Apparel Magazine | February 2019

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editor ’ s note

GOT A HARD-TO-FILL ROLE?

Like all employers, I know it’s a tough job finding someone who just seamlessly fits into the vacancy.

Candidates are hard to find, so we need to think of new ways to find hidden gems. Recently, I’ve found that a few companies (including myself ) have reached out to universities or put an advert up for a recent graduate. Sometimes it is easier to teach someone from scratch who has potential, adjusting the job description and providing the necessary training and support. Universities need to create more connections within the industry that are relevant to building the careers of their students. Local businesses can also set up training partnerships with tertiary education providers to add layers to their course. Graduates look for a role with career advancement, opportunities to develop their skills and quite often are looking for a fun friendly environment. The team that they are working with has gained in relevance to today's graduates.

Employees not staying long enough in the role?

Candidates want to know all the fun, exciting stuff that makes them want to go to work each day. But being that fun zone can be difficult. Some ways to excite your team may be to try community work for the whole office. Nowadays, foosball and shared lunches aren’t enough to keep good talent around. You would be surprised by the number of employees you can attract by giving back to your local community.

Top of the crop Millennials and Generation Zers are interested in companies that are socially aware and take interest in their community. We pooled our team of Gen Z employees; one immediately said he’d take a free lunch over community service, whereas the others said they'd prefer giving back to the community (provided it was a charity that was relevant).

Sometimes offices can be more frat house than is good for business, we have two companies in our building that are both working on the premise that their graduates need to feel like they are still at uni, so it pays to keep in mind what your core business is.

Got no perks at your place? You probably should make some, even if it’s simply providing a shared lunch for the team once a month.

Keeping your brand top of mind, not only for your customers but for the pool of candidates, is vital in these times when employees are no longer staying for years, staff churn is the reality of business today.

Evaluate your point of difference, keep your brand visible in the market and look at refreshing some of the roles in your company. Find ways of keeping in the loop to make sure that you have access to the talent you need. From piggybacking your brand at industry events and up your brand awareness.

For example, if you are looking for a student, put a sponsored logo on the campus brochure. Want a pattern maker? Look in the classifieds of Apparel.

Need a cutter, flick to page 31. (Shameless plug.)

A guy goes door to door looking for work. One homeowner hands him a brush and a can of paint and offers him $150 to paint his porch.

A few hours later, the guy comes back to the homeowner and says, "I'm finished. But you should know that your car's a Ferrari, not a Porsche."

My sister Sarah has given birth to the next editor of Apparel! In the 50th year of the magazine, we are delighted to announce the arrival of Hugo William of the Mitchell clan. Give him a few years and he’ll be calling you, though we thought we would start him in sales first!

2 I February 2019

Libby Weston - nzapparel@reviewmags.com

Cass Fellows Alan Higgs

Styling South Asian Youth Cultures

By Lipi Begum, Reina Lewis and Rohit K Dasgupta This book explores fashion trends across countries in South Asia through the analysis of film, photography and unique ethnographic fieldwork. Grand western narratives are dismantled, as we are shown the region’s diverse cultural modernity has created a confident young fashion consumer base. Influences of class, gender and sexuality, media and faith are bought together in this book as we are given a transnational perspective of the weight of fashion.

Moam: Contemporary Fashion In Amsterdam

By Martijn Nekoui

A focus on multi-dimensional, diverse and of the moment projects is given in this captivating collecting.

The most compelling content from the recent collaborations of MOAM: Contemporary Fashion in Amsterdam is presented in this unique volume. With input from stars on the rise and established creatives, the global fashion community is represented in this insight into the MOAM’s creative process. Contrasting points of views from a roster of international talent is tied together with charming illustrations in this exclusive collection.

Fashion In The 1970's

By Daniel Milford-Cottam

Fashion in the 1970s plays tribute to a decade of iconic style and contrast. From homages to the past through quirky retro looks, to the rise of Punk to challenge the patriarchal establishment, this decade was overcome with adventurous fashion endeavours. As we remember these exemplary stylistic undertakings, we are inspired to look towards the future of fashion. From anklelength maxi skirts to super-short hot pants, extreme fashion moments are met with opposite reactions, as this book explores the variety of fashion moments in this great decade.

Luise Spagnoli: 90 Years Of Style

By Sofia Gnoli

CHAIRMAN

Peter Mitchell GRAPHIC DESIGN TEAM Raymund Sarmiento PUBLISHER Tania Walters - tania@reviewmags.com Ciaran Carroll ADMIN/SUBSCRIPTIONS Kieran Mitchell - kieran@reviewmags.com ISSN 1171-2287 EDITORIAL DIRECTOR Sarah Mitchell - sarah@reviewmags.com Suite 9, Level 3, 20 Augustus Tce, Parnell, Auckland, New Zealand EDITOR Caitlan Mitchell - caitlan@reviewmags.com PO Box 37 140, Parnell, Auckland, New Zealand +64 9 304 0142 CONTENT MANAGERS Caroline Boe - caroline@reviewmags.com NZ Apparel is published monthly under licence by Review Publishing Co Ltd. Please direct all EDITORIAL TEAM

fashionable reads

enquiries and correspondence to NZ Apparel. The opinions and material published in this edition of NZ Apparel are not necessarily those of the publishers unless specifically stated. All material appearing in NZ Apparel is copyright and may only be reproduced with the consent of the publisher. Copyright 2018 NZ Apparel Magazine.

This extravagantly illustrated book pays homage to the highly revered fashion brand Luisa Spagnoli. From Sophia Loren to Kate Middleton, Luisa Spagnoli’s designs have travelled around the world, and have made a considerable mark on the fashion world.

With sketches, contemporary illustrations and never-beforeseen archives from the brand, this book moves through the development of the brands signature style. Luisa Spagnoli is celebrating ninety years of success, as this book pays tribute to their significant influence.

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fast five

NEW REGULATIONS OEKO-TEX® have updated their regulations for 2019 in order to better fit the growing needs of both consumers and the textile industry. The organisation is committed to providing their clients with confidence in their service, and these new regulations have been made to ensure that they are staying up to date with the changing times.

Some of the changes to the brand’s product portfolio are as follows: The limit value catalogues of the company have been altered, regulating substances such as quinoline, benzene and four amine salts.

Two new product groups are now under observation after the use of glyphosate came under massive debate from the media in 2017. Glyphosate

iD FASHION WEEK iD International is preparing to host their Emerging Designer Awards for 2019. The event celebrates new talent in the fashion industry, as 27 designers in their last year of study come together to compete for a host of impressive awards.

This year’s nominees were shortlisted by New Zealand fashion elites Tanya Calrson, Benny Castles, Kate Sylvester, Margi Robertson and Amanda Linnell. Calrson released a statement commenting on the thematic consistency of this year’s contestants. “This year many of the entries are inward-looking, asking who am I, as they explore their place in the world. Young designers are drawing

and its salts, as well as carcinogenic N-nitrosamines and N-nitrosatable substances, are being looked at closely by OEKO-TEX® so that the situation can be understood in more detail according to relevant textile materials.

STeP assessments (Sustainable Textile Production) will also be extended to the production of leather textiles. The assessment will become ‘Sustainable Textile and Leather Production’, while the product name, STeP will stay the same.

These changes demonstrate OEKOTEX® Association’s commitment to both their consumers and the environment. They have expressed a proactive stance on consumer protection, making changes to their regulation before the implementation of new legislation. The organisation is focused on producer a lower impact on the environment, workers and consumers through these industrial changes. The changes to OEKO-TEX’s® regulations will come into effect after a three-month transition period, ending in April.

upon their experience with family, ethnicity and what it is like to be an immigrant to inform their clothes and at the same time question identity and how it defines their place in the world,” explained the designer. Her announcement painted an exciting picture for those attending the event, anticipating the thoughtprovoking designs coming out of this year’s fresh talent.

There are 15 awards up for grabs including the Apparel Magazine Most Commercial Collection Prize.

This year marks the 20th Anniversary of the iD Dunedin Fashion Show, and this year emerging designers are coming from a large variety of destinations.

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FAREWELLING A FASHION ICON Fashion icon Joe Casely-Hayford passed away last month following a career in fashion which spanned four decades and changed the face of the industry.

Casely-Hayford released his first collection in 1984 under a self-titled label and went on to international success.

His career highlights include his time as the creative director for Gieves & Hawkes and the launch of the brand Casely Hayford, alongside his son in 2009.

The designer was known for his modern take on menswear, and his continual reinvention of the genre. His aesthetic was elegant but bold, and he was best known for bespoke tailoring with a contemporary twist. His designs have been worn by a diverse and impressive range of clients including Bono on the cover of British Vogue in 1992.

The designer will be sorely missed but leaves behind a strong legacy and an industry which has been forever changed by his unique and unwavering eccentricity.

4 I February 2019

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L’ORÉAL MEN EXPERT APPOINTS A GLOBAL SPOKESPERSON

SUSTAINABLE FASHION TECHNOLOGY Première Vision New York’s latest presentation was a great success, having offered attendees a plethora of opportunities to lias with industry elites. This was the organisation’s 39th event, which hosted approximately 2700 visitors including manufacturers, design studios and accessory makers from across North America.

The events program included talks and demonstrations surrounding sustainability and new industry technology, presented by some of the best in the business. Designers were presented with inspirations and

guidance for their new collections, while being mentored by industry elites who have spent their careers focused on improving industry standards.

Some of the most popular sectors of the event were a Trend Area, which gave attendees an in-depth analysis of upcoming trends. Another popular sector was the Smart Creations area which provided new and innovative solutions to design which incorporate sustainability and eco-friendly processes.

Overall the event was a massive success, having bought new technologies which encourage sustainable practices and business excellence to any attendee.

L’Oréal Men Expert has appointed a global spokesperson for their Hydra Energetic range. Music superstar, actor and mentor Adam Levine will be the face of the brand’s ant-fatigue lineup, which includes shower gels, moisturisers and face washes.

According to L’Oréal Men Expert, Levine strongly embodies its vision of the modern Men Expert man.

The brand cited Levine’s energy, philanthropic endeavours and intergenerational reach as the key features which made him a secure fit for the international brand.

Levine released a statement through the brand, expressing his excitement to be a part of this project. “The daily act of caring for yourself is important to me, so I’m looking forward to representing L’Oréal’s Men Expert brand. To be the voice of this campaign is a great way to motivate men through the simple move of taking good care of the face we’re given.”

nuts & bolts

Elizabeth Machines

Apparel got the chance to sit down with Graeme Baker of Elizabeth Machines to discuss their unique input to the Cut, Measure, Trim (CMT) industry across Australia and New Zealand.

Elizabeth Machines is now the largest supplier of sewing equipment in Australia, with their pride and joy the StyleCAD taking centre stage amongst their product range. “The StyleCAD helps over 400 companies around Australia, New Zealand and Fiji, plus thousands worldwide, proving themselves to be the top-selling pattern making, pattern grading and marker planning system,” explained Baker. This operating system is the final word in CMT. For Elizabeth Machines, making this type of equipment available to anyone and everyone in the industry is a part of their mission. “Our market ranges from small one-person operators who work from home to some of the largest companies here,” articulated Baker.

Effective equipment is every specialist’s first point of call, and is what will assure efficient processes and expertly designed patterns for brands both big and small.

With the majority of production for local brands taking place offshore in recent years, Baker explained how systems such as the StyleCAD play a vital role in maintaining industry standards and efficiency.

“Many companies using StyleCAD do the pattern work in-house and simply email the finished styles to their overseas manufacturers. Doing this helps to keep the quality control in-house, which means what they get back should be correct,” said Baker.

“Using StyleCAD to do this means any changes can be sent to their CMT manufactures, both locally or overseas in a few seconds.” Effective communication and transfer of designs are crucial between any designer and manufacturer, and with a greater degree of separation between the two, there is little room for error. “Smaller companies find that dealing with some factories in places such as China is not that easy, and a mistake can put smaller local companies out of

business.”

With so much outsourcing taking place overseas in locations such as China, the number of CMT companies around Australia and New Zealand has dwindled. But according to Baker, the industry is set for a new breath of life. “Outsourcing has been getting more expensive over the last several years,” he explained. “Hopefully the companies that have survived may find it starting to get a bit busier for them over the next few years.” Fortunately, the operating systems supplied by Elizabeth Machines are effective for both outsourced and local communication, so as the CMT industry grows and changes, the equipment is able to continue serving its purpose.

With efficient equipment at their disposal, Elizabeth Machines is confident that the CMT industry has a good future ahead of it. Baker expressed his confidence to Apparel magazine in both his supply company and the equipment they stock. “I have seen many changes over the years and am happy to say that StyleCAD has been about the only PDS/ grading and marker planning system to survive here, whereas most other similar systems have just about all but disappeared.” The changes taking place in the cut, measure and trim industry has not weakened players spirit or the excellence of the trade. “When clothing was locally made it was a great trade, and it still is considering the changes it has gone through,” he explained. “It’s just a lot smaller now, but I think our local fashion designing is now much better than it was back when I started.” This improvement is in part thanks to the operating systems and equipment that suppliers like Elizabeth Machines offers to their CMT specialists.

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Apparel Magazine is showcasing emerging Kiwi designers at Vancouver Fashion Week’s FW19 season. This unique opportunity is thanks to our ongoing partnership with Vancouver Fashion Week which allows three upcoming designers to showcase their designs on an international stage to a range of international and local buyers, agents, distributors, industry influencers and media.

be seen .

Showcase your designs as part of our next group show in September.

Our unique group runway opportunity includes: - Venue, stage, lighting, sound - Security - Models - Shoes - Hair - Makeup

- Backstage management and support - Backstage equipment - Guestlist (Including front row seats) - Fashioncamp - Media Coverage Package (worth $15,000)

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Memoirs of a Glacier by Bradley Smit suggests that even though human activity is to blame for climate change, it is not our place to try fix it. “As an alternative,” Smit said.

“We should accept nature for its turbulence, beauty and permanent state of change.” Smit’s four-body collection personifies the discolouration of glaciers. Through fabric, he imitates nature, starting with soft whites and blues that progress to increasingly darker silhouettes. “I hand dyed silk blue at Massey University and used this throughout the collection.” Smit was very selective about his use of colour and used blue to sumbolise the vitality of the glacier. “By using colour, I feel I can tell the story of impending loss that will ensue as glaciers disappear,” he explained. “I didn’t want my collection to be something experienced with melancholy, but instead as something to embrace and see the beauty in nature destruction and rebirth.”

The twenty-four-year-old grew up surrounded by fashion in Morrinsville, New Zealand, where his mother owned a string of boutiques. Smit’s mother still owns two retail stores, Sheer Delight and Gayles. “I spent a lot of time around fashion and would travel up to Auckland to look at clothing ranges with her,” Smit added. He completed his Bachelor of Design majoring in fashion design in Wellington at Massey University and will graduate with first class honours in May. Outside of fashion, Smit’s other passion is oil painting and illustration. “I took two gap years after high school and pretty much painted every day until I got to a level in which I was able to sell commissioned pieces as well as have a gallery exhibition at the Wallace Gallery in Morrinsville.”

Smit attended Wellington Fashion Week in 2013 and during this event he seriously considered getting into the fashion industry. He started his studies at Massey University two years later in 2015. In his first year, he made a jacket without knowing anything about pattern making. Prior to his university days, he hadn’t really been anywhere near a sewing machine. “I had a lot to learn before I started my graduate collection in fourth year.” Despite this learning curve, he loved design and illustration. A highlight of pattern making was the problem-solving element. Smit designed and handmade each piece in his Memoirs of a Glacier collection. His design process is strongly driven by illustration and storytelling; this helps him visualise and grow an idea.

Moving forward, Smit is looking on getting into film costuming or working under an established designer. “I really just want to be in an opportunity where I can learn as much as possible and push my design practice further.”

Smit would love to have his own label stocked in retail, but currently he is looking to gain a lot of experience first.

Showcasing his graduate collection at Vancouver Fashion Week, Smit is excited to see his garments hit the runway as well as meeting international media and other industry members.

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Wairata Warbrick grew up in a small geothermal Maori village called Whakarewarewa in Rotorua. In high school, she was able to study fashion, where she fell in love with the idea of being able to create anything she wanted. “Ever since I was a child I had quite an active imagination which I have been able to express through fashion design; I had always loved editing what I was wearing.”

“I think the first thing I made was a pair of pyjama shorts that didn’t look the greatest cause it was my first time sewing,” she recounted. Developing her ability at Massey through studying a Bachelor of Design with Honours allowed Warbrick to learn the process of designing something; from creating the patterns, to actually making the garment. During her tenure at Massey, Warbrick discovered her love for intricate hand-work details; she found a passion for couture garments.

Warbrick’s brand, Wairata, is a year old. Wairata, the name, connects her to her Tuhourangi Ngati Wahaio ancestry and it translates to ‘calm waters,’ something Warbrick tries to emulate in her everyday life. Currently, Wairata is the sole designer and maker but hopes that she will be able to grow and develop her brand. Warbrick said that she would like to be stocked in retail stores, but expressed the difficulties with producing larger quantities while retaining the high quality. “My designs have a lot of hand-work, and it would be more suitable to a boutique store. I would love to have my own store one day, but first I would try an online store as online shopping has become very popular.”

Wairata will be showcased at Vancouver Fashion Week this year, and Warbrick hopes to show off the way in which her garments move down the runway as they are designed to show movement. She is excited to see how the audience will react. “I take a lot of inspiration from my Maori culture and heritage.

Growing up in the geothermal village has helped me to see the beauty of a geothermal landscape from which I also draw a lot of inspiration from.”

From here, Warbrick hopes to springboard off the back of Vancouver Fashion Week and encourage more people to become interested in her brand.

8 I February 2019

Taania Wesselius was born in the Netherlands but spent the majority of her childhood in New Zealand.

She also spent three years in the UK, and a year in Canada on a school exchange. Her fashion inspiration, however, came from her Nana. “She taught me that no matter who you are or where you come from, take pride in the way you look, embrace who you are and what you love, and fight hard to keep it,” said Wesselius.

“Around 2008, I took a lot of style inspiration from lookbook.nu, a website dedicated to multitudes of international outfits of the day. I was forever idolising the clothes they wore and the way they were styled.”

Wesselius said that she really started to take an interest in fashion during high school. She developed this passion at Massey University in Wellington, where she graduated with a Bachelor of Design with an Honours in Fashion Design.

Wesselius expressed a love of creating patterns and designs simultaneously. “There is something about the relationship between the two that sends my mind into overdrive.

The process of analysing a garment, a design or even architecture and mathematically breaking it down to what that would look like two-dimensionally, then back to 3D, is so satisfying.”

Wesselius’ brand, AANIA, started in April of 2018. “AANIA is a one-woman team. I wear all the hats, from designer to social media management, to pattern making—everything you can think of, I can do.” The significance of the name, AANIA, tells a story of Wesselius’

fashion background, and the way in which she would like to progress into the future. “In Urdu, AANIA means towards, direction and concern, from which I interpret the relationship between my conflict of wanting to do good by the environment but to also pursue my dreams in fashion. Also meaning mirror, AANIA signifies the importance of truth and reflection.” Wesselius also highlights the importance of remembering the impact that fashion has on one’s inner self and the way it affects the world. AANIA looks to find ways in which designs can be created using minimal waste while creating something that makes the wearer feel empowered. “Before I knew

there was a name for it, I began exploring minimal and zero waste techniques; mostly because I didn’t have much money for fabric, something that resulted in a fun challenge for me.” AANIA represents Wesselius’ desire to create bold fashion and encourage sustainable practices. “After meeting Holly McQuillan, an astounding lecturer and zero waste designer at Massey, I really opened my eyes to this way of thinking. While not all the pieces in my collection use zero and minimal waste techniques, I am driven by the collaboration of aesthetic and waste conscious design.”

Social media is a vital part of any new business, and Wesselius confirmed the need for good branding and advertising. “Social media is such a large part of building a brand and its identity. No matter your point of view, social media can be a quintessential part of expressing your personality and ethos in a way that a garment hanging in a store cannot.” As Wesselius disclosed, utilising social media can help a brand show consumers the behind-the-scenes of a label—something that will help her achieve her goal of creating a transparent and honest brand.

“My future goal for AANIA is to continue to grow organically. Early on in building this brand I learned that not everything could be done from the first scratch. [However,] if you stick it out and hold on to your passions, dreams can grow into realities.” Wesselius is bringing her designs to Vancouver Fashion Week, this year. She advised her followers to look out for bold lines and sleek silhouettes in a well-edited and empowered collection. Wesselius said that she would be launching an online store, as well as stocking at Coco Wellington in the capital. On top of growing the brand, she hopes to be able to introduce more 100 percent organic pieces each season with a focus on longevity and versatility.

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industry according to

Pat Menzies breathed life into the once orthodox and unoriginal footwear industry in New Zealand. Now, fifty years after his namesake company Pat Menzies first opened its doors, the entrepreneur reflects on his time in the industry and how it has transformed before his very eyes.

Pat Menzies

PAT MENZIES SHOES

10 I February 2019

Menzies created a unique niche in an otherwise conservative market and appealed to the rebellious youth of the 1970s. He took risks by investing in designers whose collections were out of the box. “It was pretty conservative when I started, and I was the youngest guy in town. I was a bit of a rebel, but when I started bringing in all this wild footwear it really paid off,” said Menzies. Kiwis were ready for something new, and Menzies jumped on the call of New Zealand youth for a footwear retailer which encapsulated their fun-loving attitudes.

His stock ranged from platforms to Jodphur boots, with a western theme that ran strongly through the company. But the brand found its big break when Menzies invested in what would become some of New Zealand’s most popular footwear houses. The footwear giant was responsible for bringing Chuck Taylor All Stars and Dr Martens into New Zealand, brands that have expanded exponentially throughout the country in the last half century.

The footwear giant has put his success down to a willingness to branch out, to not be afraid of bizarre or exotic designs. “Some of the stuff we used to sell I would just have to scratch my head at. Then some other designs I thought would sell out, just didn’t work out, you’d just have to dig a hole and bury them.” A willingness to adapt to consumers' wants and an understanding that with successes come failures was crucial for the company. “The best advice I got was from my parents. And that was to put something away for a rainy day, and that’s where a lot of people got in trouble,” he added. The entrepreneur watched overconfidence take down a number over his competitors, who did not account for the ups and downs of the fashion industry.

But as the footwear industry has grown, New Zealand has seen an astronomical increase in wholesalers and imports, while homegrown

businesses and manufacturers have almost gone extinct. Menzies spoke of his disappointment with the direction of the industry, and his concerns for New Zealand retailers who are looking for a way to make their business stand out in a flooded market.

“Wholesalers came and opened up shop right on my doorstep. It was the most disappointing thing in my life, after being so loyal to them to have their shops try and push me out. I was their biggest account,” explained Menzies. “But that’s life I suppose, that’s what happens these days. Corporates are the powerhouses.”

Competition has become fierce, and according to Menzies, smaller retailers are simply not given the time of day. “It’s a different world out there in retail now. A lot tougher, more competition. The big trend now is to be vertical: wholesale to retail.

People like me are becoming dinosaurs.”

These changes have been detrimental to small retailers, but he believes the industry as a whole is suffering.

“You don’t get that personal touch anymore.

My shop was very underground, it had an atmosphere and a nice laidback attitude, whereas some places are just very sterile.” For Menzies, creating a business that was not only profitable but reflected his values was crucial. He put much of the success of his company down to the way he treated those who worked with him, from his wholesalers to his staff to his loyal customers. “If you respect your staff and look after them, then they will work for you and work well. They were an essential part of the success of the business.”

Menzies has retired but his business continues to thrive, despite uncertainty in the industry. “I had the opportunity to get out, and you don’t get that much these days. But I’ve still got a passion for shoes, believe it or not. It’s in my blood. I’m a shoe-aholic.”

For retailers looking for advice, Menzies spoke honestly about the future of the industry and issued a somewhat ominous warning.

If you respect your staff and look after them, then they will work for you and work well.

radar

SHAPES IN THE SAND

THUNDERPANTS Thunderpants have combined whimsey and playfulness with hard-hitting sustainability efforts to create a brand which appeals to the different needs of its consumers. The brand’s fun patterns create a charming experience for consumers who are looking for carefree and comfortable intimates, rather than troublesome lingerie with a short lifespan. “The idea with Thunderpants was that they would be New Zealand-made, hard wearing, and cut with enough fabric to actually sit in the right place and stay there - alongside bringing joy with the colours and prints,” said Josie Bidwill, the company’s director.

The brand has been making sustainability efforts since they first began operating in 1995.

“It was difficult to source sustainable fabrics back then. It took quite a few years to persuade our suppliers but was well worth the effort as we are now fully fair-trade organic with our cotton consumption,” explained Bidwell. But the brand didn’t stop there, as they have continued to find new ways of expanding their sustainable practices.

NISA Intimates brand Nisa has a strong vision for their consumers and targets women who want to feel comfortable in their own skin and confident in the ethics of their purchases. “Our label speaks to the conscious woman, who believes in empowering and enabling people of all works of life to succeed,” explained Shannon Wray, co-founder and marketing manager of the company. Nisa stocks a broad range of underwear and swimwear, bringing sustainability to their consumers without sacrificing on style, comfort or values.

The brand considers sustainability throughout their entire supply chain. From the organic cotton used to produce the garments, to the paper packaging used to ensure their New Zealand-made garments do not contribute to the industry’s tremendous plastic waste, this brand has thought of everything. “Our target market is full of conscious women who give a damn about real life issues like sustainability,” articulated Wray. But social responsibility does not end with environmental issues, so Nisa is incorporating ethical practices to benefit its communities in its business model. “Not only do we produce our garments ethically, but we provide opportunities for a group of individuals who have faced significant hardship in their lives,” Wray added. Ethics and sustainability can be incorporated into any aspect of a brand, it all starts with wanting to make a difference. “Labels really need to look at the true cost. Monetary goals just don’t cut it anymore.”

Nisa’s focus on sustainable practices has had a big

12 I February 2019

“We intend to continue doing what we are doing and look to find an ethical, sustainable option for everything we use,” Bidwill asserted. This includes the development of their swimwear line to utilise recycled fishing nets in their manufacturing process. The brand’s positive message is about to be shared on a much larger scale as they prepare to launch UK Thunderpants, bringing fun and sustainable intimates to more people around the world.

For brands looking to incorporate sustainability into their business practices, Bidwill was able to lend some heartfelt advice. “Don’t try to do everything at once, every step towards sustainability is a step in the right direction.

Don’t be too hard on yourself though a part of sustainability is staying afloat as a business.”

Thunderpants’ use of staunch and fun intimates with New Zealand-made, fair-trade and organic practices combine the best of both worlds for consumers, giving the brand an edge as they look to tackle their new international market.

impact on its consumers. Nisa is stocked in retailers throughout the country, most of whom support New Zealand-made goods, and they are catching the eye of like-minded consumers. “Most importantly our consumers are becoming more conscious of the true effects that the production of fashion is having on the world,” Wray concluded. Uplifting locals who are down on their luck and paying attention to the needs of our planet makes Nisa a fine example of sustainable excellence. “We are changing someone’s life one pair of underwear at a time. This is something that makes us really stand out in the market.”

For the Australian swimwear brand Shapes in the Sand, the natural world is a part of their designs from concept to execution. “Each season we choose a beautiful environment to base a collection on and to draw inspiration from. We also connect with an environmental organisation that is linked to this particular environment, and we raise awareness for any concerns that it might be facing,” explained Alexandra Dash, the brand’s founder. Dash believes that incorporating sustainable practices into your brand and using that brands power to increase environmental awareness go hand-inhand.

Social responsibility is the cornerstone for this brand, as they take environmental issues into their own hands, from educating themselves to helping consumers do the same.

“As a label, it is important to be aware of the harm the industry is doing to the planet to enable us to seek better processes that will help reduce these impacts,” proclaimed Dash.

“A swimwear label built on creating positive change for our environment as well as ensuring the brand’s footprint is kept small, this is our way of giving back and showing we care.”

Shapes in the San has partnered with environmental organisations including WIRES Wildlife Rescue and The Tangaroa Blue Foundation to extend their reach and spread their eco-friendly message with more gusto.

The brand has insisted on staying true to this message in every aspect of their business, down to their distribution methods. “Retailers we use need to be somewhat aligned with Shapes in the Sand’s values. I wouldn’t want Shapes in the Sand to be part of a retailer that only stocks fast fashion,” announced Dash. “It’s up to us as sustainable fashion labels to direct consumers in the right direction and show them the importance of sustainable fashion, the environment. We want to lead them towards investing in a product that will last rather than buying multiple cheaper unethically made products that they will only wear a handful of time,” Dash concluded. Shapes in the Sand designs are created both to last and stand out.

“Our purpose is to share the importance of the natural world through our homage to nature by sustainably shaping swimwear.”

LIAR THE LABEL Nisha Abey’s decision to incorporate sustainable practices into her brand Liar the Label came as a strike against the wasteful tendencies of the industry. “It was knowing the realities behind how fast fashion is manufactured, from unsustainable work environments for the workers to toxic chemicals used to dye fabrics and where these disposable trends end up,” explained Abey. So, while this brand may grow and evolve, they are committed to staying consistent with their

eco-friendly message.

“Our underlying morals stay with us; to produce styles that are cool and of the best quality while not damaging or impacting the environment or workers who help us in the process.”

Making sustainability stylish is one of Abey’s mission, as the brand works to fight against the negative impression of ethical fashion. “I used to have a perception of ethical fashion as daggy and hippy,

and something that I would personally never buy,” Abey admitted. But she is committed to changing the perception of sustainable fashion by ensuring her brand combines sustainability with desirability.

“We want to continue evolving this huge sustainable movement – as we are certain that is the only future,” she continued. Liar the Label incorporates strong trends with timeless style to create garments which will appeal to their youthful consumers and stay in their wardrobe forever. Creating new styles without also creating additional waste is imperative for the company. “We target 14-26-year-old females as we feel they are the change-makers,” related Abey.

“This age bracket has the world at their fingertips, living in a fast pace, digital reality and are making smart decisions about what they are spending their money on.”

Liar the Label has started to really break into the market, as their sustainable practices paired with enduring style have drawn the attention of consumers in the search for socially responsible fashion. “Our products are starting to stand out from the crowd over the last year or so. I believe this is because we are continuing to follow our beliefs and staying true to the ethical practices we stand by.”

SALTYSEA SaltySea is a New Zealand brand bringing sustainability into every young woman’s summer wardrobes starting with the essentials, swimwear. Stephanie Saxton first launched the brand because she was passionate about not only fashion but the environment. “By creating SaltySea I knew I could make a positive impact on the world,” explained the designer.

“The absolute beauty of nature and our planet inspired me, the collections and the positive environmental impact we can have on our planet.”

Saxton’s inspirations can be felt through her design’s aesthetics, which feature wave-like curves that flatter the wearer’s body, as well as paying homage to the ocean. These designs tie into the brand’s efforts to incorporate sustainable practices into their manufacturing, ensuring nature runs through the entire process. “My goal is to leave behind the smallest possible footprint on our planet and to do so, every step in the process counts,” Saxton insisted. From the 100 percent acid-free soy-based tissue paper used in their packaging, to using sustainable and unexpected materials in her design process, Saxton has been thorough in her sustainability efforts. “We work

with Econyl who have invented a new way of converting discarded fishing nets and other waste material found in our oceans into a high-performance fabric,” explained Saxton.

Being environmentally conscious is more than a marketing strategy for this label, it is a core part of their brand’s mission statement. As the brand has grown, it has given Saxton the opportunity to spread her message amongst consumers and

other industry players. “If more and more brands and companies can participate, initiate and inspire this change in the fashion industry we can make a real change,” she asserted. “The fashion industry can have such a positive impact on our planet; it can move communities out of poverty, it can help to clean up our planet and our oceans. But this change can only be made if we choose to support brands and companies with respect for people and our planet.”

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I 13

in detail

ISAAC + LULU Isaac + Lulu is not afraid to embrace individuality and has a strong focus on quality products over fast fashion trends. “In an age of disposable fashion, we encourage buying less but better. We embrace this philosophy with each collection, allowing you to mix your high-quality new pieces back with your favourites from seasons past,” explained Ange Todd, the brand’s designer. “Our designs are always tactile, uncomplicated and considered, with the goal of bringing long-term pleasure and satisfaction to the wearer.”

Their latest collection, The Danish Girl, brings a fresh and innovative style to the Winter '19 season. The line was inspired by a recent trip to the Netherlands and Scandinavia, where the designer drew from the aesthetics and moods around her.

“The stunning design, chilled lifestyle and appreciation of vintage all played a part in shaping The Danish Girl,” added Todd.

“I’ve always had an appreciation for Scandie design, the clean, timeless lines involving thought and functionality work effortlessly with the more decadent and ornate history.

It felt fresh but not unfamiliar.” The label combined their international inspiration with their unique style, which resulted in a well-rounded offering of detailed designs. Coveted shapes and classic silhouettes with a modern twist are scattered through the collection, creating an extensive and fresh experience for their consumers. “Our brand promises to be true to a clean and modern aesthetic that favours urban comfort over corporate constraints or seasonal fads.”

Isaac + Lulu is a proudly New Zealand designed company, which utilises New Zealand and internationally sought fabrics and textiles to create the best experience for their consumers. “Our fabrics allow for designs to be both New Zealand made and unique. Although a New Zealand brand, fabrics are sourced from all around the world with a priority on quality, comfort, luxury and sustainability,” said Todd. The combination of materials from throughout the world has allowed the brand to develop a stylish collection which compliments their unique inspirations.

The collection has been made available for retailers who fit in with the label’s strong vision and values.

“Our brand is best aligned to an innovative retailer that enjoys quality, individuality and places a strong emphasis on customer relationships,” explained Todd.

They hold their values closely and are committed to representing them within every aspect of their company. “Quality, innovation, joy, sustainability, functionality,” articulated Todd. These are Isaac + Lulu’s primary focuses, and ones that will carry them through their time in New Zealand’s elite fashion industry. The collective was named after the children of Todd (Lulu) and her colleague Toni Sills (Isaac), which gives the collection an intimate and innocent complexion. “They are both young, vibrant individuals that have no fear and a fresh innocence that is a constant inspiration for the label.” The Danish Girl collection fits into this fresh and devoted aesthetic the brand has developed.

For more information or to place an order with Isaac + Lulu contact Rebecca Garcia at rebecca@isaac-and-lulu.com or visit their website www.isaacandlulu.com.

14 I February 2019

trade talks

THE FUTURE OF NEW ZEALAND TRADE

Companies around the world have been nervously awaiting updates on the Brexit situation unfolding in the United Kingdom. Apparel Magazine was able to sit down with Nick Swallow, New Zealand’s trade commissioner for the United Kingdom and Ireland, to discuss how Kiwi businesses should be preparing for various Brexit scenarios and how specific outcomes will affect them.

“The purpose of my role, and my team, is to support New Zealand companies and help them grow bigger, better and faster in the UK and Ireland,” explained Swallow. The trade commissioner expressed his confidence in the UK to maintain positive relations with New Zealand following any Brexit scenario, citing a long history together as trade partners. “New Zealand has had an extensive history of trade with the UK, and they are our fifth largest two-way trade partner,” he offered. “Trade is built on common understanding, and I think that the UK will continue to be a strong market for New Zealand companies.

They have weathered many storms in the past, and that common understanding our two countries share is what will help maintain the relationship.”

Despite the strong history, Swallow is determined to encourage New Zealand businesses to prepare themselves for various outcomes. “It really depends what industry you’re in as to what the impacts of a deal or no deal Brexit will have. I think the best thing New Zealand companies can do is to look at their operations to understand what effects Brexit could have on them, and put in place sensible contingency planning to hedge themselves against some of these risks.” Swallow elaborated that these plans did not need to be extensive or even particularly time-consuming, it simply involves understanding a company's movements and exporting processes. “It is just sitting down for a couple of hours and looking at your operations to understand the movement of goods into the UK and then from the UK into Europe. This is to make sure that you are minimising your exposure to things like tariffs and customs formalities by either shipping directly into Europe or looking at other options. There are a lot of tools on the NZTE website to point companies in the right direction.”

Tariffs and customs are the two most significant changes that a deal or no deal Brexit could have for New Zealand companies, according to Swallow.

“There is currently free movement of goods, people, capital and services throughout the EU. That would stop, which would mean that the UK becomes a third country, to the EU. The difference will be that anyone exporting from the UK to the EU or vice versa will possibly face tariffs and will have to go through customs formalities that they previously didn’t have to.” It is predicted that customs formalities per year will significantly increase for the UK, rising from 120 million to approximately 320 million.

This would affect New Zealand exporters who have operations in the UK and rely on these to fulfil overseas e-commerce orders. The primary concern for these businesses is a substantial tariff increase, where previously there were none, and delays at the borders which will stop companies from fulfilling contracts or orders on time.

While these trade changes may appear bleak, Swallow expressed that Brexit may also offer some

unique opportunities for New Zealand businesses.

“Once the UK leaves the customs union it is then allowed to negotiate free trade agreements with other countries,” announced the trade commissioner. “The UK has indicated that it would like to enter negotiations with New Zealand for a free trade agreement, which has gone through public consultations in the UK and New Zealand.”

With the UK positioned as one of New Zealand's primary trade partners, a free trade agreement could be a significant step for New Zealand when it comes to increasing its international presence in the marketplace.

Swallow concluded by advising Kiwis to await further news and keep on their toes as there is no telling which way this conversation will swing. “I have no idea what way this is going to go, and in the media, you can’t predict what is going to happen even day to day. There always seem to be more surprises in store for all of us.”

Trade is built on common understanding, and I think that the UK will continue to be a strong market for New Zealand companies. They have weathered many storms in the past, and that common understanding our two countries share is what will help maintain the relationship. apparelmagazine.co.nz

I 15

colour trending

I SEE RED

DSQUARED² Resene Roadster

BIUU Resene Get Reddy

ICEBERG Resene Milano Red

16 I February 2019

SATORIAL MONK Resene Dynamite PHILIP PLEIN Resene Red Berry

HERON PRESTON Resene Half Pohutukawa

o colour has more sensory appeal than red. On top of that, no colour carries as much symbolism either. Red is the colour of love, violence, seduction, danger, and anger.

These meanings go all the way back to when our prehistoric ancestors associated red with the colour of fire and blood, two of the driving forces in their lives. Further than that, red is the most popular colour used in flags, as almost 77 percent of flags feature red. Across the world, authorities use red as a colour to signify STOP. In the fashion world, red is a bold showstopper.

It captures attention and never goes out of style.

From the early 20th century onwards it has appeared on catwalks and been a prominent colour across all seasons.

No time is more appropriate to incorporate some red into your look than February, with Valentine’s Day and the colour’s symbolic connection to love.

At London Fashion Week, Iceberg showed off its 2019 Men’s Fall Collection. The collection was bright and 80's-inspired. The standout of the show was the look with a red puffer jacket trench coat like Resene Milano Red, with red track pants, headband, satchel and boots all grabbing attention. The look was so bold that it still managed to stand out in a collection of eccentric and colourful outfits.

Philipp Plein’s show also featured a display of puffer jackets. None was more attention-grabbing than the Resene Red Berry tracksuit look. The outfit looks like it has been taken from an old school anime with its glossy red tones and yellow trim, with dramatic collars and paint splash designs over the jacket.

Biuu’s outfit is so bright that it would instantly catch anybody’s eye. The Shanghai-based label takes far-fetching themes like sci-fi and Mayan culture and merges them into a colour-blocked collection with striking colours throughout. The almost-neon Resene Get Reddy with an accenting turquoise sweater underneath, creates a look between cyberpunk and hipster.

Red isn’t just an attention-grabbing colour – it can also be used to contrast. Heron Preston showed off a look with a shirt similar to Resene Half Pohutukawa.

The subdued, darker, and less vibrant red tone makes it easy to match while also not completely fading from the spotlight. The look of the outfit was decidedly 90’s-esque, and the rustic red and oversized blue pants gave it a blue-collar working man look.

The Dsquared2 Fall 2019 collection was playful, with the theme of having fun. The low cut, vibrant pants in a colour similar to Resene Roadster paired with a colourful, glam metal inspired tank top and pink furry jacket with flamboyant psychedelic graphics splashed over it. The bright eccentric tones are designed to stand out and do exactly that. It works by not relying on the red tones alone, but rather using the red to catch the initial attention and drawing onlookers in with intriguing and outgoing graphics.

Sartorial Monk’s Collection is pared back and minimalistic. The long, sleek velvet dress in a colour like Resene Dynamite looks as comfortable as a cosy blanket. The dark satiny gown uses red to give it a luxury, yet relaxed, touch that wouldn’t be possible in any other colour.

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I 17

editor ' s pick

Emerging designers you need to know SOPHIE WARD

Sophie Joy

Sophie Ward decided to tell a very personal story through her graduate collection for Massey University. “The story behind my collection was a dedication to my mother who passed away in 2017,” explained Ward. The young designer combined her highly personal concept with the technical knowledge she had accumulated from her time at university; creating a presentation which was able to communicate both love and grief simultaneously. “I drew inspiration from my mother, taking her favourite colour, pink, and her favourite flowers, which I expressed through digital embroidery. There was a focus on textures and colours which brought a sense of comfort with every touch,” she added. “I wanted to bring glamour to the everyday without the sacrifice of comfort.”

The result was a chic and feminine collection which combined modern style with timeless sophistication.

Ward found it immensely satisfying to see her collection come together so precisely. “My highlight was seeing my plan come together at the photo shoot,” she said. “Everything I had imagined was right there in front of me, and it was cool

PERA MAY Creativity has always been a part of Pera May’s life. “I grew up in an artistic family environment, where all types of art and design were encouraged. Art in my family represented feelings, emotions, visuals and all things that words sometimes cannot express,” disclosed May. Eventually, this creativity was honed in on and channeled into fashion design.

When it comes to her design process, May combines her passion for fashion with her moral viewpoints to create collections which give confidence to her clients.

“It’s one of my strongest desires to empower every single human being to be the best version of themselves and express their freedom, individuality and personality through happy, bold and confident dressing,” articulated May. The young designer incorporated these values into her seventeen-piece graduate

18 I February 2019

to be able to step back and take it all in.”

This collection had been a long time in the making for the emerging designer, whose passion for the fashion industry had been growing since she was a child. “I have been into fashion from a young age, and have always been very particular about what I wore,” expressed Ward. “I was 14 when I decided, without a doubt, that I was going to Massey to study fashion and become a designer. And that is exactly what I’ve done.”

With her graduate collection complete, Ward is now looking forward and is making strides in becoming the designer she had always dreamed of. “A big challenge I think will be to create a name for myself in the industry,” she articulated.

Ward is currently operating under the brand Sophie Joy and is dedicated to improving her industry knowledge to make the brand as successful as it can be. “The ability to problem solve and have perseverance are definitely the most important things I have learnt. Sometimes things don’t go to as planned, and you have to improvise, but if you stick to it you can make it work.” Ward is eager to expand her brand, but for now is looking on ways of improving her craft. “I would definitely love to have a store eventually. For now, I just want to gain more experience.”

collection. The collection was entitled ‘You have just been Phunked!’ and projected a freespirited vibe while also appearing high-end and commercial. “The intent behind this collection was to try and inspire others to not think of dressing as an everyday task, rather as a way to creatively articulate who they are without even having to speak,” May explained. From the concept to the fabric choice and even the construction, joy and passion was a core part of the collection’s evolution. May even created her own original ‘Get Phunked’ fabric textile as a way to insert her personality into the range.

Looking ahead, May is eager to pull together all that she has learnt through her degree and her many internships and make a name for herself in the industry. “My biggest opportunity is to gain experience and never set limitations on myself and my learning. I’m ready to fail a few times in order to progress a lot more, which will hopefully bring new opportunities,” said the designer. May’s motto is simple but will carry her into a prosperous career without limitations: “You think big, I think bigger!”

PAIGE MACDONALD

Nola

This designer first learnt to sew in intermediate, and her natural talent for the subject turned her passion into a career. Now looking down the barrel of launching her label, Nola, as well as expanding on her graduate collection for UCOL. “My collection was inspired by an image of Catholicism, a painting of the Virgin Mary in the assumption,” explained MacDonald. For her, having a strong concept was the key to her collection’s success. “The concept itself was something so important to me. It was chic, multipurposeful and conservative but still looked good.” The muted palette of the collection, as well as the simply styled presentation created a performance that was both conceptually intriguing and visually stimulating.

MacDonald used the presentation of her graduate collection to propel her brand into the next stages. However, a career in the fashion industry is one that is sorely fought for, MacDonald is using all the tools at her disposal to ensure she stands out from the crowd. “I’m still very young so it’s quite intimidating trying to promote myself next to businesses and designers with years of experience on me,” expressed MacDonald.

“At the moment I’m getting a lot of local clients as well as some offers and business co-op situations by word of mouth,” she added. Most of this promotion is done by sharing her final pieces as well as her creative processes on social media, and thus building a consumer base that is invested in both the collection as well as the designer herself.

MacDonald is eager to use both her graduate collection, as well as her exposure at New Zealand Fashion Week in 2018 as stepping stones to creating a brand which is recognised across the country. “This is such a big start at my age, and it makes me more confident in what I produce, myself as a designer and what I could accomplish in the future.”

LAVINIA ILOLAHIA

LAYPLAN

Lavinia Ilolahia is proud to present a collection which combines her cultural heritage with her flair for fashion. As a Pacific Islander, Ilolahia found that the expectation for her to become involved with sports was overwhelming. She decided to insert this stereotype into her collection, but instead of being weighed down by it, she found a way to feel empowered through it. “This collection is a physical manifestation of outworking what I do, which is fashion, with what society commonly expects I do,” she added. “Doing it this way gives me the chance to connect myself with this stereotype but in my own terms.”

Ilolahia’s design process began with a range of strong silhouettes. “When I design, I immediately design the shape of it and them come in later with the details,” said Ilolahia. The ability to reinvent classic shapes and reimagine the way the body moves is what most heavily inspired the designer’s collection.

“I’m heavily influenced by silhouettes and the ability they have to transform the perception of the body,” revealed Ilolahia.

While design is a passion for Ilolahia, the process of creating her garments is where she found the concepts really came to life.

“I found that it was within the physical making that my ideas were formed,” she added. “There have been many times where I’ve set out to make one thing but finished with something completely different.”

Ilolahia is the co-owner of ‘Layplan’, where she and her business partner Talia

Soloa freelance their work. Moving forward, Ilolahia is excited to see Layplan reach a wider range of consumers, which she intends to do through building new relationships and embracing the wisdom and advice she receives.

Regarding the expansion of her brand, the designer has a clear vision of the future.

“An online store is in the cards, and then finding quirky spaces to do pop-ups, instead of starting a store.”

QINGLIN CHEN Since she was a small child, Qinglin Chen has always been passionate about fashion, so she enrolled in Massey University to gain a broader professional knowledge of the industry and kick start her career.

Her time with the institution gave her a deeper understanding of the industry, as well as awakening a more sophisticated and innovative designer within herself. “Besides learning all the fashion foundation skills from my lectures and studio classes, I learnt to get out of my comfort zone, take risks, and always challenge myself.”

Chen implemented this new-found enthusiasm into her graduate collection, which included four completely realised looks. “My collection explores the significance and meaning of ‘face’ (In Chinese, ‘Mian Zi’) in Chinese culture,” Chen said. “This word represents a person’s reputation within multiple spheres. My research design discussed the invisible cage of Mian Zi, and how people change themselves to gain ‘face’ from others.” Chen’s collection was highly conceptual, and she

implemented her diverse technical knowledge to bring the concept to life. “I created different sized undulating outer ‘bubbles’ as cocoons or cages for garments. I used fragile fabrics, hanging threads, and abstracted visual illusions to contour my concept of face.”

Combining her own unique vision with techniques and concepts she admired from other designers. “The tulle face in my collection is inspired by the artist Benjamin Shine. I like the way he presents art portraits using fabric, so I adapted this technique to create my own collection.”

With a strong graduate collection under her belt, Chen is eager to continue to make her mark on the industry through strengthening her presence in the marketplace. “I want to have my own clothing brand, and I’m also planning to start an online store,” said Chen. “I already have an Instagram called Undefined700. I use this account to exhibit my designs so people can find out about my store and my current t-shirt designs.”

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I 19

trade talks

Understanding the cosmetics industry requires us to unpack each step. Apparel spoke to a range of industry elites who provided insight into the complex Journey of a Cosmetic.

EDUCATION

The process starts here, where future industry players gain the skills and experiences necessary to make waves in the industry. Two elite educational facilities gave Apparel an inside look into the skills they pass onto their students, and how they operate in this supply chain.

THE UNIVERSITY OF CANTERBURY The University of Canterbury offers a Bachelor of Product design course whereby students are provided education on the science, engineering, design and business required to enter the field of cosmetic manufacturing. Conan Fee, head of the university’s engineering school spoke to Apparel about the role the institute plays in the journey of a cosmetic. “The cosmetics industry needs well-educated graduates with both broad and specialist knowledge to hit the ground running in the development and management of cosmetics and personal healthcare products.”

This course is unique to Australasia, being the only institute who offers a degree in this focus. The combination of science and business know-how is crucial for those looking into the cosmetic industry, as without one or the other, a brand will crumble.

“They cover the theory and practice of how to make emulsions, suspensions, solid products, gels, sprays and so on, as well as the design of sustainable packaging, which are the crucial sciences behind the cosmetic industry,” explained Fee. “The combination with business is also an important aspect because new product concepts must not only be functional, but they must feasible and attractive from a commercial point of view.”

As the cosmetic industry changes, so do educational facilities, ensuring new industry players are able to adapt to a developing market place. “This generation of students is intensely interested in ethical and sustainable practices,” said Fee. “A whole new generation of social enterprise-savvy students have the potential to make a real difference in our world, especially when armed with the knowledge to base their products on well-established science and rational design.” Course material is influenced by a changing industry, ensuring a robust foundational knowledge alongside an understanding of current trends and consumers.

20 I February 2019

The educational process for the journey of a cosmetic is crucial as without strong and passionate industry elites, cosmetic manufacturing and design in New Zealand will get passed along to international players. Product managers, leaders in technology and brand starters are all born in institutions which offer in-depth cosmetic knowledge.

THE PERSONAL INSTITUTE OF CARE This journey starts with education. The Institute of Personal Care Science is a leading online institute, training the cosmetic chemists who will go on to become leaders of the industry. Director of the institution Belinda Carli spoke to Apparel about how an educational facility like theirs functions within the cosmetics industry. “For someone wanting a career as a cosmetic chemist, this is the course they should be taking as it is recognised by the New Zealand Society of Cosmetic Chemists as well as the International Federation for the Society of Cosmetic Chemists,” explained Carli. Having a recognised qualification is what will carry graduates into the roles that so desperately need filling in this industry. “People can, of course, complete other certificates or workshops to create personal care, but it doesn’t give them an industry recognised qualification if they are seeking employment as a cosmetic chemist.”

Understanding of the scientific side of the cosmetic industry is crucial for those looking to work as a developer for their own brand, or as a part of a larger manufacturing organisation. These are tools which cannot be picked up en-route. “Our students learn how to ensure safety, compliance, shelf life and performance from the formulations and samples they create,” explained Carli. Each of these elements is an integral part of cosmetic manufacturing, and by developing these skills alongside a well-recognised institution students are ensuring the knowledge they leave with is trustworthy.

However, cosmetic education is about more than just science. Understanding how the industry operates is crucial for these graduates to establish long-lasting careers. “Students learn how to research and keep on top of the latest industry trends and include these innovations into future developments,” stated Carli.

Careers spanning across the entire cosmetics industry are possible for those who seek formal education in the science of cosmetics. Graduates from the Institute of Personal Care Science have gone on to roles such as product managers, regulatory affairs, consultants, quality assurance and cosmetic chemists.

MANUFACTURING The execution of a brand’s unique visions happens here, where creativity meets science and innovation is born. The process of cosmetic manufacturing is complex, requiring the perfect balance of scientific understanding and brand awareness.

SHIELINGS Cosmetic brands will work closely with their manufacturers throughout their time in the industry.

Therefore, it is important brands understand the processes that go on behind the scenes, rather than operating blindly. Shielings Laboratories is New Zealand’s leading contract manufacturer of cosmetics and skincare, making them significant players in the industry for over three decades. “Our role as a contract manufacturer is to support our clients in product development and manufacturing to meet the ever-changing demands of consumers and retailers alike,” explained Sara Blackman, the company’s sales and marketing manager. By selecting a trusted manufacturer, brands can ensure their products are receiving the attention they need to attain consumer loyalty.

As the cosmetic industry changes, so too do the role of manufacturers. “The cosmetic business is market-driven. Sensing demand and responding promptly is a competitive differentiator for brands,” said Blackman. Shielings place a substantial focus on their flexibility and adaptability, to ensure brands old and new can penetrate the ever-changing cosmetic marketplace. The manufacturer utilises brands’ specifications and industry trends to research and design a formula which fits both sets of expectations.

“Product development is completely driven by consumer demand and quickly changing trends. We work hard to maintain high levels of knowledge to be able to share emerging trends and new ideas with our clients and support them to be at the forefront of the industry.” Support is provided for clients from this initial development, all the way to the shelf. Shielings have developed a Preferred Partner Network, to supply brands with valuable connections that will help them advance their brand in areas such as fragrance, marketing and digital support. Bringing a cosmetic brand to market is not a solo venture, it requires contacts and input from industry professionals

throughout the cosmetic chain.

Blackman expressed that in Shielings’ time as a manufacturer, one of the most significant industry trends that have influenced their operations was the rise in demand for natural and organic cosmetics.

“From our perspective as a contract manufacturer this has given rise to the development of new brands and new partners to collaborate with, to formulate, and manufacture for, each with their unique brand promise,” related Blackman. “With product innovation, there must be changes in manufacturing processes. We have been heavily involved in working with our clients to redesign manufacturing processes to meet increasing consumer demand for these products. We are proud to support New Zealand brands taking innovative products to local and global markets.”

specific demographics, whereas our bigger launches will address a wider audience. It also depends on the level of artistry of the product.” A feature that links all M.A.C campaigns together is their incorporation of social media into their strategies. Muller described their brands use of social media as an absolute necessity. “Many of our consumers are young and highly active on a variety of different social media platforms, using them to keep up to date on the latest products and collections,” she affirmed. Consumers’ reliance on social media presents an easy access window from brands like M.A.C. “We ensure that we align with the global trends which our consumers regularly access while on their social media.”

Memorable campaigns on an accessible platform are M.A.C’s keys to marketing success.

MARKETING

E-COMMERCE

Having a strong brand vision is crucial but being able to communicate that vision to consumers is what will actually start to bring in business. Marketing the best features of your brand at its debut and throughout its lifetime is central to a cosmetics journey.

M.A.C COSMETICS Even for one of the biggest names in the cosmetic game, effective marketing campaigns are what will decide if a new release sinks or soars. Apparel got the chance to speak with Vai Muller from M.A.C Cosmetics about their brand’s experience with marketing in the cosmetics industry. Despite the impressive name the company has built for themselves, Muller expressed that they still rely on marketing to sustain their place in the industry and there is no time for playing it safe. “As we are leaders in the fashion makeup industry, we strive to produce exciting marketing strategies to keep our consumers devoted to our brand.”

While every marketing strategy is different, at the core of all of their actions sits their brand moto: All Ages, All Races, All Genders. This motto influences the brands’ marketing moves, as they target such a diverse audience. “We produce campaigns and strategies that target many different groups of people, celebrating diversity, individuality and inclusivity. This enables us to grab the interest of absolutely everyone,” explained Muller.

The brand’s strategies vary in size and target audience, giving them a unique range of presentations. “Marketing strategies differ when producing a smaller product campaign launch in comparison to extended product campaigns,” articulated Muller. “They can be shorter and target

The final step in the process is finding a way to connect your product to consumers. E-commerce is the retail of today, and one of the most effective means of increasing your brand’s consumer reach.

THE GREEN ELEPHANT Green Elephant is a unique New Zealand e-commerce platform, specialising in stocking sustainable products in order to bring together brands and like-minded consumers. “We bring together creators and vendors of quality sustainable cosmetic and skincare products into a single shopping space enabling customers to find their perfect beauty match,” explained Gillian Blanchard, founder of Green Elephant. The platform works its clients to promote and showcase their products, implementing their unique badge system which highlights each brand’s most unique asset. “Our badge system supports our cornerstone values and identifies to customers what is good about a product.”

E-commerce in New Zealand is on the rise.

The platform is challenging bricks and mortar establishments, making them the prime location for cosmetic brands looking for a way into the market.

“The e-commerce industry in New Zealand is definitely a bit behind the rest of the world, but we’ve seen huge growth in the number of people shopping online,” said Blanchard. “Customers have access to an amazing choice of products that isn’t always achievable in traditional retail spaces.”

By using a specific feature, such as sustainability, as a theme for their products range, Green Elephant has ensured that brands are reaching consumers who share their values. “We have observed that, as a country, our awareness of environmental issues and the number of people willing to take positive action has made a huge leap forward,” expressed Blanchard. By targeting a passionate and growing consumer demographic,

e-commerce platforms can ensure their brands are getting the best chance at penetrating the market place, and sustainability is most certainly a consumer trend on the rise.

Both the sustainability sector of the cosmetics industry and the e-commerce platforms are expected to expand in the coming years. “I imagine online shopping in all sectors will continue to grow,” said Blanchard. “Customers will be asking more questions of their brands, demanding fewer harmful chemicals along with the responsible sourcing of ingredients and asking for smarter packaging. It’s only when people stand up and ask the important questions, and ultimately vote with their dollars that changes take place.”

KAREN MURREL Cosmetic company Karen Murrel has utilised e-commerce as a way to reach a diverse range of consumers. The brand has incorporated a multipronged approach to e-commerce, partnering with a variety of independent e-commerce platforms, as well as operating their own vertical site.

The combination of platforms has allowed the brand to engage with consumers far outside their immediate reach. “We can now sell locally and internationally from our own central hub, which has been perfected as technology has been upgraded over the last ten years,” explained Murrel, the brand’s founder. “It is so much easier for us to showcase our brand internationally, in the sense of telling our story, our values and ethics and provides a fully transparent consumer platform by way of reviews, feedback and brand experience.”

This use of e-commerce platforms has allowed the brand to gain recognition for their excellent quality of products they offer, something that would have been much more hard-pressed to do without the platform of e-commerce.

While an e-commerce platform is crucial to reaching consumers, Murrel explained that without quality products to hold the attention of consumers, brands are just as likely to slip through the cracks. “With bricks and mortar stores, if the product is not good and it is not priced to sell a customer will not repurchase,” she insisted. “You can thoroughly research a brand or product online before you buy it, you can then review and share your thoughts and feelings about it for the world to see. This fully transparent customer feedback loop has crept up and evolved our industry to no end.”

Brands can no longer rest on their laurels, because while their products are more accessible, as too are their reviews. So, while potential consumers may be able to find their brands through these e-commerce platforms, this does not guarantee they will purchase.

Murrel’s brand ensures a positive reputation among its consumers through a focus on sustainable practices and eco-friendly products. “I could see a gap in the market, and I wanted to create a natural lipstick that was as good or better than the other big brands,” asserted Murrel. It is through e-commerce that this brand has been able to build and sustain their positive reputation around the world.

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Indigo and Provisions

Creating a point of difference for your brick and mortar establishment is crucial to drawing in and retaining customers, particularly in the current digital climate. Dominic Ellett of Indigo and Provisions has worked tirelessly to create a retail store that reflects the creativity and individual flair of his company.

Ellett first launched Indigo and Provisions when he returned to New Zealand after extensive travel abroad and discovered a gap in the market. “I love denim and work-wear but just couldn’t find anyone selling the brands I wanted in New Zealand. So, I decided to put my ten plus years of retail and business experience to good use and open my own shop, focusing on the brands and styling that I love, and bringing a new concept to New Zealand,” said the fashion savant.

With a strong stylistic vision in mind, it was crucial Ellett translate this to the fit out of his new retail offering.

Ellett chose the Arts Centre in Christchurch as the location for his brick and mortar establishment, as he was attracted by the history and eccentricity of the location. “From the architecture of each building to the stories of years gone by to everyone that works and has a business here – the choice to set up at The Arts Centre was easy,” he explained. The buildings history dates back to 1877, and hosts a fantastic community of creatives, artists and entrepreneurs, making it a smooth fit for Ellett’s one of a kind New Zealand store.

Working with design specialist Koaska Easterbrook of Joska and Sons to create a fit out that was visually engaging as well as physically innovative. The pair

22 I February 2019

retail eye

We wanted to create a welcoming, open space with more of a gallery feel than a traditional shop began to reimagine the retail experience. “We wanted to create a welcoming, open space with more of a gallery feel than a traditional shop,” Ellett explained.

They achieved this minimalistic feel through a focus on visual merchandising and building interesting displays rather than just displaying racks full of clothing.

Creating an experience for their customers was what most influenced their creative decision making.

“Everything is displayed in the store in a way that encourages customers to really experience our products, by touching them and reading about them. We encourage everyone to take their time in the space.”

Creating a sensory experience was a compelling point of difference for the store, as small details became big focuses. “We feel bricks and mortar retail should be an experience that involves all the senses, it should leave you feeling happy and inspired. It shouldn’t be all about money and sterile environments,” articulated Ellett.

Complimentary coffee and beer is supplied to their

customers, who are encouraged to hang around, flick through their magazines and enjoy the space for more than just a store. A small detail that has proved a hit with customers is the store’s aroma. “The smells of the shop is a focal point for many people. It is achieved through the macrocarpa wood we have used within the store, the soy candles we get from Australia and the beautiful aroma of the fresh coffee we brew in store.”

With such a stimulating and characteristic store, Ellett discussed the importance of stocking brands which reflect the stores strong stylistic and experiential vision. Brands which have a rich story and an emphasis on sustainability and timelessness are found throughout their store, ranging from locally made products to international imports. “We are always on the lookout for new brands and designers that match our aesthetic and ethos of quality goods built to last.”

beauty spot

FORIS WILDE Up and coming New Zealand brand, Foris Wilde is preparing to make waves in the skincare industry.

Apparel sat down with the brand’s founder Tom McMurtry to discuss the unique niche his brand is preparing to fill in the market. “We specialise in luxury skincare products which are blended from native plant extracts and sustainably sourced organic ingredients,” explained McMurtry. “Our brand is a transposition of an old world classical luxury boutique to the environment of mystique and authenticity of New Zealand, while also adapting to the concerns and needs of the discerning modern consumer.”

These luxury skincare products are a representation of New Zealand, and McMurtry found that it was luxury skincare that was the best vessel to showcase the intimate ecology and overall serenity of Aotearoa.

“We provide soothing skincare developed from a range of special ingredients, fragrances presented in uniquely fashioned Rimu jars, all of which tells a story unique to New Zealand.” The brand’s collection consists of body balms and a collection of regular and sensitive skin body scrubs. These products have been developed with the incorporation of New Zealand

native ingredients such as harakeke, manuka and kanuka. “We listened to trends and formulated our brand around the things we are most passionate about; luxury products, New Zealand nature and story, sustainability, high craftsmanship and design.”

Foris Wilde represents New Zealand, and their sustainable practices ensure that their brand aligns with the values at the core of the country. “There is an opportunity to lead the way in the design of luxury level goods and business models as it is now completely possible to create the divine and desirable without impacting the environment,”

related McMurtry. To achieve its sustainability goals, the brand aligned its sustainable skincare with ecofriendly businesses practices. “Our renewable rimu jars are designed to be too beautiful to throw away, and consumers are offered the choice to refill their jars with biodegradable pouches rather than buying a whole new product are a great way of achieving this.”

McMurtry expressed his brand’s belief in sustainable practices and its alignment with the current luxury consumer’s mindset. “As long as your voice is authentic and done to a high level, then consumers do seem to be drawn to what has been created."

meet the buyer

WENDYS BOUTIQUE Wendy’s Boutique has pulled together an eclectic and highly varied range of designers from throughout the country and around the world to bring their clients a truly customised experience. Sally Fannin, the buyer and manager of Wendy’s Boutique, spoke to Apparel Magazine about the unique approach their business takes to their stock listing process. “We mix brands in a way that probably no other store in New Zealand does,” declared Fannin. “We have brands ranging from the top designer labels, all the way down to lifestyle brands and more casual dressing. This is one of our greatest points of difference.” By stocking such a variety of brands and styles, the boutique gives their consumers a unique ability to customise their looks, pulling the best elements from each brand they stock.

“Surprising your customers and having something different to say, whether that is a collection of colours which contrasts with the mainstream or unique styling, that is what’s exciting.” The boutique’s brands include some of New Zealand’s most well-known labels, such as Trelise Cooper and Caroline Sills to much more niche brands like Elk and Twinset.

Despite the immense variation of brands and styles which occupy Wendy’s Boutique, there is one connecting factor which connects them all: Out of

the box thinking. “It is the excitement factor which influences our decision making when we look at a new designer,” Fannin revealed. “We want to be inspired so that our customers are inspired. If someone is going to come along with the same old look, we will usually turn it down.” Fannin will look through a designers’ look book, alongside Wendy Simister, the store’s owner and founder, where they will get a feel for the brand to see whether it fits into the gaps they are trying to fill. “It is all about the look or feel of a brand. If they are not putting in the time to tell a story with their collections or create good images, they are not likely to get past the door.”

While the boutique may have a rigorous scouting process, they are constantly buying and on the lookout for up and coming designers who are able to break past this wall and truly inspire them. “We are always on the lookout for new designers,” Finnan assured. “We’re constantly buying, and buying in smaller capsules so that we have new arrivals almost every day, all to keep things fresh and keep our customers excited.”

Wendy’s Boutique is committed to encompassing fashion-forward thinking, by displaying the latest trends alongside timeless feature items. “We like

the less-is-more attitude, so consumers can receive quality items that they can carry with them for far longer than products from those throw-away type fashion stores out there,” explained Finnan.

Displaying the latest trends for Wendy’s Boutique does not mean giving in to fast fashion trends, for them it is all about the interpretation of a trend and the unique implementation of it into each designer’s collections. This could be taking a small part of the trend and twisting it to fit a brand’s individual aesthetic, or implementing the trend on a smaller scale, such as in an accessory rather than an entire garment.

Looking into the future, Wendy’s Boutique is committed to updating their business model to the changing times. “We have found that a lot of the shopping hotspots in our area in the smaller suburbs now, rather than in the Central Business Districts, and we are looking to follow that trend,” reported Finnan. “We will never be in a big mall as that is not our demographic. We want to be on the outskirts, for destination shoppers. We’re looking to open a smaller lifestyle store in the near future.”

Wendy’s Boutique is preparing to take their unique fashion experience to a much larger audience.

24 I February 2019

Model: Clementine from 62 Models Beauty: Chanelle Van T Veen Photographer: Caitlan Mitchell Garments: Hamlet Jay

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student life

JESSICA JAY WHITECLIFFE Jessica Jay first began her fashion career at age 14 when her grandma bought her a sewing machine. Northland-native Jay says that her journey really started when she entered, and won the Newmarket Young Fashion Designer Award.

The winner of this competition was given a two-year scholarship to Whitecliffe College of Arts and Design and an internship with Taylor. “This prize really kick-started my career and gave me the confidence to start working and studying fashion which had always been a dream of mine.”

“Prior to studying Fashion Design at Whitecliffe, I was extremely passionate about fashion but had little knowledge of the negative social and environmental impacts of the fashion industry,” Jay reflected. “My studies at Whitecliffe opened my eyes to the importance of creating clothing in a way that is ecologically sustainable and ethical sustainability is central to my practice as a designer because of this.” Hamlet Jay, Jay’s brand, looks at maximising its sustainable practice and minimising its risk to the environment.

Jay presented seven looks for her graduate collection.

The collection was designed as an ode to Jay’s mother and was inspired by links between memory and place.

“Each garment in the collection has been individually and naturally-dyed using plant materials sourced from the places which hold particular significance to the memories I have of my mother, who passed away five years ago.” Jay said that silks are of particular interest to her. “Silk has ideal properties for natural-dyeing. The silhouettes in my collection are relaxed, drapey, and oversized. This is both an aesthetic choice and the outcome of my zero-waste patternmaking practice.”

Jay began interning at Taylor Boutique as a workroom assistant in 2015 and hasn’t left since.

She stated that the opportunity to work at Taylor in both retail, and the workroom, has provided invaluable experience in the industry. “As a designer, my work is constantly influenced by my immediate surroundings and personal experiences. I feel inspired by the beauty of the natural world and hope that my designs reflect this.” Jay cited that both sewing and designing area were equally important for her. “I would say that sewing and being able to construct a garment beautifully, is an increasingly undervalued skill in today’s industry.”

Jay hopes to be able to launch her own brand and is currently working towards making this a reality.

26 I February 2019

Images by Michael Ng

fashionable films

WHAT MEN WANT What Men Want is a hilarious reimagining of the classic 2000’s film What Women Want, bought to life by director Adam Shankman. When Ali Davis is passed over for a promotion at work, she suddenly gains the ability to hear men’s innermost thoughts.

Her new gift provides excellent insight into the frightful minds of the male species as well as plenty of opportunities for comedic gold.

Costume designer Sekinah Brown created a unique style for the film’s leading lady which encapsulated the strength and authority of the character. Taraji P Henson who plays Ali Davis was dressed in a collection of on-trend business wear which included power suits, tailored jackets

SPIDER-MAN: INTO THE SPIDER-VERSE Directors Peter Ramsey, Rodney Rothman and Robert Persichetti Jr brought audiences a unique animated reimagining of the Spider-Man chronicles to the screen.

Viewers are shown a collection of Spider-Men that are variations of the hero. Each suit, and Spider-Man, paid homage to a different comic book arc in Marvel’s extensive collection. Among the most memorable were the classic costume, the Big-Time stealth suit and the Spider-Armor suits Mark’s I and II. Spider-Man’s most iconic costume was instantly recognisable, featuring the red and blue webbed designs we all know and love. Other variations of Spidey’s costume greatly altered both textures and colours of the suit but utilised the same shape and mask to tie them into the original design.

The Big-Time stealth suit first appeared at the start of the Big-Time comic arc in 2010 and was one of the newest costumes to feature in the film. The suit was black with ominous green glowing eyes and a spider emblem on the chest, which gave it a more sinister appearance.

The Spider-Armor suit Mark I presented a highly textured and combat ready suit. The outfit was entirely black with shiny armor strategically scattered across the hero’s face, chest, shoulders and legs. The costume

had become a popular alternative for the superhero, featuring heavily in Spider-Man: The Animated series and the Spider-Man video game that was released in 2000.

The Mark II SpiderArmor suit was a much sleeker design, bearing a strong latex resemblance. The suit was black with yellow trimmings across the uniform and a yellow spider emblem on the chest, similar to the design of the stealth suit.

This costume was the smoothest design, and despite only appearing in six comic book issues, its unique and stylish appearance made it memorable enough to warrant a feature in the Spider-Verse film.

The film ends with a wonderful homage to the original costume, Miles Morales feels unworthy of any of the existing Spidey-costumes so creates one of his own. The rebellious street artist spray paints over a super-suit revealing a black costume with a messily drawn spider emblem. The artistic moment created a full circle experience for audiences, who were able to appreciate the unique street-wear inspired costume for its sweet origin as well as its design.

BEN IS BACK Director Peter Hedges presents Ben is Back, a heartwrenching story about an estranged son who returns home for Christmas but is unable to ease back into family life as dangerous figures from his time away continue to hound him.

The film used a very dark and muted palette to convey the harsh tones and seemingly hopeless situations of the characters. Costume designer Melissa Toth contributed to this gloomy atmosphere through her wardrobe allocations. Julia Roberts played Ben’s mother, Holly Burns. Burns was a typical suburban mother who demonstrated immeasurable strength and determination in the fight to give her son a normal life. Dressed in heavy layers with fluffy coats, turtlenecks and beanies, her layered ensembles were

28 I February 2019

not sloppily pulled together, rather different colours and textures were combined in such a way that every item appeared as if they were designed to sit alongside one another. Dark blues, greens and faux-fur were staples for the character and stood out nicely among the dark and gloomy winter setting.

Burns ensembles gave her a soft and motherly appearance, which contrasted with her stubborn and unshakeable commitment to what is right. Highly maternal, her love for her son is not to be mistaken for weakness or frailty. The contrast worked nicely to create an unexpected and well-rounded depiction of the character.

and pencil skirts. The wardrobe’s palette was muted with a heavy use of blacks and greys, but also featured striking patterns which bought life to the clothes.

Henson is a reliable and energetic character, and her wardrobe reflected her bubbly personality as well as her business intellect. Her ensembles were formal without being dowdy and captured the perfect blend of corporate uniformity and individual flair, making the wardrobe highly aspirational for women with high powered careers.

What Women Want brought audiences a modern twist on traditional corporate wear, which gave the film a high fashion appearance without deviating too far from our current understanding of corporate fashion.

Workwear has had a revamp, and it looks slick

We’ve seen hybrid performance workwear on the runway and growth in moisture-wick apparel on the market.

The average person will spend over 90,000 hours at work in their lifetime. So with over a third of your life potentially spent in an office cubicle, comfort, performance and adaptability are important. This week we’re looking at a new breed of garment that takes you from the office to the gym.

With an increasing number of people taking an interest in having active lifestyles and a work-life balance, workwear has evolved to fit our lives.

SMART PERFORMANCE MATERIALS ARE ON THE RISE

Now that technical fabrics are substantially more wearable, brands such as ADAY have set out to use “technical fabrics, a conscious supply chain and innovative production processes.” The end game is to create high-performance staples that last longer in consumer’s wardrobes!

Bonobos ‘Italian Performance Suits’ are water resistant, lightweight, wrinkle/stain proof and stretch for extra comfort. For more casual workplaces they offer stretch jeans and cotton bomber jackets with stretch lining, therefore bridging the gap between 'traditional' workwear items and the crossover items that consumers will wear all year round. What more could a city commuter want?

The UK has seen growth 64 percent YoY in men’s workwear and tailoring that is described as having stretch fabrics or breathable technology.

Similarly, that category had a 26 percent increase in workwear trousers that have been described as having stretch/breathable properties, 15 percent in suit jackets and 51 percent in blazers.

THE GROWTH ISN’T STOPPING, FOLKS

Menswear is big business. The UK market is worth £15bn and is expected to outperform womenswear entirely by 2020. In the US, the menswear market is the biggest in the world and is expected to continue to grow by 2 percent annually.

Menswear also has a much more blurred line between workwear and weekend wear. Chore coats and trucker jackets aren’t just for the office, they’re for the everyday life.

Making the case for comfort, the average US commuter spends 200 hours a year traveling to work, while over the pond, the average UK worker spends a whopping 400 days of their life commuting (sigh). It’s clear to see we spend A LOT of time getting from A to B and need all the help we can get when it comes to comfort in our office attire.

Performance workwear also speaks volumes when it comes to everyday mobility.

Transport options for city dwellers blew up in 2018. Private companies like Lime and Jump offered dockless e-bikes and scooters in cities at the touch of a phone. With that, more and more of us are flirting with the idea to jump on a bike and use pedal power to make our way through the city.

edited

HOW TO INCORPORATE FALL ’19 TRENDS IN YOUR ASSORTMENT These trends cut through the runway as well as your office. Pitti Uomo showcased a laid back approach to tailoring with nods to sportswear influences as well as technical fabrications.

While not every guy can sport chore coats and work pants at the office, you can adopt small details that contribute to a sportier workwear vibe such as double zips and side stripes, as seen at Iceberg’s show.

THE BIG PICTURE Performance qualities are becoming less of a nice-to-have addition and more of a requirement in modern-day workwear.

Brands that have been stocking up on this trend include Uniqlo, Rhone and Lululemon.

Lululemon’s office travel assortment for men has been a big hit with a reported 30 percent sales growth in Q2 2018. It brought together the best of both worlds: style and comfort.

Even Nike, the iconic sportswear brand, jumped on the workwear hype. Collaborating with Carhartt, they created a collection of sneakers featuring a performance twist whereby lining the shoe with wool for added warmth, with fabrics forming the rest of the sneaker, including durable ripstop, mesh and corduroy.

In the London shows, khaki, dark navy and espresso browns remain core colors for Fall within suiting and workwear. For work-ready patterns, pinstripe suits and houndstooth proved popular across outerwear on the runway. Checks were the star of the London & Milan shows – a strong trend to get in your assortment.

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I 29

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