in the iconic designer's lifetime. Who would be crazy enough to not be party to an Alexander McQueen collaboration? This epic designer has teamed up with the likes of Puma, Target and Dolce & Gabbana to create his wonderful fashion.

Alexander McQueen exhibited his daring creations on the bodies of the most famous women like Dita Von Teese, Drew Barrymore, Rachel Zimmerman, Beyonce and many more. This cluster depicts his most prolific collaborations.

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alexander mcqueen collaborations - There have been many Alexander McQueen collaborations in the iconic designer's lifetime. Who would be crazy enough to not be party to an Alex...

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Silhouettes: Inspired by past and recurring designs from A.McQueen. Clean staples matched with bold statement pieces elevates casual-wear.
Colour: Taken from paintings from B.Burgers. Majority share is black and white in keeping with the brand, with inserts of red/pink tones and deep blues. Pantone has announced that blue is the colour of 2020 so that's keeping the range on trend. Greens from paintings will also be included, as this is an autumnal range the additions of earthy tones will keep it commercial.

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SavvyPainter Podcast with Bobbie Burgers

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SavvyPainter Podcast with Bobbie Burgers

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“ Capturing, I kind of define it as past, present and future all in one moment. So you have all these

layers of time and emotion rather than just a static image...”

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Bobbie Burgers - Capturing Past, Present, and Future All In One Moment - Savvy Painter

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Capturing past, present, and future all in one moment. Bobbie Burgers is an artist living in Vancouver, Canada. She paints large scale portraits of flowers, but as Bobbie will tell you, these paintings are actually not about the flowers at all. Bobbie and I talk about her inspiration, where it comes from and how changing ...

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Gives an insight into the artist personally, moments during and between the professional.

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Bobbie Burgers (@bobbieburgers) * Instagram photos and videos

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42k Followers, 767 Following, 1,052 Posts - See Instagram photos and videos from Bobbie Burgers (@bobbieburgers)

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Homepage - Identifies artist interest and what they explore through the artwork. IT says how B.Burgers is 'interested in the process of decay, transformation and metamorphosis', which correlates with a lot of the work from A.McQueen. This side of the artist combined with feminine florals follows the transition that the fashion house has had over years.
CV - Displays past exhibits and collaborations from the artist.

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This gives an insight into the inspiration behind the concept and the development throughout the collection. It's another insight into the 'look' of the brand and it's concepts and direction.

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Inspiration... The North - Urban cityscapes, 1950's British realist photography, ballrooms and night clubs, collaged with the beauty of the region's artistic heritage of poetry, painting, literature, and wild landscape. The Alexander McQueen Autumn/Winter 2019 pre-collection celebrates the grit, glamour and beauty of the towns of the North of England. Cityscapes and landscapes past [...]

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Inspiration... The North - Urban cityscapes, 1950's British realist photography, ballrooms and night clubs, collaged with the beauty of the region's artistic heritage of poetry, painting, literature, and wild landscape. The Alexander McQueen Autumn/Winter 2019 pre-collection celebrates the grit, glamour and beauty of the towns of the North of England.

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Looking back at past Ad Campaigns allows me to see what has been done before but also an insight into what direction the brand is heading.

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AD CAMPAIGNS Archives - AlexanderMcQueen

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The Alexander McQueen Autumn/Winter 2018 campaign is set in mythical and free-spirited San Francisco. This city provides a rich backdrop evocative of the beauty of nature, the importance of culture and contemporary society at its most evolved. Like the collection itself, the campaign is the embodiment of freedom of expression, drawing on themes of metamorphosis and the magical transformation [...]

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- negative outlook on the economy, less spending, feel of recession (uncertain outlook of the economy in the UK mainly down to Brexit - difficulty with maintaining trade/import/export tariffs)
- McQueen's target markets have typically high unemployment rates
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- customers are in a sustainable mindset, wanting less items at a higher quality/price
-  luxury fashion is at a higher demand
- increased percentage of Affluent Achievers (Acorns), more money to spend

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- Social media heavily in use, keeping up with the times and influences
- well distributed channel of E-commerce