The Business of Fashion Podcast

• Kiki McDonough on Changing How Women Buy and Wear Jewellery

  Raised in a family of antique jewellery specialists, Kiki McDonough launched her namesake jewellery brand in 1985 with accessible pricing and pieces women could wear anywhere. Her early crystal-and-bow designs ended up in the V&A, while her growing client list came to include members of the royal family, and her brand has helped normalise women buying jewellery for themselves. At first, “a man would come in and buy a piece of jewellery for his wife,” she says. Soon the couple arrived together and she would choose. Today, the behaviour is normalised. “Now it’s just, ‘I need a pair of earrings for my daughter’s wedding’… I think it’s all changed.” This week on The BoF Podcast, McDonough joins BoF’s founder and CEO Imran Amed, to reflect on her resilience through recessions and a pandemic, the enduring appeal of coloured gemstones, and why jewellery’s longevity and the everyday joy it can inspire.Key Insights: When McDonough launched in 1985 she set out a clear price ladder that brought fine jewellery into everyday life. “I thought the prices should be under £1,000 … £95 to £950 and that’s where I started.” Her first pencil sketch became a heart crystal design that a Birmingham maker took “a punt” on and they’re now in the Victoria and Albert Museum. The moment matched a broader cultural shift. As she puts it, the 1980s had “an atmosphere … full of can-do” and women were “open to wearing something else.”She helped move jewellery from being gifted to being self purchased, a shift accelerated by social change and London’s Big Bang. At first, “a man would come in and buy a piece of jewellery for his wife,” she says. Soon the couple arrived together and she would choose. Today, the behaviour is normalised. “Now it’s just, ‘I need a pair of earrings for my daughter’s wedding’… I think it’s all changed.” McDonough says jewellery outperforms fashion because it carries both longevity and daily joy. Pieces become heirlooms that keep working across generations. “I’ve got lots of women now whose children are wearing the jewellery they bought from me 15 years ago,” she says. Four decades in, resilience and pacing have been McDonough’s strengths. “I’ve [been through] two recessions, a pandemic and 10 prime ministers,” she says, crediting “resilience, a sense of humour and common sense.” She built slowly and on her own terms. “People used to say to me how many shops have you got and I’d say, ‘I’ve got one shop and two children.’” The financial discipline needed for success, McDonough learned early. “Look after the pennies because the pounds look after themselves,” she says. Her advice to founders is to start carefully, test products, preserve cash and keep going. “It’s terribly important not to spend the money immediately … pace yourself,” because momentum that lasts beats scale for scale’s sake, she adds. Her last piece of wisdom? A good brand can outlive its founder. “I don’t believe that anyone is indispensable,” she says. Additional Resources:How Statement Earrings Became Generation Selfie’s Favourite Trend Queen Elizabeth II’s Style Legacy Hosted on Acast. See acast.com/privacy for more information.

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• Can Gen-Z Beauty Brands Grow Up?

  Brands like Bubble, Starface and Byoma rode TikTok-native aesthetics to win Gen-Z hearts and Sephora shelf space with plush mascots, playful stickers and sensorial jelly textures. Founders close in age to their audience moved fast, crowd-sourced ideas and mastered algorithms. Now the oldest Gen Z consumers are nearing 30 and looking for fewer gimmicks and more proof that formulas work.In this episode, senior beauty correspondent Daniela Morosini unpacks what still resonates, where the “dopamine” look carries a credibility tax, and why channel strategy, product performance and smart casting matter more than ever.Key Insights: Gen Z brands broke through by moving at internet speed and co-creating with their audience. “These brands are all just so digitally native… and for a lot of them the founders were quite young themselves,” says Morosini. They were “small, scrappy businesses [with] shorter product launch cycles [and] really savvy marketing.” Crucially, they “did a lot of crowdsourcing, social listening, and were really plugged into internet forums,” so products felt made with, not just for, their audience.The ‘fun’ factor worked best online as visuals drove discovery: “Goopy, gloopy, sticky things… look good in a video. You see someone put that on their face and then you want to try it.” At the same time, expectations have climbed as “people are really quick to reject a product if it doesn’t perform exactly the way they want.” And bright, playful packaging can backfire for results-seekers: “Colourful, bright things we associate with play, silliness, youth and frivolity… you might think, ‘this is not a serious product.’”If stalwarts like Neutrogena and Clearasil have long dominated the teen aisle, why can’t today’s Gen-Z-first labels simply stay youth brands rather than trying to age up? As Morosini puts it, legacy names “have definitely ceded market share to some of these newer indies… these are brands you can find in every drugstore… [they’re] most teens’ or tweens’ introduction to the beauty category.” But “those brands are not cool,” and the Gen-Z pioneers “really want to be cool… and relevant,” not just “the thing that your mum might pick up… when you’re complaining about having a spot.” The challenge is clear: “it’s hard to be both legacy and cool.”Some labels are widening reach by changing where and what they sell. “Byoma went into some more premium retail pretty quickly,” Morosini notes, adding that “retailers really function as a marketing engine.” Others are broadening beyond a single hero. Ultimately, Morisini says survival hinges on utility. “It will come down to the brands that truly have replenishable products differentiated enough, at the right price point, and genuinely offer unique enough results that people will continue to return to them once any maybe the noise around the texture or the packaging has died down.”Additional Resources:Bubble Was Built on Gen Z. Now, It Must Grow Up. | BoF The Gen-Z Whisperer: How Julie Schott Made Acne a Laughing Matter | BoFHow to Keep the Gen-Z Fragrance Boom Going | BoF Hosted on Acast. See acast.com/privacy for more information.

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• Edward Buchanan on Being Written Out of Fashion History

  Growing up in Ohio, Edward Buchanan always knew he would have a creative career.That interest first led him to art school at CCAD in Cleveland and then to the Parsons School of Design in New York, where he juggled jobs in visual merchandising with school and the city’s inspiring, pulsating nightlife. He got his big break in fashion when he was hired as the first design director at Bottega Veneta, which was then a small family-run business led by Vittorio and Lara Moltedo. He relocated to Italy in 1995 and has been building a professional career in fashion ever since, one of the few Black creatives in the Italian fashion system giving him a unique vantage point on the value of inclusivity.In this episode of The BoF Podcast, BoF founder and CEO Imran Amed sits down with Edward to retrace the designer’s formative years, look back at his time at Bottega Veneta and quiz him on how young creatives and people of colour can succeed in fashion today.Key Insights: “When I was at Parsons, I excelled. I really loved being there and learning, the core. The pattern making, the cutting, the fabric … the technical aspects of design I was just obsessed with,” Buchanan says. Even his time at Bottega was a learning process, “I was really learning luxury goods while I was working at Bottega Veneta … I went in with taste and an idea of understanding what this brand is or potentially what this could be.”After leaving Bottega Veneta, Buchanan wasn’t in contact with the brand for a long time; he felt his work went unrecognised. However, when he was included in the brand’s campaign to mark the 50th anniversary of the Intrecciato, a new relationship with the brand formed. “I thought that this is an honest way of saying you did that job, you were here, and we respect the work that you did.”Despite strides made, Buchanan believes the fashion industry still has a way to go in regards to diversity, particularly in Italy. Buchanan says he will always advocate for people of colour, “I feel like if I'm not encouraged and charged to speak in first person about my experience and reach out my hand to the others that look like me or are like me … then there's no one else that's gonna do it.”Buchanan encourages young creatives to not just study design, but the other aspects of fashion, too. “It’s necessary to be multifaceted as a creative and know the business … I always instill in my students [to] find the honesty in your design, find what is the thing that you really believe in.”Additional Resources:Black, Creative and Collaborating Across GenerationsProfile Hosted on Acast. See acast.com/privacy for more information.

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• Why Gen Z Isn’t Buying Luxury’s Story

  Luxury is struggling to connect with Gen Z, a cohort raised on TikTok and YouTube who research before they buy, shop vintage and resale as a first stop, and question whether soaring prices match product quality. While Millennials fuelled the last luxury boom via streetwear crossovers and scarcity-led drops, today’s younger shoppers are more value-driven and sceptical of polished brand theatre. In-store, rigid service models feel alien to a generation used to conversational creators.This episode of The Debrief explores what “worth it” means to Gen Z and how brands can earn it. Greater transparency on materials and craftsmanship, content that feels real rather than aspirational, and participation in the second-hand ecosystem will be critical to rebuilding trust and lifetime value with younger consumers. Key Insights: Gen Z are not tuning out of fashion, they’re interrogating it. As Takanashi puts it, “[Gen Z] are so savvy. They can just look up what the Louis Vuitton bag is made of and see it’s actually canvas… Should I really spend a thousand dollars on that? Is there an alternative?” The backlash is philosophical as well as financial. Kwon says there’s a pervasive idea that luxury conglomerates are just trying to squeeze as much profit as possible. “There is real ire and resentment among Gen Z around price hikes. I think we’re a generation that cares a lot about value for dollar,” she says. When the price, materials and narrative do not align, younger shoppers default to vintage, resale or opting out.Price justification starts with transparency and proof. “Whether it's a thousand-dollar handbag or a $100 candle, you have to explain why luxury costs what it costs, that there’s this craftsmanship and heritage,” says Takanashi. But storytelling alone will not close the sale. “Even then, it’s just so hard to convince that customer that craftsmanship is worth the money. You also have to play into their cultural interests and what they’re passionate about.” That means moving beyond heritage talking points to show living communities, real processes and credible creatives who make the brand feel current.Digitally native Gen Z want real content, not polished marketing campaigns. “Our generation grew up on YouTube, ‘how to build an outfit 101’ – that’s how we got our style advice, not from magazines,” says Kwon, which is why they still “look to influencers and social media for trend analysis.” The tone matters as much as the channel. Takanashi argues that content should “feel real, like an unboxing, not a glossy marketing campaign. … Something that just feels like anyone could make it.” The formats that win are lo-fi, conversational and useful, with creators who will praise and critique in the same breath.Many first encounters with luxury now happen through second-hand, so brands need to embrace that ecosystem and give clear on-ramps back to full price. The product and the pitch must both feel meaningful. Kwon says Gen Z still wants “a very beautiful story” and to “feel like they’re a part of a movement.”Additional Resources:Why Luxury Needs to Rethink How It Speaks to Gen Z | BoF The Great Fashion Reset | Can Designer Revamps Save Fashion? | BoF Hosted on Acast. See acast.com/privacy for more information.

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• Glenn Martens: ‘Social Media Has Turned Fashion into the Hunger Games’

  Belgian designer Glenn Martens grew up in Bruges, studied in Antwerp and cut his teeth in Paris, where lean years taught him every role from pattern cutting to PR. At Y/Project, he turned constraints into modular, shape-shifting design. At Diesel, he reset the brand around its founding spirit of joy, cheekiness and denim, replacing muddled codes with a clear manifesto and democratic shows that speak to a global community. Now balancing Diesel with Maison Margiela, Martens argues that fashion should make people happy while resisting the dopamine churn of instant judgement.“We are just consuming visuals and we don't really have the time to go deep into the clothes, the storytelling, the construction, where it comes from. It just needs to be like a hit. It gets a bit more superficial,” he shares with Imran Amed, BoF founder and CEO. “In 2025, a creative director has to be a socialite, has to be the king of social media and there's so many more things that all my colleagues and I have to do outside of that runway. The beauty of fashion is it's a process and it's a build-up and it’s not happening in one show – this is happening in three, four, five shows. So we need to respect that and celebrate that.”This week on The BoF Podcast, Amed sits down with Martens to talk about learning every job in the studio, rebuilding Diesel around its founding values, as well as the pressure and possibility of this high-stakes season.Key Insights: Martens argues that the industry’s chase for quick hits has flattened nuance, yet he is determined to hold the line on depth and craft. “There is definitely a big part of me that loves to deep-dive into storytelling and construction, that likes to challenge construction and try to find new ways to create beauty and new ways to create clothes. I am very easily bored; I need to challenge myself. I love experimentation and that makes me happy.”At Diesel, Martens began by reconnecting the house to its core DNA. “My biggest thing I did was resetting the whole thing and reminding everybody why Diesel was big in the first place. And I think that is something that is really important to never forget, that the success of a brand is the core reason why the brand is there and we should always connect to that and stay close to that.” He underscores the scale and breadth of the audience while keeping a unified voice. “We are so diverse in our markets, so we are basically talking to everybody. Every single person in the world could, in theory, be a Diesel person, but we do that with one message and with one collection.”Martens is now continuing to turn the runway into a democratic platform that includes the wider community, not just the front row. “I think a fashion show for us is very important because it accelerates the awareness of the brand and the direction you want to go. [Diesel] is talking about democracy. It is at heart a lifestyle brand.” For Diesel’s Spring/Summer 2026 show next week, Martens is pushing shows into public space to meet people where they are. “The launch of that collection will be in the streets of Milan. It is going to be a three-and-a-half-hour egg hunt, showing the whole diversity of the town, and everybody can participate.” Additional Resources:Glenn Martens | BoF 500 | The People Shaping the Global Fashion Industry Glenn Martens Has Come to Save Us | BoF Hosted on Acast. See acast.com/privacy for more information.

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