This week, former editor-in-chief of British Vogue, Edward Enninful, unveiled EE72, a media platform and consultancy which blends  a print magazine, a “slow digital” publishing platform and creative agency which aims to tell stories across fashion and lifestyle through the lens of culture.

“EE72 for me is a combination of everything I've done in my career. It's really where I want to be now. I want to be free and be able to do whatever I want,” says Enninful. “I could have created something that was very avant-garde but I wanted something that anyone could pick up and feel welcomed. That was very important to me.”

Imran Amed, founder and CEO of The Business of Fashion, sat down with Enninful to discuss why he launched EE72, what it means to build a fashion media company  at a time when both industries  face existential challenges and how his newfound freedom informs his business strategy and creative decisions, from choosing a quarterly publishing cadence to selecting his first cover starJulia Roberts.

Key Insights: 

• EE72 is an opportunity for Enninftul  to move away from the confines of Condé Nast. “I wanted it to be free and sort of be able to do whatever,” he says. That freedom extends to how he will publish: “I’ve not really listened to what was commercially viable. I always went with my instincts and somehow they paid off. … When we have something to say, we will say it. I call it ‘slow digital'. We’re going to learn, we’re not going to build something ginormous waiting for people to come.”

• On his  choice  of Julia Roberts as the cover star of his first issue, Enninful says “Julia represents something that society really needs. She is one of the biggest movie stars in the world. She is outspoken, she's a real woman. For me, inclusivity was never just about race; for me it was [also] about age.Julia for me represents the invisible woman, women in their 50s who are being told day in and day out it's about youth. The first message that I wanted to put out there was that everybody's welcome regardless of age.”

• Enninful is deliberately resisting an ad-driven kick-off for EE72. “I didn’t go around to any houses to ask for ads, because in my head it was clear what we needed to do, how we needed it to start. And of course, we’re going to grow and things are going to change,” he shares. “We’re going to be sitting here in a year’s time and you’re going to be saying, ‘why are there so many ads?’, but it’s the whole idea of growing organically.”

• His advice for the next generation of editors is simple but pragmatic. “It’s easy for me to say follow your dreams, but practically, surround yourself with like-minded people. Surround yourself with people who can really help you when you’re down, because it’s going to be a tough journey,” he says. “It’s not easy. You don’t just get up and end up being a superstar. Learn from your mistakes. Try new things, because that’s the only way you’re going to learn. If you’re playing it safe your whole career, that’s a problem.”

Additional Resources:

• Edward Enninful | BoF 500
• Edward Enninful Launches Media and Entertainment Company
• Edward and Akua Enninful’s 72 Magazine To Star Julia Roberts on Debut Cover

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This fashion month arrives after years of post-pandemic boom giving way to a sharp slowdown in luxury demand. Weaker consumer confidence in China, pressure on aspirational shoppers and a wave of price hikes have left many brands struggling to keep momentum. To win back customers and justify higher prices, luxury houses are turning to new creative leadership. Runway debuts won’t provide complete solutions, but they will offer early signals of strategy, with some brands leaning into craftsmanship and heritage while others chase louder fashion moments.

Alongside executive editor Brian Baskin and senior correspondent Sheena Butler-Young, luxury editor Robert Williams details why the real test will come in the weeks after the shows, when follow-through determines whether excitement lasts.

Key Insights: 

• Creative resets are a response to macro pressure and price inflation, not just consumer fatigue. “This isn't just about people being tired of the way fashion looks or the kind of designs a designer was showing us but maybe more about the wider context in which those designs exist,” says Williams. As prices climb, luxury houses need to add tangible value: “the prices for luxury brands have been hiked up so dramatically over the past few years, either the quality or technical craftsmanship … needs to be improved, or the creative.”

• The role of the creative director is more constrained than ever before. As Williams explains, brands must excite new customers without alienating existing ones. “You can't necessarily count on the fact that if you lose an old client from the previous vision, you're going to be able to get two more because you've got something fresh and new.” Unlike in earlier eras, “brands that have tried to scrap their old business and just count on a new one coming in — they've been burned in recent years.”

• Williams warns not to expect complete strategy blueprints on day one. “I don't think we're gonna get a fully realised vision for how any company plans to totally turn itself around. But there's certainly gonna be some hints,” he says. Some houses may skew to visible craftsmanship and codes, as Bottega Veneta has done under the new hand of Louise Trotter. Others must take a different route. “It will be quite interesting to see what Gucci and Dior do,” says Williams. “Celebrating heritage is not what anyone is looking for them to do in the current market.”

• Some brands have had “one really hot day” but then consumers quickly lost interest, while others managed to “milk the content cycle for days and days and really make a big arrival,” says Williams. What matters next is sustaining attention: “Are they able to keep the excitement alive in the days and weeks following the runway show?”

Additional Resources:

• The Great Fashion Reset | Can Designer Revamps Save Fashion?
• Ready for Relaunch? Jonathan Anderson’s Dior Challenge
• Why Gucci Picked Demna
• Why Chanel Chose Matthieu Blazy

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After a post-pandemic high, the fashion industry is facing a hard crisis. Growth has cooled, prices have surged, quality is under scrutiny and aspirational shoppers feel shut out, all while macro uncertainty dents confidence.

The industry is focused on a slew of shows where new designers are set to debut their visions, but this will not be enough to break out its malaise. Over the summer, the BoF editorial team has been working hard on a series of articles breaking down the various challenges that are facing fashion, from macroeconomic challenges, to trust issues and yes, a creative slump.

This week on The BoF Podcast, BoF founder and CEO Imran Amed switches roles, inviting executive editor Brian Baskin to lead the conversation. Amed shares his views on one of the most consequential fashion seasons in years, with the luxury industry in a phase of deep reflection and potential transformation.

Key Insights: 

• Amed traces the industry’s current struggles to a mix of forces that have built up over several years. “You had external and internal factors in the industry that conspired to create what is now a perfect storm – where customers feel like they've been completely duped. The industry is operating in a way that seems stuck in a different era,” he says , describing the post-pandemic state of luxury with declining quality and rising prices. At the same time, he cautions against silver bullets: “I wouldn’t position this fashion week season as the season that's going to solve and change everything, because it's not. There's a lot more at work here.”

• Brands must deliver top-tier quality while rebuilding accessible entry points, as relentless price hikes have made it nearly impossible for aspirational customers to buy in. “In a way, I think some brands have kind of poo-pooed the idea of that middle market customer,” says Amed. “There was a time when you could go into Bottega or Chanel and buy small leather goods at a price that was high, but not out of control. Now everyone's completely priced out.

• To grow and still feel luxurious, brands must hard-wire quality and sustain a clear creative pulse. Using Vuitton as an example, Amed notes “even though they’re producing in huge volumes, the quality of what they execute is still impeccable. ... That is a requirement for any brand operating at that scale, at those price points.” But product alone isn’t enough: “What you can scale is a point of view. And it's the point of view at the very top that these designers are really responsible for. It's like you're creating an overall spirit and direction and energy.”

• September’s slate of debuts could be an turning point for luxury fashion: “What I’m looking for is the energy. … You have three of the most creative designers in our industry – Matthieu Blazy, Demna and Jonathan Anderson – taking over three of the biggest, most important luxury houses in the world,” says Amed. “If that energy reflects the same kind of commitment, thoughtfulness, creativity, and taste that we've seen in those designers at their previous roles, then I think there is going to be a really meaningful inflection point this autumn.”

Additional Resources:

• The Great Fashion Reset | Editor’s Letter
• he Great Fashion Reset | How to Fix Luxury’s Trust Issues

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Ssense’s bankruptcy filing makes it the latest in a long line of online luxury retailers to find itself on the brink. In an internal memo, Ssense co-founder and CEO Rami Atallah blamed US tariffs for creating an “immediate liquidity crisis.” But as BoF correspondent Malique Morris details, the real damage pre-dated the latest trade shock: years of training a young audience to wait for markdowns, overexposure to the US market, and leadership inertia as luxury slowed industry-wide.

With hosts Brian Baskin and Sheena Butler-Young, Morris unpacks how Ssense won indie labels and cultural clout but dulled its edge as discounts became the default. They also explore whether Ssense can keep its cool factor while courting full-price shoppers, and which outcomes will best protect the fragile ecosystem of small brands that rely on the platform.

Key Insights: 

• Ssense’s strategy of serving younger, aspirational shoppers worked until markdowns became the main event, teaching customers to avoid full price and dulling the platform’s authority with brands. As Morris puts it, “Ssense has been really smart about targeting this younger, aspirational luxury consumer … but over time it turned into this cornerstone for luxury discounting online.” He continues: “It just became associated with being the sale place, which then curbs credibility with designers.” The business model that once drove growth ultimately undercut it.

• Relying on a Canada-based warehouse feeding a majority-US customer base left Ssense acutely exposed to cross-border friction. Compounding the risk is the fact that it targets young, aspirational shoppers. “Those shoppers’ pockets aren’t bulletproof in an economic downturn,” explains Morris, so demand proved more fragile just as costs rose. Tariffs were the catalyst, not the cause, of pre-existing vulnerabilities.

• Even as conditions worsened, decision-making lagged. “I think internally what’s happening is that they’re not acting fast enough to respond,” Morris says, adding that industry-wide pressures “have fallen onto them in a particular way.” Slow moves on initiatives like personal shopping and incubation left Ssense leaning further into discounts, accelerating the slide towards creditor protection.  

• According to Morris, a reset doesn’t require abandoning the brand’s cultural core; it requires focusing it. “What’s working well in e-commerce is having a niche and being clear in how you’re going to serve the best customers within that cohort,” Morris argues. “In my mind, Ssense needs to refine its niche and make sure that it's attracting the consumers who will purchase without the need for always-on sales. … There are shoppers in that Gen Z group, many of whom are almost 30, who have the pockets and the temperament to be seduced by curation and not by the fact the next Essence sale is going to ‘hit different’.”  

Additional Resources:

• Ssense to File for Bankruptcy Protection After Creditors Push for Sale | BoF 
• Ssense: What Went Wrong | BoF 

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Clare Waight Keller’s career in fashion has been defined by her versatility as a designer and desire to step outside her comfort zone. She started out specialising in knitwear at the Royal College of Art before taking on a role in knitwear at Calvin Klein, before moving on to Ralph Lauren. She returned to Europe to work at Gucci under Tom Ford, and then stepped into creative director roles at Pringle, Chloé and Givenchy. Last week, it was announced that she was becoming the creative director of Japanese clothing retailer Uniqlo, which is targeted at the masses, not the classes. 

Seeing new challenges as an opportunity to learn and grow, has led Clare to make many unexpected decisions from the start of her career. 

“Those moments when you are pushed to your boundaries and don't quite know how to navigate… bring a great sense of drive for me. I love the idea of being uncomfortable with what I'm working on because it makes me learn quickly,” she said. “I enjoy the process of change, and I guess that's why I've worked in so many different places.”

This week on The BoF Podcast, BoF founder Imran Amed sits down with Clare to discuss her varied career path and her experience working in American, Italian, British, French and now Japanese fashion companies and how this has shaped her outlook on the industry.

Key Insights

• Growing up in Birmingham, England, Waight Keller was captivated by the vibrant subcultures she encountered. That influence led her towards art school, and eventually, fashion. “I distinctly remember standing at a bus stop, going to college, with punks, skinheads or goths — people who really expressed themselves through fashion and took it to a real sense of identity,” she said. “They just seemed like the most interesting people. I wanted to be part of that.”

• After working for predominantly male creative directors, Clare felt it was time to express her own perspective, leading her to the creative director position at Chloé in 2011. “There's such a sensibility that women have in fashion because you try it on yourself, you wear it, you feel it,” she said. “I'm putting together what I believe to be my point of view of fashion."

• Waight Keller’s move to Uniqlo marked a shift from working in the world of luxury to mass fashion, which has required some adjustment. “Understanding the scale was just extraordinary. In luxury fashion, you work on a much smaller scale, even at big brands,” she said. However, with this came new opportunities. “With that scale comes incredible access to innovation, amazing fabric mills, and quality.” 

• Even as her career flourished, Waight Keller came to discover the inherent gender bias women face in the industry. “It's still fairly male-dominated in management and across the business side of fashion ... I had to make my family work around my career because even a season out in fashion can put you back a year, and people look at you differently.” With that, her advice to fellow female designers is not to “be afraid of a challenge and having to learn on the ground."

Additional Resources

• Do Mass Brands Need Creative Directors? | BoF 
• The Logic Behind Givenchy's New Designer Appointment | BoF
• Uniqlo Appoints Clare Waight Keller as Creative Director | BoF

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On her award-winning podcast “Articles of Interest,” host and producer Avery Trufelman dives deep into the stories behind the clothes we wear. From the evolution of prep to the origins of wedding dresses, Avery guides her listeners through the multi-faceted layers behind the aesthetics of fashion. 

“It's crops, it's the earth, it's handwork, it's culture, it's society. You tug on a thread and you get everything,” she said. “That's what I'm slowly realising [about fashion].”

This week on The BoF Podcast, BoF founder and editor-in-chief Imran Amed sits down with Trufelman to discuss her path into podcasting, taking her lifelong passion for clothes and what they mean into an audio format, and what she’s learned about fashion along the way. 

Key Insights: 

• A self-proclaimed “public radio nepo baby,” Trufelman has audio in her blood — her parents met working at New York Public Radio. But while she grew up with audio, she didn’t start experimenting with fashion until she was a teenager, expressing herself through quirky thrifted fashion ensembles, much to the confusion of her peers. “I knew in the back of my mind that it was too much, that I was sort of alienating people,” she says. “It just made me realise how powerful clothing was. That dressing in this wild way sort of set me apart.”

• Trufelman initially came up with the idea for “Articles of Interest” while interning at the design and architecture podcast “99% Invisible.” Presenting a fashion podcast to an audience more focussed on architecture, Trufelman began to see the ways in which fashion touched every facet of life. “In the beginning, fashion was sort of a dirty word for me,” she says. “Now it's all about fashion because everything has fashion. Buildings have fashion, cars have fashion, colours have fashion. Fashion is just taste over time and the most easy way to measure that when you look at a picture of any era, it's the cars maybe, but mostly the clothes.”

• Four seasons into “Articles of Interest,” Trufelman now finds herself with a rich archive to draw upon. “I don't ever kill stories. I love to reuse interviews that I collected years ago. I'm always cutting them up and revisiting them because I believe that knowledge isn't like one and done. It isn't a single use thing. I believe in making this a long sustainable living archive.” 

• Trufelman also sees the parallels between podcasts and fashion in the ways in which both allow us to engage with the world. “People are listening to your voice while they're walking down the street and they're like noticing what people are wearing or they're noticing what people are doing. It's not undivided attention. It is divided attention. It's beautiful.”

Additional Resources:

• The BoF 500: Avery Trufelman
• Ralph Lauren is Traveling Back in Time to Bring Back Preppy Chic

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Born in Sardinia on a sailing boat to self-described “adventurous” parents, Francesco Risso grew up in an environment that fostered independence, spontaneity and a deep need to create. After formative years at Polimoda, FIT and Central Saint Martins — where he studied under the late Louise Wilson — he joined Prada, learning firsthand how to fuse conceptual exploration with a product that resonates in everyday life.

Now at Marni, Risso continues to embrace a method he likens to an artist’s studio, championing bold experimentation and surrounding himself with collaborators who push each other to new heights of creativity. 

“Creativity is … in the way we give love to the things that we make and then we give to people. I feel I don’t see so much of that love around,” says Risso. “We have to inject into products a strong and beautiful sense of making. That requires craft, it requires skills, it requires a lot of fatigue, it requires discipline.”

Risso joins BoF founder and CEO Imran Amed to explore how his unconventional childhood shaped his creative approach, why discipline and craft remain vital to fashion, and how meaningful collaboration can expand the boundaries of what’s possible.

Key Insights: 

• Growing up in a busy, non-traditional household, Risso learned to express himself by altering and reconstructing clothing he found in family closets. “I started to develop this need to make with my hands as a means to communicate,” he says. “I would find something in my grandmother’s closet, start to disrupt it and collage it to something from my sister’s wardrobe and we have a new piece.” This early experimentation laid the groundwork for his vision of and approach to design.

• From Louise Wilson at Central Saint Martins to Miuccia Prada, Risso has absorbed the value of rigorous research, conceptual thinking and extended ideation. “You have to rely on your own strengths and your own capability to go and study, to go and research, to go and find your things,” he says. “That is key to me, to become a designer with a voice.”

• Whether partnering with artists through an informal “residency” or collaborating with brands like Hoka, Risso insists that a great tie-up is never about simply sticking art on a T-shirt or rushing a gimmick. “Processes are about learning from each other … and that generates a body of work that then becomes either art or clothes.” His focus on genuine exchange expands the creative horizon for both Marni and its collaborators.

• Risso’s advice to emerging designers is to appreciate the fundamentals of making in favour of more superficial aspirations. “I dare young people to be more focused on engaging with the making, rather than just projecting in the future,” he says. “A strong sense of making requires craft, it requires skills, it requires a lot of fatigue, it requires discipline.” This hands-on grounding, in his view, is essential for developing a lasting, meaningful design practice.

Additional Resources:

• Francesco Risso | BoF 500 | The People Shaping the Global Fashion Industry 
• Exclusive: Inside Hoka’s Fashion Ambitions | BoF
• Backstage Pass | Marni and the Thread of Beauty | BoF 

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James Whitner — founder of The Whitaker Group and the visionary behind retailers such as A Ma Maniére and Social Status — reveals how culture, purpose, and empathy drive his approach to business. Whitner witnessed firsthand how marginalised communities often face limited options, shaping his commitment to serving communities typically overlooked by the fashion industry.  

“I think what helped me understand life is difficult, it's just seeing a difficult life, right? Watching people struggle and seeing that there is privilege in pain,” says Whitner, about growing up in Pittsburgh, Pennsylvania. “When I look at what we’re creating now, it has purpose and is about standing up Black culture at the centre,” Whitner adds. “Everything is about real experiences and connections to people.”

This week on the BoF Podcast, founder and CEO Imran Amed sits down with Whitner to explore his journey, learn about the driving force behind The Whitaker Group’s community-centric retail experiences, and understand why authenticity and cultural connection are non-negotiables in today’s fashion landscape.

Key Insights: 

• Intentionality and human connection are integral to James Whitner’s approach to retail spaces. Rather than focusing solely on product or profit, he strives to shape how people feel and engage with his brands. “We want to be really intentional about how we make humans feel, our connection to humanity, and how we can build a community,” he explains, emphasising that empathy and shared purpose can help to forge vibrant, long-lasting communities.

• Whitner also contends that building authentic connections starts with recognising the integral role of culture and purpose. “We sit in brand experiences and purpose because you can't leave culture out. I think everything we do is centred in culture,” he says. 

• A key to Whitner’s success is resisting the temptation to be “for everybody.” Instead, he focuses on aligning with partners who share his vision for serving specific audiences with integrity. “If you want to work with brands who want to be for everybody, that means you’re for nobody,” he explains.

• Whitner champions an unwavering optimism that stays intact even amid shifting political headwinds. “We have to wake up and work and we have to be optimistic about the things that we can accomplish. If not, we've already lost because an administration change doesn't mean that my feelings around the work we're doing has changed and it doesn't mean that we can't be as impactful as we've always been.”

Additional Resources:

• Streetwear Maven James Whitner Launches A Ma Maniére’s First In-House Line | BoF
• Where Are Fashion’s Black CEOs? | BoF

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Performance basketball shoes have long been embedded in fashion culture, from the iconic Air Jordans of the 1990s to the stylised sneakers worn in NBA tunnel walks. But over the last decade, interest in basketball shoes waned as sneakerheads turned to minimalist silhouettes, running shoes and fashion collabs. 

Now, a new wave of signature athletes, innovative design from emerging and legacy brands and growing energy around the WNBA are bringing basketball sneakers back into the fashion spotlight.

In this episode of The Debrief, BoF correspondents Lei Takanashi and Mike Sykes join hosts Sheena Butler-Young and Brian Baskin to unpack what's changed, what's still missing and what the future might hold.

Key Insights: 

• Basketball sneakers lost momentum with consumers when design became too functional and aesthetics too uniform. "All the styles just seemed kind of homogenous... There wasn't much difference there," said Sykes. "If you're not going to give us anything that looks different or anything that's unique, then people are going to go back and look into the past." This lack of innovation pushed sneakerheads toward nostalgic retro styles rather than new performance models.

• New stars like Anthony Edwards and Shai Gilgeous-Alexander are reigniting interest in signature sneakers, not just through performance but personal style and personality. "He's got the bravado. He's like everything that you want from a signature athlete," said Mike of Edwards. "A lot of these new players... they have this grip on the culture," added Lei, referring to how their on-screen charisma and tunnel fits are helping bring basketball sneakers back to relevance.

• The women’s game has long been rich in style and creativity — a fact the market is only now starting to catch up to. "Just seeing the creativity and the colour that has always been around the women's game when it comes to the sneakers that they've worn," said Mike. "It just makes it all the more disappointing... if we saw what we see today maybe five or 10 years ago, then the market right now would be completely different."

• In the past decade, attention shifted away from professional athletes and toward celebrity collaborators like Kanye West and Travis Scott. That dynamic is beginning to change. "From a brand perspective, the athletes just weren't the interesting players in the field," said Mike. "And so now I think the brands are circling back around and recentering athletes in a way that I think we haven't quite seen in a long time."

Additional Resources:

• The Fashion Revival of Basketball Sneakers | BoF
• How Soccer Conquered the US Sneaker Market | BoF  
• Sign up to Mike’s newsletter - Sports by Mike D. Sykes 

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In the five years since the pandemic, fashion and beauty workplaces have undergone seismic change. Amid mounting economic uncertainty, geopolitical instability and the ongoing climate crisis, a workplace reckoning is underway. Employees are re-evaluating what truly matters at work and for many, that means reassessing everything from their employers’ values to compensation and flexibility.

According to BoF Careers’ 2025 global survey of over 1,000 professionals in 74 countries, only 15 percent of respondents said they were satisfied in their current roles. Meanwhile, 45 percent are actively looking for new jobs and workers today are prioritising fair pay, career progression, flexibility, value alignment and transparency over legacy prestige or perks.

On this episode of The Debrief, senior correspondent Sheena Butler-Young speaks with BoF’s commercial features director Sophie Soar to explore what talent really wants today and what employers need to do to attract and retain the best.

Key Insights: 

• Employees don’t just want transparency; they expect it as a foundation for trust and progression. From salaries to promotions, clarity enables professionals to visualise their future and stay engaged. “Transparency allows people to see their career trajectory at a business, as well as really visualising their future there and what it will look like,” said Soar. “Maybe they don’t find that motivating, but it can also set clear expectations and goals for them to work towards.”

• Hybrid work remains popular, but it’s not just about flexibility. Without visible leadership, the in-office experience falls flat and fails to deliver meaningful career support or culture. “If you are just providing a space that has a few desks and Wi-Fi, that is not creating the right kind of environment, the right set-up for community, as well as a comprehensive and effective working culture,” said Soar. “If you want employees to be back in the office, then leaders need to be there as well. They need to lead by example.”

• While high-profile brands still appeal to candidates, they’re no longer enough on their own. Employees are increasingly prioritising ethics, compensation, and leadership over legacy status. “When we were asking individuals as a part of the survey to share which companies they would most like to work for within the fashion and beauty industries, leaders were quite often called out by name,” said Soar. “Lina Nair at Chanel and Brunello Cuccinelli, they were called out individually as being very inspiring to individuals and a very motivating reason to want to work at a company.”

• As jobseekers increasingly rely on tools like ChatGPT to craft their CVs and cover letters, authenticity and personalisation are becoming critical differentiators. Top employers aren’t looking for generic admiration; they want thoughtful, tailored applications that clearly map experience to the role. “You kind of need to emphasise past the point of saying, ‘I love your brand, and it would be great if I could work at your brand’ – that is really not going to resonate with individuals hiring,” said Soar. “I would highly recommend making sure that if you're using this technology, you try and think about how you can put yourself into it.”

Additional Resources:

• What Fashion and Beauty Professionals Want From Employers

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From a very young  age, Dutch designer Duran Lantink has been fascinated by the transformative power of fashion. 

His journey began in his early teens, culminating in his first runway show at just 14 years old. That collection, made from repurposed Diesel jeans and his grandmother’s tablecloth, was picked up by a local multi-brand store. And the rest is history.

Today, Duran is known in the industry for his  playful experimentation, innovative collections and provocative runway presentations.  

"I'm all figuring it out now. For me, I am just doing it step by step,” he shared. “Later on I really fell in love with this sort of non-conformative thing and I feel that the House of Gautier is very much about freedom and about culture and about bringing artists in and all these things and I hope the freedom and the possibility to really bring that in and really bring back that vibe from the late 80s or the beginning of the 90s and that really excites me."

In Paris, for his first ever English-language podcast, BoF founder and CEO Imran Amed sat down with Lantink to talk to him about his personal fashion journey, understand the source of his creativity and how he’s thinking about stepping into the role of creative director at an iconic fashion brand.  

Key Insights: 

• Duran Lantink’s passion for fashion manifested early, culminating in his first runway show at just 14. Using repurposed Diesel jeans and his grandmother’s tablecloth, Lantink created a collection unexpectedly picked up by a local multi-brand store. "I think till now that has been my most commercially successful experience," Lantink jokes. But the moment was pivotal, crystallising his future path: "It probably was one of those moments where I really knew what I wanted to do in life."

• Lantink's creative ethos has always revolved around repurposing and transforming existing garments. This distinctive approach initially met resistance in traditional fashion schools. "I've always been obsessed with cutting up clothes, mixing clothes," he says. At times, educators dismissed him, suggesting he might be better suited as "a stylist or artist," but Lantink remained unwavering: "I didn't really care. I just wanted to do what works for me."

• Lantink's visibility skyrocketed after designing Janelle Monáe’s viral "vagina pants," but his industry breakthrough came during the pandemic with a drone-based fashion show. "I was finally able to reach a bigger audience because nobody could go anywhere anyway." The inventive showcase attracted support from influential industry figures, propelling his reputation internationally.

• Taking on the creative directorship at Jean Paul Gaultier signifies a new chapter for Lantink. The opportunity resonated deeply with his creative philosophy and personal history. "It went back to where I came from, this obsession with nightlife and people dressing up," he says. Embracing the legacy of freedom associated with Gaultier, Lantink expresses excitement for the creative potential: "The House of Gaultier is very much about freedom and culture. That really excites me."

Additional Resources:

• Duran Lantink | BoF 500 | The People Shaping the Global Fashion Industry
• Exclusive: Jean Paul Gaultier Names Duran Lantink Creative Director

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The luxury industry trades on a carefully constructed marketing image, deeply linked to artful claims of exclusivity, craftsmanship, and impeccable standards. But a slew of Milanese court cases linking some of luxury’s biggest names to sweatshops on the outskirts of the fashion capital have sent uncomfortable shockwaves through the sector. Last week, LVMH-owned cashmere brand Loro Piana became the latest company caught up in the scandal. According to prosecutors, inadequate supply chain controls meant thousands of the brand’s cashmere jackets were made under exploitative conditions in illegal workshops. The scandals raise critical questions about luxury’s supply-chain integrity at a time when trust in the sector’s value proposition is already eroding.

This week on the Debrief, chief sustainability correspondent Sarah Kent joins Sheena Butler-Young to unpack the investigation and what it means for brands and consumers.

Key Insights: 

• Prosecutors in Milan argue that luxury brands’ links to local sweatshops are a feature, not a bug in the system. Companies are negligent in how they monitor their supply chains and routinely turn a blind eye to red flags in order to maximise profits they say. "The crux of these cases is that big luxury brands are not really doing their homework," said Kent. Brands caught in the investigation say they have strong systems of controls in place and that they have cooperated with authorities to understand where things went wrong. 

• Loro Piana, a brand long considered the pinnacle of luxury craftsmanship, is the latest — and perhaps most surprising — name to be swept up in the investigation. Renowned for its control over production and its sourcing of rare materials like baby cashmere and vicuña, Loro Piana sits in one of the most exclusive tiers of fashion, alongside labels like Hermès.

• Brands caught up in the scandal have been placed under court oversight to ensure they tighten up their supply-chain controls, but the broader systemic issues revealed by the Milanese investigations have no easy fix. "There are deep-seated economic challenges for an industry that is still largely very fragmented, made up of mom-and-pop shops competing on a global stage with countries that have much lower labour costs," said Kent. Manufacturers are under intense pressure on price, speed and flexibility, conditions that have helped give rise to  “a cottage industry of cut-price suppliers that are not meeting Italy's own labour laws," she said.

• In the past, luxury brands have proved remarkably resilient to such scandals."What feels different this time is there is more jeopardy than there has been historically,” said Kent Hefty price increases over the past few years coupled with online complaints about declining quality are already fuelling a noisy debate about whether luxury brands are really worth the money. The sector’s alleged sweatshop links are “feeding into a bigger conversation that's already happening in a dangerous way,” said Kent. “This is not just a one-off scandal affecting one brand that can fade into the background.”

Additional Resources:

• How Loro Piana Was Linked to Labour Exploitation | BoF 
• If You Can’t Trust Loro Piana, Who Can You Trust? | BoF 

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Jérôme Mage is the founder and creative force behind Jacques Marie Mage, the luxury eyewear brand known for its distinctive silhouettes, limited production runs and deep-rooted storytelling. Originally from the Auvergne region in France, Mage relocated to Los Angeles in pursuit of creative freedom and with a deep passion for California's outdoor culture. 

His brand comes from a personal mission to reimagine luxury through the lens of collectibility, history and craft, starting with an obsession about sunglasses from a young age. 

“When I was 10 years old, my brother was 15, he came back with a pair of Vuarnet in my house. … I've never really seen my brother with glasses before and I was like wow looks so cool,” says Mage. I think for a lot of people it is transformative. … We live in a modern world that can be quite intrusive. All day people’s lives are on display and I think it's very nice to hide behind a pair of sunglasses.”

With each design, Mage channels his vast array of influences — from American mythologies to Napoleonic tailoring and iconic personalities — and transforms them into expressive objects with enduring emotional power. 

Hot on the heels of the brand’s latest retail opening, BoF founder and CEO Imran Amed sat  down with Mage  at his new gallery on Rue de la Paix in Paris to explore how he built a cult luxury eyewear brand rooted in rarity, storytelling and craftsmanship – and why having an  outsider’s perspective is en his greatest creative strength.

Key Insights: 

• "My story is one of collectibility. That’s why I think people collect those glasses,"  says mage. A lifelong collector of everything from vintage eyewear to Napoleonic uniforms, Mage believes the story behind an object is what gives it lasting value. "Each pair of glasses needs to be charged up, infused with a story: a story of the past, but told in a modern way for a new generation."

• Mage is critical of the contemporary luxury industry's shift towards mass production, emphasising  that true luxury must maintain an inherent rarity. “I really wanted to return to a sense of rarity because for me there's no luxury without rarity – it's impossible," he says. Mage believes the current model, predicated on constant growth, is unsustainable. To resist that pressure, he committed to a deliberately complex and limited production model: "I did everything limited edition because it was almost guaranteeing me that I wouldn't fall in that trap."

• For Mage, embracing the role of the outsider enables deeper creativity and more meaningful work. "If you accept that role of outsider, then you're able to have a point of view or create something that is more tangible, more unique, and that has more value," he says. "Because obviously you look at things from a different point of view than others. And that's a true quality in being an outsider." His advice to anyone who feels they don’t fit in? "Don't be discouraged. If you stick long enough with it, it'll become a great asset in life."

Additional Resources:

•  Jacques Marie Mage | Latest news, analysis and jobs 

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After turning to other matters for a few weeks, President Donald Trump has reignited his aggressive tariff strategy, threatening sweeping new duties on key fashion-producing nations starting Aug. 1, as well as a fresh set of new levies on the EU, Brazil, South Korea and other trade partners.  

On this episode of The Debrief, correspondents Joan Kennedy and Marc Bain join hosts executive editor Brian Baskin and senior correspondent Sheena Butler-Young to unpack how brands are reacting, where prices are headed, and why diversification may no longer be the solution it once was.

Key Insights: 

• Apparel prices in the US are finally starting to reflect the cost of tariffs. "We got the first bit of evidence that tariffs are actually having an impact on prices," said Kennedy, pointing to new CPI data showing apparel prices up 0.4% in June. "They're starting to rise because we're seeing inventory start to trickle onto shelves that are affected by these new duties." Bain added that shoppers are particularly sensitive: "It’s about managing perceptions... It’s why you see these brands putting out Instagram posts about tariffs and why they’re raising prices."

• Supply chain diversification isn't working like it used to. Brands once counted on shifting production as a way to dodge tariffs. But now, alternative hubs are also getting hit. "It is kind of like a game of whack-a-mole," said Kennedy. "One of the countries that was expected to benefit was Brazil... but we've seen a new 50% tariff threatened on Brazil." Bain noted that brands are now being advised to build in redundancy. "It’s not just about finding another source. It’s having some layer of redundancy built in."

• In response to rising costs and consumer fatigue, brands are reducing product variety and pricing selectively. Levi's, for example, announced they’re going to discontinue certain less popular styles during the holiday shopping season. Bain explained the logic: "If you know these are more sure bets, you’re less likely to have to discount them later... so as you're trying to offset the cost going up from tariffs, you can try to reduce your costs in other places too." Kennedy added: "We've seen brands get smart about where exactly they make these price hikes... like upping the price on a more fashion item, but keeping prices on staples stable."

Additional Resources:

• What Trump’s Latest Tariff Threats Mean for Fashion | BoF
• Higher Clothing Prices Are Officially Here | BoF 

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The latest fashion season marked a period of significant transition with new creative leadership taking centre stage at some of luxury’s biggest houses. Highly anticipated debuts at Dior, Celine and Maison Margiela set the tone for a new direction, while designers like Rick Owens continued to redefine the emotional and aesthetic parameters of fashion. At Balenciaga, Demna bid farewell to his iconic aesthetic, setting the stage for his upcoming tenure at Gucci.

Against this backdrop, BoF’s editor-at-large Tim Blanks and editor-in-chief Imran Amed discuss the realities of a shifting luxury landscape and the growing tension around pricing, accessibility, and the future structure of the luxury market.

Key Insights: 

• Jonathan Anderson's debut at Dior represented the start of a carefully managed transformation. "Dior is like a performance for him; J.W. Anderson is the real Jonathan," says Blanks. "I felt he was on a mission to manage expectations. He was basically saying, give me time." The conceptual collection served as an opening statement rather than a full evolution.

• Rick Owens remains a source of creative independence and authenticity. "There is no compromise in what Rick Owens does. He is a beacon of hope," said Blanks. Amed also highlights how Owens' shows now offer a safe space that celebrates difference: "He's been talking about how he wanted to create a place where people who don't subscribe to conventional notions of beauty can find a place where they can fit in. It's always so remarkable at his shows and presentations because you can really see that all come to life."

• Demna’s final Balenciaga show symbolised a deliberate departure from his signature aesthetic. "He said goodbye to his Balenciaga," said Blanks. Amed observed, “At Balenciaga, Demna needed to put more of his own codes into it. At Gucci, he has so much to work with.” With this pivot, Demna closes one chapter while preparing to reinterpret another legacy house.

• Amid a challenging economic environment, luxury brands are reconsidering their pricing strategies. “Luxury always worked in this pyramid where you had very high-end customer spending at the top. That pyramid structure has been kind of bloated in the middle now,” explained Imran. Brands are being forced to reevaluate what “entry-level” really means. “They're thinking about what they can put at the bottom… the entry-level price points."

Additional Resources:

• Paris Couture’s Life and Lifelessness | BoF 

Couture’s Age of Experience, Experience of Age | BoF

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In nearly two decades since the first “Real Housewives” franchise debuted, reality TV has moved from the fringes of entertainment to become a major cultural force. Today, “Housewives” stars are influencing fashion trends, driving sales, and making inroads into luxury circles that once ignored them. Brands previously wary of the stigma around reality TV are now leveraging the passionate and loyal fanbase of the franchise, positioning these women as both influencers and aspirational figures.

Senior news and features editor Diana Pearl joins The Debrief to explore this evolution, uncovering how and why fashion has finally learned to love “The Real Housewives.”

Key Insights: 

• Reality TV's path from lowbrow entertainment to cultural staple can partly be credited to the Kardashians, whose acceptance by fashion opened the door for shows like “Real Housewives”. “The Kardashians, for a long time, were not embraced by the fashion industry, and then in the 2010s that started to change,” says Pearl. Even when the fashion industry hesitated publicly, its insiders were already hooked privately. “People started watching the shows themselves… That guilty pleasure has just sort of come out of the shadows,” Pearl explains. 

• Fashion has become integral to the storytelling on “Real Housewives.” What started as subtle displays of wealth, such as Chanel bags or accessories, has evolved into head-to-toe designer ensembles and full-blown fashion storylines. “They’re all decked out in designer looks and it’s like the designers play a role in the show. There’s plot points around, ‘This dress costs this much money,’ or ‘Did you buy that diamond necklace?’” Pearl says. “People are more into the Housewives’ clothes now. It’s just become much more a part of the fabric of the show.”

• The demographics of the “Housewives” audience significantly overlap with those targeted by fashion brands. The fanbase, consisting largely of women and gay men, is aspirational, engaged and passionate about style. “People of all stripes like reality TV. Lots of luxury customers watch reality TV,” says Pearl. “If you want to connect with consumers, you have to meet them where they are.”

• Despite increased acceptance, luxury brands remain cautious about fully embracing “Housewives,” partly due to cultural and geographic divides. “The Real Housewives is a very American show. A lot of the luxury industry is in Europe,” Pearl notes. Yet, she adds, embracing these stars can pay off: “When we've seen brands embrace the Housewives, I think the fans reward them for that.”

Additional Resources:

• How Fashion Learned to Love The Real Housewives | BoF

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Rachel Scott, founder of Diotima, has built a reputation for bringing a nuanced portrayal of Caribbean culture to the global fashion stage. Drawing on her Jamaican heritage and global experience, Scott seeks to foreground overlooked craft traditions and champion a narrative that moves beyond exoticised tropes. 

“Craft doesn't have an aesthetic. Craft is technique and execution,” Scott says. “There are endless possibilities, and on a conceptual level, I think that craft is the most intimate form of fashion. Because it is made by hand, there is this energy exchange. So I kept thinking about intimacy, sensuality and desire.

This week on The BoF Podcast, Rachel Scott sits down with BoF founder and CEO Imran Amed to discuss how she is redefining craft and advocating for a more inclusive design industry.  

Key Insights: 

• Scott credits her global outlook to extensive travels during her childhood. "When I was younger, [my mother] was adamant not to take us to Europe because that was easy. So she would take us to Asia… and South America. I already had this grounding of a global perspective," she explained. Her extensive travels through Asia and South America particularly influenced her to view fashion as a form of communication: "I started thinking about clothes as language, especially because I was seeing these different perspectives and these different approaches to dressing.”

• Scott seeks to foreground informal, yet globally shared, knowledge of embroidery and craft techniques. "I remember seeing techniques in India that I had seen in Jamaica… there is this global knowledge, but only one place gets valued," she says. This recognition inspired her mission to challenge the traditional valuation of craftsmanship. "It's almost like an oral tradition that exists that I wanted to find a way to elevate and present to the world," she adds.

• For Scott, craft is inherently sensual and intimate. "Because it is made by hand, there is this energy exchange," she says. This philosophy underpins her creative approach, focusing on tactile and emotional connections: "I would receive the production of the crochet… I would open the box and feel this energy. There is spirit and there is something imparted from the person making it to the person wearing it.”

• Scott’s advice to aspiring fashion designers is to challenge traditional expectations and timelines. "Fashion is really crazy… someone really small is judged on the same level as someone from a conglomerate," she explained, encouraging designers to embrace their unique journeys. "You don't have to abide by these notions of when you should do something, how you should do it… wait until you're ready and find your way."

Additional Resources:

• How Fashion’s Rising Stars Are Surviving the Luxury Slump | BoF
• Diotima’s Rachel Scott, Willy Chavarria Take Home CFDA Fashion Awards | BoF

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After years of disillusionment with fashion tech, investors are once again excited about its potential, but with a very different mindset to the hype-fuelled boom of the last decade.

From AI-powered personal styling apps to virtual try-on tools and personalised search engines, a wave of start-ups is gaining traction – and big backing – by offering real technological solutions to long-standing fashion industry problems.

In this episode, senior e-commerce correspondent Malique Morris joins The Debrief to explore how fashion tech is finally growing up, and which companies are leading this more grounded, results-driven wave of innovation.

Key Insights: 

• In the previous fashion tech boom, investors were heavily investing in e-commerce startups with little true innovation. “DTC brands … positioned themselves as tech companies because they sold goods online, but there was nothing really revolutionary about them listing products on a website. And I don't know how investors didn't cop to that,” says Morris.  Today’s backers are more discerning, favouring startups with clear technical roadmaps and founders who can evolve their product in meaningful ways.
• Investor interest in fashion tech reignited thanks to the rise of generative AI. As Morris explains, venture capital had been sitting on the sidelines during a broader funding freeze, but AI’s real-world applications reignited excitement. “Startups like Daydream are building a platform for personalised search using AI tools from companies like OpenAI and Google, and they want to be the ChatGPT for fashion and be disruptive in the way that ChatGPT has changed how we use the internet,” says Morris. “What was once a dream is now closer to being tangible and investors want to be the first ones in on that.”

• Today’s investors are looking beyond flashy pitches and prioritising founders with real technical know-how. “Something that is really separating the people who are just trying to raise money and not breaking through from those who are, are having some sort of technical experience, technical expertise,” says Morris. With the complexity of AI and other advanced tools, investors want to back teams that can build efficiently and with minimal lift. “They want to back founders who know what they're doing,” he adds.

• While new fashion tech apps offer highly personalised experiences, their complexity may limit mainstream appeal. The question of scale is still unanswered: “There may be a billion people out there who want to do that… There may only be a million. We don't know that just yet.”

Additional Resources:

• How Investors Fell Back in Love With Fashion Tech | BoF 

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As a fashion buyer and creative force at retail institutions like Browns and Liberty, Yasmin Sewell has long been tuned into aesthetics and the power of intuition. But it was during a moment of  personal reset, that her intuition propelled her from fashion into an entirely new world: the business of beauty. 

Founded in 2021, her fragrance brand Vyrao blends traditional perfumery with spiritual practices like Reiki, kinesiology, and neuroscience. 

“When I was in fashion, what made me successful was tapping into my intuition and tapping into energy, which is everything I’ve created now. I was born quite psychic; I’ve always been able to connect with many things, and I used that ability to discover the designers at Browns,” Sewell shared. “That feeling is what I’ve lived by my whole life. It’s what’s led me to where I am now. And actually, what I believe I’ve done is bottled that into fragrance.”

At The Business of Beauty Global Forum 2025, Sewell sat down with BoF founder and CEO Imran Amed to discuss why she built a business rooted in energy, how she learned to manufacture fragrance from scratch, and why intuition is an underrated superpower in business.

Key Insights: 

• Yasmin Sewell transitioned from fashion to beauty not as a rejection of her previous career but rather as an extension of her intuitive abilities, driven by a significant personal shift following her divorce. "When I was in fashion, what made me successful was tapping into my intuition and tapping into energy, which is everything that I've created now,” she explained.

• Vyrao was born from a deeply personal vision Sewell experienced during a transitional period in her life. "I heard this voice saying, 'everything needs to be green'. ... That's all I could hear. It was like a speaker I couldn't turn off," she recounted. "I sat there and Vyrao came to me as an absolute vision from somewhere else." 

• The fragrance brand now sits in a distinct position in the market, combining fragrance formulation with emotional and spiritual wellbeing, backed by neuroscience. "Every single plant and flower and every single fragrance is chosen for how it makes you feel… Now we work with neuroscience. It's proven to trigger certain emotions in the brain," she explained.

• Sewell emphasises the power of intuition as her primary guide, despite the challenges of navigating a business world dominated by analytical thinking. "I tend to lead with the gut... I'm sort of 98% intuition, 2% common sense," she said, describing how this has shaped Vyrao’s strategic direction and her interactions with investors. "I lead with intuition, and I use the brain as a tool. I don’t think the brain can take us that far – for me, it doesn’t.”

Additional Resources:

• The Business of Beauty Global Forum: Connection in the Age of Disruption | BoF 

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As major luxury brands struggle to maintain momentum amid an industry-wide slowdown, one category is bucking the trend: jewellery. While demand for handbags and apparel softens, fine jewellery sales continue to rise, driven by consumer desire for lasting value, emotional resonance and self-expression.

Simone Stern Carbone and Joan Kennedy join The Debrief to discuss how independent jewellers are thriving with creativity and personality, the rising popularity of novelty pieces, and why jewellery is uniquely positioned to attract buyers in today's luxury market.

Key Insights: 

• Despite slowing luxury sales, jewellery sales have continued to boom. As Stern Carbone notes, consumers perceive luxury jewellery as an inherently safer investment. She says, “Instinctively, a lot of people associate jewellery – especially if it's got gold, gemstones or diamonds – with something you would dish out more money for more readily than for a handbag potentially made out of nylon.”

• While big jewellery brands are growing, smaller competitors are booming as they foster deep customer relationships and maintain flexible, manageable supply chains. Stern-Carbone highlights, “Jewellery is so personal. When you have a very distinct aesthetic, you really connect with your customers long term, potentially for life. This is a really personal relationship that smaller brands can capitalise on.”

• Kennedy emphasises that modern jewellery marketing resonates by being accessible and relatable. “One designer I spoke to puts her charm necklaces next to candy necklaces, so that feels fun,” she says. “A lot of these designers are doing things that are very lo-fi. It’s like a picture of a wrist on Instagram. And then they reply to DMs, like, ‘Hey, show me that bracelet with something else.’ So the way that they present it is also really relevant to shoppers, versus the very high-gloss and traditional style of high jewellery.”

• Novelty jewellery began gaining popularity post-Covid. “People were buying camp jewellery, but they were paying $50 for a funky, colourful ring. And then more recently, people are like, okay, let’s bring in the value piece of this,” says Kennedy. Novelty jewellery has surged as consumers seek personal expression in response to uniform dressing and quiet luxury trends. Kennedy continues, “You're leaning into things that are uniform dressing, so how do we spice that up? Let's go for more novelty in jewellery.”

Additional Resources:

• Why Jewellery Feels Like a Better Deal Than a Handbag | BoF 
• Who Would Pay $20,000 For a Hamburger Ring? | BoF
• How Small Jewellery Brands Are Seizing The Moment | BoF 

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