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Welcome to the Renew world.

This is where the promise of sustainability becomes a beautiful reality. Naia™ Renew cellulosic fiber, produced from 60% certified wood pulp and 40% recycled waste plastics, creates quality fashion fabrics without harming

the environment. And its certified biodegradability means it can safely return to nature at the end of its usefulness. Naia™ Renew is helping to bring about

a new world, a world we can all feel completely good about.

To learn more, visit naia.eastman.com/renew.

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Welcome to the Renew world.

This is where the promise of sustainability becomes a beautiful reality. Naia™ Renew cellulosic fiber, produced from 60% certified wood pulp and 40% recycled waste plastics, creates quality fashion fabrics without harming

the environment. And its certified biodegradability means it can safely return to nature at the end of its usefulness. Naia™ Renew is helping to bring about

a new world, a world we can all feel completely good about.

To learn more, visit naia.eastman.com/renew.

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ORGANIC DENIM

THEJEANS CHINO ®

ORGANIC DENIM

T HEJ E ANS CHINO ®

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E D I T O R I A L

I hope you are well, healthy and seeing the light at the end of the tunnel – not that

of an oncoming train.

I have spent the past few months in Austria. Being a neighbor of Italy, we heard the

saddest news every day about the terrible situation there. Terrifying – as in many

other countries, too.

We in Austria have been pretty lucky. We are one of the countries that opened up

again quickly and have hardly noticed the crisis. The situation is incomparable to

that in big cities like New York.

Life is getting back to normal – of course on a smaller scale – but it is improving

day by day.

One thing Covid-19 brought us, unfortunately, is an opportunity for some dishonest

businesspeople to use bad excuses. Without pointing fingers at specific individual

companies, a legal robbery has been taking place in the form of filing for Chapter 11.

Have 70% of debt, employees, contracts and whatever else is inconvenient written

off, then continue under the same brand as if nothing happened.

Nothing happened? A lot has happened, because other honest people are footing

the bill for the ones who aren’t so honest.

What’s more, we have been hearing about irresponsible big brands not making

or honoring their commitment to pay their suppliers and manufacturers, many of

whom are located in developing countries that have been hit unbelievably hard by

the pandemic.

We seem to be seeing the wrong kind of Darwinist ‘survival of the fittest’, where it

turns into survival of the most reckless. Nothing to be proud of.

I suggest we all remember those who don’t pay us, play games and think they can

get away with it. That’s the only way of stopping that kind of behavior. We don’t

forgive and forget; we recover and remember.

Another thing we learned is that the possibilities of the Internet are huge, but

not endless. As working from home, e-learning and online shopping were broadly

accepted during the Covid-19 crisis, it also showed that online is not everything.

Humans are social beings. They need each other. They like to speak, touch, feel and

interact in person. They like to go shopping in physical stores, unless they need a

simple thing that is easy to order online and will not need to be returned.

Physical shopping will never die; rather, online shopping complements bricks and

mortar. The same applies to online fairs and events during the crisis. We watched

them all; not a single one can be a full substitute to a physical event, although many

are well done and can certainly enrich the physical experience. We have used the

time to create something that might help the industry: WeAr DiGiShows – where

we depict, in the usual WeAr quality, your showroom or store. You can then use this

virtual space to conduct one-to-one sales via any video-calling platform. That way

you can sell to your clients directly.

As I write these lines, life is getting back to normal, and so is business. The fittest

and most hardworking are getting ahead; the weakest will die as there is no more

room for unprofessionalism.

As a result, it is becoming clearer every day that you have to go global. The world

is huge and the possibilities endless. You can find ‘the one’ importer, distributor or

at least a good retailer that will change your business profile long term. Look now:

the US is still suffering badly, the state of things in Europe is mediocre, but Asia is

booming again. For instance, we have seen the highest number of new readers in

China join us in the last weeks.

There is less and less room for unsustainable practices. In the post-pandemic world,

sustainability stops being the concern of a niche group of eco-warriors and becomes

a central topic for much larger swathes of the population. In this issue, we provide

ideas on how to make your offer more ethical and environmentally friendly.

We at WeAr have been one of the few publishing companies to continue covering

the fashion world despite Covid-19 – as if there had been no crisis – and despite

the huge losses suffered by us and the industry in general. I felt you deserved this.

Thank you to all those who supported us and helped us to continue to build the

most important bridge in fashion from brands to buyers and fashionistas. Thanks

to all our readers and those companies that have been brave enough to continue

to advertise and ultimately make WeAr possible.

Stay safe and may your business thrive,

Klaus Vogel, Publisher

Dear Reader,

WWW.STONEISLAND.COM

SPORTSWEAR COMPANY GERMANY GMBH +49 (0)89 35892730

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C O N T E N T S

CO U N T RY G E TAWAY W O M E N S W E A R T R E N D

A L OV E L E T T E R T O N AT U R E M E N S W E A R T R E N D

D I G I TA L RO U N D U P R E P O R T

I N C L U S I O N : E V E RYO N E ’ S W E L CO M E R E P O R T

G A R M E N T E V E R L A S T I N G R E P O R T

P O S T- L O C K D O W N I N V E N T O RY P RO B L E M : S U S TA I N A B L E S O L U T I O N S R E P O R T

C H A N G I N G M I N D S E T S S P O T O N : R U S S I A

V I R T UA L / V I R T U O U S S P O T O N : FA S H I O N W E E K S

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C R A F T E D W I T H P U R P O S E

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M I KO L A J S O KO L O W S K I

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M A R T I N PAT R I C K 3 M I N N E A P O L I S S T I J L B R U S S E L S B R U S S E L S

S T O N E I S L A N D S H E N Z H E N U R B A N S P E E D V I E N N A

I N D E X

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T H E K N O W L E D G E

For this issue, WeAr asked experts across the industry – from fiber manufacturers to

academics, authors to retailers – how the fashion industry can use the Covid-19 crisis to

establish more sustainable practices and attitudes. The responses touch upon a vast range of

important topics. Some of the key themes that have emerged are new consumer mindsets;

the idea of ‘less is more’; slowing down; rethinking the fashion calendar; reinventing

raw materials; recalibrating the supply chain; and, of course, a circular paradigm both

in production and consumption.

SUSTAINABILITY IN A POST-PANDEMIC

WORLD

Vincent DjenDirector, Cheng Kung Garments

Anastasia PodolskayaFounder, Sane Fashion Philosophy

Ruth FarrellGlobal Marketing Director, Textiles, Eastman

Amy HallVP, Social Consciousness,

Eileen Fisher, Inc.

Thimo SchwenzfeierShow Director, Neonyt

Dana DavisVice President of Sustaina-

bility, Product and Business Strategy, Mara Hoffman

Sonja NoëlOwner, Stijl Brussels

Stefaan VandistAuthor of We, Myself & A.I.

and Pretopia

Paul MarcianoChief Creative Officer, GUESS?, Inc.

Franc’ PaironFounder of La Cambre Mode and

IFM MA Design Paris

Martijn HagmanChief Executive Officer, Tommy Hilfiger Global and PVH Europe

Mimi Sewalski, Managing Director, Avocado Store

Dana ThomasAuthor of Fashionopolis and

Deluxe

Stephanie Joy BenedettoCEO & Co-Founder, Queen of Raw

José PintoCEO, Lemon Jelly

Renee Henze, Global Marketing and Commercial Develop-ment Director, DuPont Biomaterials

Bernd HausmannFounder & CEO, Glore

Scan the QR code on this page to read the

responses in full on our website.

0 2 6 W e A r 4 / 2 0 2 0


S T E P H A N I E JO Y B E N E D E T T OC E O & C O - F O U N D E R , Q U E E N O F R AW

Fast fashion has driven a drastic increase in textile production. Global per

capita textile production has increased from 5.9 kg to 13 kg per year over the

period 1975–2018 and is projected to continue growing. Up to 15% of that

fabric is wasted.

This waste is polluting our drinking water. One T-shirt takes 700 gallons

of water to produce. If we continue at the current pace of textile

production, by 2025, two thirds of the entire world’s popula-

tion will face shortages of fresh water and be exposed to

hazardous chemicals from textile production alone.

For supply chains to be resilient and agile, this means

cutting costs while sustainably securing the materials

needed across supply lines in real time. Unused textiles

can still fill orders on demand and away from areas

impacted by disruption, while supporting commitments

to sustainability.

We have already saved over 1 billion gallons of water. That’s

enough clean water for 1.43 million people to drink around the world

for three years.

S T E FA A N VA N D I S TA U T H O R O F W E , M Y S E L F & A . I . A N D P R E T O P I A

When we look at fashion from a materials angle, clothing always has a petrochemi-

cal, vegetable or animal origin. All of them have their own sustainability issues.

However, nature’s bacteria, algae and fungi can bring a sustainable revolution.

Covid-19 has caused upheaval in the fashion economy – companies already strug-

gling might disappear. But why invest to keep a sputtering economy alive

when you can also invest in a new system?

Biotech start-ups bring climate-positive, biological, non-toxic

and regenerative processes to produce textiles, plastic

and artificial leather faster, cheaper, safer and more

sustainably.

Covid-19 has made it clear that our society can react

extremely fast and change course. And innovative and

agile companies will benefit from changing fashion

production processes. This sustainable change is

coming … from biotechnology – changing one of the

most polluting industries into a (more) sustainable one.

Luxury and sports brands are taking the lead. Eco-pioneer Algix (Mississippi, USA)

grows algae with polluted water and CO₂ as its main raw materials. Together with

brands such as Vivabarefoot, Billabong and Clarks, they will have the capacity

to produce 500 million pairs of shoes per year from their climate-positive material

'bloom foam'. Other promising game changers are Ginkgo Bioworks, Algiknit,

Ecovative, Colorifix and Modern Meadow.

PA U L M A R C I A N OC H I E F C R E A T I V E O F F I C E R , G U E S S ? , I N C .

While the Covid-19 crisis has turned the world upside down,

it is also helping us to see what is most important in life.

While luxury is nice, what is most important right now is

family and essential needs.

We are all becoming more mindful, including about what

we wear. Customers want the brands they love to align with

their values. At GUESS, already prior to the pandemic, we were

focused on making high quality products that are versatile, dura-

ble and sustainable. We use organic, recycled and responsibly sourced

materials that are better for the environment, and are working with our factories

to increase awareness and take action on environmental issues. This effort is

all about transparency. We are asking our factories to share with us what they

are doing, which we take into consideration when selecting vendors, and we are

working our way to then be more transparent with the customer on where and

how our products are made. Transparency, quality and sustainability are the way

forward for our industry.

F R A N C ’ PA I R O NF O U N D E R O F L A C A M B R E M O D E

A N D I F M M A D E S I G N PA R I S

Fashion is ill. The entire system needed to be reviewed. It took

a planetary health crisis, Covid-19, to impose a period of

reflection ... mandatory and perhaps beneficial.

This mandate to create collection after collection put

the studios in constant turmoil. Journalists barely had

time to decipher the novelties, and retailers were lost

in the multitude of offers. At all levels, the unease

was noticeable.

There will now be a dark period in our fashion land-

scape: layoffs, restructurings, bankruptcies. Will it be bad

C U S T O M E R S WA N T T H E

B R A N D S T H E Y L O V E T O A L I G N

W I T H T H E I R VA L U E S .

H O W E V E R , N AT U R E ’ S B A C T E R I A ,

A L G A E A N D F U N G I C A N B R I N G A S U S TA I N A B L E R E V O L U T I O N .

”

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for good? Consumers have been living in confinement and were confronted with

their living space ... with often overflowing wardrobes! Covid-19 will inevitably

change the buying behavior. A new fashion effervescence has yet to be found.

S O N JA N O Ë LO W N E R , S T I J L B R U S S E L S

Covid-19 has fueled people's awareness to ‘buy locally’: local production (e.g., in

Europe) means less transport, less pollution in the production chain and better

working conditions.

Covid-19 has also inspired consumers to ‘buy less’. Less but better: beautiful pieces

that become a part of oneself and which one can enjoy for years.

This may cost the consumer (slightly) more, but ‘paying a higher price is an added

value’: it will help to keep the entire industry alive and counter the impossible-

to-follow (from a retailer point of view) discounting. This ‘race to the

bottom’, to be the first to sell at discount prices, eventually caused

the current overproduction.

Fashion with value is made manually and has an artisanal

production process. Made in small quantities, it becomes

the new exclusivity.

D A N A D AV I SV I C E P R E S I D E N T O F

S U S T A I N A B I L I T Y , P R O D U C T A N D

B U S I N E S S S T R A T E G Y , M A R A H O F F M A N

Sustainability has been front of mind for us since we transitioned into a more

aware, responsible and accountable business model back in 2015. Covid-19 hasn’t

changed that for us. Before we faced the pandemic, we were thinking about the

next evolution of our brand and this moment in time has forced us to make these

changes abruptly, which affected our structure and production times.

To us, the future means breaking away from the traditional fashion calendar,

producing less, and working with existing fabrics and products to create something

new. We will continue to push innovation within circular systems and create new

business models to support that work. When we were first getting started in our

shift, we looked to other brands who were leaders in this space long before us

for guidance. Collaboration will be extremely important if we want to change the

industry as a whole, not just within brands, but also with retailers, manufactur-

ers, vendors, etc.

A N A S TA S I A P O D O L S K AYAF O U N D E R , S A N E FA S H I O N P H I L O S O P H Y

The first thing all fashion companies should pay attention to is the supply chain.

Responsible choice and close relationships with the producers of raw materials,

suppliers and factories is a path not only to sustainable development, but also to

reducing many risks associated with a pandemic.

Openness and transparency in communications become a new necessity. Custom-

ers pay more attention to the ethical side of companies. They want to make sure

that people involved in the production of clothing are socially protected and do

not suffer from discrimination or any kind of violence. And the guarantee of this

is the maximum traceability of the supply chain, as well as the open publication of

information such as addresses, phone numbers and photos of factories, mentions

of suppliers, certificates, and the company’s environmental and social initiatives.

It is worth noting that transparency is integral to an ethical and sustainable busi-

ness. And the crisis very clearly highlighted the failure of the majority

on this very issue.

M A R T IJ N H A G M A NC H I E F E X E C U T I V E O F F I C E R , T O M M Y

H I L F I G E R G L O B A L A N D P V H E U R O P E

Covid-19 has only accelerated how we’re approaching

sustainability. The pandemic has forced us all to think

differently – to let go of traditional ways of working and seek

innovation that furthers our vision in the context of this new world.

Now is the time to drive real change throughout the fashion industry by

rethinking current business models and practices. In our own value chain, we’ve

implemented new solutions to promote environmental and social sustainability, all

aligned to our mission of making it possible to be a fashion company that Wastes

Nothing and Welcomes All.


O P E N N E S S A N D T R A N S PA R E N C Y I N C O M M U N I C AT I O N S

B E C O M E A N E W N E C E S S I T Y.

”

“

FLAGSHIP STORE MILANO • Via Manzoni, 42 - infoline +39 3489950933 - [email protected] | www.berwich.com - infoline +39 0804858305

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A M Y H A L LV P, S O C I A L C O N S C I O U S N E S S , E I L E E N F I S H E R , I N C .

As Eileen always says, there is opportunity inside every crisis. The pandemic gives

us the rare opportunity to reinvent all facets of the industry, starting with the

fashion calendar. Anyone who has been working from home these past six months

now knows: we only need a fraction of our clothes. Why design into quarterly,

monthly or even weekly deliveries? Can the industry slow down and use this time

to reduce, refine, refocus? The consumer will follow our lead. We will then be able

to design properly, with the end in mind. Is each garment reusable and – ultimately

– compostable? Is the supply chain as tight as possible while providing meaning-

ful livelihoods for its workers? Is every component thoughtfully and responsibly

sourced? If not, we have the time and obligation to course-correct now. The trees,

the water, the people and the ecosystem will thank us later.

D A N A T H O M A SA U T H O R O F FA S H I O N O P O L I S A N D D E L U X E

The Covid-19 period, with lockdown throughout the world, has allowed the fashion

industry to step back and reassess everything from supply chain to retail, and

many brands have done so. We’ve seen the shifting of delivery schedules to be

more in sync with seasons, the reduction of the number of collections produced

each year, and the transformation of fashion weeks into digital platforms, which

is less polluting than the physical editions. But we also saw some horrors: mainly,

that brands didn’t pay for or collect finished orders in sourcing countries like

Bangladesh, with clothes sitting in containers on docks, and workers unable to

pay their bills, even starving. This is an industry-wide embarrassment that must

be rectified. Brands insist that they source in these poor countries because they

want to lift their citizens out of poverty. That has been proven to be wholly untrue.

It is time for brands to pay their workers a living wage, and not one dime less.

Until then, fashion will be seen as ugly.

V I N C E N T DJ E ND I R E C T O R , C H E N G K U N G G A R M E N T S

I am seeing new developments, such as chemically recy-

cled cotton textile waste fabric entering the market.

Secondhand and reselling, too, continue to gain market

shares. Covid-19 has pushed the digitalization of coll-

ection development – such as using 3D design tools

and 3D virtual cutworks.

Covid-19 has also raised public awareness on which

brands really walk the walk in terms of business ethics,

treating their suppliers correctly by paying their orders

in full and on time – a feat that many a worker’s liveli-

hood heavily depends on. But I think the most important

impact is that Covid-19 seems to lead people to spend money more rationally and

truly observe the importance and power of Mother Nature. I hope this is the begin-

ning of a consumer mega trend towards total well-being and sustainable living.

M I M I S E WA L S K IM A N A G I N G D I R E C T O R , AV O C A D O S T O R E

The Covid-19 crisis is causing many consumers to rethink how they shop. The fash-

ion brands that will emerge victorious from this crisis will be those that impress

with their transparency, authenticity and good ‘story doing’ – and that show that

instead of twelve collections a year, we need fashion that boasts fair and eco-

friendly production, longevity, quality and a truly fair price. Then consumers will

get on board too and perhaps start consuming less but better.

R E N E E H E N Z EG L O B A L M A R K E T I N G A N D C O M M E R C I A L

D E V E L O P M E N T D I R E C T O R , D U P O N T B I O M A T E R I A L S

My fervent hope is that the change will manifest itself in a collective accelera-

tion towards greater sustainability and transparency practices across markets,

geographies and products. For the fashion industry, we’re starting to see hints

of how this may transpire. At the beginning of the supply chain, we’re seeing

an even more rapid increase in interest for new, sustainable materials. Coupled

with that interest, our brand partners are seeing validation from the market

for products that incorporate the best performance with the most efficient,

sustainable feedstocks. The forced slowdown has given mills and brands the

chance to re-evaluate their sourcing strategies, with a piqued interest in new

materials that adhere to the principles of the circular economy and a height-

ened insistence on transparency. We’re seeing a rapidly emerging consumer

preference for well-being, assurance, trust and comfort directly translate back

into our fashion supply chain. In addition to producing higher quality, durable

products that are less disposable, I believe that both beginning and end-of-life

solutions for textiles will become mandatory – if not by regulation,

then by brand policy or consumer insistence.


I H O P E T H I S I S T H E B E G I N N I N G O F A C O N S U M E R M E G A

T R E N D T O WA R D S T O TA L W E L L - B E I N G A N D S U S TA I N A B L E

L I V I N G .

”

“

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T H E R E I S A N E E D F O R P R O D U C T S

W I T H S T Y L E B U T M O S T LY P U R P O S E .

B E R N D H A U S M A N NF O U N D E R & C E O , G L O R E

The fast fashion industry unmasked itself once again during

the Covid-19 shutdown. It was shocking to see that compa-

nies canceled orders in production countries and put textile

workers into existential hardship. In our communication, we

should always work out what makes sustainable fashion differ-

ent. Our values are based on human rights and sustainability, and

not on pure profit maximization. Every brand can immediately switch to

sustainable materials, but no multinational corporation can manage to operate

sustainably and act out of inner conviction.

R U T H FA R R E L LG L O B A L M A R K E T I N G D I R E C T O R , T E X T I L E S ,

E A S T M A N

Even before Covid-19, we were seeing a trend toward brands wanting a more

sustainable fabric. Today, it is even more important. Now womenswear designers

and manufacturers are clamoring for sustainable fabrics to meet the demand of

discerning customers, who care about the materials in their clothes. Naia cellulosic

fiber is at the nexus of comfort and luxury because it renders soft, skin-friendly

fabrics in rich, vibrant colors with a sumptuous drape.

In the fashion industry, we have to take a conscious look at the big issues

we are facing and collectively come up with solutions to solve them,

waste being one of them. We have all got to play a role in divert-

ing waste from landfills and the Naia team is excited to be

launching Naia Renew this autumn which is sourced from

40% recycled plastic waste.

T H I M O S C H W E N Z F E I E RS H O W D I R E C T O R , N E O N Y T

What we all felt in our personal lives, as well as on the business

side, is that the people’s sentiment towards sustainability

has changed and that there is a deeper engagement with

the issue. I think that was a long overdue and very important

step towards a more sustainable textile industry; consumers are

changing their behavior, which results in more pressure on compa-

nies to change their way of manufacturing. And in order to become fully

sustainable, we need to map the entire value chain and thus identify opportunities

to limit the negative environmental and social impacts of the textile industry and,

at the same time, put a spotlight on accountability and transparency.

JO S É P I N T OC E O , L E M O N J E L L Y

The tendency for simpler, minimalist and versatile products that also reflect a

care for the Earth's resources is not only a request from consumers but also a

necessity for more functional products, facilitating its recyclable facet. There is

a need for products with style but mostly purpose. And it's time to make a diffe-

rence, to investigate and create new raw materials that bring less impact to the

environment, and to reduce waste from production.

And although digital has never been so strong, the same is also true of our

awareness that the people behind each brand and cause are the key

to pump energy, creativity and innovation into the future. It's

time to come closer than ever to our suppliers and customers,

to work in unison, to act together to achieve something

meaningful.

With this in mind, we have developed a new biobased

material and continue to take action with our Wasteless

Act and Closing the Loop initiative, where our waste is

taken into account and our products are able to reinteg-

rate the production of new shoes.


O U R VA L U -E S A R E B A S E D

O N H U M A N R I G H T S

”

”

“

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AFRICA

☐ Alara – Lagos

AMERICA

☐ A.K. Rikk's – Grand Rapids☐ Alchemist – Miami☐ A'maree's – Newport Beach☐ American Rag – Los Angeles☐ Andrisen Morton – Denver☐ Bloom – México City☐ Bloomingdale's – New York☐ Bodega – Los Angeles☐ Cahier D'Exercices – Montreal☐ E-Street Denim – Highland Park☐ Frank and Oak – Montreal☐ Fred Segal – Los Angeles☐ Haven – Vancouver☐ Holt Renfrew – Toronto☐ H. Lorenzo – Los Angeles☐ Kith – New York☐ Maison Simons – Canada ☐ Maxfield – Los Angeles☐ Ron Herman – Los Angeles☐ Saks Fifth Avenue – New York☐ Satine – Los Angeles☐ Silver Deer – Mexico☐ SSENSE – Montréal☐ TNT – Toronto☐ Tootsies – Houston☐ Webster – Miami

ASI A

☐ Addition Adelaide – Tokyo☐ Aishti – Beirut ☐ Aizone – Dubai☐ Al Othman – Bahrain☐ Art Haus – Taipei☐ Beams – Tokyo☐ Beymen – Istanbul☐ Blank – Shanghai☐ Boon the shop – Seoul☐ Boutique 1 – Dubai☐ Cannabis – Tokyo☐ Club 21 – Singapore☐ DongLiang - Shanghai☐ GR8 – Tokyo☐ The Fashion Door - Guangzhou☐ The Galleria Department Store – Seoul☐ Hankyu – Japan☐ Isetan – Tokyo☐ I.T – Hong Kong☐ Joyce – Hong Kong☐ Lane Crawford – Hong Kong☐ Lift – Tokyo☐ Loveless – Tokyo ☐ Restir – Tokyo ☐ Runaway – Hanoi☐ Sogo – Japan☐ Takashimaya – Japan☐ Triple Major – Shanghai☐ United Arrows – Tokyo☐ WORKSOUT – Seoul☐ Vakko – Turkey

AUSTRALIA

☐ Belinda – Sydney☐ Harrolds – Melbourne☐ Parlour X – Sydney☐ General Pants – Sydney

EUROPE

☐ 10 Corso Como – Milan ☐ 290sqm – Istanbul☐ Abseits – Stuttgart☐ Air Moscow – Moscow☐ Aida – London☐ Antonia – Milan☐ Antonioli – Milan☐ Apropos – Cologne☐ Attica – Athens☐ Au Pont Rouge – St. Petersburg☐ Babochka – St. Petersburg☐ Banner – Milan☐ Bendler – Erfurt ☐ Biffi – Milan☐ Block 60 – Riccione☐ Bosco di Ciliegi – Moscow☐ Braun – Hamburg☐ Breuninger – Stuttgart☐ Cenere – Bassano del Grappa ☐ D409 – Barcelona☐ Dad – Moscow☐ Dantendoefer – Vienna☐ Degand – Brussels☐ Degli Effetti – Roma☐ Different Fashion Group – Sylt☐ Doshaburi – Barcelona☐ Dover Street Market – London☐ Du Nord – Oldenburg☐ Eder – Kitzbühel☐ End – London☐ Fashion Clinic – Lisbon☐ Fischer – Konstanz☐ Frauenschuh – Kitzbühel☐ Galeries Lafayette – Paris☐ Gallery Madrid – Madrid☐ Gente Roma – Rome☐ Gerard Loft – Florence☐ Goodhood – London☐ Harrods – London☐ Harvey Nichols – London☐ Henrik Vibskov Boutique – Copenhagen☐ Jades – Düsseldorf☐ Jean-Pierre Bua – Barcelona☐ Jet Set – St. Moritz☐ Jimmy's – Berlin ☐ KaDeWe – Berlin☐ Keller – Friedrichshafen☐ KM20 – Moscow☐ Lodenfrey – München☐ La Rinascente – Milan☐ Lazzari – Treviso☐ Le Bon Marché Rive Gauche – Paris☐ Le Form – Moscow☐ L’Éclaireur – Paris☐ L’Escalier – Oslo☐ Liberty – London☐ LN-CC – London

☐ Luisa Via Roma – Florence☐ M Collective – Milan☐ Maria Luisa – Paris☐ Merci – Paris☐ Mr. Porter – London☐ Murkudis – Berlin☐ Nathalie Schuterman – Stockholm☐ Nitty Gritty – Stockholm☐ NK – Stockholm☐ Oi Polloi – Manchester☐ One Block Down – Milano☐ Penelope – Brescia☐ Playground – Florence☐ Printemps – Paris☐ Pub – Stockholm☐ Rail – Brescia☐ Ratti – Pesaro☐ Reischmann – Germany☐ Sanahunt – Kiev☐ Santa Eulalia – Barcelona☐ Scala – Prien am Chiemsee☐ Selfridges – London☐ SONG – Vienna☐ Sören – Hagen☐ Spree – Paris☐ Store X – Berlin☐ Storm – Copenhagen☐ Sugar – Arezzo☐ Tessabit – Como☐ The Next Door – Paris☐ Theresa – Munich☐ Thomas I Punkt – Hamburg☐ Troispommes – Zurich ☐ Tsum – Moscow☐ Tsvetnoy Central Market – Moscow☐ Vakko Zorlu Center – Istanbul☐ Verso – Antwerp☐ Vertice – London☐ Wait & See – Milan☐ XBank – Amsterdam☐ YME – Oslo☐ Your Premium Store – Antwerp☐ Zeitzeichen – Würzburg☐ Zenon – Oslo

B E S T FA S H IO N R E TA I L E R O F T H E W O R L D AWA R D 2020 B Y W E A R G L O B A L M A G A Z I N E

10 Corso Como, 14 oz., Alchemist, A'maree's, American Rag, Antonia, Apropos, Barneys New York, Beymen, Boon, Boutique 1, Breuninger, Colette, Dover Street Market, Fred Segal, H Lorenzo, Harvey Nichols, Joyce, KM20, Lane Crawford, L’Éclaireur, Liberty London, LN-CC, Luisa Via Roma, Maxfield, Merci, Opening Ceremony, Quartier 206, Selfridges, Sugar, Triple Major Villa Daslu, United Arrows, Webster, Your Premium Store were the winners of the Best Fashion Retailer of the World Award 2008 - 2019.The following stores have been nominated by WeAr for the 2020 award. We now ask you – our readers – to vote and therefore determine the top 3 retailers. The winners will be announced and presented in the upcoming WeAr January 2021 issue.

Please cast your votes directly on our website at: www.wear-magazine.com/bfr

You can also email your votes to: [email protected] Subject: 2020 Retail Award

Each vote will automatically be entered into a lottery. The lottery winner will receive one free copy of WeAr’s exclusive limited edition book called "Denim Legends", the ultima-te visual guide to the best denim garments throughout history, with a value of 950 USD or 890 EUR.

Thank you for voting, and good luck to the contestants !

W E A R A W A R D

WeAr DIGISHOWS

WeAr GLOBAL MAGAZINE

WeAr SELECT DIGITAL

WeArGLOBALNETWORK.COM WeAr BUYERS GUIDE

M E D I A G R O U P M E D I A G R O U P

BEST FASHION RETAILER OF THE WORLD AWARDFASHION AND FOOTWEAR BRANDS AND TRENDS

FASHION MEETS TECHNOLOGY



FASHION – THE SHOW WILL GO ONBE BEAUTIFUL, NO MATTER WHAT

STORES, BRANDS, TRENDS DEFYING THE VIRUSCOVID-19 – EVERY CRISIS BRINGS OPPORTUNITIES


WeAr_Media_Group.indd Alle SeitenWeAr_Media_Group.indd Alle Seiten 03.09.2020 09:14:3003.09.2020 09:14:30

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L O U I S V U I T T O N

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K S E N I A S C H N A I D E R

P A R I S I E N N E E T A L O R S

S U S A N N E B O M M E R

R I C H A R D J . B R O W N

F R A N C E S C O R U S S O

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COUNTRY G ETAWAY WO M EN S W E A R T R EN D A LOVE LET TER TO NATURE M EN S W E A R T R EN D D IG ITAL ROUNDUP R EP O R T INCLUSION : E VERYON E’S WELCOM E R EP O R T G ARM ENT E VERL A STING R EP O R T POST-LOCKDOWN INVENTORY PROBLEM: SUSTAINABLE SOLUTIONS R EP O R T CHANG ING MINDSETS S P OT O N : R U SS I A V IRTUAL / V IRTUOUS S P OT O N : FA S H I O N W EEK S THE R ISE OF THE ECO -ADVOC ATE G U E S T CO M M EN T SOM ETHING OLD, SOM ETHING N E W R EP O R T APP-DATE S O F T WA R E U P DAT E WHAT MAKES A FABRIC SUSTAINABLE? R EP O R T CR AF TED WITH PURPOSE R EP O R T R AVE RE VIE W N E X T G EN ER AT I O N M IKOL A J SOKOLOWSKI N E X T G EN ER AT I O N WOM ENSWE AR L ABEL S TO WATCH B R A N DS M ENSWE AR L ABEL S TO WATCH B R A N DS E VENTS COOL ITEMS FOR CONCEP T STORES G A D G E T S BUS IN ESS TALK M A R K E T U P DAT E THOUG HTFUL BLUES R EP O R T R IG HTEOUS DENIM D EN I M RO U N D TA B L E DEN HAM L E A D I N G P L AY ER

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B O O K

R E A D

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W O M E N S W E A R T R E N D

COUNTRY GETAWAY Claudia Gunter

T H E S / S 21 A N D R E S O R T C O L L E C T I O N S R E F L E C T E D A D E S I R E F O R E A S E ,

P L A Y F U L N E S S A N D E S C A P E – S O M E T H I N G M O S T O F U S C A N R E L A T E T O R I G H T N O W

Getting out into the country was a theme in multiple S/S 21 presentations. After

months spent indoors, an emergence of such a sensibility seems almost unavoid-

able. Organic colors infused the collections, which used intricately detailed fabrics

in simple silhouettes.

The Jacquemus collection, presented on a runway in a wheat field in the French

countryside, used larger, looser silhouettes and unfussy tailoring. The collection

was imbued with natural, muted colors like sage, ecru, black and clay. Flowing

bias-cut dresses, oversized trousers and unstructured blazers recalled a “simple

country wedding”, in designer Simon Porte Jacquemus’ own words.

The Dior Cruise 2021 collection, presented in the center of Lecce, Italy, was a

spectacle that paid homage to the Italian countryside in the southern province of

Puglia. With fringed skirts, headscarves and embroidered dresses, the collection

featured a black gauzy material, warm whites and grays on intricately handwoven

fabrics. Muted reds and greens rounded out the colors in the collection.

Salvatore Ferragamo used eco-friendly fabrics throughout an elegant and

distilled collection comprising sleek silhouettes, clean lines and organic materials.

Burnt orange, tan, beige and black infused a collection focused on sustainability

with responsibly sourced materials like upcycled leather and cashmere, recycled

nylon and organic cotton. Photographed in the countryside of Provence, France,

the See by Chloé Resort 2021 collection imbued playful clothing designed for

relaxing in with hues of sage, peach, burgundy and sand. And Ermanno Scervino

Resort 2021, photographed in Tuscany, Italy, presented intricate knits and lace

details, ruffled white dresses, and gauzy skirts with plissé inserts. Colors were

whites, with a smattering of pastel pink, and pistachio green; perfect for getting

lost in a field on a lazy summer afternoon.

Runway Look © Dior Salvatore Ferragamo

robertgraham.us

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M E N S W E A R T R E N D

A LOVE LETTER TO NATURE

Beatrice Campani

F O L I A G E PA T T E R N S , F L O W E R P R I N T S , C O L O R S I N S P I R E D

B Y T H E E A R T H , T H E S E A , F L O W E R S A N D F R U I T S :

N A T U R E I S T H E K E Y T H E M E I N M E N S W E A R S / S 21

Gucci

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M E N S W E A R T R E N D

“A moment like this can easily lead to a glorification of flawless precision of the

machine – but at Ermenegildo Zegna, with respect for a humanist tradition that

is profoundly Italian, we believe that the human being always sits at the center, in

harmony with nature.” This is how artistic director Alessandro Sartori explained

the vision behind his S/S 21 collection that features soft and elegant knitwear

with foliage-inspired patterns. The brand (which turns 110 this year) celebrates a

strong connection with nature, seeing it not just as a provider of resources and

raw materials but also recognizing the need to preserve its richness and diversity.

At Gucci, flower embroideries appear on a seventies-style sleeveless fur coat, a

suit and a trench coat. Volumes are fluid like water at Etro, where shirts feature

beautiful flower prints, too. Pebbles and stones seen in rivers have inspired a print in

Reese Cooper’s accessories line; the models in the brand’s show walked barefoot

through a brook in the wilderness, hinting at the need to reconnect with the Earth.

His color palette comprised vivid green, orange and fruit colors.

The world of tailoring and classic menswear explored similar topics. Lardini is

inspired by a bamboo forest through which the sun filters, by water games, by the

intensity of hues seen in flowers and birds as depicted in Oriental art. Roberto

Collina explores earthy shades – from cream to beige – and is enchanted with

the shades of the sky: powder blue, navy blue and sapphire. And Paoloni proposed

an unlined shirt jacket, both in cotton and light linen, with paintings in a bursting

color palette of summer fruits.

Etro Reese Cooper

Ermenegildo Zegna

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R E P O R T

As global travel restrictions disrupted the fashion calendar this year, events had

to go virtual. The presentations of London Fashion Week Digital, Paris Fashion

Week Online and Milano Digital Fashion Week happened – as the events’ titles

suggest – online, with some brands also incorporating real-life components.

Did it work?

Among the standout presentations were Prada, whose ‘Prada Multiple Views

S/S21’ collection commissioned diverse global artists to make creative short

films; Jacquemus whose physical runway show ‘L'Amour’, set in a wheat field in

Us, France, was coupled with a robust social media campaign; and a lookbook

from Gucci, with the collection worn by the brand's design team and presen-

ted with a 12-hour livestream video. Milano Digital Fashion Week launched an

online platform with presentations from 42 fashion houses and featuring 73

online showrooms – including Spazio38, Showroom Marcona3 and Slam

Jam – representing a total of 457 brands.

However, overall reception was mixed. While the shows focused on creating

media value, they failed to cater fully to their prime audience: buyers. For them,

fashion weeks are serious business occasions and need to be executed perfect-

ly. Simon Chilvers of Matchesfashion noted that it was difficult to grasp the

idea of each collection from digital presentations as they were more like mood

boards than product catalogues. Bruce Pask, menswear director of Bergdorf

Goodman and Neiman Marcus, commented on the lack of product images.

Clearly, these shows have been watched, by professionals as well as end consu-

mers, which boosted engagement and awareness. But they did not automatically

translate into wholesale sales. The digital buying process is new to everyone.

Although it has certain advantages – for instance, it offers a quicker overview

of product range and simplifies the selection of key outfits as well as digital

archiving – it doesn’t flow naturally.

“Without the real-life interaction, it feels rushed. It’s hard to make decisions

over large investments digitally,” a German buyer told WeAr. With so much at

stake in an economically uncertain time, the unfamiliar environment makes the

selection process much harder. Ramon Ehlen, co-owner of Labels in Sittard, the

Netherlands said: “[Digital appointments] were okay, but not as nice as a normal

showroom visit. It is important to feel the vibe of the showroom.” And Peek &

Cloppenburg KG, Düsseldorf told us: “Our buyers were positively surprised how

smoothly the ordering process can run even on this changed path. Nevertheless,

the digital offer cannot replace the ‘look & feel’ [of the real]. The feel of the

fabrics and materials is essential for our work.”

In Munich and Düsseldorf, real life showrooms, which operated under strict

security measures, were well frequented. While companies like Zalando impo-

sed a complete travel ban, other stores, like Breuninger, allowed their buyers

to travel at least nationally. Whilst it is possible to order online with systems

like JOOR, buying is still mainly a people’s business: buyers need to understand

the brand’s emotions, and a sales person will still be required to respond to a

customer’s individual wishes. As Peek & Cloppenburg put it: “For the future, a

combination of process-supporting digitalisation with conventional sample parts

would be desirable. We see an advantage for short-term procurement needs in

the expanded offerings in the area of 3D simulations.”

This season proved that the buying process cannot be completely digitalized. It

is a serious business matter and requires a personal touch.

DIGITAL ROUNDUPClaudia Gunter / Shamin Vogel

T H E H I G H S – A N D L O W S – O F S / S 2 0 21

D I G I TA L FA S H I O N W E E K S

Balenciaga

Sales Contact:[email protected]

Ph: +39 02 947 55 105M: +39 340 98 92 747

Celebrating 20 years of style and music.

Sales Contact:[email protected]

Ph: +39 02 947 55 105M: +39 340 98 92 747

Celebrating 20 years of style and music.

1 5 2 W e A r 4 / 2 0 2 0

The recent Black Lives Matter protests have pushed many companies to join

the growing number of businesses focused on encouraging diversity and inclu-

sion. But there is a long way to go, especially in the fashion industry. Age, body

size, gender, ethnicity, religion, disability: many do not fit into the mold and feel

excluded – either as potential customers, employees or both.

Fashion brands are under growing pressure to do more to promote diversity

and inclusion. A study by McKinsey, ‘The State of Fashion 2020’, reached the

same conclusion: 2020 is a watershed for ‘Inclusive Culture,’ where diverse races,

genders, and sexual orientations get recognition.

It pays to be diverse and inclusive: the recruitment process is easier as prospec-

tive employees want to work in companies with a positive image, there is

evidence that it boosts team performance, and young consumers, in particular,

want to be able to identify with a company’s values. Larger businesses now have

diversity managers tasked with establishing a more inclusive culture. Their role

not only includes making the workforce more diverse – including top manage-

ment – but improving a company’s public image, so that ill-considered marketing

campaigns, such as the recent faux pas by several established labels, don’t turn

into expensive PR crises.

US designer Tommy Hilfiger is leading by example. At the end of May, he created

the ‘People’s Place’ program, which will support Black, Indigenous and People of

Color (BIPOC) working within the fashion and creative industries, and has pledged

5 million USD in annual funding. What’s more, Tommy Hilfiger is already one of

the few premium brands to produce a collection for wheelchair users and those

with other disabilities, which was launched back in 2017.

Offering fashion that caters to every target group might not be worthwhile for

every retailer, but even small changes can have an impact. Incorporate versatile

looks into your range, such as gender-neutral cuts. Offer customers an alteration

service. Choose models that represent a diverse array of body types. And treat

all your customers without prejudice; do not be swayed by first impressions. This

includes social media posts: before posting an image, be sure to check carefully

whether it might offend somebody. If so, it’s not worth it – even for the most

beautiful photo in the world.

What’s your company’s stance on inclusion? Perhaps your first reaction might

be: “Discrimination isn’t an issue.” If that’s true, well done! But usually it is not

(quite) the case. But congratulations are still in order: you have already taken

the first step towards greater integration.

R E P O R T

M O R E E X C L U S I V E FA S H I O N L E A D S T O M O R E E X C L U S I O N . S H O U L D

R E TA I L E R S S T R I V E F O R G R E AT E R D I V E R S I T Y A N D I N C L U S I O N I N S T E A D ?

I NC L U SIO N:

EVERYONE’S WELCOME Esther Stein

We are the FOOTure

PORTUGUESE SHOES

Tommy Hilfiger

We are the FOOTure

PORTUGUESE SHOES

1 5 4 W e A r 4 / 2 0 2 0

R E P O R T

B Y F O C U S I N G O N L O N G E V I T Y , B R A N D S , R E T A I L E R S A N D F I B E R

M A N U FA C T U R E R S C O M B A T FA S H I O N ’ S B U I L T- I N O B S O L E S C E N C E

GARMENT EVERLASTING

Claudia Gunter/Jana Melkumova-Reynolds

Fashion’s obsession with newness leads both to over-

production and to unimaginable amounts of waste.

However, a growing coterie of brands is making

indestructible clothing using extremely high-tech

materials. What’s more, retailers are contributing

to the longevity of garments by setting up in-store

care and repair workshops. We might be seeing the

dawn of a garment everlasting – a piece of cloth-

ing that is so durable that it may last for up to 100

years, and when no longer wanted or usable, it may

continue to live as another garment.

Vollebak, a maker of clothing it labels as “indestruc-

tible”, uses unconventional materials such as carbon

fiber usually found in jets and supercars, ceramic

technology used in the International Space Station

and the Nobel Prize-winning Graphene to produce

extremely durable items, such as its ‘100-Year Jack-

et’, ‘100-Year Hoodie’ and ‘100-Year Pant’. These

garments are designed to withstand fire, nature and

water, not to mention the usual wear and tear.

Care and maintenance know-how is another

element necessary to make garments live longer.

Denham’s key retail spots across the globe are

home not only to new collections but also to

Service Co., the brand’s all-in-one denim main-

tenance shops where highly skilled staff will stitch,

darn, hand-wash and reinforce each pair of jeans

by hand. Like a true atelier, Service Co. units are

equipped with vintage sewing machines by Union

Special and Singer from the USA and Germany,

which have been expertly restored.

Similarly, Rozenbroek offers a lifetime repair and

recycle service for all of its sustainably produced

garments, which are made-to-order to reduce waste.

Fabric cut-offs are fashioned into zero-waste tote

bags and the label produces all of its garments in a

solar-powered factory in Yorkshire, England. Black-

horse Lane Ateliers, maker of selvage and organic

raw denim jeans, also offers a lifetime repair policy

for its jeans. Big multibrand retailers are tapping into

the repair culture, too: thus, Selfridges has intro-

duced Repairs Concierge as part of its new Project

Earth five-year plan, aimed at attracting sustainably

minded consumers.

Brands and retailers can help to make a ‘garment

everlasting’, but durability starts with the raw

materials. Cordura has long been renowned as

a maker of extremely durable fabrics resistant to

abrasions, tears and scuffs. And for fabrics that

allow the garment to continue to live even after

it’s been retired, look out for recyclable fibers. For

instance, DuPont Sorona’s recyclable spandex-free

stretch is compatible with single stream polyester

recycling, meaning the fabrics made with it can be

transformed into new clothes after the garment’s

own – hopefully very long and eventful – life has

come to an end.

Vollebak

WeAr is available in the PressReader app – along with thousands of your other favourite magazines.

Download the PressReader app and enjoy!

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You can.

1 5 6 W e A r 4 / 2 0 2 0

P O S T-L O C K D O W N I N V E N T O R Y P R O B L E M :

SUSTAINABLE SOLUTIONSAlexis Romano

FA S H I O N H A D A WA S T E P R O B L E M B E F O R E C O V I D -19 , A N D I T H A S O N LY B E E N

E X A C E R B AT E D B Y T H E PA N D E M I C . We A r L O O K S I N T O P O T E N T I A L S O L U T I O N S

According to research undertaken by the Ellen MacArthur Foundation in 2017,

disposed excess inventory had been causing almost 1.2 billion tons of greenhouse

gas emissions annually. In the years since, increased press coverage on burning

and other forms of clothing disposal has spurred efforts to re-channel this excess

stock. But the pandemic is testing these sustainable options. With consumer

spending on non-essentials down and many stores around the world still closed,

the fashion industry is facing an unprecedented oversupply of goods, from S/S

2020 in particular.

Some companies including Ralph Lauren, Next, adidas and Gap are putting aside

a portion of their Spring inventory to sell off next year. Any items that fall within

non-seasonal or trendy categories may also be re-sellable for later periods. There

are many shoppers who – after months of staying at home – are now eager for

goods, and for finding deals. Currently, we are seeing re-opened off-price stores

reaping the benefits of this market. Brands and retailers should consider selling

through these channels.

Don’t want to simply sell at a loss? There are companies who work with clients

to manage excess inventory and customer returns in ways that generate profit

and brand value. One good option is the UK-based company Parker Lane Group.

With a global reach, they help retailers find resale markets for unsold garments

and recycle the rest. They recently launched the Coronavirus Support Service to

deal primarily with unsellable S/S 2020 inventory, lack of warehouse space, and

accumulating unmanaged returns. The US company Optoro offers similar services.

They use AI and machine-learning software to generate real-time brand analyt-

ics, which helps them organize garments into recommerce (to Optoro’s resale

site Blinq, or elsewhere) or donation options. Both companies primarily work

with activewear and high street brands, but also accommodate image-sensitive

luxury brands who don’t want to sell in discount markets. The re-sale marketplace

Tradesy opened a business unit in April 2020 to cater to brands who have excess

stock due to cancellations.

There are also companies that can help with charitable donations specifically. Gift-

ing Brands works with retailers to resell their private label and upscale brands,

and donates the profits to charity. Soles4Souls also accepts inventory donations,

and has a portfolio of brand partnerships. It is now connecting essential work-

ers with donations: an action and message that resonates loudly during these

unsettling times.

R E P O R T

The Common Thread Fabric Certification Program from Sorona® delivers more than just a promise of performance. It provides traceability and transparency throughout

the entire supply chain—ensuring the accountability our industry needs.

sorona.com

E VERY THRE AD TELLS A STORY

Copyright © 2020 DuPont. All rights reserved. DuPont™ and Sorona® are registered trademarks of DuPont de Nemours, Inc.

Parker Lane Group's processing facilities in Warsaw, Poland

The Common Thread Fabric Certification Program from Sorona® delivers more than just a promise of performance. It provides traceability and transparency throughout

the entire supply chain—ensuring the accountability our industry needs.

sorona.com

E VERY THRE AD TELLS A STORY

Copyright © 2020 DuPont. All rights reserved. DuPont™ and Sorona® are registered trademarks of DuPont de Nemours, Inc.

1 5 8 W e A r 4 / 2 0 2 0

Ventures that facilitate the growth of sustainable

mindsets and markets have been popping up in

CIS countries lately. Fashion summits, educatio-

nal programs, networking and round tables are

initiated by fashion eco-platforms and agencies.

Local organizations include Sustainable Fashion

Pad (Ukraine) and Sane Fashion (Moscow). Global

platforms such as Circular Fashion , Fashion

Revolution and Sustainable Fashion Matterz

have been growing their presence in the market,

too. In Ukraine, the Be Sustainable summit now

happens during Ukrainian Fashion Week, while in

Russia, the latest edition of the Russian Fashion

Council’s project Global Talents, aimed at show-

casing emerging designers, will have a sustainable

focus and exclusively feature brands with an inte-

rest in “upcycling, recycling, ethical fashion, slow

fashion, or zero waste”.

Retailers, too, are keen to participate in educa-

ting the consumer. “Take a little, but the very best,”

recommends a poster in the Aloe store in Saint

Petersburg. The retailer has grown into an interdis-

ciplinary operation that includes an eco-activism

platform, nightlife events, independent publishing,

selling upcycled fashion, a clothing rental service,

a sustainable fashion production facility and an

art center. “Sustainable development is only just

beginning in Russia,” says director Julia Solnechna-

ya. “Changes are very slow. But we must not despair

and continue [to implement them]”.

Fashion weeks are an environmental hazard in count-

less ways – from significant energy consumption to

excessive use of plastic coat hangers – but the worst

thing, unsurprisingly, is the air travel they bring about.

According to a report by Ordre, business travel related

to the ready-to-wear fashion buying cycle produces

241,000 metric tons of carbon emissions annually.

The current crisis has forced the industry to explore

what buying without boarding a plane might look like.

The three major fashion weeks of the season, London

Fashion Week Digital, Paris Fashion Week Online

and Milan Digital Fashion Week, took place for the

most part online, with some brands including Dolce

& Gabbana and Etro presenting complementary

physical shows. Copenhagen Fashion Week, a hybrid

physical and digital event, managed to achieve many

of the sustainability goals outlined in its Sustainabi-

lity Action Plan, published in January 2020. Aiming to

reduce emissions by 50% and become a zero-waste

event by 2022, it will oblige all participating brands

to meet minimum sustainability requirements from

January 2023.

WeAr DigiShows, our very own latest venture, captu-

res showroom space in 3D. Buyers can then use the

video-calling platform of their choice and interact in

real time with the brand: see the collection as it is

presented on rails, get input and help from the sales

rep, measure items, take snapshots and even zoom

into the garments to get an impression of the quality

that compares to real touch. This reduces the need to

travel while still remaining as close to the real sales

process as possible.

We don't yet know the true carbon footprint of a

digital-only event: internet consumption still produces

carbon emissions from data centers. To measure the

overall sustainability impact of digital fashion weeks,

Helsinki Fashion Week, in partnership with technology

company Normative, will audit its carbon footprint,

leading the effort to provide data-based sustainabi-

lity targets for the entire fashion industry. However,

reduced travel is a significant environmental benefit

and should be celebrated as such.

R U S SI A

CHANGING MINDSETS Maria Konovalova

FA S H IO N W E E K S

VIRTUAL / VIRTUOUS Claudia Gunter

C U S T O M E R S I N E X- U S S R M A R K E T S A R E B E G I N N I N G T O D E V E L O P A N AWA R E N E S S O F

E N V I R O N M E N TA L I S S U E S . E D U C AT I O N I S K E Y, A N D FA S H I O N C O M PA N I E S A R E K E E N T O C O N T R I B U T E

A S T H E I N D U S T R Y A D A P T S T O D I G I TA L A N D B L E N D E D E V E N T F O R M AT S , We A r

R E F L E C T S O N T H E I R S U S TA I N A B L E A S P E C T S

S P O T O N

A LONG HISTORYOF WOVEN TAPES

WWW.VICTOR.IT

Aloe

A LONG HISTORYOF WOVEN TAPES

WWW.VICTOR.IT

1 6 0 W e A r 4 / 2 0 2 0

THE RISE OF THE ECO-ADVOCATE

At the close of last year, discussion of sustainability in fashion revolved around

the circular economy, sustainable sourcing at scale and a better integration of

sustainable values into brand DNA.

As progress was spoken of in terms of decades rather than years, couched in

terms of ‘ongoing commitment’, we were oblivious to the impending havoc that

the coronavirus was to wreak upon the world. Talks of sustainability would be

put on the back burner as brands and retailers reeled from store closures, job

losses and, for some, bankruptcy.

But those savvy enough to continue taking the temperature of their consum-

ers will have re-emerged with sustainability as a primary focus of their post-

pandemic recovery. Whilst it has only been with us for a matter of months, two

thirds of European consumers consider climate change to be more important

since the start of the pandemic, according to a recent study by McKinsey.

Pre-pandemic, we were following a growing wave of radical anti-consumption

in a trend we call ‘Eco Rebel’, characterized by a reverence for nature that

meets an activist mentality. Led by Gen Z, who use their unrivaled connectivity

to radiate their influence outward, Eco Rebels care deeply for environmental

issues, value resourcefulness, prefer shopping locally, or creatively repurposing

and upcycling. They are particularly disdainful of the bloated volumes of product

peddled by the fashion industry and reject the relentless pursuit of newness.

These values have been adopted by mainstream consumers at an impressive

rate, expedited by a near-global lockdown that has seen pollution levels declin-

ing, an increased interest in the collective good, and an acknowledgment of

the impact of individual action. And these values will inevitably be reflected in

spending habits.

Less extreme than the Eco Rebels, the mainstream post-pandemic consumer

could be identified as an Eco Advocate, defined by the conscious consumption

of less but better. This is a consumer making gradual, well-informed choices

that support a belief system of individual action.

Critically for brands and retailers, they will be looking for eco alternatives to

existing products and services – so the goal is not to create a new category of

sustainable assortments, but to seamlessly integrate sustainability across the

value chain. Hyperaware of ‘greenwashing’, promotional noise doesn’t sit well

with the Eco Advocate, and only serves to highlight potential sustainability gaps

in the rest of the business.

Instead, brands offering opportunities to partake in positive action initiatives

and services mitigating overconsumption, such as in-store repair and recycle,

clothing rental and resale, will be exciting new avenues for the Eco Advocate.

‘Less but better’ is the new bedrock of the fashion and lifestyle industries at a

time that is ripe for reshaping a course for sustainability.

Trendstop is a leading trend innovation agency, working across consumer insight,

product direction, brand positioning and communication. It guides fashion and life-

style brands of all sizes to create meaningful and profitable collections.

www.trendstop.com

G U E S T C O M M E N T

London Street Style

1 6 1 W e A r 4 / 2 0 2 0

SOMETHING OLD, SOMETHING NEW

Alexis Romano

R E C E N T D E V E L O P M E N T S I N R E T A I L H AV E S E E N T H E F U S I O N O F P R E - U S E D A N D

N E W C L O T H I N G I N V E N T O R I E S I N T H E S A M E S PA C E

Shoppers are used to the separation of these merchandise groups: for used

clothing, there are consignment, thrift, charity and vintage shops, and a host of

other options for new items. In years past, retailers have tested these boundaries,

from long-closed Paris department store Samaritaine’s vintage concession to

the collectable pre-loved accessories and fashion sold by Liberty London. Yet

today, something new is afoot, with resale’s increased importance and main-

stream fashionability.

This trend is apparent in multibrand boutiques and online retailers, such as

Farfetch, with its new vintage section. Another example is Assembly whose

two shops in L.A. and New York mix new and old merchandise – distinguished

subtly by garment tags – in minimalist displays. This merger infuses the value

behind new items into vintage. Also in New York’s East Village is Duo NYC, the

multilabel womenswear boutique that integrates one-off anonymous vintage

pieces easily in their inventory of emerging, independent designers, due also to

the similar aesthetic of both.

Driving the resale push is a younger clientele, trained to consider the environ-

mental impacts of fast fashion as they shop. The connection between pre-

used and sustainability is key to its renewed fashionability, but there is another

attraction: collectable limited-edition items by hip streetwear and skatewear

brands like Supreme. The resale site Grailed was conceived to tap into this

trend, and (largely male) hypebeast and sneakerhead consumer groups. Product

‘drops’ generate hype around these cult items, and the resale of these drops

holds potential for retailers.

The re-commerce market, led by Vestiaire Collective, The RealReal and Depop,

is set to exceed 50 billion USD by 2023, according to GlobalData. For ThredUp,

the global market for secondhand – growing 21 times faster than retail-at-

large – will exceed fast fashion in the next decade. This means that retailers

of all business models should look for ways to incorporate pre-owned clothing

into their offerings in ways that align with their brand identity. For some this

means hiring vintage buyers, and considering inventory – i.e., is your clientele

after luxury handbags or sneakers (the status symbols Grailed and Rebag trade

on) or other offerings entirely? Others might encourage clients to consign their

pre-used garments to the store.

The combination of resale and e-commerce is key, too. The creation of online

marketplaces could allow retailers to glean useful data on customers. Or they

could work with resale platforms: Vestiaire and The RealReal are seeking to

collaborate with retailers and brands in the primary market. Neiman Marcus

has just invested in Fashionphile, which, unlike consignment or peer-to-peer

platforms, buys items directly from the seller. Whatever the method, retailers

may need to mix and not separate secondhand and new merchandise to increase

profits and retain their customers.

R E P O R T

Duo NYC

1 6 2 W e A r 4 / 2 0 2 0

S O F T W A R E U P D A T E

BCOME

With one simple tool, fashion brands and retailers

can now calculate and show just how sustainable

their products’ supply chains really are. Online plat-

form BCOME takes information provided by manu-

facturers and turns it into a comprehensive analysis

that customers can then access via a clear scoring

report on an online shop or a QR code placed on

the product. The analysis verifies, measures and

evaluates four manufacturing areas: Planet, People,

Transparency and Circularity. Scores are given for a

product’s environmental, social and ethical perfor-

mance – at a glance, you can see how much water

is used during production, which certificates have

been awarded or how much waste is generated.

Each piece is then given one of three classifications:

High, Advanced or Honors. Brands such as Ecoalf,

Cus and Thinking MU are already using the plat-

form. The cost is calculated based on the total

number of aspects a company wishes to analyze:

the more metrics chosen, the lower the unit price.

www.bcomestudio.com

THE HIGG INDE X

The Higg Index is a suite of sustainability measure-

ment tools for brands, retailers and facilities of all

sizes in the apparel and footwear industry. Developed

by the Sustainable Apparel Coalition (SAC), these

tools span design to end of use in three catego-

ries: product, facility, and brand and retail. The first

includes the Materials Sustainability Index, which

allows designers to create materials and understand

their overall environmental impact. Brands can

employ other modules to measure product sustain-

ability and life-cycle, and contextualize this with their

internal system to generate analytics. The Facility

Tools focus on environmental and labor impacts,

determining, for instance, measures of emissions,

facility safety, waste management and worker liveli-

hood. Finally, the Higg Brand & Retail Module analyzes

data to give companies a wide glimpse into the supply

chain to see how they rank in sustainability – from

manufacturing metrics, transportation of goods, and

packaging, to measuring the environmental cost of

office headquarters.

higg.com

COGO

CoGo is a UK app that connects consumers and

businesses that strive to become more socially and

environmentally responsible. Users sign up to the

app by connecting their bank account and stating

the social and environmental issues they care most

about helping. The app then calculates a person-

alized carbon footprint that is based on spending

transactions and lifestyle choices, and offers ways

to take action and make simple lifestyle changes to

reduce the score. An ethical recommendation engine

will point the user towards UK businesses that score

best on the social and environmental issues the user

shows interest in; these 20,000+ rigorously approved

businesses exemplify ethical or sustainable prac-

tices. When criteria are achieved, businesses earn

at least one of twelve CoGo accreditation badges –

badge examples include, but are not limited to, offer-

ing fair trade, organic or vegan products, paying a

living wage or actively pledging to reduce waste

to landfill.

cogo.co

In this section, WeAr reviews the best apps and software platforms used by retailers and brands. Some of them are available

to all stores; others are exclusive to one retailer or territory, but will hopefully inspire others and help them keep abreast of

changes in the digital fashion landscape.

APP-DATE: SUPPLY CHAINS AND CARBON FOOTPRINTS

Caitlin Daly/Esther Stein/Alexis Romano

1 6 4 W e A r 4 / 2 0 2 0

COT TON: GO ORGANIC , RECYCLED OR ETHICAL

Most cotton crops have become genetically modified (GMO) worldwide. Although

it is engineered, a GMO still requires pesticides, fertilizers and a lot of water,

and destroys biodiversity on its huge fields and in the surrounding area. Besides,

machines and planes are necessary to spray these products over the crops. The

answer is organic or recycled cotton; labels such as GOTS, EKO, OCS, IMO, GRS

are widespread. Other labels such as BCI or BMP do not certify organic cotton

but ensure better ways of farming. Some labels focus only on the carbon footprint

and climate.

LINEN AND HEMP: INHERENTLY GOOD

Used for millennia, linen and hemp are always sustainable. They are good for the

soil and do not require (or require very few) chemicals in the crops. The produc-

tion of linen is limited: 85% of it comes from a small area in the North of France,

Belgium and the Netherlands.

WHAT MAKES A FABRIC SUSTAINABLE?

Monica Fossati

R E P O R T

When talking about sustainable textiles, we often only consider the raw mate-

rial. But what makes a fabric sustainable are all the inputs and outputs across

its entire lifecycle. From the raw material, through the processes of the supply

chain, up to the treatment of the waste, everything has a (sometimes positive!)

impact, and the end consumer has a role to play, too, by the way s/he decides to

maintain and dispose of the garment. This is why a product can be considered

more or less sustainable over its entire lifecycle, or only at a stage. Brands and

fabric manufacturers are at the foundation of this lifecycle.

Traceability helps a lot, but fabrics rarely have a complete fact sheet. That’s why

it is best to rely on eco-certifications; they are the key for brands, retailers and

consumers to understand how and where the product has a sustainable quality.

Today, there are hundreds of eco-labels worldwide, so check what each one means

when you find it on a product.

1 6 5 W e A r 4 / 2 0 2 0

OTHER FIBERS

Uncommon natural fibers have appeared on the market, such as kapok, stinging

nettle, pineapple, banana, mushroom and lotus, which can even imitate leather.

What is interesting about them is that they are plant fibers. Some are even more

sustainable, since they come from a by-product of agricultural waste. Manufac-

tured in small quantities, they are dedicated to special luxury products.

Man-made fibers from natural polymers require industrial processes to be trans-

formed: this is the case with viscose from wood pulp, bamboo, seaweed, coffee,

squid, crab and others. It means that in terms of sustainability, you need to consider

not only the raw material – e.g. whether it comes from undemanding crops or

from a by-product of green waste – but also the process necessary to turn it into

fiber: the use of water in closed loop, renewable energies and so on.

Artificial fibers such as acrylic, nylon and polyester come from oil and are synthetic

polymers: there’s nothing natural at all, but they can become more sustainable

when they are recycled – if they form a good proportion of the final fiber, that is.

Retailers can also play a role by collecting used garments from their customers

and recycling them.

In addition, some blends mix sustainable fibers with less sustainable ones or

synthetics. The recycling of such materials is uncertain.

WOOL AND SILK: POTENTIALLY PROBLEMATIC

Since the dawn of human civilization, sheep, lamas, goats, rabbits, alpacas and

others have had their fleece spun into wools. However, some all-time favorites,

such as merino, cashmere and angora, have been criticized as they might pose

a risk to the animals’ welfare depending on how they are bred and sheared.

Labels such as AWA and Certified Humane mean the animals have been

treated with dignity.

Real silk comes from the cocoon of the silkworm; 6,600 worms need to be

boiled or gassed in their cocoon to make one kilo of silk, and butterflies are

cruelly exploited to lay eggs. In some countries, children are employed to coil

the thread and work without protection. Vegan and ethical alternatives to silk

include common synthetic or man-made fibers such as viscose; recently, the

market has seen new options made from orange peel or spider web. Aloe vera

plant fibers produce an amazing, sustainable and cruelty-free silk.

DYEING AND FINISHING

It’s impossible to briefly summarize all the ins and outs of these processes that

make them more or less sustainable, but every season we see great innovations

and better practices. Once again, eco-labels do the job for you. Look out for

GOTS, EU Ecolabel, Nordic Swan and other certifications to ensure no toxic

chemicals are involved.

TR ANSPARENCY

Simply remember that it is rare to have a 100% sustainable product. If the fabric

manufacturer or the brand can provide certifications or at least communicate

what they have done for sustainability, each step is worthy of attention! The

most important thing is to give your clients transparent information – and to

understand yourself what it means.

R E P O R T

1 6 6 W e A r 4 / 2 0 2 0

U N T I L R E C E N T L Y O N E O F T H E M O S T U N S U S T A I N A B L E P R O D U C T

C A T E G O R I E S , J E W E L R Y I S S E E I N G A N E W G E N E R A T I O N O F B R A N D S

R E T H I N K I N G P R O D U C T I O N P R A C T I C E S

CRAFTED WITH PURPOSE Angela Cavalca

The social and environmental impact of the raw

material extraction, the poor labor conditions, the

extensive use of chemicals and other problematic

aspects of manufacturing had long made jewelry a

suspect category for the ethical consumer. Howev-

er, a new generation of jewelers is exploring more

sustainable supply chains, carefully considering how

materials are sourced, supporting local communi-

ties, offering full traceability and committing to

zero-waste programs to prevent excess materials

ending up in landfill. With a wide range of stylish and

timeless products, our selected talents want to do

something more than just give their clients the joy

of wearing a beautiful piece.

CORRINA GOUTOS

After her studies at the Savannah College of Art

and Design, artist Corrina Goutos moved from New

York to Germany, where she currently lives and

works. Taking inspiration from archeology, biology,

psychology and vital materialism, Corrina creates

contemporary jewelry by deconstructing the ready-

made objects of consumer culture, such as light-

ers and headphones, and mixing them with organic

elements, such as stones, shells and bones. These

are processed using innovative and traditional tech-

niques, such as silver work, electroforming, engrav-

ings on bones, stone or shells, and powder coating.

corrinagoutos.com

LUPE

Antique jeweler Tansy Baigent founded the brand

in 2015 after finishing her postgraduate studies in

International Environmental Law and working for

over five years in the jewelry industry. The name

was inspired by the word ‘loop’, invoking the circular

nature of re-use and recycling – which sit at the

heart of the brand – as well as that of a ring. Baigent

focuses on antique and preloved fine jewelry sourced

from auctions, estate sales and private collections

across England, providing a triple win for customers,

the company and the environment.

www.lupeanthology.com

R E P O R T

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MIA L ARSSON

This Swedish designer makes unique pieces from

marine waste. She started by sourcing oyster shells

from a seafood restaurant in Stockholm and experi-

menting with different composites, including poly-

mer and sand. She mixes those with the seashells

and uses mother-of-pearl as a high-tech ceramic

material. The jewels are manufactured with recycled

silver; moreover, clients can also bring their own silver

scraps to be worked on.

mialarsson.com

M OF COPENHAGEN

The designer Marie Beatrice Gade was born and

raised on a small island in the lush Finnish archi-

pelago. This deeply influenced her love for nature

and the sense of responsibility to preserve it. As

a zero-waste designer, she crafts handmade-to-

order pieces from the finest recycled precious

metals and natural stones, such as onyx, obsidian

and pearl, using old-school methods and tools to

keep production as free from chemicals as possible.

Jewels are gently wrapped in 100% biodegradable

packaging. For each order, the brand donates 5

EUR to charities fighting climate change, such as

One Tree Planted.

www.mofcopenhagen.com

PEEK ABOO!

After 10 years spent working in the style office of

a big fashion company, the Italian designer Silvia

Lanfranco started her upcycling-focused brand.

Her jewelry is made with recycled parts of alumi-

num cans crocheted using other disused materials.

Scraps of leather once used in industrial processes

become beautiful fringes, and crystal drops from old

chandeliers are transformed into elegant pendants.

The buttons used as necklace and bracelet closures

are vintage. After years of research and experimen-

tation, the artisan achieved a non-toxic resistant

technique powder coating applied to aluminum to

create infinite customized color combinations.

www.instagram.com/peekaboo.jewels

R E P O R T

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N E X T G E N E R A T I O N

A year after graduating, designers Josephine

Bergqvist and Livia Schück founded Rave Review

in Stockholm in 2017. Their vision is to merge upcy-

cling and high fashion to bring about what they

consider to be the change the fashion industry

desperately needs. The pair aim to prove that upcy-

cling is deserving of a place on the international

fashion scene, and so they design eye-catching

looks solely using vintage fabrics: dazzling colors

and patterns meet to striking effect, mostly in the

form of large patchworks in unusual combinations.

Their key looks include trench coats made from

floral quilt covers and coats created from a mix

of patterned wool blankets. The silhouettes are

loose, flowing and feature figure-skimming cuts,

along with tie belts to create a gathering effect.

Each numbered style is designed and produced in

Sweden: even the vintage fabrics are all sourced

from the Scandinavian country.

Rave Review presented their first collection during

Paris Fashion Week Spring 2018, for which the brand

received the Swedish Fashion Council’s Changer

Award. More accolades followed: this year the label

reached the semifinal of the LVMH prize. Their A/W

20 collection was showcased in Copenhagen, but

there will be no runway show for S/S 21. This year’s

Paris showroom has sadly been called off too, with

the presentation set to go digital, “which actually

feels more efficient. But we’ll miss meeting buyers

and the press during Paris Fashion Week,” explains

Josephine Bergqvist. Although some orders have

been canceled, the designer says the pandemic

hasn’t really affected the way they work: “Now our

focus is on how we can make the remake process

more time and cost effective.” The brand’s list of

retailers includes Matchesfashion, Browns and

LN-CC in the UK, as well as Renaissance in Belgium.

www.rave-review.com

RAVE REVIEW

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N E X T G E N E R A T I O N

Born in Gliwice, Poland , in 1989, Mikolaj

Sokolowski moved to Paris to pursue his stud-

ies at the prestigious Studio Berçot, graduating

in 2013. His student work was highly commended

by studio director Marie Rucki. After internships

with Nicola Formichetti and Sébastien Peigné at

Mugler, he worked as a menswear designer at

Balenciaga, before launching his first eponymous

capsule collection in 2019. His project is driven

by nostalgia for his country of origin. Minimalist

and utilitarian silhouettes come in an understated

color palette, punctuated with bursts of neon hues.

Anoraks, sweatpants, denim garments and long

leather shorts strike a fine balance between refer-

ences to somewhat rough working-class Eastern

European masculinities (similar to those invoked by

other designers such as Gosha Rubchinskiy) and

refined and understated luxury reminiscent of the

early Helmut Lang and Jil Sander. Sokolowski is

conscious about the ethics of production: he sourc-

es his basic fabrics – such as 100% lama wool, eco

leather, organic cotton jersey and denim – from

Poland; other materials, including nylon, polyester

and double face cotton, are purchased at the Pari-

sian resellers Sentier and come from the stock of

big fashion houses. The packaging is made from

GOTS-certified cotton; Sokolowski avoids using

plastic. The S/S 2021 collection will be shown at

the end of September during Paris Fashion Week.

www.mikolajsokolowski.com

MIKOLAJ SOKOLOWSKI

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BRØGGER

Launched in London in 2017, Brøgger is the

brainchild of Royal Danish Academy of Art alumna

Julie Brøgger, who headed the teams of Preen by

Thornton Bregazzi, Erdem and J.W. Anderson

before establishing her independent label. Cleverly

juxtaposing masculine and feminine aesthetics, the

brand is committed to manufacturing only in the

UK and the EU, and sourcing materials exclusively

from these regions. Brøgger’s conscientiousness

does not stop here: during the Covid-19 crisis, she

created patterns for PPE gowns that were made by

The Fashion School in London and pop-up factories

across the UK for the country’s hospitals. The S/S 21

collection draws inspiration from an essay collec-

tion by radical Danish feminist Suzanne Brøgger

(a namesake) and contrasts sharp tailoring made

in Italian mills with soft and voluminous feminine

silhouettes. The brand retails at Harvey Nichols

(UK), Browns (UK), Tom Greyhound (South Korea)

and Joyce (Hong Kong), to name but a few.

brogger.co

B R A N D S

WOMENSWEARL A B E L S T O WAT C H

CARCEL

Danish label Carcel has a clear agenda: it does

not work within seasons and its clothing is made

from silk and alpaca sourced locally in the region

of production. A limited quantity is produced – so

no sales or surplus stock – and the entire process is

transparent. Profits are reinvested into the company

to ensure a sustainable business model. The purist

styles are made by incarcerated women, who are

paid a fair wage. Founder Veronica D'Souza and

designer Louise Van Hauen launched the label in

2016 with one team in Peru. A second based in

northern Thailand was added in 2018, where there

are plans to build a workshop to employ women after

their release. The look features lightweight knitwear

in vivid and natural shades, alongside modern basics

such as checkered blazers, denim and bomber jack-

ets made of twill silk. Many elements are handmade

and each piece bears the garment maker’s signature.

Carcel is available online at Farfetch, Browns and

Holly Golightly in Copenhagen.

carcel.co

OCCHII

Occhii, a New York-based unisex label founded

by designers Leonid Batekhin and Ilona Davidoff

in 2018, creates singular pieces from sustainable

materials using handmade techniques. The brand

utilizes industrial offcuts from renowned Russian

shawl maker Pavlov Posad to create garments

that are hand overdyed, tie-dyed and bonded on

organic cotton, and sometimes quilted with 100%

recycled down. In the S/S 21 collection, the design-

ers further explore hand-dyeing and hand-knitting,

and experiment with natural plant dyes on cotton

fabrics. They also employ quilting and patchwork

techniques that use vintage Japanese kimono

fabric. Shapes are voluminous and loose, incor-

porating materials such as natural faux shearling

and hemp blends, recycled polyester, and recycled

cotton. By creating an alternative to trend-driven

disposable fashion, the designers hope that the

wearer will keep their one-of-a-kind piece for years

to come.

www.occhii.com

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NOMENKL ATUR A STUDIO

Nomenklatura Studio is a progressive menswear

brand led by Alexandre Plokhov, a Russian-born

designer based in the US whose extensive experi-

ence includes design director positions at Helmut

Lang and Versace Uomo as well as creative direc-

tion of his cult brand Cloak – whose aesthetic was

coined by the press in the 2000s as “military goth”

– and, later, of his eponymous label. After closing the

latter, he spent a few years away from the fashion

industry, returning in 2017 to launch Nomenklatura

Studio. The brand focuses on advanced sportswear,

leather, tailoring and selected accessories; lately,

signature boots have become key, too. Plokhov’s

penchant for razor-sharp tailoring and advanced

fabric know-how paired with a street attitude shine

through his collections, which take inspiration from

history, music and combat uniforms. The label is

represented by Dear Progress showroom in Paris.

Stockists include SSENSE (Montreal), The Serpen-

tine (Toronto), Unfollow and B'2nd (Tokyo) along

with Departamento (Los Angeles).

nomenklaturastudio.com

B R A N D S

MENSWEARL A B E L S T O WAT C H

DIMA LEU

Founded in Italy by the designer of the same name,

DIMA LEU hits the fashion spot with collections

that cross over between freestyle and elegance,

combining comfortable ease with a classic touch.

Redesigning athletic wear in an urbane way, the

brand mixes the time-honored craft of men’s tailor-

ing with its ‘counterpart’ of two-piece tracksuits.

What’s more, from the beginning DIMA LEU adopt-

ed a sustainable approach, offering brand aficiona-

dos limited-edition garments wholly made in Italy

using deadstock fabrics. From S/S 20, thanks to

a collaboration with Italian textile producers and

the use of fabrics they had in their archives, this

approach has been extended to most of the collec-

tion. DIMA LEU is a finalist of the 2020 Who’s On

Next? award by Altaroma Fashion Week (the winner

had yet to be announced at the time of writing).

Stockists have included Dover Street Market

( Japan, US), End Clothing (UK), Opener (Korea),

Reebonz (Kuwait) and others.

www.dimaleu.com

AHLUWALIA

London-based Priya Ahluwalia launched the mens-

wear label Ahluwalia in 2018 after graduating from

the University of Westminster. She has been an

important figure in discussions around sustain-

ability since ‘Sweet Lassi’, her 2018 photography

book and menswear collection based in fieldwork

on fashion waste conducted in Lagos and Panipat.

Her Indian-Nigerian heritage is central to her

creative process – both stylistically and in her goal

to reduce clothing waste. Her collections, compris-

ing sportswear, knitwear and fine tailoring, begin

mostly as vintage and deadstock clothing, and are

transformed into colorfully elegant, often one-of-

a-kind fashion. Movement is central to this body of

work, through paneled and asymmetric construc-

tions, clashing fabric combinations and silhouettes

that play with volume. A/W 2020 offered patch-

worked tracksuits, paneled denim and safari-style

jackets in burnt orange, oatmeal and browns, and

the avant-garde nostalgia that is a mainstay of her

work. Stockists include Browns, MatchesFashion,

SSENSE, LN-CC, Nubian Tokyo, Stripe Inc. and

Addicted Korea.

www.ahluwaliastudio.com

Phot

o: D

omin

ika

Sch

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nger

1 7 2 W e A r 4 / 2 0 2 0

E V E N T S

FASHION AND HERITAGE . CRISTÓBAL BALENCIAGA

Part three of the Fashion and Heritage exhibi-

tion series, organized by the Cristóbal Balenciaga

Museoa in Getaria, Spain, and begun in 2018, comes

in the form of a virtual walk-through show as well as

a real-life experience. The series, which reflects on

how the work of the iconic couturier transitions from

fashion creation to curatorial subject, is a collabora-

tion between the museum’s curator Igor Uria and

Judith Clark of London’s Centre for Fashion Curation.

In the online version, 360-degree virtual technology

allows visitors to immerse themselves within and

walk through the white-walled gallery space, where

they can click on display objects for further informa-

tion. The exhibition unfurls as a chronological study

of Balenciaga’s work and creative process, making

biographical connections through the display of his

personal items. With an online symposium planned

for October 2020, this third curatorial iteration coin-

cides with the 125-year anniversary of his birth.

Until January 10, 2021

Cristóbal Balenciaga Museoa

Getaria, Spain

www.cristobalbalenciagamuseoa.com

mpembed.com/show/?m=4XaX1hPdwq4&l&

mpu=570&mpv=I

The sixth annual World Ethical Apparel Round-

table (WEAR) conference has been postponed until

May 2021. In its place, WEAR is launching a monthly

webinar series to begin in September 2020. WEAR

is a Toronto-based global forum where diverse

fashion industry professionals come together to

discuss current solutions and resources for achiev-

ing sustainable business practices in the fast-paced

fashion industry. Topics include circular business

models, supply chain traceability, transparency,

textile recycling, sustainable packaging, carbon

footprint, sustainable tech drivers and material

innovation. Upcoming webinars will refocus conver-

sations around rebuilding the fashion industry in a

post-pandemic world. The first one will include a

keynote talk on ‘A New Paradigm for Supply Chain

Compliance in the Post-Pandemic World’ by Avedis H.

Seferian, President and CEO of Worldwide Respon-

sible Accredited Production (WRAP).

September 16, 2020

wear.fashiontakesaction.com

REBUILDING THE FASHION INDUSTRY

Masculinities seem to be a hot topic in fashion

and design museums around the world right now.

London’s Barbican Centre has just seen a photo-

graphy exhibition exploring the subject, and another

major UK institution is planning a show that unpacks

the history of menswear. Meanwhile, the Fashion

and Lace Museum in Brussels has put up an exhibi-

tion called ‘Masculinities’. From the ‘Great Mascu-

line Renunciation’ of the late 18th and early 19th

centuries to the androgynous outfits of today, it

considers fashion’s complex relationship with the

male gender, showcasing the work of many Belgian

designers, such as Raf Simons, Walter Van Beiren-

donck, Namacheko, Mosaert and Xavier Delcour,

as well as international talent including Off-White,

Jean Paul Gaultier, John Stephen, Giorgio Armani,

Comme des Garçons and others.

August 28, 2020, to June 13, 2021

Fashion and Lace Museum

Brussels, Belgium

www.fashionandlacemuseum.brussels

MASCULINITIES

Fashion and Heritage (c) Cristobal Balenciaga Museum, Getaria, Spain

Masculinities - Off-White © Catwalkpictures

THIS PAGE WAS RESERVED BY PMDS

1 7 4 W e A r 4 / 2 0 2 0

COOL ITEMS F O R CO NC E P T S T O R E S

MEETING OWL PROR E MO T E M E E T ING S FACIL I TAT OR

Coronavirus has changed how businesses operate.

In the new world of work, meetings are conducted

remotely – and there seems to be more of them

than ever before. Over the past few months, many

of us have gotten accustomed to sitting in front

of the screen with a headset on all day, but it

doesn’t have to be this way. This is where Meet-

ing Owl Pro comes in. This multifunctional device

is designed to connect remote working teams for

an easy and stress-free meeting experience. It has

a 360° 1080p camera, 360° tri-speaker, and smart

microphones with an 18-foot radius audio pickup.

Compatible with platforms including Zoom, Skype,

Microsoft Teams and Slack, it can be connected to

a laptop via USB port. The Owl Intelligence System

comes with a continually evolving ecosystem of

smart features and applications. The gadget retails

at around 837 EUR.

www.owllabs.com

SCOTCH & SODABA R F LY DISIN F EC TA N T

A scarce product at the beginning of the pandemic,

hand disinfectant is now easy to source and has

become a household staple – only in most cases it

smells either dreadful, medicinal or just plain boring.

And the container it is sold in usually looks the part,

too. Enter Scotch & Soda’s Barfly: formulated

with 80% alcohol and the fresh Barfly Scotch &

Soda Signature scent, this spray keeps hands clean

and moisturizes them at the same time, all while

smelling marvelous. The scent will be familiar to

many customers as it is taken from Scotch & Soda’s

unisex perfume of the same name, with fresh top

notes of citrus-herb, middle notes of lavender and

jasmine, and base notes of sandalwood, musk and

Madagascar vanilla. The sleek dark bottle will retail

at 9.95 EUR.

www.scotch-soda.com

FFSB E T HIC A L M A SK S

When four teenagers from North London had their

school exams canceled due to Covid-19, they put

their energy into creating ethical face masks under

the brand name FFSB. Mentored by the sustainable

fashion company House of Baukjen, they work with

a family-run factory in Portugal to produce upcycled

reusable double-layered masks. The first batch was

made from leftover and cut-off cottons; now, the

brand has launched an appeal to customers to

donate unwanted clothing that will be turned into

masks. Ten percent of FFSB’s profits go to Young

Minds, a charity for children and young people’s

mental health; besides, there is a special BLM pack,

with a percentage of the proceeds donated to chari-

ties supporting the Black Lives Matter movement.

The masks come in packs of two (retailing at around

12 EUR) or three (retailing at around 18 EUR).

www.ffsbshop.co.uk

G A D G E T S

1 7 5 W e A r 4 / 2 0 2 0

M A R K E T U P D A T E

BUSINESS TALK

BERWICH C A M P U S L I F E

For S/S 21, Italian trouser brand Berwich takes

inspiration from the atmosphere of universities

and colleges and the sense of pride and belong-

ing students experience there. The color schemes

feature ‘Accademia’, a combination of blue navy

and ‘racing green’, and ‘Circolocanottieri’ where

nautical blue meets white and red, evoking rowing

teams. New trouser fits include ‘Contemporary’, a

slim silhouette uncharacteristic of the brand, and

‘Retro’, with a belt and a comfortable and elegant

crotch. Frescolana, a fresh and light wool woven

with resistant but thin threads, is a key material.

www.berwich.com

FASHION FOR GOOD E XPERIENCE

S U S T A I N A B I L I T Y M U S E U M

The world’s first interactive museum for sustainable

fashion innovation can be found in Amsterdam. Visi-

tors to the ‘Fashion for Good Experience’ can explore

the past, present and future of the fashion industry,

while digital exhibits help guests discover how they

can take action. At the end, you receive a personal-

ized ‘Good Fashion Action Plan’, featuring tips on

how to apply what you have learned to your everyday

life. A new exhibition is also running until January

2021: ‘A Cut Above’ examines pioneering production

techniques and includes events and virtual tours.

fashionforgood.com/the-experience

REMAKE HUB WA S T E I N T O L I F E S T Y L E

Established in 2018, the Shanghai-based Remake

Hub provides creative recycling solutions for transfor-

ming waste into lifestyle products, including fashion.

It works with manufacturers, engineers, artists,

architects, fashion designers and scientists to build

cradle-to-cradle design methods that embrace the

circular economy. Their core project is Remake Ocean,

in which discarded fishing net from fishing compa-

nies and ocean cleanups is collected and remade into

high-performance renewable polymers and products.

This includes sunglasses by their sub-brand Refuture,

whose entire production process is made transparent

for customers through blockchain technology.

www.remakehub.co

SUN68COL OR F U L R E T RO

The S/S 21 Man collection by Italian casualwear

brand SUN68 continues building on the label’s

DNA: lively colors, a wide and transversal proposal

of basics and a perfect price-quality ratio. The iconic

vintage garment dyed polo shirt, a staple of every

SUN68 collection, is reimagined with contrast stitch-

ing details, a new color palette that includes neon

shades, and new patterns such as overdyed prints.

Other highlights include 1970s Bandana patterns

and other graphics on polo shirts, sweaters and

collars.

www.sun68.com

MATERIALS E XPERIENCE CENTER S A N T ONI IN SH A NGH A I

In June, Bylu Design introduced its brand new

Materials Experience Center (MEC) for knitting

machinery company Santoni, located in Shang-

hai. The new building is a contemporary research

and inspiration center where leading professionals

in the textile industry can meet clients, research

ideas and work on projects. The highlight of the

center is Santoni’s sample archive, an automated

storage room with over 2,000 samples of materials

suitable for almost any application. The storage can

be accessed online or in person.

www.santoni.cn

S T O N E I S L A N D C 2C F E ST I VA L X

ST ON E ISL A N D SOU N D

C2C Festival and Stone Island have teamed up for a

new project: Stone Island Sound. It will support inde-

pendent music by broadcasting curated ‘soundtracks’

and playlists in Stone Island stores and then releasing

them on streaming services. Curated by C2C, the play-

lists draw on avant-garde and new pop, and also feature

original productions exclusively created for this venture.

This endeavor foregrounds Stone Island’s intelligent

approach to engaging its customers. Since 2015, the

brand has supported local music scenes through the

Stone Island Presents series in London, Manchester,

Tokyo and Glasgow.

linktr.ee/StoneIsland

www.stoneisland.com

Berwich

Remake Hub

SUN68

1 7 6 W e A r 4 / 2 0 2 0


GUCCIS N A P C H A T L E N S

In June 2020, Gucci launched an augmented real-

ity (AR) shoe try-on lens on the Snapchat platform.

Featuring four pairs of sneakers, users can virtu-

ally try on the shoes using the lens and buy them

from the Gucci store on Snapchat by clicking a ‘Shop

Now’ button. This isn't the first AR experience from

Snapchat, but it is the first time that users can buy

products using a Snapchat lens. The lens is available

for other brands on Snapchat to create virtual try-

and-buy experiences in a range of countries.

www.gucci.com

www.snapchat.com

LEMON JELLY S U S T A I N A B I L I T Y

AWA R D

Lemon Jelly, the Portuguese brand of fun, lemon-

scented footwear, has received Drapers Sustainability

Award in the category ‘Best Carbon Footprint Initia-

tive’. The company produces its PETA-approved vegan

shoes locally in Portugal with 100% renewable electri-

cal energy. The S/S 21 collection introduces a new line

of sandals, ‘Inez’, produced completely from recycled

materials – mainly from production waste. Other mate-

rials in the collection include Sugarform, a biobased

substance made from 55% sugarcane, a renewable

feedstock that captures and fixes CO2 from the atmo-

sphere every growth cycle and is almost never irrigated.

www.lemonjelly.com

A L B E R T O H Y BR ID SP OR T PA N T S

Alberto, the German pants expert, is further devel-

oping its hybrid sport pants. Created for the modern

customer, they adapt to hiking in the morning,

cycling in the afternoon and a quick visit to the golf

club in the evening. The highly functional trousers

are equipped with a UV feature and water-repellent

3xDRY Cooler and revolutionary qualities. To ensure

that the pants perform safely on all terrains, they

come with an anti-slip plan and a new reflective

label. Some models also feature mesh lining. They

are available in long and short fits.

www.alberto-pants.com

JOOP!SU M M E R STAT E OF MIN D

Summery ease is at the heart of the Joop! S/S 21

collections. A move towards a more casual vibe is

palpable in the choice of materials: crisp, lightweight

and comfortable cotton and linen meet technical

nylon. The sought-after leisure- and loungewear

range has been extended, and the jogging pant is a

key style. For men, the ‘Dynamic Products’ capsule

now includes jerseys featuring an abstract corn-

flower graphic. Women’s jerseys are abundant, too,

resplendent with clean monochromes, logo artworks

and elegant stripes. Meanwhile, Joop! Jeans offers

daring color combinations and new interior finishes.

www.joop.com

THE KELLY INITIATIVE ENDING RACISM IN FASHION

In mid-June, editor Jason Campbell, creative director

Henrietta Gallina and writer Kibwe Chase-Marshall

organized The Kelly Initiative, a letter and petition

signed by around 250 Black professionals, and sent it

to the Council of Fashion Designers of America. The

petition responds to the CFDA’s June 4 statement of

action, but calls on the group to go further in increa-

sing their anti-racism efforts and holding the indus-

try accountable for hiring POC, including mandatory

bias mitigation training and an industry census on the

racial makeup of member employees made public.

www.instagram.com/thekellyinitiative

VOILE BL ANCHE M E D I T E R R A N E A N F R E E D O M

Inspired by the sense of lightness and movement,

as well as Mediterranean spirit, Voile Blanche’s

S/S 21 collection features lively color blocking,

geometric shapes, flexible materials and trans-

parencies. Bestsellers ‘Liam’ and ‘Julia’ are rein-

vented with artisan treatments and bright hues,

and ‘Maran’ is presented in new exquisite materials

with micro-injected inserts. The season sees the

debut of ‘Qwark’, an 80s-inspired sneaker, and the

bulky ‘Monster’ that represents the urban world. For

men, must-haves include ‘Boom’, the ultra-flexible

comfortable moccasins, and ‘Extreemer’, the boat

shoe with a bulky sole.

www.voileblanche.com

Voile Blanche

Lemon Jelly

Alberto

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NET SUSTAIN C O N S C I O U S LY C R A F T E D

Big retailers are getting serious about sustainability.

Thus, Net Sustain is a platform curated by Net-a-

Porter that offers fashion and beauty products that

have been consciously crafted. It launched last year

with 20+ brands including Stella McCartney and

Maggie Marilyn, and numerous products that meet

the criteria for sustainability – from considered mate-

rials and waste-reducing processes to taking into

account human, animal and environmental welfare.

Established names aside, the platform also welcomes

newcomers such as The R Collective – part of Hong

Kong’s Redress family.

www.net-a-porter.com/de-de/shop/net-sustain

NEONY T N E W L O C A T I O N

Neonyt, the premium event for sustainable fash-

ion organized by Messe Frankfurt, will change its

location for the upcoming Berlin show in January

2021. Talks are underway to stage the show at

Arena Berlin, situated on the banks of the Spree in

Berlin's Alt-Treptow quarter. The location combines

1920s industrial architecture with a modern event

infrastructure. This will be Neonyt’s last event in

Berlin as it will move to Frankfurt as part of Frank-

furt Fashion Week in Summer 2021, together with

Premium Exhibitions.

www.neonyt.messefrankfurt.com

ROBERT GR AHAM 20 T H A N N I V E R S A R Y

Robert Graham, the eclectic American fashion

house, celebrates its 20th anniversary with the

launch of three artist collaborations to create “wear-

able art”. Masterpieces from key art movements,

from Post-Impressionism to Pop Art, have been inter-

preted in tandem with the artists or their estates.

Andrew Berg, President: “The brand’s 20-year

legacy, centered around fashion that is meant to be

discussed, admired and collected, inextricably ties

back to the world of art […] Partnering with inspir-

ing artists allows us to… marry art and fashion and

make it our own.”

www.robertgraham.us

FASHION ID ST Y L E BOP R E L AU NC H

Fashion ID (Peek & Cloppenburg's online shop) is

expanding its portfolio with Stylebop, relaunching

this renowned destination with an optimized concept

and layout. With a focus on premium fashion, Stylebop

has built a large international customer base over

the past 15 years. Its basic offering will be expand-

ed, among other things, by a luxury own brand. John

Cloppenburg says: “Customers and suppliers in the

luxury segment have special requirements that we

will meet in terms of product selection, technology

and service. With Stylebop, we want to open up new

customer groups.”

www.stylebop.com

Eastman Naia’s staple fiber is a sustainable mate-

rial with inherent softness, quick-drying capability

and reduced pilling properties. Responsibly sourced

from sustainably managed pine and eucalyptus

forests and plantations, it is the ideal environmen-

tally friendly choice for comfortable casual wear – a

category that has been on the rise lately, especially

since the move to home working began earlier this

year. Brands are using this material to create soft

and smooth garments, as comfortable for a busy

day as for a cozy night on the couch. Eastman’s

consumer research has found that comfort is one

of the most crucial purchasing decision factors

for consumers. Across the US, the UK, China, Italy

and Germany, the percentage of people who say

comfort is very important to their clothing purchases

outweighs the number of those who are very satis-

fied with the current comfort of their clothing.

Eastman Naia recently collaborated with Alibaba’s

manufacturing platform Xiyou and intimate lounge-

wear brand Ubras to create an entire collection with

this innovative fiber, as have multiple other well-

known international brands.

naia.eastman.com

E A S T M A N N A I A L OU NGE W E A R IN NOVAT ION

Robert Graham

Naia

Stylebop

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R E P O R T

Ethical and edgy denim will be one of the hottest product categories for the new

decade, as Gen Z comes into its earning prime. Chinese fashion circles appear

to have picked up on this, as the country is seeing a sustainable denim scene

emerge. Young labels are coming up with new approaches to dyeing, materials

sourcing and production in general.

The brand name klee klee means ‘to slow down’ in spoken Tibetan. This mini-

malistic, eco-friendly label was founded in Shanghai in 2018. Its collections

feature organic materials and natural dyes. Eschewing commonly used indigo

processes that are famously water- and chemical-intensive, klee klee utilizes

an eco-friendly ‘Indigo Juice’ laundering technique instead to apply indigo color

to fabric, which uses less energy than regular indigo.

Founded in 2017, Rio Hilo is based inside a 100-year-old stone house sitting at

the foot of the Cangshan mountain range. Designer Liu Siyang (刘思阳) studied

fashion engineering at Donghua University in Shanghai, so maybe that’s where

the logical thinking in terms of the label’s use of material and clothing structure

comes from. Rio Hilo aims to achieve, in the near future, organic-only fabric usage,

focusing on hemp, organic cotton, linen and the occasional recycled synthetic

material. When it comes to dyeing, Rio Hilo aims to use as little chemical dye

as possible.

Next up, UseDem. Also based in Shanghai, this company produces handcrafted

products from recycled denimwear and leftover stock fabrics. Designer Xenia

Sidorenko takes old pairs of jeans and transforms them into trendy backpacks,

aprons or other garments. UseDem’s goal is to make society think twice about

what we throw away and watch how we consume, suggesting that ‘cool’ and

‘contemporary’ do not necessarily mean ‘new’.

If you are looking to discover up-and-coming conscious denim brands, make

sure to keep an eye on China.

O V E R T H E L A S T F E W Y E A R S , C H I N A H A S S E E N A R I S E I N S U S T A I N A B I L I T Y- F O C U S E D

D E N I M L A B E L S . We A r P I C K S S O M E N A M E S T O WA T C H

THOUGHTFUL BLUES Elsbeth van Paridon

Rio Hilo UseDem

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D E N I M R O U N D T A B L E

F O R T H I S S P E C I A L I S S U E , W E A R

A S K S T O P D E N I M P R O F E S S I O N A L S

– I N C L U D I N G D E S I G N E R S , C E O S ,

M A N U FA C T U R E R S , R E T A I L E R S , FA B R I C

A N D F I B E R S P E C I A L I S T S – W H A T

W I L L B E T H E C R U C I A L I N N O VA T I O N S

T H A T F I N A L L Y P O S I T I O N D E N I M A S A

S U S T A I N A B L E C A T E G O R Y

RIGHTEOUS DENIM

01 Paul Marciano, GUESS?, Inc.

02 Maurizio Donadi, Atelier & Repairs

03 Paul Dillinger, Levi Strauss & Co.

04 Adriano Goldschmied, Genious Group

05 Iu Franquesa, Companion Denim

06 Laura Vicaria, MUD Jeans

07 Kim Hyldahl, MOS MOSH

08 Angel Nokonoko, Nok Nok Denim

09 Uwe Kippschnieder, CLOSED

10 Andrea Venier, Officina+39

11 Deborah Turner, Vicunha Europe

12 Jason Denham, Denham

13 Reinhard Haase, True Religion, UNIFA

14 Sean Gormley, Wrangler

15 Martin Höfeler, ARMEDANGELS

16 Donna Ida, Donna Ida

17 Martijn Hagman, Tommy Hilfiger Global & PVH Europe

18 Vincent Qin, Envoy Textiles

19 Özge Özsoy, Bossa

20 Ani Wells, Simply Suzette

21 Magdalena and Markus Budim, The Budims

22 Tricia Carey, Lenzing

23. Stéphane Jaspar, Scotch & Soda

24. John Rossell, AG Jeans

0201 03 04 05 06 07

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Photo: Glenda Goldschmied

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PAUL MARCIANO (01)

C HIE F C R E AT I V E OF F IC E R , GU E S S?, INC .

The innovations exist to make denim more sustainable – there is waterless and

chemical-free technology, and innovative and more natural dye processes. But what

we lack is the expertise, the resources to have each and every vendor invest in and

learn this technology, and the new trends and culture to support the effort. This

is starting to change, and it starts with leadership. GUESS is proud to be part of

Jeans Redesign, which is a comprehensive guide for 100% circular, recyclable and

sustainable denim. By working toward a common goal within the denim industry,

we will collectively redesign and communicate sustainable denim in a common

way. This will help to make people less confused about sustainability and form a

better understanding and expectation for sustainable denim. I believe this is what

was missing and that it will make a huge impact to bring about the change we

need to more rapidly drive widespread adoption of sustainable innovation in denim.

GUESS is quickly growing our ‘Smart GUESS’ collection, which uses 20-100%

smart materials that are better for the environment. We are focused on susta-

inable materials because over half of a product’s environmental impact comes

from the fabric!

For denim specifically, in addition to the Jeans Redesign program, GUESS is also

working to use less water through waterless technology and developing denim with

innovative materials such as our zero cotton denim, which will be available next year.

MAURIZIO DONADI (02)

FOU N DE R , AT E L IE R & R E PA IR S

While innovation is about technical experimentation and may take time, the first

innovative step to make denim a more sustainable garment is to produce less of it.

In fact, the vast majority of issues with denim lie in design flaws and the extra-

ordinary overproduction of jeans, compromising the health of people and the

environment.

Here I suggest a few steps toward a more sustainable and responsible approach

to denim:

1. Design for circularity and commit to producing long-lasting goods.

2. Reduce production.

3. ‘Re-imagine’ / re-design so as to reduce the extraordinarily high obsolete global

inventory of finished product and textile.

4. Invest in textile technology and testing in order to create the friendliest products

for people and the environment.

5. Publicly and transparently share the way your brand works.

In the end, it comes down to a simple concept: be content with your company

being smaller in size, higher in quality, equally profitable for investors and workers

and, most importantly, honest.

PAUL DILLINGER (03)

V IC E PR E SIDE N T OF GL OBA L PRODUC T IN NOVAT ION,

L E V I ST R AUS S & CO.

We’ve got a great-looking pair of Levi’s in our archive that are about 134 years old:

a beautiful shade of indigo and a stunning authentic finish. The fit is wearable and

relevant, and would look great on the streets of Tokyo, Paris – or even Paris, Texas.

The relative environmental impact from making a jean in 1884 is nearly negligible

when amortized over 134 years. We’ve made ‘sustainable jeans’.

We can refine and improve the technical industrial cycle – exploring advanced

man-made cellulosic fibers made from post-consumer garment waste to replace

virgin cotton. We can use newly re-formulated synthetic dye types that save

water, eliminate effluent and reduce the carbon footprint of denim production.

Alternatively, we can work to revive a more natural industrial cycle – eliminating

synthetic material and chemical inputs through the use of organic cotton, hemp

and indigo alternatives.

The best expression to this multidisciplinary ‘systems-based’ approach is our new

Levi’s WELLTHREAD jeans made with Circulose from ReNewcell– a new recycling

technology that turns old jeans into a new, high-quality viscose alternative.

Following strict standards for circular production, we sent samples of these new

jeans made from old jeans back to ReNewcell and confirmed that they can be put

back into their circular system for a potential 3rd generation of material value. This

approach to holistic design for circular systems will be the ‘deciding innovation’

that ensures a sustainable future for our industry.

AG

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ADRIANO GOLDSCHMIED (04)

FOU N DE R , GE NIOUS GROU P

Sustainability in denim business involves farming, indigo dye production, chemistry,

textile machine makers, spinning, weaving, indigo dye systems, fabric finishing,

garment design, pattern making, cutting and sewing, garment finishing, creating

energy, transportations and many other elements. Clearly, there isn’t a ‘secret

weapon’ that could improve them all at once. Only a combination of initiatives

in every area can transform denim from the second most polluting industry to a

sustainable one.

Lately, there has been a lot of discussions around garment finishing. The introduction

of new machines like Ozone and Laser, as well as water recycling and new methods

and wash formulas, brought a dramatic improvement. But all the other steps involved

in making a jean require the same attention.

Luckily, change is underway. Take, for instance, the inventions by HUUE: through

a biological process, they plan to produce indigo dye from sugar cane, eschewing

the toxic method we use today.

In the end, the most game-changing innovation is collective awareness of the

importance of sustainability.

IU FR ANQUESA (05)

FOU N DE R , COM PA NION DE NIM

For the biggest portion of denim, where the jeans are pre-washed and distressed,

the key factors in sustainability will be the reduction of water consumption, and

using fewer and more environmentally friendly chemicals, along with reducing the

carbon footprint by shortening the production distances between the suppliers to

the warehouses and the shops.

Sustainability should be taken as a holistic concept that is implemented across

each and every detail, be it the product itself, the labeling, the packaging or even

the shipping method.

L AUR A VICARIA (06)

C SR M A NAGE R , M U D JE A NS

Currently, cotton is one of the most environmentally expensive steps in the produc-

tion of jeans. This is true even when you use organic cotton. Therefore, further

reducing or eliminating our dependency on this raw material could have a signifi-

cant positive impact. MUD Jeans is currently working on a project called the Road

to 100. In collaboration with Circle Economy, Saxion University, and Recover,

the objective is to create a pair of jeans that is 100% made from post-consumer

recycled cotton. Through this project, we aim to tackle the short fiber issue: stan-

dard mechanical recycling blends recycled cotton into yarn that is used to make

new jeans, but the cotton is shredded in such a way that the resulting fibers are

too short. We are resolving this by mixing two recycling techniques: molecular and

mechanical. Through this combination, we aim to maintain the look and feel of

jeans while eliminating the use of virgin organic cotton entirely.

STÉPHANE JASPARC HIE F M A R K E T ING OF F IC E R , SCO T C H & SODA

The use of organic cotton is one of the key agents of change to achieve sustain-

ability, although there are still efforts to be made. Since the launch of our denim

collection in 2010 it has been important for us to be part of the solution as well,

so the increasing use of organic cotton in our denim designs is key.

Another important factor is the growing use of recycled fibers from either pre- or

post-consumer waste, which is otherwise often destined for landfill. This procedure

reduces the need to create newly manufactured fibers, consequently saving energy,

dyes and chemicals, which in turn also reduces pollution.

But one of the most crucial practices that recent technology is allowing us to

carry out is the ability to save water in a significant way. With our denim, we are

aiming to reduce the amount of the precious element used in the manufacture

process by 50% within the next two years.

Levi's

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ANGEL NOKONOKO (08)

FOU N DE R , NOK NOK DE NIM

If we are talking about having close to 100% sustainable products, then we have

to innovate and invest in different areas; in the way we source the raw materials,

using recycled or organic fibers, and making trimmings like buttons, zippers or

rivets using chemical-free products. Another key point is the washing process:

laundries need to invest in innovative technologies that will help achieve sustain-

able washes with machines like Ozone, Eflow or Laser, among others, which will

substitute bleaches and other harmful chemicals. In addition, innovation in new

ETP plant technologies will reduce water and electricity usage.

But the most important and decisive innovations are awareness, information and

responsibility – and that the consumer understands this industry and that the

industry is transparent and ethical in its practices.

UWE KIPPSCHNIEDER (09)

DE NIM DE V E L OPE R , C L OSE D

Today there are great opportunities for all three aspects of denim:

The yarns: I believe reducing the amount of fresh cotton is key on the mill’s side.

This could be by using modern cellulose fibers such as Tencel Refibra or by

expanding the recycled content of a denim.

The dye: There are revolutionary techniques, such as Kitotex , Smart Indigo,

vegetable sizing agents or dyeing methods using nitrogen. Each one of them is

drastically reducing the use of chemicals, water and energy, and some of them

can be combined for even greater results.

The wash: Italian laundries such as Everest or I.T.A.C. have been putting all their

efforts into ‘greener’ washes for many years. Thanks to their steady R&D, we

are now able to create perfect vintage images but on a super-low impact base.

High-definition laser, ozone treatments, artificial instead of pumice stones, foam

and nebula applications: all these techniques lead us to more sustainable washings.

ANDREA VENIER (10)

M A NAGING DIR EC T OR , OF F IC INA+39

A big change is happening in the denim industry, and personally I like the challenge.

And for a chemical company like us, this means huge R&D investments to replace

old practices with better and greener ones.

Products like potassium permanganate alternatives are really innovating our denim

industry.

But in the end, the big innovation for the denim sector is to transform the fashion

industry into a transparent, responsible and sustainable system that celebrates the

stories, the people and the resources behind each pair of jeans.

DEBOR AH TURNER (11)

M A R K E T ING M A NAGE R , V IC U N H A E U ROPE

There will always be a market for cotton, but we will need to demonstrate sustain-

able water use and provide complete transparency. This is not to say that it is

wrong to have looked at alternative fibers, but we need to be realistic about their

ability to replace cotton and, in particular, their scalability.

The biggest single step would be a commitment to selling garments with a mini-

mum combined recycled content of 25%. This could have a huge impact on the

overall business, not to mention landfill, and it’s something that the customer could

clearly understand. Vicunha have articles that use no virgin cotton at all but a

combination of pre- and post-consumer recycled cotton with Refibra and Tencel,

so an average of 25% seems manageable. If this were the normal basic require-

ment alongside complete transparency, it would put an end to throwaway fashion.

KIM HYLDAHL (07)

C EO A N D FOU N DE R , MOS MOSH

A N D MOS MOSH GA L L E RY

MOS MOSH has been working with the same denim manufacturers in Turkey from

its beginning in 2010. We have seen a dramatic change in the industry, making it

a place where almost anything is possible in terms of sustainability. At the same

time, the complexity of denim from the point of view of fibers, wash, treatments

and trim makes it really challenging to define what a sustainable pair of jeans

might look like. For us, the main focus going forward is reducing the amount of

water use to zero.

It feels like these last years of focus on sustainability are now paying off, with

a variety of fabrics made from post-consumer, recycled or organic fibers. Most

recently we have been experimenting with recycled elastane. At the end of the

day, sustainability is also about creating beautiful product with high durability.

True Religion

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JASON DENHAM (12)

CCO A N D FOU N DE R , DE N H A M

There has been an incredible transition during the last decade by every compo-

nent that makes up a jean. The type of cotton we use, the dye stuff, the weav-

ing methods, the waste-less technology and the efforts to preserve and recycle

water. Not only fabric but also laundry, manufacturing, packaging and even PCR

(post-consumer recycling). I have also said many times that denim jeans are the

most sustainable and hard-wearing product on the planet. Jeans last a very long

time and often have a second and third life, being passed on to friends, family or

thrift stores. Denim gets better the more you wear it and it doesn't need washing

every time you wear it; denim lovers love their jeans and they love to save water!

REINHARD HA ASE (13)

C EO, T RU E R E L IGION BR A N D JE A NS GE R M A N Y

A N D U NIFA GRU PPE

Our manufacturing company for denims has invested in new machines, so we have

our own cleansing system in-house. The used water will be cleaned up and used

directly for the next production, so we are reducing water consumption.

We are also looking into recycled denim for the future.

Garments made with natural fibers like cotton, hemp, linen, wool and some semi-

synthetic fibers, specifically Tencel and Modal, are good sustainable choices here.

We are looking for a kind of natural dyeing, which is not a very common practice

in the fashion industry. Clothing dyed with natural materials like indigo is better

for you and the environment.

SEAN GORMLEY (14)

GL OBA L CONC E P T DIR EC T OR , W R A NGL E R

We have recently launched a breakthrough technology: Indigood, a sustainable

indigo dye that uses foam to replace vat dyeing. Eco-tech finishing throughout

our ranges achieves the popular washed and distressed looks of denim with a

fraction of the water, energy and chemicals used in conventional processes. Many

innovations are available in dyeing and finishing. But the deciding area where

innovation is required to position denim as truly sustainable is cotton.

Cotton will continue to play a dominant role in denim. Yes, there are great alter-

natives to virgin cotton such as hemp, cellulosic fiber and mechanical recycled

cotton, which can and should be blended to lessen the need for new virgin cotton.

However, it’s important that across the globe farmers adopt new and innovative

farming techniques that are proven to greatly reduce the environmental impact

of growing cotton and improve soil health.

MARTIN HÖFELER (15)

C EO, A R M E DA NGE L S

We all love our denims, but denim is a dirty business. With us, no harmful chemicals

are used to treat our denims. We use modern techniques such as laser or ozone

treatment. You will hardly spot a difference to conventional bleaching, except that

we use 85% fewer chemicals. And for the rest, we make sure it meets the GOTS

criteria. A few more nice figures: laser saves 62% energy and 67% water. With

our ‘detox denim’, we are taking a big step forward towards a more sustainable

fashion industry.

DONNA IDA (16)

OW N E R , DON NA IDA

We are in the process of working with our factory to add Environmental Impact

Measuring scores to our products. This means that you can see the impact of

certain washes (some have more impact than others). For example, our Black-

est and Milk styles are made with fabrics that contain Tencel and have a Low

Impact EIM score.

Blue denim can be high impact due to the amount of washing that goes into

creating different shades. The Blackest and Milk fabrics are not washed, which

ensures they are super low impact.

MARTIJN HAGMAN (17)

C HIE F E X EC U T I V E OF F IC E R ,

T OM M Y HIL F IGE R GL OBA L & P V H E U ROPE

With denim, the key to unlocking innovation is through strong partnerships

with vendors and denim industry leaders that are committed to creating more

sustainable products.

Together, we have aligned on low impact processes and established key sustaina-

bility metrics that we must all measure ourselves against, including the circularity

of the design process, durability of the end product, resources used, and how we

manage waste. To facilitate these goals, we created the Denim Lab – part of our

Product Innovation Center – which develops sustainable finishing techniques that

reduce water and chemical consumption by up to 70%. Currently, more than two

million pieces have been finished using lower impact methods, and by the end

of 2020, one million pieces will be made using post-consumer recycled cotton.

VINCENT QIN (18)

C HIE F M A R K E T ING OF F IC E R , E N VOY T E X T IL E S

If there is a deciding innovation that will position denim as a sustainable garment, it

would be innovation in dyeing technology. If there’s any dyeing technology that can

achieve satisfactory color without excessive dyeing, that means less dyeing product

used, less water used and less energy used; consequently, the laundry process will

become easier, less time consuming and, in a word, more sustainable.

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ÖZGE ÖZSOY (19)

M A R K E T ING C HIE F, BOS S A

We adopted the following procedures aimed at reducing our environmental impact:

sustainable materials, energy efficiency, water saving, process engineering, certi-

fication, social responsibility, re-usage, collaboration and co-creation.

Recycling, reducing and saving are critical. We need a stable and sustainable

system in which natural resources are renewed and waste never accumulates: a

closed loop. At Bossa, we are developing a zero-waste life cycle to close the loop.

Transparency is just as important. In our D-CHRONICLES concept, we have part-

nered with FibreTrace to provide trust and traceability.

ANI WELLS (20)

FOU N DE R , SIM PLY SU Z E T T E

The denim industry has been working tirelessly to come up with solutions to

producing this resource intensive garment. But, it seems, the collaborative efforts

and knowledge shared within the denim community has put us ahead of the

fashion industry in general.

Traditionally, synthetic indigo requires petroleum, formaldehyde and cyanide,

as well as other toxic substances, to turn the powdered form into a liquid dye.

However, the newest innovation is bio-engineered indigo, which genetically engi-

neers bacteria to mirror the way Polygonum Tinctorium makes and holds its color.

This, paired with regenerative / carbon positive farming methods and chemically

recycling cotton textiles, will help position denim as a ‘sustainable’ category.

MAGDALENA AND MARKUS BUDIM (21)

FOU N DE R S , T H E BU DIM S

Of course, technical highlights and improved materials are essential in order to

be able to achieve the highest level of sustainability in all areas. From our point of

view, however, it is not only the innovations mentioned above that lead to the final

positioning of a sustainable product: effective communication about it is crucial

– especially if it is a long-standing product. What good is the exemplary effort if

the added value is overlooked by consumers? We know from our retail experience

that the majority of consumers do not yet even know how ‘dirty’ denim can be.

In order to achieve an effective and unshakable breakthrough, ignorance must

first be tackled through radical and overt explanations and transparency. That

will cause an enormous shock, but it will also raise awareness, we are sure of that.

TRICIA CAREY (22)

DIR EC T OR GL OBA L BUSIN E S S DE V E L OP M E N T DE NIM ,

L E N Z ING

There isn’t just one innovation that will allow us to make a sustainable garment;

it takes all the innovations to collide in a scalable way – only then will we have a

sustainable garment. It is about looking at best in class for each component. Utilizing

fibers with a low environmental footprint, like Tencel Lyocell fibers or circularity

with Refibra technology, as a starting point. A reduction in water, chemical and

energy use in indigo dyeing and utilizing laser and ozone technology for finishing

with fair labor standards. Redefining value to mean a best in class product while

considering people and the planet.

JOHN ROSSELLH E A D OF C R E AT I V E & M A R K E T ING , AG JE A NS

Sustainability in denim won’t necessarily come from a silver bullet in innovation,

but instead will come with an economy of scale. As production increases and

becomes more widespread, costs will become less prohibitive for the general

denim industry to adopt. That will only happen when leaders commit to sustain-

ability early on, shouldering the heavy costs of developing resources and processes,

and setting a course for others to follow. Brands like AG continue to invest more

into sustainability, such as our water recycling technology we launched in 2019,

or our exploration into sustainable fabrics like hemp and Tencel, or creating a

garment recycling program to encourage responsible disposal or even circularity;

it’s these early efforts at the forefront that will be the deciding factor in creating

a sustainable denim industry.

Tommy Hilfiger

1 8 5 W e A r 4 / 2 0 2 0


S Q U A R I N G T H E C I R C L E :

A circular mindset needs to be applied to all aspects of denim produc-

tion – from using recycled and recyclable fibers to using closed-loop

water systems.

R E T H I N K I N G D Y E I N G A N D F I N I S H I N G :

Reducing the use of chemicals, water and energy is possible due

to numerous new technologies, including laser and ozone treat-

ments, dyeing methods using nitrogen and new vegetable agents

– all these avenues need to be studied carefully.

R E D U C I N G V I R G I N C O T T O N D E P E N D E N C Y:

Rethinking production to incorporate hemp, cellulosic fibers,

post-consumer recycled cotton or alternative fibers is the main

step towards sustainability in denim.

T H E R E I S N ’ T A S I N G L E C U R E :

Sustainability in denim is only possible if

companies at various points of the supply

chain come together in a concerted effort

to effect change.

C O M M U N I C AT I O N :

Any change starts with the mindset. Be

transparent with your customers, communi-

cate openly, and be prepared both to educate

your consumer and to be educated by them.

KEY TAKEAWAYS FROM THE

DISCUSSION

1 8 6 W e A r 4 / 2 0 2 0

DENHAMShamin Vogel

Founded in 2008 in Amsterdam by

English-born Jason Denham, Denham

was conceived as a brand for both men

and women, cherishing the traditions of

denim craftsmanship yet also consistently

driving innovation.

Today, it is one of the world’s most

respected denim brands with POS around

the globe and an impressive array of own

stores. It operates 12 stores in Europe, 19

in China and, notably, 30 in Japan, where

the denim brand is celebrated by the hip

crowd. Its latest additions were a store in

Osaka and one in Parco Shibuya, Tokyo,

both opened in autumn 2019.

What makes Jason Denham a leading player is the fact that he celebrates

details. Often one can find the brand’s identifying feature, the scissors emblem,

on buttons, as a shape of stitching and also rendered as hangers in their

stores. “[Scissors] determine the shape and silhouette of a jean, it is the most

important tool in making a jean,” says Jason Denham. He is obsessed with

combining design, craftsmanship and innovation with the best denim fabrics,

resulting in hero pieces. He lives by his slogan: “The truth is in the detail.” His

philosophy in design can be described best by his statement: “It’s all about the

nuances that you notice but others maybe don’t. The inside-out authenticity.

The reinvention. These itsy-bitsy details – that’s our obsession.”

Denham works with the best tools available for denim design: Japanese-style

cold-water washing, Italian weaves, copper hardware and gold rivets. The use

of superior washing techniques and the inspiration of an impressive personal

archive enable Denham to be ahead of the design curve. Of course, you will

find hidden fobs and five-point pockets in their products, as well as fabrics

that have the ability to become even more

special as they age. Defined by the indigo

blue that makes denim so recognizable,

Denham also produces indigo jerseys, knit-

wear, denim shirts and cotton pants. Even

the brand’s furniture, made in collabora-

tion with Scandinavian brand Norr11, can

be admired in the purest indigo. Denham

has doubtlessly positioned itself as a

premium brand not only through supe-

rior quality and design but also through

collaborations with companies such as

Montblanc , Barbour, Converse , A.C.F,

Bearbrick , Minotaur, White Mountain-

eering, Rolex , Nike and others.

Sustainability remains at the heart of Denham. The cotton they use, the mini-

mal waste technology and efforts to preserve and recycle water are as much a

part of its DNA as Japanese denim actually made in Japan. It also created the

world’s first biodegradable stretch denim jeans. Not only is there a focus on

the manufacturing process and packaging, but also on post-consumer recycling.

Denham stands for jeans that get better with age. As part of its customer

service, it offers to service jeans for life with its ‘Service Co’, which is available

in as many locations as possible to help customers and also to personalize

their jeans. It can be found in Amsterdam, Tokyo, Hamburg, Shanghai, Sydney

and elsewhere. Denham also likes to conceive new garments: out of old tents

comes a fantastically detailed parka; old Swiss Army sleeping bags become

a parka that can be worn during the day and used as a sleeping bag at night.

But, ultimately, Denham creates jeans that will adapt to their wearer’s life,

true life-pieces that age gracefully, turning into items people are happy to

pay for and collect.

www.denhamthejeanmaker.com

L E A D I N G P L A Y E R

O w n a l e g e n d !M O r e i n f O r M a t i O n O n

W E A R G L O B A L N E T W O R K . C O M

Denim_Legends.indd 127 22.03.13 12:09

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S T O R E

B O O K

B OY P L U S S EO U L 1 9 0

C E N T R E CO M M E RC I A L PA R I S 1 9 6

D E A R G O O D S M E N M U N I C H 2 0 0

I E R I T B I L I S I 2 0 4

M A R T I N PAT R I C K 3 M I N N E A P O L I S 2 0 8

S T I J L B R U S S E L S B R U S S E L S 2 1 4

S T O N E I S L A N D S H E N Z H E N 2 2 0

U R B A N S P E E D V I E N N A 2 2 4

1 9 0 W e A r 4 / 2 0 2 0

S E O U L

2F, 18-6, Dosan-daero 45-gil | Seoul | Republic of Korea

Mon - Sun 11:30 am - 8 pm

Phone: +82 2 548 5379

www.instagram.com/boyplusseoul

Interior design: BOYPLUS Team

Brands: 1000V, Anchovi, Anomie Complex, Assmble Station, Boyplus, De-Nage, Devilish, Dilemma,

Double Lovers, Eyeye, Fan Young, Frame, Hankim, Holynumber7, Jorenz Cartiess, Kye, Kyishoo,

Laurence & Chico, Luvur, M082, Nongdamn, O!Oi Collection, Odd Collet, Push Button Fw19, Skoot,

Studio Seong, Sun Woo, Trunk Project, Ulkin, Yeo, Youser, etc.

BOYPLUS

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S E O U L

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B O Y P L U S

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S E O U L

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B O Y P L U S

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P A R I S

2 Rue de Marseille | 75010 Paris | FRANCE

Mon 1 pm - 7:30 pm, Tue - Sat 10:30 am - 7:30 pm, Sun 2 pm - 7 pm

Phone: + 33 (0) 9 63 52 01 79 | Email: [email protected]

www.centrecommercial.cc

Interior design: Centre Commercial / Villanova

Brands: Ami, Baserange, Bleu de Paname, Church's, Common Projects, Etudes, Filson,

G. Kero, Kings of Indigo, Jeanerica, Mara Hoffman, Michel Vivien, New Balance,

Norse Projects, Officine Generale, Paraboot, Proemes de Paris, Red Wing Shoes,

Roseanna, Stutterheim, Suzie Winkle, Veja, etc.

CENTRECOMMERCIAL

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P A R I S

1 9 9 W e A r 4 / 2 0 2 0

C E N T R E C O M M E R C I A L

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M U N I C H

Hohenzollernstr. 31 | Munich | Germany

Mon - Fri 11 am - 8 pm, Sat 10 am - 6:30 pm

Phone: +49 89 74043479 | Email: [email protected]

www.deargoods.com

Interior design: Nicole Noli

Brands: Armed Angels, Dedicated, Greenbomb, Knowledge

Cotton Apparel, Thinking MU, etc.

DEAR GOODS MEN

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M U N I C H

2 0 3 W e A r 4 / 2 0 2 0

D E A R G O O D S M E N

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T B I L I S I

Wine Factory N1, Ghvinis Karkhana N1, Vasil Petriashvili str. 1 | Tbilisi | Georgia

Mon - Sun 12 am - 10 pm

Phone: +995 551 498 498

www.ieristore.com

Interior design: OBJECTS - Tiblisis

Brands: 711, Babukhadia, Chubika, Crosty, David Koma, Eshvi, George Bezani, George

Keburia, Idée Fixe, Ingorokva, Lalo, Le Chic Radical, Le Mocassin Zippe, Liya, Materiel,

Muzaradi, Situationist, Sofio Gongli, Tata Naka, Tatuna, Tiko Paksa, Tushuri, etc.

IERI

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T B I L I S I

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I E R I

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212 Third Avenue North #106 | Minneapolis | USA

Mon-Sat 10 am – 8 pm, Sun 10 am – 6 pm

Phone: +1 (612) 746-5329

www.martinpatrick3.com

@martinpatrick3

Interior design: Greg Walsh & MartinPatrick3

Brands: Adesso, Altea, Bally, Belstaff, Bogner, Bosca, Briglia, Daleno, Edward

Armah, Elk, Fisher + Baker, Frama, Hex, James Perse, Krewe, Lanvin, Miansai, Nike,

Orto Parisi, PKG, Rag & Bone, S.M.N. Studio, Stone Island, Torino Leather, Unum,

Vuarnet, Wigens, Zanone, etc.

MARTINPATRICK3

M I N N E A P O L I S

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M A R T I N P A T R I C K 3

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2 1 3 W e A r 4 / 2 0 2 0

M A R T I N P A T R I C K 3

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B R U S S E L S

Rue Antoine Dansaert 74 | 1000 Brussels | Belgium

Mon - Sat 10:30 am - 6:30 pm

Phone: +32 2 512 03 13 | Email: [email protected]

www.stijl.be

Interior design: xxx

Brands: A.F. Vandevorst, Ann Demeulemeester, Cedric Carlier, Christian Wijnants,

Dirk Van Saene, Dries Van Noten, Haider Ackermann, Marina Yee, Northern Rain,

Rick Owens, Sarah de Saint-Hubert, Sofie D'Hooren, Tim Van Steenbergen, etc.

STIJL BRUSSELS

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B R U S S E L S

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S T I J L B R U S S E L S

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B R U S S E L S

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S T I J L B R U S S E L S

2 2 0 W e A r 4 / 2 0 2 0

S H E N Z H E N

Shop252,2F Mixcity, NO1881 Baoannan Road, Luohu District | 518010

Shenzhen | China

Mon - Sun 10 am - 10:30 pm

Phone: +86 (0) 755 82230986 | Email: [email protected]

www.stoneisland.com

Brands: Stone Island

STONE ISLAND

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S H E N Z H E N

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S T O N E I S L A N D

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V I E N N A

Herrengasse 21 | 1010 Wien | Austria

Mon - Fri 10 am - 7 pm, Sat 10 am - 6 pm

Phone: +43 676 5 744 744 | Email: [email protected]

www.urbanspeed.at

@urbanspeed.at

Interior design: Roman Delugan

Brands: 5Preview, Ahirain, Avant-Toi, beyond, Borsalino, Dondup, Eyepetizer, Flower mountain, Jeija,

Kolor-Japan, Laneus, Maison Flaneur, Marina Fossati, Mario Luca Giusti, Marni men, Mexicana, MSGM, Muun,

Paco Rabanne, Paul Smith, Pierre Louis Mascia , push button, Rada , Richard Ginori, Roberto Collina, Rocco P,

SJYP, Stand Studio, Stee , Stella Jean, Vicmatie, Victoria/Tomas, etc.

URBAN SPEED

2 2 6 W e A r 4 / 2 0 2 0

V I E N N A

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U R B A N S P E E D

2 2 8 W e A r 4 / 2 0 2 0

V I E N N A

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U R B A N S P E E D

2 3 0 W e A r 4 / 2 0 2 0

V I E N N A

2 3 1 W e A r 4 / 2 0 2 0

U R B A N S P E E D

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I N D E X

181 www.uno8uno.it

Addicted Koreawww.addicted.kr

Adidas Originalswww.adidas.com

Aeronaeron.com

AG Jeanswww.agjeans.com

Albertowww.alberto-pants.com

Algiknitwww.algiknit.com

Algixalgix.com

Alkemē Ateliērshopalkemeatelier.com

Aloealoenot.com

Also, Freedomalsofreedom.com

Alteralter-designs.com

ANCUTA SARCA www.instagram.com/ancutasarca

Angus Chiangwww.anguschiang.com

Anivenwww.kometundhelden.de

Antonio Tuowww.antoniotuo.com

APJPwww.instagram.com/apjp___

Arketwww.arket.com

ARMEDANGELSwww.armedangels.com

Art Baselwww.artbasel.com

Assemblywww.assemblynewyork.com

Atelier & Repairshttps://atelierandrepairs.com

Avocadostorewww.avocadostore.de

B'2ndwww.b-2nd.com

Backsideclubwww.backsideclub.com

Balenciagawww.balenciaga.com

BAO BAO ISSEY MIYAKE www.isseymiyake.com/en/brands/baobao

Barbourwww.barbour.com

Bask in the Sunwww.baskinthesun.fr

Baum und Pferdgartenwww.baumundpferdgarten.com

Be Sustainablewww.besustainable.info

Bearbrickwww.bearbrick.com

Beatrice. Bwww.beatriceb.com

Bergdorf Goodmanwww.bergdorfgoodman.com

Berwichwww.berwich.com

Bethany Williamswww.bethany-williams.com

Bibi Chemnitzwww.bibichemnitz.com

Bibi Louwww.bibilou.es

Billabongwww.billabong.com

Blackhorse Lane Ateliers https://blackhorselane.com

BLANCHE X CHRISTIAN LACROIX blanchecph.comwww.christian-lacroix.com

Blinqhttps://blinq.fashion

BLK BXwww.blk-bx.com

Blue Mountain School https://bluemountain.school

Blue Of A Kindwww.blueofakind.com

Blumarinewww.blumarine.com

Bomboogiewww.bomboogie.com

Bossawww.bossa.com.tr

Botterowww.bottero.net

Breuningerwww.breuninger.com

Brandblackbrandblack.com

Brownswww.brownsfashion.com

Bylu Designhttp://bylu.design

Ca4lawww.ca4la.com

Calvin Klein Jeanswww.calvinklein.com

Captain Santorswww.captainsantors.it

Caralargacaralarga.com.mx

Cath●Swww.cathsbelgium.com

Celinewww.celine.com

Charles & Keithwww.charleskeith.com

Cheng Kung Garmentswww.chengkung.com

Chie Miharawww.chiemihara.com

Circular Fashionhttps://circular.fashion

Clarkswww.clarks.co.uk

CLOSEDwww.closed.com

Coachwww.coach.com

Colorifixcolorifix.com

Comme des Garçons www.comme-des-garcons.com

Companion Denimwww.companiondenim.com

Conversewww.converse.com

Coolshopcoolcreative.com

Cordurawww.cordura.com

Courrègeswww.courreges.com

Cushttps://cus.cat

CVG Shapewww.cvgshape.com

Cynthia & Xiaowww.cynthiaandxiao.com

Dana Thomaswww.danathomas.com

DB Berdandbberdan.com

Dear Progresshttps://dearprogress.ru

Denhamwww.dehamthejeanmaker.com

Departamentohttps://dpto.la

Depopwww.depop.com

Diemmewww.diemme.com

Diorwww.dior.com

Dolce & Gabbanawww.dolcegabbana.it

Donna Idawww.donnaida.com

Dover Street Marketwww.doverstreetmarket.com

Duo NYCwww.duonyc.com

DuPont Soronasorona.com

Eastmanwww.eastman.com

Ecoalf ecoalf.com

Ecovativeecovativedesign.com

EGONlabegonlab.com

Eileen Fisher www.eileenfisher.com

Foundationwww.ellenmacarthurfoundation.org

Emilio Pucciwww.emiliopucci.com

End Clothingwww.endclothing.com

Envoy Textilesenvoytextiles.com

Erdem erdem.com

Ermanno Scervinowww.ermannoscervino.com

Ermenegildo Zegnawww.zegna.com

Escadawww.escada.com

Essēnessenthelabel.com

Eternawww.eterna.com

Ethiquewww.thethique.com

Eticiwww.etici.eu

Etrowww.etro.com

Everestwww.everest-lavanderie.it

F_WD www.fwd-react.com

Farfetchwww.farfetch.com

Fashion Revolutionwww.fashionrevolution.org

Fashionphilewww.fashionphile.com

FASSBENDERmyfassbender.com

Francesco Russowww.francescorusso.fr

Fratelli Russowww.fratellirusso.it

Frauwww.frau.it

Fresha Londonfreshalondon.com

Gabriele Pasiniwww.gabrielepasini.com

Gapwww.gap.com

Genious Groupgeniousgroup.la

Gestuzwww.gestuz.com

Gifting Brandshttps://giftingbrands.com

Ginkgo Bioworkswww.ginkgobioworks.com

Giorgio Armaniwww.armani.com

Glorewww.glore.de

GOOMHEOwww.instagram.com/goomheo

Grailedwww.grailed.com

GREEN BERLINwww.greenberlin.com

Gucciwww.gucci.com

GUESSwww.guess.com

H.Katsukawa hkatsukawafromtokyo.net

Hand Pickedwww.handpicked.it

Harriswww.calzoleriaharris.it

Harvey Nicholswww.harveynichols.com

Helmut Langwww.helmutlang.com

Herzen's Angelegenheit

www.herz-fashion.de

Holly Golightlywww.hollygolightly.dk

Homeboywww.homeboy.eu

Homer Avenueshophomeravenue.com

House of Baukjen www.baukjen.com

HowBottle www.howbottle.com

I.T.A.C. greenlabacademy.com

IFMwww.ifmparis.fr

Ilay Lit www.ilaylit.com

Impala impalarollerskates.com

Isabel Manns www.isabelmanns.com

IZIPIZI www.izipizi.com

J Lindberg www.jlindebergusa.com

J. Crew www.jcrew.com

Jacob Cohën jacobcohen.it

Jacquemus www.jacquemus.com

Jadicted jadicted.com

Jean Paul Gaultier www.jeanpaulgaultier.com

Jeremy Meeks www.jmeeks.com

Jil Sanderwww.jilsander.com

Joop! Jeansjoop.com

Joor https://joor.com

Joyce www.joyce.com

JUST justfemale.com

JW Anderson www.jwanderson.com

Kaushik Velendra www.maisonvelendra.com

Kélianwww.stephanekelian.com

klee klee www.instagram.com/kleeklee.cn

Knitss www.knitss.com

Ksenia Schnaider www.kseniaschnaider.com

La Cambre Mode www.lacambre.be

La Martinawww.lamartina.com

Labelslabelsfashion.com

Laniuswww.lanius.com

Lardini www.lardini.com

Lemon Jellywww.lemonjelly.com

Lenzingwww.lenzing.com

Levi's www.levi.com


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I N D E X

Liberty Londonwww.libertylondon.com

Lieblingsstückwww.lieblingsstueck.com

Limitatolimitato.shop

LN-CC www.ln-cc.com

Longchamp www.longchamp.com

Louis Vuitton www.louisvuitton.com

LVMHwww.lvmh.com

MADS NØRGAARD-COPENHAGENwww.madsnorgaard.com

Magda Butrymwww.magdabutrym.com

Maggie Marilynhttps://maggiemarilyn.com

Maiamimaiami.de

Manterowww.mantero.com

Manuel Ritzwww.manuelritz.com

Mara Hoffmanmarahoffman.com

María Beltrán Joyaswww.mariabeltranjoyas.com

Mark Crosswww.markcross.com

Marni www.marni.com

Mary Katrantzouwww.marykatrantzou.com

MatchesFashionwww.matchesfashion.com

Merve Bayindirmervebayindir.com

Mia Larssonmialarsson.com

Michael Starswww.michaelstars.com

Minotaurhttps://en.minotaur.co.jp

Modern Meadowwww.modernmeadow.com

Montblancwww.montblanc.com

Mos Moshmosmosh.com

Mosaerthttp://mosaert.com

MUD Jeanshttps://mudjeans.eu

Muglerwww.mugler.com

Musier musier-paris.com

Mykke Hofmann mykkehofmann.com

Nadya Dzyak nadyadzyak.com

Namacheko www.namacheko.com

Neiman Marcus www.neimanmarcus.com

Neonytneonyt.messefrankfurt.com

Next www.next.co.uk

Nike www.nike.com

Nok Nok Denim www.noknoklondon.com

Normative https://normative.io

Norr11 www.norr11.com

Nubian Tokyo www.nubian-ave.com

NYZE www.nyze.de

Object Xobjectx.tech

OCCHIIwww.occhii.com

Odile Jacobs www.odilejacobs.com

Of/Mercer www.ofmercer.com

Off-White www.off---white.com

Officina+39 www.officina39.com

Open Spaceopenspaceleathers.com

Openerhttps://openershop.co.kr

Optoro www.optoro.com

Ordre www.ordre.com

Palm Angels www.palmangels.com

Paoloni www.paoloni.it

PARISIENNE ET ALORSparisienne-et-alors.com

Parker Lane Group www.parkerlanegroup.com

patch Love universe (plu) www.patchloveuniverse.com

PATRICK CHURCH www.patrickchurchartist.com

Peek & Cloppenburg KG www.peek-cloppenburg.com

Philip Karto philipkarto.com

Phoebe Englishwww.phoebeenglish.com

Pierre-Louis Mascia pierrelouismascia.com

Pitotpaak pitotpaak.com

Plan 8 www.plan-8.com

Pons Quintana ponsquintana.com

Prada www.prada.com

Preen by Thornton Bregazzi preenbythorntonbregazzi.com

Premium www.premiumexhibitions.com

Puma x Kyron puma.com

PVH www.pvh.com

Queen of Raw www.queenofraw.com

Raf Simons https://rafsimons.com

Ragyard ragyard.com

Rajesh Pratap Singh www.rajeshpratapsingh.com

Ralph Lauren www.ralphlauren.com

Raw War www.rawwar.com.au

Rebag www.rebag.com

Recycled Karma recycledkarmabrands.com

Redress www.redress.com.hk

Reebonz www.reebonz.co.kr

Reese Cooper https://reese-cooper.com

Rejina Pyo rejinapyo.com

Renaissance www.princess.eu/store/

Revenantwww.revenant-rvnt.com

Rhiza rhizaroot.com

Richard J. Brown richardjbrown.it

Rio Hilo www.instagram.com/riohilo_

Roberto Collina www.robertocollina.com

Rolex www.rolex.com

Rozenbroek www.jrozenbroek.com

Russian Fashion Council http://russianfashioncouncil.ru

Salut Beauté www.salut-beaute.com

Salvatore Ferragamo www.salvatoreferragamo.com

Samaritaine www.lasamaritaine.fr

Sandqvist www.sandqvist.com

Sane Fashion https://sanefashion.ru

Scotch & Soda www.scotch-soda.com

See by Chloé www.chloe.com

Selfridges www.selfridges.com

Sfizio www.sfiziocollection.com

Shopyte www.shopyte.eu

Shotof shotof.co.uk

Showroom Marcona3 www.marcona3.com

ShuShu/Tong www.shushutongstudio.com

Simply Suzette https://simplysuzette.com

Siwy www.siwydenim.com

Slam Jam www.slamjam.com

Sofie Schnoor www.sofieschnoor.com

Soles4Souls https://soles4souls.org

Spazio38 https://spazio38.com

SSENSEwww.ssense.com

Stefaan Vandist http://stefaanvandist.eu

Stella McCartney www.stellamccartney.com

Stevenson Overall Co. www.soc-la.com

Stijl Brussels www.stijl.be

Stone Island www.stoneisland.com

STUDIO R330 r330.jp

SU SAN NE BO M MER www.susannebommer.com

SUN68 sun68.com

Supreme www.supremenewyork.com

Sustainable Apparel Coalition https://apparelcoalition.org

Sustainable Fashion Matterz sustainablefashionmatterz.com

Sustainable Fashion Pad www.instagram.com/sustainablefashionpad

Swims swims.com

Taigaliona www.instagram.com/taigaliona_official

Tee Library teelibrary.com

Teezy c/o Nil&Monwww.nilandmon.com

Tencel www.tencel.com

The Budims https://thebudims.com

The R Collective https://thercollective.com

The RealReal www.therealreal.com

The Serpentine www.theserpentine.net

Thinking MU https://thinkingmu.com

ThredUp www.thredup.com

Tizzy c/O NIL+Mon www.nilandmon.com

Tom Greyhound https://tomgreyhound.com

Tommazo www.tommazo.com

Tommy Hilfiger www.tommy.com

Tommy Jeans tommy.com

Toni www.toni-fashion.de

Tonsure tonsure.eu

Tradesy www.tradesy.com

True Religion www.truereligion.com

Tsatsas www.tsatsas.com

Tsung Yu Chan #C16 Series www.tsungyuchan.com

Tumi www.tumi.com

Ubras www.ubras.com.cn

UBS www.ubs.com

Ukrainian Fashion Week http://fashionweek.ua

Undercover undercoverism.com

Undun www.undun.fr

Unfollow http://unfollow.jp

UNIFA https://unifa-fashion.com

Unridden unridden.com

UseDem www.instagram.com/weusedem

Versace Uomo www.versace.com

Vestiaire Collective www.vestiairecollective.com

Vic Matié www.vicmatie.com

Vicunha www.vicunha.com

Vilagallo vilagallo.es

Vince www.vince.com

Vivobarefoot www.vivobarefoot.com

Voile Blanche www.voileblanche.com

Vollebak www.vollebak.com

Walter Van Beirendonck www.waltervanbeirendonck.com

WeAr DigiShows www.weardigishows.com

White Mountaineeringwww.whitemountaineering.com

Worstok www.worstok.com

Wrangler www.wrangler.com

Wunderwerk https://www.wunderwerk.com

Xumu www.xumu.company

Zalandowww.zalando.co.uk

Zodiac www.zodiaconline.com


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FASHION – THE SHOW WILL GO ONBE BEAUTIFUL, NO MATTER WHAT

STORES, BRANDS, TRENDS DEFYING THE VIRUSCOVID-19 – EVERY CRISIS BRINGS OPPORTUNITIES


TRENDS, BRANDS, DESIGNERS, RETAIL TIPSBESTSELLER SPECIAL

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FASHION EVENTS WORLDWIDE – BRAZIL TO JAPAN

A F A S H I O N W O R K B O O KP R O F E S S I O N A L E D I T I O N

BESTSELLER SPECIAL FASHION MEETS INTERIOR DESIGN

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TRENDS AND NEWS FOR THE FASHION COMMUNITY LUGGAGE FOR FASHION PROFESSIONALS

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JEWELRY REPORTTRADE SHOWS - EXHIBITIONS - FASHION FESTIVALS

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A F A S H I O N W O R K B O O KP R O F E S S I O N A L E D I T I O N A F A S H I O N W O R K B O O K

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TRENDS - SPACE AGE AND MOUNTAINEERINGFABRIC REPORT - UTILITY GLAM

FOOTWEAR SPECIAL

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Editor & PublisherKlaus Vogel

[email protected]

Associate Publisher EuropeIvo Nalin

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Managing EditorAndrea Vogel

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Editor at LargeJana Melkumova-Reynolds

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Editorial Director & Editor UKShamin Vogel

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Editors ItalyBeatrice Campani

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Angela Cavalca

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Editor FranceClaudia Gunter

[email protected]

Editor GermanyEsther Stein

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Editor Benelux Leen Schodts

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Editor USAAlexis Romano

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Editor JapanKiwako Takashi

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Editor ChinaElsbeth van Paridon

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Editor South KoreaKate Una Lee

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Contributing Photographers

Alexander Bagrationi

Emil Donkov

Jochen Fill

Kim Gwang-seok

Kevin Jude

Paolo Mazzeo

Nicole Noli

Silvio Palladino

Fabio Piemonte

Spacecrafting Photography

Tommaso Tancredi

David Toquica

Following Collaborators

to this issue

Caitlin Daly

Marion Vogel

Special Thanks to

Varvara Babitskaya

Yu Baoqin

Monica Fossati

Anja Kadir

Sergio Mato Manas

Akane Nakamura

Fumie Tsuji

Annalisa Vecoli

For this issue WeAr Global Magazine also photographed at the following tradeshows: Micam, Pitti Uomo, Premium, Show & Order, Tranoi, London Showrooms.

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A R T I S T

Dave Pollot is a New York-based artist who is

known for his altered thrift art paintings. He finds

unwanted artwork and adds his own touch – most

often parodic references to mass culture – and in

doing so, bridges the divide between classic and

pop art. He says: “The idea actually began as a

joke between my wife (who loves to shop at thrift

stores) and I, but it quickly evolved into an attempt

to answer the question: ‘Could I take a piece of

unwanted art, and, without altering its aesthetic,

change its meaning by painting into it some bits

of pop culture/nostalgia and make it desirable in

the modern world?’”

Pollot uses references to pop culture and food

items to make people stop in their present for one

moment and look twice. His work aims to intro-

duce a younger audience to older artistic styles

whilst getting an older audience acquainted with

pop culture. His paintings construct a narrative,

where the story unfolds against the backdrop

of the original painting. “I think that my body of

work has challenged the idea that any one piece

of artwork is without a place, especially if it can

be retrofitted to reflect a more culturally relevant

set of ideas.” As such, he is almost recycling – or

indeed upcycling – older art.

His work has been displayed and found homes

in galleries, businesses, and private collections

throughout the USA and in over 40 countries

globally. Some of his corporate clients include

Sony, Instagram, and Tröegs Independent Brew-

ing, among others. When he’s not painting, he can

be found spending time with his wife and two dogs.

www.davepollot.com

D AV E P O L L O T

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