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Fashion News ANDROID 5

The Competition and Markets Authority (CMA) is concerned that the loss of competition brought about by the merger could result in a worse deal for customers, both in-store and online, through higher prices, worse choice in stores or reductions in service quality. JD Sports must now address the concerns identified or face a further, more in-depth, investigation.

JD Sports and Footasylum both sell sports-inspired casual clothing and footwear in stores across the UK, and through their apps and websites. JD Sports agreed to buy Footasylum in a £90 million deal announced earlier this year.
In 2018, UK consumers spent more than £5 billion on sports clothing and footwear. Sportswear is currently a significant influence on fashion trends, with sports styles replacing traditional casualwear, particularly among younger shoppers. Retailers carefully curate the selection of brands that they offer, and develop attention-grabbing offerings in-store and online, in order to compete for customers.

With over 400 stores, JD Sports is well-established as the leading UK retailer of sports fashion footwear and clothing. It already owns several well-known sports fashion brands on the UK high street – such as Size?, Scotts, Tessuti and Footpatrol, in addition to its signature JD brand – and generated revenues of over £2.14 billion in 2018 in the UK.

Since opening its first store in 2006, Footasylum has experienced strong market share growth and now operates around 70 stores across the UK. Footasylum generated revenues of close to £200 million in 2018.

The CMA’s initial, Phase 1, investigation has found that the merger could remove one of JD Sports’ closest competitors. While a wide variety of retailers sell sports clothing and footwear, the merging businesses are 2 of a smaller number of firms who have the brand relationships and market presence to be able to credibly meet the demands of sports fashion customers.

Colin Raftery, Senior Director at the CMA, said:

JD Sports is already by far the largest player in the growing sports fashion sector, so any deal that results in it buying up one of its closest competitors could clearly give cause for concern.

Our investigation has shown us that JD Sports and Footasylum have been competing strongly across the UK, with a sports fashion offering that few other retailers are able to match.

That’s why we’re concerned this deal could lead to higher prices, less choice and a worse shopping experience for customers.

JD Sports must now address the CMA’s concerns. If it is unable to do so, the merger will be referred for an in-depth (Phase 2) investigation.

Fashion News ANDROID 4

Each year, fashion weeks come round at regular intervals on their own calendar. They enliven the fashion sector as well as the cities that host them with a busy schedule of runway shows, business gatherings, parties and exclusive events. As the fashion system flits from one part of the world to another, dictating new trends, its constantly growing market is seeing a proliferation of initiatives on different continents. And yet the international fashion capitals continue to be London, Milan, New York and Paris: the big four. In these cities, creativity, production, research, innovation, business and communication are combined in a solid economy and a cultural ecosystem that reinforce these urban centres’ global primacy.Fashion weeks are the celebratory events of this leadership status. They explore and trace trajectories of taste and communication strategies with knock-on effects in other business and cultural sectors. The history of fashion weeks is rooted in the first occasional shows organised in mid-19th-century Paris. In the early 20th century they spread to other European and American cities. The rise of the fashion show was a paradigmatic revolution that transformed the relationships between designers, models and magazines, laying the foundations of a true industry. The fashion week concept began to emerge only in the second half of the 20th century, with week-long events held seasonally, bringing together a number of runway presentations in a coordinated programme.The first such event took place in New York in 1943. Eleanor Lambert (1903-2003), a great promoter of American fashion, saw that the difficulty of importing French fashion from war-torn Europe offered a chance to showcase US designers. With this in mind, she invented “Press Week”. Europe followed suit. The Italian Chamber of Commerce founded Milan Fashion Week in 1958. In 1973, the Fédération de la Haute Couture et de la Mode created Paris Fashion Week to institutionalise the system of runways that was already active in the French capital, and had entered the limelight with Dior’s first famous fashion show in 1947. The British Fashion Council launched the first London Fashion Week in 1984. The sector mushroomed and became established internationally, partly due to synergies between fashion houses and the specialist press. By the early ’80s, the fashion system had become a global phenomenon. Fashion shows were true spectacles combining couture and art in events with a strong visual impact.Today the big four fashion weeks are organised according to an annual agenda that facilitates the movement of thousands of professionals. The purpose is not just to create and communicate trends and images, but above all to fine-tune business agreements and clinch deals.

 Today the practices of communication and the need to affirm a presence on the market mean that fashion houses have to impress and amaze. The choice of locations has become all-important, triggering competition for the most striking or coveted contemporary or historical venues

The crucial point is to get noticed. Until the 2000s, New York and London concentrated their fashion shows in temporary structures to facilitate movement from one event to another. But today the practices of communication and the need to affirm a presence on the market mean that fashion houses have to impress and amaze. The choice of locations has become all-important, triggering competition for the most striking or coveted contemporary or historical venues, from the Grand Palais in Paris to the Manhattan piers or disused industrial buildings in Milan’s suburbs.Fashion has played a crucial part in regenerating disused or derelict industrial spaces, especially in this century. The effects reverberate far beyond the temporary nature of fashion shows, influencing the real estate market and shaping public policies. They have also extended the urban impact of the fashion system via the establishment of fashion maison headquarters in the cities, along with boutiques, cultural foundations connected to the brands, and the setting up of training and production facilities. In Milan, the examples of Prada, Armani and Gucci are outstanding.Yet it is clear that, while fashion has boosted the value and appeal of some buildings or parts of the city, both architecturally and economically, the fear that such operations could generate forms of exclusion is obvious and realistic. A sign of this is the quest to find a new home for New York Fashion Week. The event was forced to give up first Bryant Park and then Damrosch Park at  the Lincoln Center,which hosted it from 2010 to 2015, because of protests defending the use of these green spaces by the community. Another example is the debate sparked in London in 2018 by the decision to rent the spaces of the National Portrait Gallery for Erdem Moralioglu’s fashion show, calling into question its public dimension.All the same, the economic benefits seem to prevail. Fashion weeks generate a substantial financial spin-off, bringing healthy benefits to the hospitality, catering, transport and retail sectors and giving the urban economy a welcome boost. For this reason, in recent decades, countless imitations have flourished in every part of the world, in certain cases having an economic impact even greater than some of the historic big four. The success of the economic model has made the fashion-week model a must for every city that aspires to win a place on the global stage, bringing flourishing new markets to invest in and new cultural identities to be built and affirmed. The fashion capitals, meanwhile, are questioning their future prospects, between sustainability and inclusion, to defend their pre-eminence.

Fashion News ANDROID 3

When twenty-four-year-old Omar Itani decided to clear out his wardrobe, the idea of throwing his old clothes away didn’t occur to him. Instead, he looked for second-hand clothing stores to recycle them. But he didn’t find any.

“In the end, I decided to give them to the caretaker. When I asked him how he would benefit, he said he wouldn’t really. That was a life-changing moment for me. Then I discovered there were no recycling clothing stores in Beirut.”

He started researching and found that textiles make up 5–10 per cent of solid waste disposed of in Lebanon. He also learned that organizations and individuals often have a clothing surplus they don’t know what to do with.

On top of that, he was acutely aware of the environmental impact of clothing which goes to landfill. Chemicals from dyes pollute soil and water.

The fashion industry is the second-biggest consumer of water in the world, using enough water to meet the needs of five million people every year, and producing the equivalent of 3 million oil barrels in microfibre, often dumped in the sea.

“I was never good at school, and at the time I was wondering: what can I do really well? Communicating with people. I realized my skill and passion is to help make things better—for other people, for the community, for the environment.”

Slowly building a team of 16, the majority from refugee communities, he founded FabricAID—a business which works with vulnerable communities and refugees, mostly from Syria and Palestine to collect, wash and sort clothing. Once ready, these are sent to FabricAid pop-up markets, second-hand stores and shops and priced at no more than US$2.

If the clothes cannot be upcycled or are not in good condition, they are shredded and turned into fashionable and beautiful cushions, mattresses and other household items.

“People think refugees threaten their job, country and community. But this is a perception, and these communities are struggling. My work with refugees made me realize that they are suffering. When things are so miserable, even a small endeavour like receiving clean clothes makes such a difference.”

To date, FabricAID has upcycled 75,000 kilograms of clothing and sold more than 50,000 items to more than 10,000 people, mostly refugees or disadvantaged communities with little income.

Itani’s initative aims to redesign how people think. To create a new trend where second-hand clothing, upcycling and recycling become woven into the social fabric of society.

“There is not one solution. But people need to be more aware of the environmental cost of our clothes, and buy fewer of them,” he said. At the same time, we need more realistic taxes on clothes which reflect the natural resources they use up.”

“My vision is that everyone, even those who can’t afford new clothes, can access decent clothing. And, that our fashion and textile industry globally will move to embrace a fashion trend which is zero-waste, zero-carbon.”

“Over the last three years, the second-hand apparel market has been growing 21 times faster than retail apparel. Soon, it will overtake fast fashion as the largest supplier of clothing worldwide,” said Michael Stanley-Jones, co-Secretary of the UN Alliance for Sustainable Fashion.

“The trend towards ethical, sustainable fashion has been embraced by consumers who now demand environmental and ethical fashion. Yet fashion still has a long way to go to become carbon-neutral and cease being a contributor to the global climate crisis.”

According to ThreadUp, the world’s largest online second-hand shopping destination, the second-hand market, currently valued at US$24 billion, is predicted to grow to US$64 billion by 2028. That figure is 1.5 times larger than the predicted value of the fast fashion market, at US$44 billion for the same period.

The report also found that millennials aged 25–37, and generation Z, aged 18–24, are driving that market.

But while sustainability considerations in textiles production have gained traction, particularly for labour issues, the global textile value chain is still far from zero-carbon and zero-waste.

New business models are critical, making Itani’s initiative part of a growing, global trend in need of individual support.

Garrette Clark, Sustainable Lifestyles Programme Officer at the UN Environment Programme said: “As individuals, we have the power to make a difference—to think about what we need, and make long-term, bold decisions.

“We can celebrate being unique and give clothes a second chance: share, reuse, redesign and repair, recycle, sell, and donate. We can buy vintage, buy better quality clothes that last longer. 

“As one of the world’s largest industries, the environmental and social impacts associated with the textile value chain are significant—and of increasing concern to the global community.”

Fashion News ANDROID 2

Men in shorts is an age-old discussion — can they or can’t they get away with them?

There are so many questions around such a small amount of fabric, and whatever your stance is, one thing is for sure: You better get ready to see even more men’s legs come spring.

Today, Milan designers opened the spring 2020 shows with some skimpy designs for the brave men out there.

Sure, it’s women’s fashion week, but the men stole a few shows by displaying some major leg.

Peter Pilotto and Christopher de Vos’ usual London-based Peter Pilotto show moved to Milan this season and started the short shorts trend off with a few beach-worthy looks, like a tropical floral print and a surf-friendly striped pair.

Arthur Arbesser followed suit with two pairs in flowy materials in both solid black and white.

Annakiki went a little “business casual” with a lime-green leather blazer over a khaki double-breasted short suit, topped off with a purse worn around the neck, of course.

“She” might wear short shorts, but in the age of inclusivity, so does he!

Fashion News ANDROID 1

If fashion is currently getting a bad rap for being trend-led and disposable, Miuccia Prada – the ridiculously influential fashion designer responsible for the most-imitated trends – is only too aware of the conversational zeitgeist.

So much so that on Wednesday at her spring/summer 2020 show in Milan, “fashion” as a concept was relegated in favour of clothes, or as Mrs Prada put it: “It was more about personal style.”

It certainly showed in the 51-look show. For several seasons now, across both her womenswear and menswear collections, there have been products that seem tailored to appeal to the hypebeast market.

That flame shirt (hello Jeff Goldblum), the sandals, those big padded headbands. Now it is all about stripping it back. This collection featured outfits comprised of: knitted pencil skirts and ribbed knitted polo shirts; woven cotton shift dresses; fitted blazers; and an excellent line in practically seasonless LBDs.

“Simplicity is the first and most important thing, [more] than the clothes … [these are] timeless clothes you don’t throw away,” said Prada.

The designer’s relaxed approach to serving the season without a big splash showed in the finish and finer detailing. Romantic dresses looked fresh from the washing line (no iron in sight), sequin-appliqued skirts had a DIY feel as though customised, and shell necklaces looked as if they might have been made on the beach this summer.

While there were still the chunky high-heel loafers that Prada devotees worship, many of the outfits were grounded by woven raffia flats – the kind that you pull out for your holidays or for running around town. This element of the collection evoked a spontaneous feel which – Prada said, post show – was her intent.

From the wide-lapelled leather jackets and to the retro-printed suiting, a strong 1970s feel reverberated, while upturned sou’wester-cum-cloche hats reasserted the idea of clothes that stand the test of time. “The past is still very important, especially for me,” Prada said.

It is an apt statement given that the brand has clearly been reflecting on its position on the world stage of late. Like many of her fellow luxury fashion designers, Mrs Prada has recognised the need to address several pressing issues within her ranks to adapt accordingly and this year has seen her throw serious weight behind her words.

In February, the brand announced it would launch its Diversity and Inclusivity Council “to elevate voices of colour within the company and the fashion industry at large”, following criticism for figurines which appeared to contain blackface imagery in a New York store.

In May, it announced it would go fur-free, starting with this collection in a move Prada said was meeting “[the] demand for ethical products”.

And in August, it joined 31 other fashion brands – including Burberry, Chanel and Zara owner Inditex – in signing up to the Fashion Pact, a mandate to work collaboratively with competitors to reduce negative impacts by the fashion industry on the environment and humanity.

This agile approach extends to the financial side too. In August, CEO Patrizio Bertelli credited the brand’s positive performance in the first half of the year (net profit rose 56.5% to €155m, or £137m) to the company’s decision to stop end-of-season markdowns. Further evidence of its strides to address what people actually want now.

As the first big hitter out of the door at Milan fashion week, all eyes were on this show to take the temperature of where Italian designers stand on taking a more sustainable approach.

While Italy’s fashion capital may not have the likes of Extinction Rebellion – the protest group which disrupted the London shows in an attempt to hold the industry to account – out in force, Prada kicked things off by showing that a new way of thinking is on her agenda.