Interested in advertising?
Just give us a call
Sales: +44 1977 708488
Or if you prefer an email, click the button below and we’ll get back to you shortly
Or if you prefer an email, click the button below and we’ll get back to you shortly
Facilitated by Fashion for Good, the Viscose Traceability project is a collaboration with a leading brand BEST SELLING and Dry which will provide eight garment models to be tracked for trials, with fiber sourced from three of the leading sustainable viscose producers. TextileGenesisTM will provide their blockchain solution and platform to trace the origins of viscose used in garments along the supply chains of the two participating brands. This supply chain, which consists of spinners, weavers, knitters, dyes and garment makers, spans a total of eight countries to reflect real-world complexity and various supply chain scenarios to fully test the flexibility and scalability of the platform.
The project builds on lessons learned from the Organic Cotton Tracing Pilot 2019, which investigated the technical feasibility of blockchain and physical tracers using organic cotton as the primary fiber. The Viscose Traceability Project’s ambition goes beyond technical viability, however, it goes a step further to explore, in detail, the next steps needed to make a traceability solution not only effective, but also scalable at a commercial level across sectors.
After demonstrating the technological feasibility of the TextileGenesisTM platform and its ability to integrate chain of custody certification in previous pilots, this project will focus on demonstrating the global application viability of solutions across the viscose supply chain. Success will be measured by the flexibility of the solution – being able to operate across multiple supply chains; solution interoperability – collecting data from multiple platforms into a single system; and scalability – global implementation across multiple brands, fiber producers and supply chains.
The scope of this project focuses on tracing viscose fibers from production to retail. To do so, the project leverages the impact work of the CanopyStyle initiative to remove ancient and endangered forest fibers from viscose production and to support the adoption of forest certification standards such as FSC, to address traceability at the beginning of the supply chain from forests to viscose fiber production.
Three fiber producers, Lenzing, ENKA and Tangshan Sanyou were selected for their “Green Shirt” ratings on the Canopy Hot Button Report and reputation as leaders in the field of sustainability. Through this consortium platform, Canopy and TextileGenesisTM have further developed their partnership: the TextileGenesisTM platform upgrade will integrate Canopy hot button rating data and the next-generation line of viscose that will not only be available for participating pilot brands, but also for all other brands using the platform. .
Following the completion of the pilot by the end of 2021, a joint report detailing the main findings and best practices will be shared publicly.
One thing to take away from the third-quarter revenue we’ve seen so far is that consumers are still shopping – and they’re grabbing big, well-known brands for everything from food to face creams. This is dramatic in high-end retail, where in some cases wealthy buyers are buying items that are more expensive than they were a year ago. There are several reasons for this. As I have noted, some of the expenses come from savings accumulated over the years kuncitara, and wealthy consumers want to get the most out of their money. If they hit outside of their regular price range or make their first luxury purchase, it often means paying for a household name: Louis Vuitton, Christian Dior or Hermes – all of which have had strong sales recoveries.
It also helps the largest companies – LVMH Moet Hennessy Louis Vuitton SE, Hermes International, Cie Financiere Richemont SA, and Gucci owner, Kering SA – have the resources to make their brands stand out in a crowded market. They are able to multiply social media campaigns. Meanwhile, consumers want to try and test styles, whether it’s a Hermes Birkin bag or a Moncler puffer jacket. With fewer opportunities to dress up, as well as a growing awareness of the environmental costs of fashion, buyers may decide to buy less, but buy better. All of this supports legacy-rich luxury homes, such as Hermes, the first upscale group to return to sales growth in the third quarter. The handbag maker is also helped by the fact that it is less dependent on tourist spending, which accounts for about 20% of sales globally, than its competitors, which see 30% to 35% of sales coming from tourists, according to Thomas Chauvet, luxury analyst at Citi.
But the shift in demand from cutting-edge to classic may be more of a challenge for Gucci, where sales excluding currency movements fell 8.9% in the third quarter. Her flamboyant aesthetic has won a large following among younger customers. But now they’re cutting back on their flashy styles to adapt to more conservative tastes. Buyers reaching for familiar goods also create special challenges for small companies. Given the power of luxury conglomerates and muscular single-brand groups like Moncler SpA, there may now be more pressure to sell to them. Salvatore Ferragamo SpA, for example, has not yet reported third-quarter sales, but Italian home turnover efforts have been disrupted by the pandemic. Investors will be watching to see if Ferragamo and other companies looking to revive their fortunes, such as Burberry Group Plc, are also being lifted by the rising tide of luxury.
Ferragamo denied this week that it is holding talks with investors about a potential stock sale. But family-controlled groups would be wise not to ignore any choices. The strides that the mega-brand have made this year will make it harder for smaller homes to gain traction with the richest buyers, even though demand for luxury goods will recover in 2021. Of course, there is a chance that consumer tastes will spin back to experimentation. when the world returns to resemblance to normality. But that future seems far and far from certain. Even if buyers want a less familiar and edgy design, companies need to reach them online and via social media channels. Having the best retail locations and the hottest designers will also remain important. That means sustainable investment for all groups, large and small. If life continues to get harder for more specialty brands, the next luxury trend could be an overhaul of industry ownership.
(This story has been published from wire agent bait without modification to the text.)
The fires broke out at five locations across Karachi on Thursday night and Friday.
The fire broke out in a cloth warehouse located on the ground floor of a two-story building in the Landhi Export Processing Zone. The roaring fire abandoned the building, causing it to collapse.
Initially, the people present at the location tried to extinguish the fire individually, but given the intensity of the flames, a fire tender was withdrawn from the export processing zone. Finally, fire brigade assistance was also sought.
Upon arrival, firefighters declared that the blaze was a third-degree fire and asked fire engines for help from several stations.
However, before they arrived, the flames spread and engulfed the neighboring warehouse.
Fearing more losses, firefighters and export processing zones sought assistance from the Pakistan Navy, Karachi Metropolitan Corporation (KMC) and the Qasim Port Authority as well.
According to KMC’s chief fire officer Mubeen Ahmed, they were informed of the incident while several firefighters had been dispatched to extinguish fires elsewhere in the city.
However, one was sent to the Landhi Export Processing Zone as early as possible and the fire was extinguished after nine hours, he said. The cause of the fire could not be determined until the submission of this report.
Ahmed attributed the increase in fires that have erupted in the city to the dry weather.
Later, Landhi’s Export Processing Zone public relations officer Malik Aziz told the media that a fire had erupted at the Galaxy Cloth House, adding that the flames had spread to engulf the warehouse due to strong winds.
According to Aziz, the thousands of rupees valuables in the warehouse had turned to ashes.
Separately, a fire broke out at the Union Plaza on II Chundrigar Road that same night, destroying thousands of rupees worth of goods.
A fire broke out in a computer shop and soon it spread to engulf others.
One fire brigade tender from Karachi Port Trust and five from the fire department participated in the suppression operation, the firefighters said, adding that a water tanker was also needed.
According to the fire department, the flames were extinguished within an hour.
Meanwhile, three firefighters tried to extinguish the fire at the potato chip production unit which also housed a warehouse at Jhat Pat Market, Chakiwara.
Shortly thereafter, a truck and a car parked outside the unit also caught fire. An outage operation is in progress until the submission of this report.
According to firefighters, there were other foodstuffs besides potato chips and heavy equipment in the warehouse, all of which were burned to ashes.
Meanwhile, a cloth warehouse catches fire in Sher Shah. While only one fire tender had originally been dispatched to put out the flames, others had to be summoned immediately.
The fire was extinguished after an hour.
Fire officials said the blaze had erupted due to a short circuit, affecting only one room in the warehouse.
Moreover, a fire broke out at a house in Shah Latif City. The residents were immediately evacuated and a bonfire reached the location to extinguish the flames. Fire officials said everything in the house was destroyed in the incident.
No casualties were reported in any of the incidents.
Some of the biggest luxury fashion brands are carefully stepping back onto European catwalks, deciding that vanguard rumors are worth the complications of hosting during the coronavirus pandemic.
The show that Dolce & Gabbana,
Chanel and others will stay for the next two weeks in Milan and Paris minimized version typical event. Many influencers and celebrities who crowded past shows will be sidelined due to limitations on international travel, and famous models from Brazil, the US, and Russia are also stuck at home. Those who succeed will sit apart.
The Milan show kicks off Wednesday, with face masks and hand sanitizer among the most popular accessories. Temperature checks at the door are common, while Dolce & Gabbana provide visitors with cloth masks with their signature patterns.
The brand is determined to relaunch an industry ritual that some designers say cannot be replicated online. The biggest houses usually put up spectacular fashion week sets designed to dominate social media feeds, with creative directors planning the perfect Instagrammable moment. Brands closely monitor the attention their events – and competitors’ events – garner on social media, and analysts say that strong looks during fashion week help translate to market share.
“Live performances are the basics,” said Stefano Gabbana, half of the design duo who founded the Italian brand. They are a complete experience. Music and scenography when viewed in person create emotions that are different from those obtained when done digitally. “
The publicity value of traditional and social media for an attention-grabbing event could be the equivalent of millions of dollars in paid advertising, according to the company that monitors media responses to fashion week.
Some of the major European brands, including Giorgio Armani and
have considered the risks of hosting too great for the audience, opting instead for digital shows.
Brand owned by
—Gucci, Saint Laurent, Bottega Veneta and Balenciaga – have decided not to have physical shows this season. Gucci and Saint Laurent have decided not to appear at all during Milan or Paris fashion week. Gucci will hold a digital special event in October or November, said a brand executive.
In July, Gucci and its designer, Alessandro Michele, reached more than 35 million viewers with a 12-hour live stream that broadcast a behind-the-scenes look at its yacht collection, called the Epilogue. The experience helps convince brands that they don’t need to rely on physical performances to create buzz, the executive said.
The move comes amid a pandemic-fueled reckoning about the show’s purpose, which sends huge caravans of journalists, industry buyers, influencers and celebrities to New York, London, Milan and Paris, twice a year – and that’s just for women ready-to-wear. . With so many brands touting their environmental performance, the pollution all air travel creates – and the cost – has some fashion houses wondering if a change is needed.
“We do not believe that fashion shows as they know them and fashion week are anything that matters to us anymore,” said the Gucci executive.
In France, brands are moving forward with their performances soaring coronavirus cases in Paris. The government on Wednesday announced new restrictions on gatherings in the city, but industry officials said the new rules would not affect fashion shows.
What will you wear this fall? Join the conversation below.
European fashion executives have spent months planning how to safely entertain audiences. To accommodate even a small audience, fashion houses measure the ceiling height of the premises and airflow patterns to determine how many people they can invite.
SE, the world’s largest luxury company, will hold shows in Paris for brands including Louis Vuitton and Dior. Chanel, the world’s second-largest fashion brand by revenue, returns to the airy exhibition space of the Grand Palais Paris, where the label’s past shows replicated the forests, beaches and rooftops of Paris.
In Milan, about a third of the catwalks are expected to host spectators. Giorgio Armani, who put on a digital show on Saturday, gave a quick response coronavirus test to all models and workers who entered his building.
On Wednesday, LVMH’s Fendi is the first major fashion house to hold a live show. A string quartet is played as about 50 socially distant, masked spectators watch the Italian brand perform its style for next year’s spring and summer.
A small group of fans gathered near the entrance to Fendi’s headquarters in Milan, but guests inside sat a few feet apart on white sofas swerving along the runway.
Dolce & Gabbana’s fashion show takes place in a converted cinema, with a public announcement for guests to keep their masks on. After that, the announcement directed the audience to go in part, not all at once.
One reason brands are taking the risk is that some of the earliest attempts to digitally connect with audiences have stumbled. Earlier this month, during New York Fashion Week, most brands held special online fashion shows. That week generated far less buzz on social and traditional media than previous face-to-face fashion weeks, according to a company that tracks media interest.
Influencers and their followers are less involved with events when the influencer is not in the room, analysts say.
“Having an influencer in front of his laptop just posting, it’s not very effective,” said Michael Jaïs, chief executive of Launchmetrics, which monitors media for fashion brands.
Two of New York Fashion Week’s most successful shows had small live events, said Jaïs. Christian Siriano, who launched his brand after winning Season 4 of “Project Runway,” hosted a show for about 80 people at his home in Westport, Conn., Where his models used lawns as catwalks. Jason Wu, the Taiwanese-Canadian designer, caught the eye of the crowds at the rooftop garden of Spring Studios in New York.
“That’s the importance of physical performance,” said Mr Jaïs.
Copyright © 2020 Dow Jones & Company, Inc. All Rights Reserved. 87990cbe856818d5eddac44c7b1cdeb8