Julia Fox Will Come for You – Victoria’s Secret is launching a new underwear brand selling first bras to pre-teen shoppers – Can fashion shows ever be sustainable? – Textile Market Higher Growth During 2022-2032 CAGR: 3.77 % – Autonomous supply chain planning for consumer goods companies – Open letter calls on fashion to unite against war and reactions

Today’s TextileFuture Newsletter offers you again six features of different nature, but each item is worth reading!

The first feature is entitled “Julia Fox Will Come for You” based upon a story of an Italian fashion model who fell in love with Mr. Kanye West, but on Valentine’s Day they’d broke up.  

The second item is the message by Victoria’s Secret launching a new underwear brand selling first bras top pre-teen shoppers, added is a statement by Victoria’s Secret’s CEO said the company was accused of ‘scorching the earth’ and ‘spoiling’ the brand after it ditched racy ads — but found the feedback was mostly from men.

The third feature finds an answer on “Can fashion shows ever be sustainable?”, and the facts and figures were written by guest author Bella Webb from Vogue Business.

The fourth item will give you some facts on the forecast “Textile Market Higher Growth During 2022-2032 CAGR: 3.77 %”, based upon a report by www.factmr.com, offering some facts from the report.

The fifth feature bears the title “Autonomous supply chain planning for consumer goods companies”. It is an article from McKinsey garnered with facts and figures.

Item six is an Open letter that calls on fashion to unite against the war in the Ukraine and the different reactions of the fashion world.

With other words, we have again combined interesting lecture for you! Don’t shy away, the readings are digestable!

Have an interesting and satisfactory week and don’t forget to return to TextileFuture Newsletter in a week’s time!

Here starts the first feature:

Julia Fox Will Come for You

One latex-clad evening in Italy with the woman who hasn’t yet had her fill of fame.

By Jessica Testa from the NJew York Times.

Julia Fox Simbarashe Cha for The New York Times. All captions courtesy by the New York Times.

From her hotel room, Julia Fox could look out the window and see Versace. This was amusing to her.

“As I just said the word ‘Versace,’ I read ‘Versace,’’’ she said, leaning back in her pebbled leather armchair, staring at the building-size billboard a mile away that marked the brand’s headquarters.

Inside this room, Ms. Fox was becoming a human-size billboard, wearing a Versace bathrobe and Versace slippers, one hand within reach of a Versace bedazzled travel cup with an attached straw (though she only really sipped on her pink disposable vape pen).

He circled and shaded, forming a shape far beyond the limits of what might be called, in polite society, a “smoky eye.” This dark, smudged look had become a signature of Ms. Fox’s around late January, when her attendance at a few Parisian couture fashion shows flooded social media. While posing for photos, she would heighten the effect with an alert, slightly bulging gaze. Her team called it the “Fox eye.”She closed her eyes, and a makeup artist named Daniel Kolaric resumed his work. While Ms. Fox sat in her cream-colored chair in her cream-colored room, he was turning her eyelids into two charcoal voids.

Julia Fox receives touch-ups from the makeup artist Pat McGrath. Credit Simbarashe Cha for The New York Times

Now Ms. Fox was at Milan Fashion Week, preparing to sit in the front row at Versace’s fashion show. The Italian brand had put her up in this luxury hotel, where she was booked under an alias that sounded like a name from Old Hollywood.

Though professionally an actress, Ms. Fox, 32, began playing the role of living fashion advertisement earlier this year. Between Dec. 31 and Jan. 6, she had become the new love interest and fixation of Kanye West, gradually absorbing the same kind of hypnotic and polarizing presence as Mr. West himself.

Until Valentine’s Day, when the six-week rocket of strangeness that Ms. Fox rode to international fame ended with confirmation that they’d broken up.

There are people, now, who will sigh deeply when they see Ms. Fox has given another interview. (Two were released the week that news of the breakup broke, though both were conducted before the split.) But Ms. Fox remains largely unbothered by her critics, she said, or by the caricature she has become online.

“It’s not real,” she said. “It’s only happening on the internet. I’m not actively engaging with it. I don’t feel it. I’m still 1000 percent me. Nothing’s changed, except, I will say, having been around Kanye was like a crash course on how to be famous.”

To get the gory details out of the way: Ms. Fox said she broke up with Mr. West, but it was amicable. They had spent only about 15 days together, she estimated, when factoring in work, family and travel obligations.

Ms. Fox and a masked Kanye West, front row at the Schiaparelli haute couture show in January.Credit: Valerio Mezzanotti for The New York Times


“I tried my best to make it work,” she said. “I already had a jam-packed life. How do I fit this really big personality into this already full life? It just wasn’t sustainable. I lost like 15 pounds in that month.”

Were they exclusive as a couple? “I don’t think so,” she said.

Was the relationship real, or faked for publicity? “I mean, there were definitely elements of it that were real.”

What about the rumour that she had undergone interviews to be his girlfriend? “Ridiculous.” Did she ever sign anything, like a nondisclosure agreement? “No.”

Were they, as Ms. Fox previously said on the podcast “Call Her Daddy,” really referring to each other as “boyfriend” and “girlfriend”?

“I don’t think those words ever came out of my mouth, actually,” she said (though they did, on the podcast). “It definitely felt like I was his girlfriend. But it also felt like I was being cast in the role of his girlfriend — and he was casting me. He was the orchestrator of it all. It really did feel like a movie.”

Is she ever concerned that Mr. West might publicly air details of their personal lives or private communications on Instagram, as he’s done with other exes, friends and family members?

“I don’t think that he would want to open that door with me,” she said. “If you come for me, I’m going to come for you. And I’m really good at coming for people. I just go straight for the jugular. I don’t think he would be dumb enough to do that.”

The truth is, Ms. Fox was ready to be famous a few years before she started dating Mr. West. She had plans to blow up in 2020, with a team and strategy in place at the time of her breakthrough role in “Uncut Gems” opposite Adam Sandler.

But like a lot of people who made plans in late 2019, she felt derailed by the pandemic.

Instead, in 2020, she got pregnant, giving birth to a son, Valentino, in 2021. (She and his father are divorced.) Another movie, Steven Soderbergh’s “No Sudden Move,” was released in the summer of 2021, but that role also didn’t usher in the career boost she’d envisioned.

Ms. Fox opened the LaQuan Smith runway show in New York in February.Credit: Rebecca Smeyne for The New York Times

So, when she got together with Mr. West around New Year’s, “I was ready to re-enter society,” she said. He helped her do that, and it felt like a reset button on her career had been pushed. She is shooting a number of new projects this year, including films directed by Tony Kaye and Tommy Dorfman, she said.

There are still some shades of bitterness around the breakup, but there is also a lot of gratitude. Ms. Fox credited Mr. West with some of her new relationships in fashion. For example, he helped arrange her appearance at Diesel, another splashy fashion show in Milan, earlier in the week.

Ultimately she said she learned from Mr. West, whom she calls “the ultimate stunt queen.”

“Look at the big picture,” she said. “That was amazing for me. The exposure was priceless.”

“But I do think eventually I’ll surpass the Kanye narrative. Believe it or not, Kanye’s not the most interesting thing that’s ever happened to me.”

‘Dominatrix couture’

There’s another reason Ms. Fox hasn’t been too distraught over her TMZ news alert-level breakup. While she was in Milan, a close friend died of an overdose.

The day after the Versace show, Ms. Fox flew back to New York, first to attend a wedding, then a funeral (for another friend’s spouse), then to pick up her friend’s body at the morgue.

Though Ms. Fox was born in Milan, about two miles away from the hotel where she was interviewed, she moved to New York to live with her father around age 6. Her mother stayed in Italy, and Ms. Fox regularly returned to visit, even attending school in Como for a time.

Growing up in New York, she spent a lot of time in the East Village, especially on rowdy St. Marks Place. It was there, when she was 14, that she met one of her current stylists and best friends, Briana Andalore.

As teenagers, they were drawn to each other’s blind confidence and readiness to scheme, scam and steal. “I would do anything to get into a club,” said Ms. Andalore, who traveled with Ms. Fox to Milan. “We always just knew what we wanted.”

Around this time, Ms. Fox’s personal style (“dominatrix couture,” she calls it) began taking shape; she worked briefly as a dominatrix at a Manhattan dungeon, she said.

At her hotel in Milan, prepping for the Versace show. Credit: Simbarashe Cha for The New York Times

Then, in her early 20s, she and Ms. Andalore started a fashion line, Franziska Fox, finding moderate success with cutouts and cat suits, similar to those dominating runways and sites like Fashion Nova today, they pointed out. (At the time, Franziska Fox was even sold at Dash, the clothing store once owned by the Kardashians.)

Ms. Fox also pursued art when she was in her mid-20s, releasing two books of photography (both grimy, druggie, emotionally intimate and sexually explicit) and exhibiting paintings made using her own blood.

This all was a lot of life to live before the age of 30 — not that Ms. Fox always wanted to be living it.

She said that she struggled with drug abuse for years, on and off, but she stopped using pills and opiates in March 2019. Later that year, when a close friend had an overdose, Ms. Fox said she was officially “scared straight.”

Ms. Fox can still be found on the downtown Manhattan social circuit, vaping from one of two pens (weed or “guava ice” flavored nicotine, since she gave up Newport 100s). But her circumstances have undeniably changed, along with the social status, job opportunities and attitudes of her inner circle. Her other stylist-friend Peri Rosenzweig couldn’t come to Milan because she’d been asked to help with Mr. West’s “Donda 2” listening party in Miami.

At a raucous dinner party for Ms. Fox’s 32nd birthday at Lucien in the East Village, Mr. West gave Hermès Birkin bags to her and four friends, including Ms. Rosenzweig and Ms. Andalore.

The bags start at USD 10000, and he picked each variant based on the recipient’s personality: Ms. Fox got an ostrich leather bag in black; Ms. Andalore, who is somewhat guarded and suffers no fools, received an indigo bag that appears to change color depending on the light.

But almost a month later, Ms. Andalore said she hasn’t carried hers yet. Ms. Fox carried the Birkin for just a few days before it went back in the box.

“I don’t know if you know about owning a Birkin when you’re not a rich person, but it’s like the most anxiety-inducing thing ever,” Ms. Fox said. “You’re checking on the Birkin, making sure it’s still there, that it didn’t magically grow wings. It’s scary to have a Birkin. It’s a lot of pressure.”

‘I take it as a compliment.’

“The world is going to be gagged,” Ms. Andalore said to Ms. Fox in the hotel room. “Do you love?”

Ms. Fox’s makeup was now finished, her eyes two bright marbles emerging from small piles of ash. Her hair had been pulled back into a slick, tight, high ponytail wrapped with “pleasure tape.”

On her way to the Versace show.Credit: Simbarashe Cha for The New York Times

The tape snaked a few feet beyond where Ms. Fox’s hair ended, effectively turning the ponytail into a whip that dragged slightly on the floor. The top curve of the ponytail felt as solid as a bicycle’s handlebar.

“I never heard about pleasure tape,” the hair stylist said, applying gel with a brush to her scalp.

“It’s also called bondage tape,” Ms. Andalore said.

Ms. Fox was running a little behind, which made her anxious.  She stripped naked and, with Ms. Andalore’s help, started pulling on the all-black outfit that Versace had lent her for the night.

They moved as quickly as two people could while wrangling human flesh into a tight latex midi-skirt. The top of the skirt hit the center of Ms. Fox’s pelvis, from which two thin straps extended in a wide V-shape up around her hips, connecting across her lower back. The matching top was sleeveless and cropped, with a high neck and asymmetric cutout over the cleavage.

By the time Ms. Fox left the room and descended to the lobby, where photographers were visible through the hotel’s revolving doors, Ms. Andalore realized something was off.

“One glove, Julia?” she said, somewhat exasperated, helping Ms. Fox into her missing elbow-length latex glove.

On the ride to the show, the conversation bounced from the metaverse (Ms. Fox is very excited about the metaverse) to a meme on TikTok, extracted from her “Call Her Daddy” interview.

She greets Donatella Versace backstage at her show. Credit: Simbarashe Cha for The New York Times

When the host asked Ms. Fox if she would consider herself Mr. West’s muse, she responded: “Yeah! A little, maybe. I mean, I was Josh Safdie’s muse when he wrote ‘Uncut Gems.’” But “Uncut Gems” was delivered with deep-fried up-speak, sounding more like “uncah jahmz” — at least to the thousands of TikTokers who’ve since parodied the moment.

In the van, Ms. Fox tried to recreate it, but couldn’t quite nail the impression of herself. Her brand manager, Kendall Werts, came closest.

Ms. Fox finds the TikToks “funny and hilarious,” she said. “People have told me that I have, like, an A.S.M.R. singsong-y way of talking that people could get potentially lost in a trance listening to, so I take it as a compliment.”

Arriving backstage, Ms. Fox was greeted by Donatella Versace, and they hugged and exchanged words in Italian. Ms. Versace was also wearing a full latex look, accessorized with her own bedazzled travel cup with attached straw.



Here starts item 2 on transformation of a company:

Victoria’s Secret is launching a new underwear brand selling first bras to pre-teen shoppers

By guest author Mary Hanbury from Business Insider.

  • Victoria’s Secret is launching a new underwear brand, called Happy Nation, for pre-teen shoppers.
  • The company said it will share more details about its launch in April.
  • Happy Nation is part of Victoria’s Secret’s major turnaround effort.

Victoria’s Secret is launching a new underwear brand for pre-teen shoppers.

The lingerie giant announced in its fourth-quarter earnings release after market close on Wednesday that it plans to launch an online-only brand, Happy Nation.

The brand will consist of first bras, panties, and comfortable apparel for pre-teen-aged shoppers. The company said it will share more details about its launch in April, though it has teased what the brand will look like on a new website.

Victoria’s Secret has been taking major steps to turn around its brand image after years of criticism and sliding sales. The company was accused of ostracizing female customers with its risqué ads, racy runway shows, and over-sexualised lingerie and because of this, lost market share to more body-positive brands such as American Eagle’s Aerie.

Happy Nation is part of the company’s turnaround effort and bid to appeal to younger shoppers and parents who are buying underwear and clothing on their behalf.

In the past, mothers of teenage shoppers complained on social media that the risque marketing in Victoria’s Secret stores was offensive to these young customers who were shopping its teen-centric Pink brand.

The company has since made major changes to its stores, replacing the racy images that previously adorned the walls for more body-positive ad campaigns.

The brand has also shifted focus toward more comfortable styles of underwear. Most recently, launching its newest underwear collection, Love Cloud, which promises to offer women “all-day comfort.”

These changes, alongside its new brand image, seem to be paying off. After several years of sliding sales, the company has started to see sales growth pick up again. Same-store sales were up 3% versus 2020 for the year ending January 2022.

Victoria’s Secret’s CEO said the company was accused of ‘scorching the earth’ and ‘spoiling’ the brand after it ditched racy ads — but found the feedback was mostly from men

  • Victoria’s Secret CEO said that it was mostly men who complained when the company changed its branding.
  • It has removed racy ads from stores, ditched its Angels, and canceled its runway show.
  • The CEO said it received mail from male shoppers saying the company was ‘spoiling’ the brand.

Victoria’s Secret has substantially toned down its brand image.

The company removed photographs of scantily dressed models from the walls of its stores and canceled its annual fashion show where models called Angels walked the runway wearing only lingerie.

The company’s new branding that focuses on comfort and inclusivity seems to be resonating with customers so far. After years of sliding sales, Victoria’s Secret is again reporting growth and investors appear more confident about the brand’s positioning.

But not everyone was pleased with the rebrand.

In a call with investors on Thursday, March 3, 2022, Victoria’s Secret CEO Martin Waters addressed a question from an analyst who asked whether the changes had alienated any customers.

In response, Waters recalled a surge in mail from disapproving consumers.

“When we first announced our positioning, we got a significant amount of mail from people who said, ‘This is terrible. You’re scorching the earth. You’re spoiling our brand. We love the way it was before, why are you changing it?'” Waters said, according to a transcript of the call.

On further analysis, however, the company found that most of this feedback wasn’t coming from its most loyal customers or rewards club members, Waters said.

Instead, “it was principally from men,” he said.

Waters said that female customers, by comparison, have so far responded well to the rebrand. He also said that the company hasn’t entirely ditched sexy imagery and lingerie.

“We still sell provocative merchandise,” he said, adding that the brand is “unashamedly sexy” with its Valentine’s Day collection.

“For us, it is about balance,” he said. “Rather than just being sexy … it’s about advocating for women in all aspects of their life.”



Here is the beginning of feature 3:

Can fashion shows ever be sustainable?

By guest author Bella Webb from Vogue Business.

Fashion shows are back in physical form this season, but everything is under pressure to change, from the details of construction to the catering, and even the very format itself.

Courtesy of Gabriela Hearst – All captions courtesy by Vogue Business

As the Autumn/Winter 2022 fashion show season gathers momentum in Milan and Paris, the increase in physical shows on the calendars suggests a return to business as usual.

Except, it can’t be business as usual, say activists campaigning for a more sustainable fashion industry. “A 20-minute event that takes six months to create?” counters Orsola de Castro, co-founder of advocacy organisation Fashion Revolution. “It’s unsustainable.”

As pressures grow for the fashion industry to respond more urgently to the climate and environmental emergency, activists question whether fashion shows can ever be sustainable. They argue that fashion shows feed into a broader unsustainable system of constant trends and overproduction.

There are signs that many in the fashion industry are listening. Global brands and fashion councils are working to rethink the format of the traditional fashion show and minimise its environmental impact. Their efforts span factors large (energy consumption) and small (backstage catering). The challenge is pulling these threads together into an industry-wide standard — few want to impose compulsory criteria or to be seen as limiting creativity.

How to future-proof fashion shows — or any form of showing fashion — is up for debate. “Fashion weeks are a moment of high communication for the industry, creating jobs and income for cities,” notes Carlo Capasa, chairman of the Camera Nazionale della Moda Italiana (CNMI), which hosts Milan Fashion Week. Fashion Revolution’s de Castro points out the harsh reality for many designers is financial pressure and overstimulated guests struggling to distinguish one show from the next.

Designers known for their sustainable practices acknowledge the dilemmas. “It’s nice for each brand to take ownership of how they show their work,” says London designer Phoebe English. “You don’t want to limit free expression but we have to grapple with the role of designers and the relevance of fashion shows now, especially as the climate crisis gets worse.” Ganni tries to balance environmental impact with building awareness, but founder Nicolaj Reffstrup says finding a reporting structure or benchmark that works across seasons and concepts is “frankly, super difficult”. Simon Wick, co-founder of emerging Copenhagen brand (Di)vision adds: “Either we produce a show and push our sustainable agenda with some compromises, or we avoid shows but can’t share our message.”

What role can fashion councils play?

The national organising bodies that represent fashion designers can help. “Fashion councils absolutely have a role to play in sustainability,” says Cecilie Thorsmark, CEO of Copenhagen Fashion Week, which introduced an Action Plan in 2020 and will require participating brands to meet 18 minimum sustainability criteria from Autumn/Winter 2023. These criteria cover strategic direction, design, smart material choices, working conditions, consumer engagement, and — the most relevant — show production.

International travel and transport between shows are the biggest challenge, says CNMI’s Capasa. “We try to minimise travel between shows by grouping locations, but we can’t do much if designers want to show far away, and we cannot avoid people travelling from other countries by plane,” he points out.

Many international fashion weeks have shrunk since the pandemic, while others have pivoted to hybrid, or “phygital” events. Mercedes-Benz Fashion Week Russia is three times smaller than it was pre-pandemic, but garners over half a million views for digital events. Limited international guests means a significant reduction in carbon emissions, says Alexander Shumsky, president of the Russian Fashion Council.

In Paris, the Fédération de la Haute Couture et de la Mode (FHCM) has provided guests with zero emission transportation and electric shuttle buses since 2020. In 2019, it established a shared venue at the Palais de Tokyo to split production costs between brands and minimise the impact of mounting, dismantling and transport. It’s also signed a partnership with La Réserve des Arts to reuse materials and props when fashion weeks are over.

Then, in September, FHCM released a tool for measuring the environmental, social and economic impacts of fashion events. Contributors and partners include LVMH, Kering, Chanel, Hermès and financial advisory company PwC. A total of 120 key performance indicators cover everything from mounting and dismantling sets, the number of guests, the transport of models, the energy and water usage and the catering, through to related communication and digital activations. Ultimately, the brief set by creative directors dictates how big a show’s environmental footprint is, says FHCM’s sustainability project manager Léonore Garnier: every smaller decision stems from that initial brief.

Damage control

Spurred by FHCM’s new tool, all LVMH fashion and leather goods houses will measure the impact of their fashion shows and have pledged to recycle all runway props. At Louis Vuitton, 700 square metres of travertine lined the floor of the men’s Autumn/Winter 2021 show and was later reused in the brand’s Beaulieu and Vendôme Villiers workshops. Stella McCartney says it always considers the impact of fashion shows and events, serving vegetarian food backstage and using digital invites instead of physical ones.

Kering is one of the companies partnering with La Réserve des Arts to offer leftover materials from shows to artists at preferential prices. All Kering houses subscribe to its internal Green Fashion Shows guidelines, which include governance, stakeholder relations, energy management, waste management, elimination of single-use plastics, food and transportation. Balenciaga offset the carbon from its Winter 2020 show by supporting a reforestation project; while the floor of Bottega Veneta’s Spring 2020 show was recycled to produce tables, displayed and sold for charity at Milan Design Week.

Gucci has been certifying its fashion shows as carbon neutral since Spring/Summer 2020. Its initiatives include favouring materials that can be reused, recycled or rented; prioritising local catering; avoiding single-use plastic; donating leftover food; using green electricity and LED lighting; and choosing more sustainable transport. Non-profit ReteClima is measuring greenhouse gas emissions for the Exquisite Gucci show in Milan this week, including transportation and accommodation for all guests, crew and models, as well as energy consumption and communication elements such as invitations and gifts. These emissions will then be translated into protecting and restoring forests, mangroves and biodiversity under Gucci’s Natural Climate Solutions Portfolio.

At New York brand Gabriela Hearst — the first to claim a carbon neutral fashion show, in 2019 — emissions were offset through direct air capture organisations Climeworks. The press release, distributed digitally, included the amount of fabrics in the collection that were upcycled (13 per cent), deadstock or recycled (49 per cent), and eco (four per cent).

For Hearst’s first show as creative director of Richemont-owned Chloé (Autumn/Winter 2021), the brand offset its emissions by supporting a mangrove reforestation project in Myanmar. Chloé has since introduced an events charter, with guidelines for internal and external teams to follow when producing fashion shows, explains chief sustainability officer Aude Vergne. The charter suggests that teams favour rental over new production, consider the afterlife of décor, use seasonal, plant-based food to cater and donate leftovers to charity, and incorporate charity collaborations and give-back initiatives.

Cult sustainability label Collina Strada, based in New York, works with a florist who recycles waste from other clients’ shows. One season, this meant decorating with 1,800 oranges another designer had discarded, feeding them to guests afterwards. This season, the backdrop for guest’s arrival photos will be reused as wallpaper in the brand’s studio. “You have to consider how things will be used in future,” explains founder Hillary Taymour.

Others, including Cecilie Bahnsen, choose venues that allow them to forgo set design altogether, including art galleries and open-air venues with panoramic views. In Copenhagen, Saks Potts staged its most recent show in the grand foyer of the Royal Danish Opera House; Søren le Schmidt in amusement park Tivoli Gardens; and (Di)vision at Tycho Brahe Planetarium.

Exploring different formats

Incremental changes can only go so far. “We know there is room for improvement,” says Avery Baker, president and chief brand officer at Tommy Hilfiger Global. “We will continue to test and learn from different spaces and diverse formats, that build towards creating a better fashion industry.”

London designer Christopher Raeburn stopped holding catwalk shows on the tenth anniversary of his namesake brand, in 2019, switching to digital video formats. “It’s difficult to measure which reaches more people and has a bigger impact on brand awareness,” says Raeburn. Now, his fashion week focus is on supporting other responsible brands. This season, that mission manifested as an exhibition, art directed by emerging designer Matthew Needham, at The Lab E20, a community creative hub co-created by Raeburn in east London.

Former LVMH Prize finalist Bethany Williams also recently went digital, due to the pandemic. This season, she presented her collection at London’s Design Museum as part of a broader body of work proposing new fashion systems. The brand will reuse the wooden rails from the exhibition to hold sample garments in its studio, and handcrafted props will reappear in campaigns and a project with the Victoria & Albert museum later this year. “We aim to create with purpose and ensure things we create have a circular life,” explains managing director Natalie Hodgson.

Momentum in London is supported by Fashion Revolution, which runs a week of global events each year, including Fashion Open Studio, a programme where designers invite guests into their work spaces to learn more about their collections and processes. Fashion Revolution’s Castro believes this offers a genuine alternative to the traditional fashion show: “Instead of fashion shows, fashion weeks could focus on peer-to-peer mentoring and be a period of exchange.” All eyes will be on Milan and Paris.



Here starts feature 4:

Textile Market Higher Growth During 2022-2032 CAGR: 3.77 %

Certified market research and consulting firm predicts the global sales of textiles to surpass USD 1440 billion by registering a CAGR of 3.77 % in the forecast period 2022-2032. Penetration of E-commerce websites is playing a crucial role in the increasing demand for textiles. Moreover, demand for natural fibers owing to the rising environmental concerns is positively influencing the demand for textiles.

Historically, from 2015 to 2021, the global textile sales flourished at a CAGR of 3 %, being valued at USD 990 billion by the end of the aforementioned period. The onset of the COVID-19 pandemic affected the sales and demand of various industries. Due to the restriction on movements, the purchasing of consumer goods witnessed a dip. This, in turn, affected the demand for textiles. As the world is gaining normalcy, the demand for textiles is expected to upsurge in the assessment period.

Furthermore, demand from end user sectors such as medical and households is creating lucrative opportunities for textile industries. In addition, rapid urbanization and increasing population across various countries in the globe is propelling the demand for textiles.

Key Takeaways from the Market Study

  • By application, fashion and clothing expected to gain more than 70 % market share for textile market.
  • By product, natural fibres expected to hold more than 45 % market share for textile market.
  • Textile industry expected to possess nearly 30 % market share throughout North America.
  • Textile industry expected to possess nearly 50 % market share throughout Asia Pacific.
  • U.S, Canada, India, Bangladesh and Vietnam are the top five countries driving demand for textile.

“Burgeoning population growth coupled with growth in industrial activity in the past few years has opened opportunistic doors for textile manufacturers, who are striving to introduce different categories for specific purposes,” opines a Senior Research analyst

Competitive Landscape

  • In October 2020, Successori REDA S.p.A. acquired Lanieri. This acquisition will help the company to strengthen their portfolio by going digital and offering an online purchasing experience for their consumers.
  • In December 2021, Paramount Textile Ltd announced that the company will be investing USD 85.45 million in balancing, modernisation and expansion for expanding its production capacity. Furthermore, the new unit is expected to produce 400 tonnes of fabric per month.

These insights are based on a report on Textile Market by Fact.MR.



That’s the start of the fifth feature:

Autonomous supply chain planning for consumer goods companies

By Knut Alicke, K Ganesh, Soumyadeep Ganguly, and Sahil Shinghal from McKinsey. Knut Alicke is a partner in McKinsey’s Stuttgart office, K Ganesh is an associate partner in the Chennai office, Soumyadeep Ganguly is a partner in the Gurugram office, and Sahil Shinghal is a partner in the Tokyo office.

To capitalise on analytics, consumer packaged goods organizations—especially in Asia—can build an integrated system with the power to oversee and control the entire supply chain from end to end.

AI and machine learning hold the potential to dramatically improve supply chain performance for consumer packaged goods (CPG) companies. Yet most companies are limited by their approach thus far: investing in a collection of point solutions that work well for individual processes but don’t talk to each other or integrate data. The problem with this approach is that it still requires COOs and ops teams to be directly involved in decision making and oversight in order to manage the junction points and interdependencies among individual applications.

To capitalise on the true potential from analytics, a better approach is for CPG companies to integrate the entire end-to-end supply chain so that they can run the majority of processes and decisions through real-time, autonomous planning. Forecast changes in demand can be automatically factored into all processes and decisions along the chain, back to inventory, production planning and scheduling, and raw-material procurement.

The experiences of a few major CPG companies show that autonomous supply chain planning can lead to an increase in revenue of up to 4 %, a reduction in inventory of up to 20 %, and a decrease in supply chain costs of up to 10 %. But capturing these benefits is a journey, not a one-time transaction, and it entails thinking beyond technology to include process redesign, talent, performance management, and other aspects of operations.

Changes compounded by the COVID-19 pandemic

The CPG industry has long relied on traditional processes to manage supply chains and operational performance, but the pandemic has upended many (if not most) of these efforts. Consumer sentiment has changed dramatically, with a marked shift to value and a greater focus on essential products. In many markets, concerns about physical stores have accelerated growth in online shopping. Purchasing loyalty has diminished, as consumers have become more willing to try new brands. All of these changing consumer needs and market dynamics put significant pressure on CPG companies to find better ways of planning.

Most organisations aren’t there yet. McKinsey recently interviewed senior leaders from large CPG manufacturers in Asia about the state of their planning processes. The results show significant room to improve. In our sample, approximately 80 percent of companies still follow traditional or collaborative sales and operations planning (S&OP) processes, with limited real-time decision making or automation (Exhibit 1). Current processes often depend on unreliable sources of data and outdated IT systems, with coordination limited across functions. To be fair, certain CPG companies consistently follow data-based planning methods, but even they typically optimize decision making at the local level, rather than globally, and with limited ability to address potential disruptions in real time.

Given the rapid-fire shifts in demand due to the pandemic, there is a real risk that traditional supply chain planning processes will be insufficient. Companies run the risk of product shortages, increased costs from stock, inventory write-offs, and related inefficiencies up and down the value chain.

At the same time, a small number of leading CPG companies (7 % in our sample) have started to adopt autonomous end-to-end planning—a more advanced approach to managing supply chains in volatile conditions, and one that will soon become the baseline for CPG organisations around the world.

What is autonomous planning?

Autonomous planning is a continuous, closed-loop planning approach built on a fully automated technology platform, designed to optimize S&OP processes in real time. For large, complex CPG companies, autonomous planning can help supply chains function more effectively in volatile environments, and with less direct human oversight and decision making required. It combines big data (internal, external, and customer information) and advanced analytics at every step of the supply chain planning process.

Autonomous planning can help supply chains function more effectively in volatile environments, and with less direct human oversight and decision making required.

Although it is based on technology, autonomous planning requires more than hardware and software. That’s because it entails a shift in the way that organizations work, based on a set of foundational principles:

  • Reduce human involvement by relying on automation to handle most processes end to end, with manual interventions required only to address exceptions and special circumstances.
  • Rely on integrated advanced analytics throughout the supply chain, moving beyond standard software functionality for individual processes to create an explicit link from demand forecasts and orders back through to the production schedule and plan.
  • Evolve from structured planning processeswhich are typically slow, rigid, and reactive—to a more fluid approach, based on cross-functional and continuous touchpoints that can proactively integrate real-time information.
  • Hard-wire processes and KPIs directly into business units, rather than concentrating ownership and control over the supply chain to the operations function.
  • Build the organidational capacity to evolve over time, by piloting new uses cases, learning from experience, and developing data and analytics capabilities.

Because it is so comprehensive, autonomous supply chain planning leads can improve performance in a range of processes across the supply chain (see sidebar, “A CPG company’s initial success with autonomous planning”).

A CPG company’s initial success with autonomous planning

During the COVID-19 pandemic, one of the largest branded consumer food and beverage product companies in Asia sought to improve its supply chain performance through autonomous planning. The company had historically used traditional processes, including an annual budget plan for forecasting, and it made highly manual, rule-of-thumb decisions in areas such as inventory levels and dispatch planning. Response times were slow—the company typically required more than five days to create a demand plan, and more than two days to create a dispatch plan. The company wanted to use analytics more effectively so that it could react faster to changes in supply or demand and do so in the most profitable way.

Company leaders assembled an agile, cross-functional team and initially focused on three major planning functions: demand planning, inventory planning, and dispatch planning. In three months, the team developed minimum viable product (MVP) solutions using advanced analytics, machine-learning algorithms, and related tools. Once the company implemented those tools, performance improved dramatically:

  • The system could generate forecasts that were 10 to 12 percent more accurate at the individual SKU level.
  • Inventory for finished goods decreased by 6 to 8 percent.
  • Order fill rates increased by 3 to 5 percent.

More important for the long term, the company also generated a set of future scenarios, along with recommendations to maximize both revenue and profit in each scenario. For example, in a scenario in which the forecast predicted low sales of a particular SKU, planners collaborated with marketing and sales to test that prediction through demand sensing and agree on the best path forward. The company is now expanding its autonomous-planning capabilities into other processes—exception-planning and sales and operations planning (S&OP) processes—with the ultimate goal of developing a single, comprehensive system that spans the entire supply chain.

Increased service levels. As companies better understand and capture variability of future demand through forecasting, they can predict customer behaviors more accurately and meet their demand with a higher level of confidence—and with significantly reduced lead times from order to delivery. Demand is more granular and segmented, to satisfy differing fulfilment requirements in various categories and regional markets, while tolerating promotions and other variables that enhance volatility. The entire organisation becomes more agile and customer-centric, leading to an increase in revenue of 3 to 4 percent.

Optimised inventory. Inventory levels can decrease by 10 to 20 percent, often with a corresponding drop in inventory costs—while still meeting required service levels.

Improved planning efficiency. Automated execution equips an organization with a powerful tool that allows demand planners to shift focus to more complex issues and improve organizational efficiency. There is an explicit link from forecast demand signals back to the production schedule and plan, ensuring that sufficient raw materials are in place. Overall operations become more cost- and resource-efficient, resulting in a reduction in supply chain costs of 5 to 10 percent, freeing resources of time and capital to support investment and fuel growth.

Four elements to deploy autonomous planning

Autonomous planning is a journey. Companies have found that implementation is most successful when supported by four key elements (Exhibit 2).

Streamline processes

Autonomous planning focuses on enabling critical business processes with advanced analytics and artificial intelligence. That includes S&OP, demand planning, dynamic production scheduling, inventory and replenishments, exceptions management for expedited orders or other outliers, and the integration of suppliers.

All of these processes use historical information and machine-learning methodologies to create a clear view of the entire supply chain, so that COOs can optimize for specific variables. For example, an ideal solution would maximize product availability and production capacity, while also lowering the total cost to serve. In addition, it would be able to model potential future scenarios, with predictive planning to simulate the impact on the supply chain, along with the specific implications of various mitigation measures.

Rewire the organisation and performance-management processes

The organisational design of the supply chain function can have a critical impact on overall performance; even with the right solution in place, execution can be nearly impossible if individual components of the system are not aligned. To accomplish that, CPG organisations can create formal, dedicated roles—including demand-planning analysts, control tower planners, S&OP facilitators, and agile coaches, among others—to coordinate specific aspects of autonomous planning across different business units, functions, and sites along the end-to-end value chain.

In addition, KPIs will likely need to be defined for the entire supply chain organization, with everyone incentivized to strive for the right target behaviors. This will represent a major change at many companies, a large number of which still set performance targets within individual functions or business units. Accordingly, companies may need to redesign their performance-management systems to be more integrated and cohesive.

Build up people capabilities to support the change

CPG companies often have deeply entrenched ways of working built around specific processes with clear beginnings and ends: a highly deterministic parameter, such as a demand forecast or a production-capacity prediction, creates a discrete output—a manufacturing or fulfilment plan—by a specific date. In autonomous planning, these sorts of rigid processes are less relevant. Agility and responsiveness become more important for COOs, pressed to better understand changing conditions and dynamically adjust in real time.

Planning will likely always require some level of human involvement, but increasingly it can be limited to managing rare exceptions, with artificial intelligence and machine learning handling the bulk of standard processes in an autonomous manner. But this evolution involves a different way of thinking that calls for a different set of capabilities, including the following:

  • Cross-functional coordination and project-management capabilities to loop in stakeholders from a range of functions to arrive at a consensus.
  • A mindset of accountability, with squads empowered to make decisions and held responsible for delivering results.
  • Familiarity with enterprise-level software applicationsnot just enterprise resource-planning (ERP) systems but workflow management and transportation management solutions, along with advanced analytics and artificial intelligence tools, including machine and deep learning. (Operations leaders do not need deep, highly technical knowledge of how these solutions work; rather, they need to understand big-picture implications of how they work, how they create transparency and improve performance, and—critically—where they might have blind spots and require human intervention.)
  • An ability to segment products and customers and understand concepts such as the total cost to serve.

Deploy technology—intelligently

The final component concerns technology. Autonomous planning rests on a technology platform with a centralized data model. Some organizations believe they need to build a new tech stack to make this happen, but that can slow down the process; we believe that companies can make faster progress by leveraging their existing stack.

More important are sensing and prediction capabilities. Organizations increasingly need to pull data across the value chain from intelligent sensors, programmed to identify critical events, assess their impact, and adjust planning and control variables. Similarly, software capable of modelling the implications of various disruptions is also vital. Today’s algorithms can analyse a company’s network of suppliers and determine the total impact if a specific supplier goes down. Similar technologies can conduct the same analysis for internal assets, such as production facilities or even individual pieces of manufacturing equipment—reviewing historical performance to model future risks, including the overall impact on service levels if a particular asset fails.

In a complex and volatile environment, CPG manufacturers can no longer rely on the supply chain planning processes of the past. Instead, they have a clear opportunity to improve financial and operational performance by implementing autonomous planning across the entire end-to-end supply chain. Capturing this potential will not be easy, particularly given that many companies have long legacies and deeply entrenched ways of working. Yet by embracing new technology, shifting their mindsets about what’s possible, and being willing to test and learn over time, companies can implement autonomous solutions and ensure that they can compete—and thrive—regardless of what the future holds.



Here is the last feature, namely number six, on an open letter on fashion, and the war in the Ukraine, plus its reactions.


Open letter calls on fashion to unite against war

The online and print magazine 1 Granary, which supports young designers, has written an open letter to the fashion industry to take a stronger stance against the Russian invasion of Ukraine. Signatories so far span Browns, Dover Street Market and Showstudio.

By guest author Bella Webb from Vogue Business

On March 1, 2022 1 Granary is publishing an open letter to the fashion industry, calling for stronger sanctions, aid contributions and for fashion brands to use their sizable public platforms to amplify resources. The letter garnered over 1000 signatures in less than 24 hours.

Notable signatories so far include designers Christopher Kane and Charlotte Knowles; Browns fashion buying director Ida Petersson; photographer and filmmaker Nick Knight; and Dover Street Market’s visual merchandiser and buyer, Olga Kaminska as well as editors from iD, Dazed and The Face magazine.

Since Russia invaded Ukraine on Thursday, online and print magazine 1 Granary has become one of fashion’s most vocal advocates for peace and support for Ukraine. Its founder and editor-in-chief Olya Kuryshchuk is Ukrainian, and many of the young designers 1 Granary has supported are either still in the country or trying to help employees and family there.

The letter asks fashion businesses and leaders to “stand together with Ukraine and strongly condemn Russia’s invasion”. It speaks to the conflict many in fashion have grappled with in recent days, that in times of crisis, it is easy to dismiss the industry as “frivolous, tone-deaf or non-essential”. It notes the industry’s “gigantic cultural, economic, and even political influence” that should demand governments continue strong sanctions and contribute aid. The letter also calls out the fashion community and influential fashion houses to “not be silent”.

Here are some reactions:

Tsum Kyiv pleads for fashion to stand up to Russia

By guest author Christina Binkley from Vogue Business. With additional reporting by Maliha Shoaib.

Key takeaway: The CMO and buying director of the Ukrainian luxury department store spoke to Vogue Business editor-at-large Christina Binkley.

Tsum Kyiv, the luxury department store in the Ukrainian capital’s downtown, was under armed guard on Tuesday, its two-level underground parking garage destined to be converted into a hospital.

The store’s buying team, led by buying director Olga Chaika, would normally be heading to Paris Fashion Week to buy the Autumn 2022 collections for their wealthy clientele. Instead, they are pleading for the fashion industry they have supported until now to support Ukraine.

“We are trying to appeal now to wake the fashion industry up. Paris Fashion Week is going on, but in Europe there is a real war going on,” said Marusya Koval, Tsum Kyiv’s marketing director, in a phone call on Tuesday morning. “The fashion industry needs to stand up. Stop trading — stop supplying Russia. Stop your relationships with Russia.”

In addition to US and European government sanctions that are squeezing Russia’s financial and technology sectors, BP, Shell and other companies are independently exiting their operations and ties with Russia. Cultural and sports institutions including Formula One and the Metropolitan Opera in New York have taken moral stands to condemn Russia’s invasion of Ukraine by banning sales or events involving its national teams and performers such as conductor Valery Gergiev, who will no longer conduct the Met. Elon Musk sent Starlink satellite equipment to support Ukraine’s internet infrastructure. Fifa locked Russia’s football team out of sporting events including World Cup competitions, while Apple Pay and Google Pay no longer work in Moscow’s metro system.

However, the fashion industry has been slow to take sides in the war, though there have been some gestures such as the silent runway show by Giorgio Armani in Milan on Sunday and Ralph Toledano, president of the Fédération de la Haute Couture et de la Mode, calling for solemnity during Paris Fashion Week. After an apparent diplomatic kerfuffle in Brussels, luxury goods exports to Russia were not included in European Union sanctions, despite Russian oligarchs’ love of luxury.

Representatives for luxury’s two biggest luxury conglomerates Kering and LVMH aren’t commenting on their plans. “For the time being we do not comment on the situation,” said Kering spokesman Paul Michon in an email on Tuesday. LVMH didn’t respond to two requests for comment over several days.

On Instagram and other social media sites, there has been a notable lack of solidarity for Ukraine from large brands, though smaller players such as digital fashion platform DressX, whose founders are Ukrainian, have been more outspoken. Elleme, a French accessories brand, has started a fundraiser.

To the executives of Tsum Kyiv, the lack of stake-holding by major luxury players is incomprehensible given how their world has changed in less than a week.

On Wednesday evening, Tsum Kyiv closed its doors as on any normal evening before things changed. Buying director Chaika headed home to her husband and young children. “We were living a normal day, thinking we’d go to work the next day.” They were awakened at 5:30 am on Thursday by explosions, and she has not returned to her office or the store, which is locked shut, frozen in the moment that it closed on Wednesday.

“Most people didn’t believe it possible that in the 21st century, in the middle of Europe, Russia could violate the borders so brutally,” Chaika said, sitting on her bed in the outskirts of Kyiv. Nearby, she said, her neighbours were looking after her children. She and her family were contemplating whether to flee west to safer territory, and were unsure what belongings to take with them if they did.

Tsum Kyiv’s chief executive Evgeniy Mamay and his family were headed to her home to consider options, she said. Teams that once worked together were now clustering and planning futures they cannot fully comprehend. Tsum Kyiv paid its employees one month in advance, but it’s not clear what the future holds for the store or its teams.

Koval, the store’s marketing director, had escaped to Poland with her husband and young children several days earlier. “I have two little kids and I saw the picture on TV of when Putin signed some documents regarding Donetsk,” the industrial hub in Ukraine, she said in a phone interview. She and her husband packed clothes for two weeks and drove to Lviv, then on into Poland, where the family rented an apartment.

Having left with suitcases packed as though for a vacation, leaving their most valued belongings behind, she said, “I’m very afraid that I will not come back to Ukraine.” Their neighbours are sending photos of missile strikes and buildings destroyed in their Kyiv neighbourhood.

Chaika and Koval expressed shock that the fashion industry they work in has been so slow to show support for Ukraine. They took heart that Armani showed his collection without music in a show of respect, but noted they seek more substantial support.

“Russia is a huge business for fashion brands, I realise that,” Chaika said, still sitting in a bedroom she was likely to leave in a few hours, possibly forever. “But it’s not about money. Now, the whole world is in danger because the guy is threatening nuclear weapons.”

“It’s the ethical question, how you see your business,” she continued. “The price is very expensive, and I’d rather not have had this lesson. But since we’re having it, I think money is nothing compared to people’s lives.”



Nanushka stops selling to Russia, rallies to support Ukraine

The Hungarian brand is devoting its human and financial resources to supporting Ukrainian refugees and creatives.

By guest author Bella Webb from Vogue Business

Nanushka CEO Pèter Baldaszti was watching a show at Milan Fashion Week when news of the Russian invasion of Ukraine broke. Soon after, he received a warning from the Hungarian government that the neighbouring country was expecting up to 600,000 Ukrainian refugees in the coming months.

The Budapest-based brand immediately kicked into action, spurred by the memory of Russia invading Hungary in 1956, which its founder Sandra Sandor grew up in the shadow of. “Now, our friends in Ukraine are in the same situation, it is impossible to stay silent or inactive,” says Baldaszti. “We don’t want another generation to grow up with the memory of war.”

Nanushka is part of the Vanguards Group, which also owns womenswear brand Aeron and Milan-based brand Sunnei. Like many in the industry, it has been grappling with how best to act. However, cutting financial ties with Russia was non-negotiable, says Baldaszti. The brand’s sales team — currently in Paris following its Autumn/Winter 2022 presentation — will not forge any new deals with Russian wholesale partners, and outstanding orders will not be fulfilled. The brand has also ceased deliveries to customers in Russia.

“We have respect for the Russian people and our partners. We know this is not their decision, but it is impossible to do business with Russia based on our moral values,” explains Baldaszti. “This is a significant financial decision for Nanushka, and we are hoping for a quick solution so we can rebuild those relationships.” The brand is in the process of communicating this decision to its partners.

The brand went ahead with its Paris Fashion Week presentation, but made significant changes to reflect the gravity of the global crisis at hand, Nanushka’s CEO said. A string quartet performed the Ukrainian national anthem and an additional press release used the moment to create awareness of the crisis, share a link to further resources, and highlight Nanushka’s efforts to support Ukraine.

“We had to continue with fashion week because we need our business to thrive, but we wanted to be sympathetic and use the presentation as a platform to create awareness,” says Baldaszti of the internal conflict he felt over whether or not to show the new collection.

The brand said its response is being shaped by evolving circumstances and needs. Initial efforts were focused on gathering resources and information. The brand then turned its attention to providing accommodation for refugees entering Hungary, reserving hotel rooms, hostels, apartments and houses and leaning on its network of manufacturers to find short-term shelters. It is also donating food, clothing and transportation from the border to Budapest, as well as hiring translators to help authorities communicate with those fleeing.

For guidance on when and how to act to create maximum impact, the brand is partnering with the Hungarian Charity Service of the Order of Malta, a leading charity with experience in crisis response. Longer-term, it is working with the Moholy-Nagy University of Art and Design in Budapest to provide human and financial resources.

While Nanushka concentrates on local support, Vanguards Group is focused on the broader fashion industry. “We have had a lot of messages from people in Ukraine, but also creatives on the other side of the border who can’t get back home,” says Vanguards chief brand officer Chris Morency. “We’re trying to find spaces for them to work and keep their businesses going, to safeguard what they have built,” adds Baldaszti.

The brand is urging others to act, but declined to comment on the broader industry’s response to date. “Fashion is uniquely positioned to create influence from scratch, especially on social media,” says Morency. “It’s not enough to pledge support and make donations — we have to take action. I urge other brands to support in their own ways.”

One of the biggest challenges was how to communicate the brand’s efforts in an authentic and impactful way, says Nanushka’s chief marketing officer William Oliver. “We wanted to convey the fact this is emotional for us, it is not performative and there is a direct connection. How we make that statement and acknowledge the history of this situation is important. Moving forward, we’ll be providing as much information and education as possible, and not clogging people’s feeds with content that distracts from the current situation. We want to make sure our support is valuable and action-based.”

“We can’t stop the war,” says Baldaszti, “but we can ease the pain.”



French Fédération calls for “solemnity” at Paris Fashion Week

Shows will go on in Paris as Ralph Toledano, president of the Fédération de la Haute Couture et de la Mode, encouraged a more solemn experience amid the war in Ukraine.

By  guest author Maliha Shoaib from Vogue Business

Caption Courtesy and credit: Christina Fragkou

Paris Fashion Week, which officially started on February 28, 2022, will go ahead as scheduled, the Fédération de la Haute Couture et de la Mode confirmed in a statement on Monday. As the industry grapples with the ongoing war in Ukraine following Russia’s invasion, Ralph Toledano, president of the Fédération, has called for solemnity during the event.

“Creation is based on the principle of freedom, under any circumstances. And the role of fashion is to contribute to individual and collective emancipation in our societies. Given the present context, the Fédération de la Haute Couture et de la Mode encourages you to experience the shows of the coming days with solemnity, and in reflection of these dark hours,” said Toledano in a statement.

Russia invaded Ukraine on Thursday. Milan Fashion Week, under way during the attacks, kept going, though an unsettled mood shrouded the week’s shows and celebrations. The Fédération’s statement has set the tone for Paris Fashion Week, following calls for the industry to focus less on shows and more on the ongoing crisis.

Paris Fashion Week began on Monday, 28 February and will finish on Tuesday, 8 March. With a return to physical shows from brands such as The Row and Vtmnts, the industry has previously expected this season to be a step closer to a pre-pandemic fashion week.

Milan Fashion Week shudders in shadow of Russian invasion

In Milan on Thursday, the mood changed following Russia’s invasion of Ukraine, while shows went ahead as planned.

By guest author Christina Binkley from Vogue Business

Milan Fashion Week proceeded on Thursday amid a sense of profound shock as Russian troops invaded Ukraine.

Some attendees re-assessed their own safety. “I woke up to 10 messages from my mother,” said Sweden-based influencer and blogger Bryan Grey-Yambao, known as BryanBoy, whose mother lives in his native Philippines. “As someone who lives near the Baltic, it’s too close… If Mr. Putin gets away with invading Ukraine, what’s next?”

At Kiton, designer Maria Giovanna Paone described in show notes the muse of her fall 2022 collection, presented on Thursday, February 23, 2022, as: “Born in Naples, she has an art degree in London, a job between Moscow and Dubai, and lives in New York.” Naples-based Kiton makes some of the most expensive and well-tailored suits in the world. Among its primary markets are the US, Ukraine and Russia, Paone said, standing surrounded by an autumn womenswear collection of double-faced cashmere coats and exquisite tailoring.

The Moscow reference by Thursday morning seemed unfortunate, but Paone said it did not suggest partisanship. It’s a sign of how quickly symbols can metamorphose following dramatic events. “I spent this morning with the news,” Paone said, her face darkening. “Until yesterday, if you asked me, everything was fine.”

Her statement reflects an industry that – along with much of the world – struggled to absorb the reality of a potential invasion and ensuing war even during weeks of warnings. On Thursday, luxury stock prices fell in the face of the mounting crisis. Bernstein analyst Luca Solca wrote in a note that while luxury’s overall direct exposure to Russia and Ukraine is low, sanctions, inflation and a resulting recession would have the greatest impact on the industry’s economic outlook.

For Kiton, business boomed from 2020 to 2021, growing 23% globally, according to a spokeswoman. Much of that growth came from womenswear, which expanded its revenues by 40 % over that time as sophisticated female consumers seek out high-end tailoring and fabrics. Paone is the daughter of Kiton founder Ciro Paone as well as the designer of its womenswear. While the company weaves its cashmere and wools in Biella, Italy, and has its tailoring in its Naples factory, its customers are among the global jetset, shopping at 50 Kiton stores and other retailers.

Kiton has struggled with the pandemic and related supply chain issues, which have hampered its development of stores as foods such as steel and wood came in short supply. Just as optimism emerged that supply chains might be restored soon, the Russian invasion threw the future in jeopardy. Like many luxury brands that have discovered lucrative markets in Ukraine and Russia, Kiton’s plans there are suddenly uncertain.

“I don’t know. I don’t know what happens,” Paone said worriedly, glancing at a line of journalists waiting to interview her about fine cashmere suiting. “We don’t know what it means for the business.”

Meanwhile, fashion proceeded on runways. “We’re all in a show,” Grey-Yambao said at Prada after chatting with Kim Kardashian, while film director Taika Waititi sat nearby. “It feels surreal. I had to miss Max Mara this morning. It just didn’t really feel right.”



Newsletter of last Week

A New Kind of Model: Giant, Inflatable, Aggressively Sexy – How Leonard Lauder built Estée Lauder Into a Cosmetics Behemoth – How does Switzerland pay – Why Asics and Salomon Sneakers Are Fashion’s Hottest Shoes – Will a Long Leather Coat Make Me Look Creepy? – Power to move – Accelerating the Electric Transport Transition in sub-Sahran Africa https://textile-future.com/archives/85249

The highlights of last week’s NEWS, for your convenience, just click on the feature to read.


AATCC Board Nominations due March 31, 2022 https://textile-future.com/archives/85230

IFAI :Women in textile industry reconvene at summit, leave enriched, energised, empowered https://textile-future.com/archives/85573


Mergers: EU Commission clears acquisition of Kongsberg Automotive’s interior comfort systems business by Lear https://textile-future.com/archives/85218


European Battery Alliance moves ahead: new European Battery Academy launched to boost skills for fast-growing battery ecosystem in Europe https://textile-future.com/archives/85194

BASF acquires site for North American battery materials and recycling expansion in Canada https://textile-future.com/archives/85602


What do AI systems and cows have in common? https://textile-future.com/archives/85542


BASF donates EUR 1 million in emergency humanitarian aid to Ukraine https://textile-future.com/archives/85452


Swiss Customs cooperation: Memorandum of understanding signed with the United Kingdom https://textile-future.com/archives/85336


SWISS equips entire Boeing 777-300ER fleet with AeroSHARK https://textile-future.com/archives/85128

GF commits to setting science-based targets to reduce its greenhouse gas emissions https://textile-future.com/archives/85150

Swiss Zehnder Group increases sales to EUR 697 million and EBIT to EUR 69 million https://textile-future.com/archives/85157

Breaking News: Oerlikon  with Strong growth and margin expansion in both divisions; expected to continue in 2022 https://textile-future.com/archives/85403

Swiss Georg Fischer: Strong growth and increased profitability – focus on sustainability-driven markets https://textile-future.com/archives/85459

Swiss Swiss Bossard Group: Robust profitability and new records https://textile-future.com/archives/85472

Lenzing successfully opens world’s largest Lyocell plant in Thailand Lenzing successfully opens world’s largest Lyocell plant in Thailand https://textile-future.com/archives/85533


ICAC: The Fundamentals Are Fine but Shipping Issues Continue to Plague Cotton https://textile-future.com/archives/85481


Crypto vs. Credit Cards https://textile-future.com/archives/85740


More young people living in overcrowded households in EU https://textile-future.com/archives/85182

Swiss Gross domestic product in the fourth quarter of 2021: ongoing https://textile-future.com/archives/85344

EU’s median age increased to 44.1 years in 2021 https://textile-future.com/archives/85356

General EU government expenditure by function in 2020 https://textile-future.com/archives/85364

Swiss retail trade turnover increased by 4.8 % in January 2022 https://textile-future.com/archives/85371

Want to read the Eurostat website in different languages? https://textile-future.com/archives/85428

Gender gap in self-employment increases with age in EU https://textile-future.com/archives/85436

Swiss Consumer prices increased by 0.7 % in February 2022 https://textile-future.com/archives/85511

The McKinsey Week in Charts https://textile-future.com/archives/85696


‘Have your say’: EU review of labour market statistics https://textile-future.com/archives/85132

Self-employed people most affected by the pandemic in EU https://textile-future.com/archives/85167

Switzerland adopts EU sanctions against Russia https://textile-future.com/archives/85378


Legacy of extinct species is retained in genomes of their extant relatives https://textile-future.com/archives/85188


Transparency for efficiency https://textile-future.com/archives/85442


Mergers: EU Commission clears acquisition of McAfee by Advent and Permira https://textile-future.com/archives/85226

Mergers: EU Commission clears acquisition of a part of Zurich Investments Life SPA’s life insurance business by GamaLife https://textile-future.com/archives/85239

Micro Plastic

California adopts nations’s first microplastics reduction policy https://textile-future.com/archives/85568


Swiss Federal Council selects new Empa director and confirms office of ETH Zurich president  https://textile-future.com/archives/85142

Estée Lauder Suspends Executive John Demsey after Backlash Over Instagram Post https://textile-future.com/archives/85222

Jeffrey DeAlmeida appointed new Senior Vice President of BASF Pharma Solutions https://textile-future.com/archives/85340

The European Commission appoints a Director in its department for Communications Networks and a Principal Adviser in its department for Migration and Home Affairs https://textile-future.com/archives/85466


Swiss Scientists map Arctic aerosols to better understand regional warming https://textile-future.com/archives/85416

Smart Products

Smart Products Report 2022 – Institut für Wirtschaftsinformatik University of St.Gallen (CH) https://textile-future.com/archives/85595


Pyratex receives GRS, OCS and GOTS certification https://textile-future.com/archives/85576

Frame debuts its first biodegradable jeans made using virtually no water https://textile-future.com/archives/85585


Swiss Enterprise master data management and access to federal building information to be simplified https://textile-future.com/archives/85606


WTO DG Okonjo-Iweala issues statement on Ukraine https://textile-future.com/archives/85557

ShellyPalmer: THINK ABOUT THIS https://textile-future.com/archives/85589


Strong U.S. Hiring, Low Unemployment Point to Economy Making Post-Pandemic Pivot https://textile-future.com/archives/85751


A closer look at EU gender statistics (March 7, 2022)  https://textile-future.com/archives/85580

Resource-saving in Textile Processing – Successful Webinar by DyStar https://textile-future.com/archives/85173