The Business of Fashion Podcast

• Tim Blanks and Imran Amed Reflect on the Biggest Fashion Month Ever

  We’ve just returned from what was undoubtedly the biggest fashion month ever, a high-stakes season that saw new creative directors debut their visions for fresh creative leadership under the spotlight at Chanel, Dior, Jil Sander, Loewe, Jean Paul Gaultier — and many more.So what to make of it all? Much of it was about expectations. For some designers like Jonathan Anderson at Dior and Pierpoalo Piccioli at Balenciaga, expectations were running high making it almost impossible to please the industry and online critics. Others like Dario Vitale at Versace and Jack McCullough and Lazaro Hernandez at Loewe had been written off by some observers even before they showed — leaving them the opportunity to surprise, delight and overdeliver. Only one show seems to have unanimously impressed all around: Matthieu Blazy’s big debut at Chanel, the last big show at Paris Fashion Week.“It was the one show that incontrovertibly did what it had to do. Not just for the brand, but for the business, for the industry,” says Blanks. “And I think people could leave Paris on the second to last day on an upbeat note. Earlier in the week, some of the most anticipated shows, like Jonathan at Dior or Pierpaolo at Balenciaga had been incredibly polarizing, and I think there seems to be relatively universal agreement on Chanel.” This week on the BoF podcast, Imran Amed sits down with Tim Blanks to unpack the highlights of Fashion Month, the designer versus house debate, and why time and empathy matter this season. Key Insights: According to Blanks, Blazy “managed to do a Chanel that reflected [Coco Chanel], but also reflected his feelings about what she had done with his vocabulary, which is very craft-oriented, very experimental.” Crucially, Blazy struck a balance “between what Chanel was and what Chanel needs to be,” he adds. At Dior, Anderson opened with an audacious collaboration with filmmaker journalist Adam Curtis on a short film that blended fashion with slasher horror. “It was sort of an act of contextualisation for what he intends for the house,” says Blanks. Amed also welcomes Anderson’s measured exploration of the luxury house. “The Loewe that he built was built over time. It took 10 years. And so I think we should expect the same with him at Dior,” he says. “While maybe not everything in my view worked in that Dior show, I think that is the point because you learn from that.”For Duran Lantink, compatibility at Jean Paul Gaultier was never the issue. “His attitude to everything is so similar to Gaultier’s attitude. The sort of provocation, the sex games,” says Blanks. Yet he was left wanting more. “I wanted so much more from that show. And in the end, I did not feel that there was enough Gaultier or enough Duran.” Amid a debut-heavy season dominated by men, Sarah Burton’s second outing at Givenchy reads as a quiet counterpoint and a reminder of female authorship at the highest level. “She’s really got the imp of the perverse in her,” says Blanks, before praising a show that was “extremely elegant … I thought I could see women wanting those clothes. The way she elongated things was so flattering and simple.” He adds, “I really would love to see that collection take off.”Additional Resources:The Top 10 Shows of the SeasonDid Fashion’s Season of Change Actually Change Anything? Yes and No Hosted on Acast. See acast.com/privacy for more information.

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• Sports x Fashion: Who’s Really Winning?

  From team-branded fashion shows to tunnel-walk capsules and luxury watch deals, sport and fashion are converging at speed. The NFL has rolled smaller licensing tie-ups into marquee partnerships, while the WNBA is emerging as a fertile ground for inventive brand-player collaborations. But alongside the growth is bloat: logo-slap collections, clearance-rack remnants and fuzzy KPIs.Senior correspondent Sheena Butler-Young and executive editor Brian Baskin are joined by BoF sports correspondent Mike Sykes to map the deals that resonate and the ones that miss — and how success of these partnerships are being measured beyond the momentary halo.Key Insights: The WNBA is a collaboration engine because players are the drivers, not passengers. “I think the WNBA right now is a breeding ground for some of these deals in part because the players are eager to find these other opportunities to spread their portfolio,” Sykes says. That unlocks new formats: partnerships “not just between teams and brands or the league and brands, but players themselves and the brands [that] manifest in really cool and unique ways.”Name, Image and Likeness (NIL) has supercharged women’s sports, and fashion is part of the bargaining. Sheena points out the 2021 shift when “college athletes could not monetise their name, image, or likeness” and then stars like “Angel Reese and Caitlin Clark were becoming brands in their own right.” That changes how teams and leagues engage players: “fashion deals can be a bargaining chip on both sides of that equation.”As sports and fashion collaborations become more ubiquitous, authentic propositions are needed to cut through the noise. As Butler-Young puts it, the best examples “take the collections seriously. They treat it like a real fashion product. ‘Anything will do’ – people see through that.” Sykes agrees: “To work with players, you have to work with teams that really want to do things the right way.” It has to make sense for the consumer, and when it doesn’t, the audience calls it out. “The Chelsea and OVO collection was kind of a logo-slap. Even the fans were like, ‘This isn’t it.’” For some brands and athletes involved in these collaborations, partnerships are judged on reach and relevance rather than immediate revenue as the key marker of success. Sykes points to the NFL x Veronica Beard blazers: “There’s still some of that product left and it’s 75 to 80 per cent discounted … you have to look at that as a failure.” Yet the league “takes a holistic view,” he says: even if one capsule doesn’t sell through, lessons on “what you produce, how much, where you produce it, who your core audiences are” feed the next partnership.Additional Resources:Sports and Fashion Are Tighter Than Ever. But Who’s Really Winning? Has Fashion’s Convergence With Sports Gone Too Far? How WNBA Players Are Using Merch to Underscore Their Value Hosted on Acast. See acast.com/privacy for more information.

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• 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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