Fashion Industry/Study

Is China’s Mysterious $15 Billion Fast Fashion Retailer Shein Ready For Stores

business News, China Economy/Study, Fashion Industry/Study, Fashion News, Online Shopping/Strategy

Over 30? Then you had better read on. Shein may not be a household name like e-commerce giants, Alibaba BABA -0.4%, Taobao, or JD.com, but as China’s newest retail Decacorn, its mystery-shrouded low profile is matched only by a single-minded ambition to become a global fast-fashion retailer.

Founded in 2008, Nanjing-based Shein is aimed squarely at Gen Z, luring young shoppers via Instagram and TikTok influencers and a barrage of discount codes for low-cost styles – with a dress costing just half that of a Zara equivalent, according to Societe Generale – uploading new products online in their hundreds every week.

Yet beyond its teen audience, ultra-publicity shy Shein remains largely unknown. But that anonymity could all be about to change after the Pearl River-based company became a surprise potential bidder for ailing U.K. fashion group Arcadia. While it failed in that attempt, the message is clear: Shein is ready to take on Main Street.

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The story really starts at the beginning of 2012, when notoriously hard-working founder and CEO Chris Xu (sometimes known as Yangtian Xu) – an American-born graduate of Washington University – gave up his wedding dress business to acquire the domain Sheinside.com. Initially selling women’s clothing, in 2015 he renamed the company Shein, focused on overseas markets, and began snapping up fashion rivals.

The U.S is now Shein’s largest market, while it also ships to 220 countries, with websites for Europe, the Middle East, Australia, and the U.S. Rapid growth has been propelled by a series of funding rounds, most recently completion of Series E financing in 2020, which gave Shein an eye-watering valuation exceeding $15 billion. Revenues are not disclosed but are locally estimated in excess of $10 billion annually and have continued to soar throughout the pandemic, while it currently counts a number of Asian and international VCs and private equity houses among its backers. MORE FOR YOUFashion’s Nightmare Before Christmas As Debenhams Joins U.K. Carnage As GameStop Army Goes Global, U.K. Retail And Malls Among Most Shorted Dr Martens Puts Best Boot Forward With Year’s First Big IPO

Shein: Fast Fashion, Made Ultra Fast

Remember that age/awareness divide? Well, in the week starting September 27, Shein was apparently the most downloaded shopping app globally on iPhone, according to analytics platform App Annie. It ranked in the top 10 in the U.S., Brazil, Australia, the U.K., and Saudi Arabia.

To service the U.S. market, products are sent from Shein’s warehouse in Foshan, Guangdong province, to a warehouse near Los Angeles, Ca., and fulfillment can take over ten days, glacial by Amazon Prime’s AMZN +0.5% next-day delivery standards. But its affordability has ensured a loyal customer base, lured by an ever-changing roster of women’s clothing and accessories added at an average of 2,000 SKUs every day.

Shein is obsessed with identifying hot searches and trends in different countries to predict the colors, fabrics, and styles that will be popular, with an even faster cycle than Zara owner Inditex. It then promotes heavily with Instagram- and Weibo-friendly imagery, for accessible and attainable fashions across all its social platforms.

However, Shein’s ascent has not been without its problems. In July it was roundly condemned for having a swastika pendant available (an error for which it profusely apologized), while paid-for posts from celebrities and fashion influencers have elevated the brand’s image as well as slowly rebutting its low–cost, low–quality rap. The label even managed to sequester stars like Katy Perry, Lil Nas X, and Rita Ora for its May 2020 #SHEINTogether global streaming event.

The Emergence Of A Global Fashion Player

All this remember for a company that didn’t even have its own supply chain before 2014, preferring to buy directly from Guangzhou’s Shisanhang Garment Wholesale Market. However, faced with soaring demand, Xu created an in-house design team and within two years had assembled an 800-strong army dedicated to designs and prototyping for ultra-fast production. It also garnered a reputation for timely payment, something of a rarity in China, and as a result when Shein moved its supply chain operations center from Guangzhou to Panyu in 2015, almost all of the factories it worked with relocated.

In the same year, Shein entered the Middle East and sales soared, with revenues in 2016 rising to $617 million and exceeding $1.5 billion the year after.

Shein and the hundreds of factories that work with the company have coalesced in a production cluster bearing close similarities to A Coruña in north-east Spain, where Inditex’s headquarters are surrounded by its upstream and downstream suppliers. It has four R&D facilities in Nanjing, Shenzhen, Guangzhou, and Hangzhou, plus six logistics centers in Foshan, Nansha, Belgium, India, and on the East and West Coasts of the U.S. It also has seven customer service centers, based out of Los Angeles, Liege, Manila, Yiwu, and Nanjing, and employs more than 10,000 people.

Future plans are thought to include the development of new businesses in mobile payments, supply chain finance, advertising, and, of course, opening brick-and-mortar stores. Whatever happens, it’s likely to do it ultra-fast.

Follow me on Twitter or LinkedIn. Check out my website.

Mark Faithfull

I am a global retail and real estate expert who looks behind the headlines to figure out what makes consumers tick. I work as editor-in-chief for MAPIC and editor for World Retail Congress, two of the biggest annual international retail business events. I also organise, speak at, and chair conferences all over the world, with a focus on how people are changing and what that means for the retail, food & beverage, and leisure industries. And it’s complicated! Forget the tired mantra that online killed the store and remember instead that retail has always been dog-eat-dog: star names rise and fall fast, and only retailers that embrace the madness will survive. Don’t think it’s not important, your pension funds own those malls!

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Buy Shein similar style clothing on Amazon from below link: https://amzn.to/37KnH7U https://amzn.to/314dxxE https://amzn.to/2BmAVMe https://amzn.to/3dhw6kA https://amzn.to/2YgLj0R https://amzn.to/3difjxF https://amzn.to/3djbYyk https://amzn.to/2YTmeZ1 Buy Shein similar style footwear on Amazon from below link: https://amzn.to/3fIZNfO https://amzn.to/37QkLXE https://amzn.to/3189Bfc Buy Shein similar style necklace on Amazon from below link: https://amzn.to/30XLIap https://amzn.to/2BpY4NE https://amzn.to/2UZ0n16 https://amzn.to/3ekU7bK Here are few interesting and quick facts about Shein. SHEIN is an international B2C fast fashion e-commerce platform. It was founded in October 2008. The website offers a large range of women’s wear in apparel, men’ clothings, children’s clothes, accessories, shoes, bags and other fashion items. It has its customers from Europe, America, Asia, Australia, and the Middle East. It has business in more than 230 countries and regions around the world. Its primary office is in England.

Chris Xu is the Founder & CEO of SheIn and has an approval rating of 62 from Owler members. They have over 200 employees. Shipping takes 2-3 weeks. Please refer to customer feedback before taking the item. Sizes may also vary from each clothing item. Track Info: Title: Ukulele Artist: Bensound Genre: Pop Mood: Happy Download: http://goo.gl/qNeHBq Ukulele by BENSOUND http://www.bensound.com/royalty-free-… Creative Commons — Attribution 3.0 Unported— CC BY 3.0 http://creativecommons.org/licenses/b… Music promoted by Audio Library https://youtu.be/G7HoUVcL5-U ––– • Contact the artist: bensoundmusic@gmail.com http://www.bensound.com/ https://twitter.com/Bensound

Secrets That Your Glasses Reveal About Your Personality

Credibility/Personality, Fashion Industry/Study, Fashion News, Health/Psychology

If you know anything about the history of glasses, you would know that they weren’t always viewed as a popular fashion accessory. Glasses for fashion used to be a remote idea that was only feasible in the galaxy far far away.

Specs were only used as a means for vision correction and anybody who wore them was either considered a nerd or a bookworm.

As portrayed in hollywood movies and shows, glasses represented shy or reserved souls who couldn’t do no wrong. Or they were used to portray insecure bespectacled ladies in rom-coms who removed their glasses to unleash the sexy diva within.

But, this negative reputation of glasses was soon refuted with the arrival of designer glasses frames that were everything from cute, stylish, nerdy to sexy.

It’s a different story now. People with 20/20 vision wear frames like transparent glasses or tortoiseshells to make a strong fashion statement.

The psychology behind glasses

Glasses shifted from being a vision necessity to being a staple fashion accessory. Today, the choices are abundant with different styles of frames in different designs and colours.

No matter if you wear glasses for fashion or specs with a prescription, they are saying a lot about you while sitting quietly on your face. Your eyewear holds the power to make you look trustworthy, honest, intelligent, or sophisticated.

Apart from sending cues about your personality, your designer glasses also help others to form a perception of you. They open the door for subconscious evaluation and here is what people might think of you.

You are easy to approach

Did we mention that glasses make you look more intelligent? So you better not act all surprised when people come to you to seek your valuable opinion on something. Especially if you are sporting transparent glasses or hipster frames.

Your eyeglasses help forming people’s perception of you. It is easier to strike up a conversation with someone who appears smart and trustworthy due to their specs than a non glasses wearer whose personality can’t be predicted.

It’s almost as if your glasses yield some kind of special powers. Also, wearing glasses is a way to tell the world that you are not embarrassed by your flaws (in this case, your imperfect vision). Instead, you are rocking your glasses with pride to let out your human side. What more does a person need to be approachable?

That becomes your signature look

We all have a signature look. It is described around the way we usually style ourselves. For instance, if you like to go bold on accessories, that becomes your signature style.

Whether you wear designer glasses in chunky frames or specs in thin titanium frames, they are making a statement about your style.

When you sport glasses every day, they kind of become your signature look. We are not saying that they define the type of person you are. But, they become an inseparable part of your overall appearance.

The signature look is not only for people coming from creative or artistic fields. You can be a student with transparent glasses or wooden frames and they become your signature look.

It is not a secret that glasses give a powerful boost of self-confidence. So, if you used to shy away from wearing them before, just bear in mind what wonders they could have done for your self-confidence and esteem.

They highlight your best features

What glasses you choose to wear is a matter of personal choice and style preference. We all want our individuality to reflect in our appearance.

Another good thing that comes along with wearing designer glasses is that they help you put your best features forward. If you have blue eyes, you can emphasize the colour with frames in blue shades or muted tones. And if there is a facial feature you would like to hide, glasses can do that as well.

In case you want your eyeglasses to just sit there without interfering with your overall look, transparent glasses or clear frames will do just that.

There are so many different types of frames out there. It all comes down to your features, skin tone, and lifestyle to choose the right one for you. If you fancy a rather minimalistic look, rimless frames are the best choice. Picking subtle frames when buying reading glasses online can be great too.

People identify you by your glasses

Eyeglass wearers have the advantage to distinguish themselves from the crowd. Thanks to their glasses, their individuality is far more prominent than those who don’t wear any.

If you like to wear those big chunky frames in weird patterns and unique designs, people will recognize you in a second no matter where you go.

Just like tattoos and lip piercings create a unique look, glasses are made to do just that, even more so, when you wear statement glasses. Transparent glasses might not be a smart choice when you are looking to distinguish yourself from other people.

For a unique look, don’t hesitate to go for intimidating frames like oversized glasses or quirky geometric specs. You can do that to your readers as well. You will find a variety of frame styles when you search for reading glasses online. Pick out a unique and bold style to stand out from the crowd.

They help you in your career

Since your glasses give out an intellectual vibe, they help you in situations like job interviews and things like that. Sounds a bit silly, right?

Wearing glasses makes people think that you are one of those intelligent people who will be the right fit for the job. If you are a man, stick to rectangular or square frames in neutral shades to do the interview right. If you are a lady, designer glasses cat-eye frames with modest curves and black colour will bode well with your career progression.

Now that you know what glasses are capable of, do you need any more reason to wear them? Even if your eyes are doing just fine, there are countless glasses for fashion out there for you.

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By Jannet on February 2, 2021 in NEWS

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My POLO First White Cotton Suit

Clothings, Content Marketing, Fashion Industry/Study, Fashion News, Life Hacks

Please refer to my Instagram page and vote or like my first POLO white suit…Thanks

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How The Danish Fashion House Nynne Is Creating The ‘Power Dress’ For Women

Art/Fashion, Content Marketing, Fashion Industry/Study, Fashion News

There is drama to be had when getting dressed in a Nynne design. Copenhagen Fashion Week has made the drama of Scandinavian design come to life over the years and Nynne is elevating the “Scandi Girl” style of dress. Spring-Summer 2021 is a back-to-basics display of the eponymous brand, returning to the minimalistic design heightened with an expressive amount of solid-colored empowering dresses, jumpsuits, statement-making pants, and Tinkerbell sleeves.

Copenhagen Fashion Week is transitioning into a sustainable fashion platform, one that is mindful of the designs and aesthetics of the brands they showcase. Relying on the fashion to remain relevant, each brand involved in the general production of the fashion week is required to meet a 17 point checklist of sustainability standards which will be mandatory by 2023. The Nynne brand is exploring circular processes in the meantime as they expand on their creations.

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Nynne Kunde is a Danish-born designer who studied at Istituto Marangoni in London, where fashion design became real for her and gave color to her Danish design palette. She gained experience working for ready-to-wear brand Rejina Pyo, where you can see her inspiration. Kunde eventually started her namesake brand in 2018 as she received the “Womenswear Designer of the Year” award after she graduated. She later moved her design studio from London to Copenhagen.

Signature designs such as the “Diana” dress are reoccurring in this collection, introducing a color palette not yet explored by Nynne. The colors are inspired by the sand and the sea in addition to silhouettes inspired by contemporary installation art, inspiring the Tinkerbell sleeves, made from fabrics familiar to the brand. Nynne designs are unwavering of its craftsmanship and its playful approach to proportions.

Like the “Diana” dress which has been altered into a jumpsuit for the Summer season, this collection is reflective of the warmer days of Danish summers. Colors are described as Sunflower yellow and azure blue, and are staged by the modern cuts and colors of Scandinavian design; black, beige, and white.

Nynne is also innovating within the sustainable fashion sphere. Kunde is using increasing amounts of recycled polyester and microfibers. Introducing Tencel fabrics, Kunde is reworking her brand’s aesthetic with the soft cellulose fibers for more manageable and ethical fashion design and manufacturing processes.

Nynne’s first fashion film presentation for Copenhagen Fashion Week showed off a fresh look at the flowing drapery of the dresses on the models. The colors were present yet subtle, the flare each dress possessed was pure in its design, and the collection was stoic yet, energetic.

The form of each piece overlooks the shape of the women but references the general qualities of dressing in feminine attire. The woman who wears these clothes could be confident in her body while embracing a conservative chic. The Nynne website describes it as “a celebration of the soft beauty of women and the power in gentle expression.”

The SS21 season of Nynne is dedicated to the strong women who evoke power. Nynne is a brand that seeks to increase confidence in women of every demographic. Apart from the superfluous and short-term trends, Nynne is insistent on creating an approach to styling that is practical and a considerably unique synergized moment among the norm.

By: Cassell Ferere

Born and raised in Brooklyn, graduating Cum Laude from CUNY, I founded Cassell Inc. while still a student. This has been the harbor for all of my creative endeavors; photography, writing, designing, as well as filmmaking, where I produced a unique series of silent art films. Capturing images of public figures at their most unassuming and unguarded, producing a colorful range of work, I have worked with the likes of many, including, music producer Pharrell Williams, musician Ed Sheeran, radio personalities Peter Rosenberg and DJ Cipha Sounds, artist, like, Ron Bass and Mokshini, eyewear designers Coco and Breezy, fine artist Roy Nachum, popular brand names, like, Samsung, Google and LG, and former Attorney General of the United States for President Barack Obama, Eric Holder. I am also the Founder and Editor In Chief of Reverie: PAGE magazine which focuses on sustainable fashion and inclusive ideas. Previously working in media and fashion apparel companies, I have noticed the lack of representation, not just of groups, but of the ideas that shape us in our everyday decisions. You can follow me on Instagram and Twitter @Cassellinc.

Italian Govt Commits €15M to Protect ‘Made in Italy’ With Blockchain

Blockchain, Blockchain News, Blockchain Tech/Industry, Content Marketing, Fashion Industry/Study, Fashion News

To combat counterfeit goods, the Italian government has allocated €15M to develop and implement blockchain and other tech-based solutions.

Counterfeit “Made in Italy” products are sold in marketplaces around the world. The Italian government is now fighting back against these knockoffs by investing €15 million ($16.2 million) towards the development of a blockchain-based solution.

According to a new report by dGen, counterfeits of the “Made in Italy” label caused a loss of €12.4 billion ($13.4 billion) in 2016 alone. Such losses directly impact both the income and future survival of many Italian artisans.

The prestige of being “Made in Italy”

The Italian fashion industry, and the country’s association with artisan craftsmanship, both feed into the prestigious reputation of the “Made in Italy” label. Indeed, if it were registered as a brand, it would be the third-most valuable global property (after Coca Cola and Visa).

The label’s high profile associations have led to an ever increasing problem with counterfeit goods. These fakes facilitate intellectual property theft, and tarnish the reputation of the label, the brands, and artisans who the label represents. They also cost the industry billions of dollars as a whole.

Blockchain to the rescue

The Italian government has acknowledged the threat of counterfeiting and identified blockchain technology as a potential solution. The government recently allocated €15 million to support the rapid implementation of digital technologies, including the financing of a joint project between IBM Italy and the artisan community.

Aspects of the industry that are being considered for improvement include: authentication of goods and raw materials through the supply chain, a secure ledger of intellectual property rights, provable sustainability and ethical practices, and closer relationships between brands and their customers.

It is hoped that such measures will curb the rise of counterfeit goods and secure the future of Italian artisans.

Fashion is not the only area in which Italians have been valuing authenticity as of late. Cointelegraph recently reported that Italian firm, LKS, has created a blockchain-based system that can allegedly prevent the spread of fake news

By: Jack Martin

Source: https://cointelegraph.com

In the midst of a financial storm, Italians are turning their backs on the designer brands that have made their country world-famous. And they are increasingly turning to Chinese producers for cheap goods, sometimes even labeled ‘Made in Italy’. RT LIVE http://rt.com/on-air Subscribe to RT! http://www.youtube.com/subscription_c… Like us on Facebook http://www.facebook.com/RTnews Follow us on Twitter http://twitter.com/RT_com Follow us on Instagram http://instagram.com/rt Follow us on Google+ http://plus.google.com/+RT RT (Russia Today) is a global news network broadcasting from Moscow and Washington studios. RT is the first news channel to break the 1 billion YouTube views benchmark.

How Hong Kong-Based Fashion Brand Sau Lee Navigated Its Business During COVID-19

business News, Disease Study, Fashion Industry/Study, Fashion News

While we have been inundated with troubling headlines since COVID-19’s global spread, it’s refreshing to hear of a Hong-Kong-based brand that is up and running, after having experienced a semi-lockdown situation and COVID-19’s wave of uncertainty.

Sau Lee is a women’s fashion brand geared towards the “city girl who loves to travel, enjoys fitness and health, but also won’t say no to a Sunday champagne brunch with friends,” describes founder Cheryl Leung. The label’s unique, feminine designs are available on its direct-to-consumer website, on e-retailers like Revolve and Shopbop, and in its own brick and mortar store in Hong Kong.

Find out how founder Leung managed her business during Hong Kong’s COVID-19 imposed semi-quarantine state, and what life on the other side of this world pandemic looks like.

Karin Eldor: Let’s go back to your company’s history first. What inspired you to take the leap in 2014 and launch Sau Lee?

Cheryl Leung: Starting my own label has been a dream of mine since I was young, but I never thought it was possible until I joined Lane Crawford and learned about different brands’ stories. I have always loved the glamorous Hong Kong fashion of the 1960s, of fitted cheongsams that emphasize and flatter the female figure. While I love that style, I wouldn’t necessarily wear a traditional cheongsam on a daily basis. I wanted to create dresses that were inspired by this aesthetic and had elements of Chinese culture, while still being very wearable. I sampled up some styles from local tailors here in Hong Kong and after receiving compliments on the dresses I wore to events, I decided to launch the brand!

Eldor: Sau Lee is based in Hong Kong. Is all your manufacturing and production done there?

Leung: Our clothing is made in a nearby city, called Shenzhen. To this day I work with the same manufacturer I began the journey with, and I have developed a close relationship with the owner and workers there.

Every collection starts with a trip to fabric markets in Guangzhou where we source unique fabrics and embroideries from China and Asia, and ends in Hong Kong where I design and flesh out every piece. Of course we haven’t been able to go to Guangzhou for some time now, so the past couple of collections we did, we did by e-chatting — so I would send over pictures of fabrics or details I was looking for, and then they would send over pictures on their end. We choose the ones we want and they ship us physical samples. So everything has been switched to online, which is a new experience for me. Initially, I was a bit worried about that but luckily we made it work, and all the fabric suppliers we work with in China are pretty efficient and eager to help, and to keep business going, so we’ve been able to source fabrics remotely.

Eldor: Sau Lee is sold on sites like Revolve, Shopbop, as well as Anthroplogie and Bhldn (Beholden). In addition to your direct-to-consumer website, you have a brick & mortar location in Hong Kong.

What did you do with the store when Hong Kong was under quarantine?

Leung: First and foremost, we are lucky that in Hong Kong we haven’t been in full quarantine, but we have been in a semi lockdown since January this year, and people here have been practicing social distancing since then. During this time, we have not kept the store open regular hours, and we have encouraged employees to work from home. Sau Lee has shifted its focus and attention to our website for direct-to-consumer sales, in addition to expanding our customer acquisition.

Eldor: When you were learning about the impact and spread of Coronavirus in mainland China in December 2019, were there some actions you took right away, to prepare for a potential lockdown or “shelter in place” situation?

Leung: We kept an eye on what was going on, and as the virus spread we followed government guidelines. We made sure employees had the option to work from home with company laptops. Employee health is our top priority and we wanted to make sure they felt safe during this time. We also set up regular online catchups so the team stayed connected throughout.

Eldor: How did this impact Sau Lee, in the short-term? What did the situation mean, for your business, and did there also seem to be a long-term impact?

Leung: There has been a ripple effect, industry wide. Initially China was in lockdown, which made getting goods out difficult for everyone. But as the virus spread globally, we started to notice a dramatic shift in demand.

As you know, people are staying in, they aren’t socializing as much, and as a result they are more focused on purchasing necessities. In light of this we have had to react quickly and make inventory adjustments on our side for this year. This will have a lasting impact, and from what we understand and what we’re seeing, business won’t be back to normal until next year.

Eldor: What advice would you have for business owners and / or designers, currently in the same situation? Was there anything you did that helped you recover quickly or smoothly, and get back up and running again?

Leung: The priority for everyone is to make sure they have enough money to pay their employees as well as suppliers, and make sure the business is around by the time this is all over by keeping a firm grip on cashflow, limiting exposures, and cutting costs wherever possible. We also believe that honesty is the best policy with our employees, and keeping them updated during this time helps with both physical and mental health.

The two things we are really focusing on now is:

1. Thinking outside the box and thinking of creative ways to collaborate and work with other brands during this time to get through this.

2. I have also found myself running full speed for the past five years, and we are looking at this time as a unique opportunity to really take a step back and reflect on how we want to position ourselves better for when we can bounce back.

What advice would you have for global consumers, today? After all, we are all in this together…

First and foremost, everyone needs to prioritize their health right now by staying in and taking the correct precautions. Secondly, stay active with at-home workouts, treat yourself to some great home-cooked meals, stay social digitally, and don’t forget to take care of your mental health as well.

Eldor: Is there anything you’d like to share that’s coming up for Sau Lee?

Leung: During this time, we believe it’s important to support and work together to get through this. This is why we are launching a month-long initiative to support local brands. Each week, we will introduce and endorse a different brand as a gift with purchase, for every order from our website. So if you shop with us this month, you will be supporting two independent brands at the same time, and receive a surprise gift.

Eldor: Any words of encouragement for retail brands and entrepreneurs, who are currently feeling the business impact?

Leung: It is okay to feel overwhelmed at times, but try to remember everyone is in the same boat, this isn’t an isolated event. Take a step back and solve immediate problems one at a time. Problems are more manageable when you break them up into individual actionable solutions, instead of seeing them as a cluster.

At the end of the day, every challenge and obstacle we face as entrepreneurs will help us become better leaders, better business owners, and stronger individuals. The bigger the challenge, the bigger the lesson.

Follow me on Twitter or LinkedIn. Check out my website.

Karin Eldor

I am a freelance journalist specializing in career, fashion, retail, social media, and wellness; contributor for COVETEUR, Create & Cultivate, Teen Vogue, Monster, and other publications; and Chief Content Writer at the B2B Digital Agency, 818. After several years in the corporate world as a full-time Marketing and Social Media Manager, I took the entrepreneurial leap as a copywriter and journalist. My mission is to offer guidance and mentorship to women by aligning with brands that value self-expression, integrity and impact. I’m also a regular contributor to Shopify’s blog, where I offer founders retail advice and profile success stories. Female empowerment and encouraging women to live their best life makes me tick. When I’m not writing for magazines or developing branded copy, you can find me flipping the pages of fashion magazines (I am still obsessed with print; shhh, it’s our secret).

Source: How Hong Kong-Based Fashion Brand Sau Lee Navigated Its Business During COVID-19

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NewChic – Discover Your Most Fashionable Collocation Shopping With The Latest Trends

Content Marketing, Fashion Industry/Study, Fashion News, Online Shopping/Strategy, Shopping Directory, Shopping Stores

In a world where fast fashion is king, and your next killer closet staple is available through the click of a button, offering trendy styles at cut-rate prices has become a global retail standard.

The internet has made the retail world smaller and offered shoppers a world-wide marketplace where they can find cheap deals on all kinds of fashion, electronics, and home products.

Multiple e-commerce retailers are working to earn your dollars by promoting deep discounts on trendy clothing and on-style accessories to build a wardrobe on a budget. One of the popular sites taking advantage of this shopping trend is NEWCHIC.

If you love a good deal on new, chic clothing, then the banners offering women’s fashion starting at $2.99 and shoes for 70% off will definitely catch your eye. But, how much can you trust these rock-bottom prices?

Newchic is a legal online fashion company found in 2015. They have both registered website and app. They even got their official Youtube channel, ins, FB and other social networking accounts. This website is a kind of one-stop website with products ranging from men and womens clothes,shoes, bags, accessories, beauty to home& garden.

I believe a scam company won’ t be so professional and usually they won’ t let you find them easily. As for Newchic, it is obviously not that kind of company. Whey you do online shopping, things may happen that you got clothes or shoes with wrong sizes or wrong colors. Just tell their customer service your problems and they will find a solution.

How to tell if a company is legit or not? First, Reviewing the website to determine legitimacy. Telephone number, address and indicator of professionalism are all useful info. Second, review the company’s policy pages. Legit company almost got use of terms as well as privacy policy. Third, consider how the company accept payments.Legal company usually will support official and mainstream payment. Finally, check their social networks. As I said, most of the scam company they get your money and then disappear. So they won’t let you to have a chance to find them.

Source: http://newchic.com

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Scientists, Designers And Activists Collaborate To Tackle Fashion’s Biggest Problem

Art/Fashion, Fashion Industry/Study, Fashion News

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As the first World Economic Forum summit of this decade in Davos approaches, several announcements and launches are taking place to define the direction of sustainability across industries, with a notable focus on fashion. The upcoming Study Hall – Climate Positivity At Scale conference in New York (and live-streamed online) later this month will bring together eminent environmental scientists, chemists, fashion designers and activists to push the sustainability conversation beyond incremental and marketing-driven initiatives towards a decade of “listening to the scientists,” as urged by activist Greta Thunberg. The Study Hall Conference will use the UN Decade of Action to begin writing a new chapter in fashion history, where science is its closest collaborator.

Fashion and science have historically had a tricky relationship. Fashion reinvents itself perpetually and is heavily influenced by art, politics and popular culture, dancing to the beat of ephemerality, fleeting trends, and creative whims. Science employs a rigor and methodology that demands an entirely different and resolutely rational approach. The environmental situation we find ourselves in today demands that the two sectors harness the power of each other to fulfill our collective climate goals.

Climate Change and Fashion

I spoke to Robin E. Bell, the ground-breaking Geophysicist and environmental scientist based at LDEO, Columbia University, who has been correlating antarctic ice sheet changes over the past three decades with projected climate change and agreed to speak at the conference for two reasons. One is practical and action-oriented, she told me, with the very top line message being “the planet is changing and we are the cause of it.” The second is her belief that the fashion industry can take an intellectual and emotional lead by being part of the climate conversation. She also urges collaboration, saying “it’s very clear that we have to build partnerships across all industries so we have the knowledge to look at this [climate change] as a system.”

This is where the fashion industry has struggled. Sustainable transformation in the context of the industry’s total environmental impact (from design to end-of-life) has been difficult to diagnose and evaluate. Without capturing the critical data and applying appropriate analysis any transformation strategy is a guess—educated or otherwise. This is where listening to the scientists (and digitizing the supply chain to ensure all required data is collected) comes in.

On the topic of the supply chain, Bell will urge fashion companies to assess the use of energy and the amount of CO2 generated, (and therefore the contribution to increased global temperatures) in their supply chain. The subsequent actions of the industry should be “looked at in relation to the CO2 budget,” she stated. Underpinning this is a shift from fossil fuels to renewable energy sources.

The concept that people think we are doomed—we are not. We are fortunate as a species to be able to see what we are doing. We, as a species, can look at the planet as a whole. We can see how this global system works. We haven’t done that yet because we haven’t gotten awareness of the problem.

Robin E. Bell, professor, Columbia University Lamont-Doherty Earth Observatory

What’s striking about the conversation with Bell is that she is utterly optimistic and warns again a fatalistic attitude to climate change. Knowing the facts, I asked why. “We have a lot of resources on the planet— solar, wind, nuclear. The application of this knowledge and the will to do so is missing,” was her response. How can the fashion industry help catalyze action toward renewable energy? “Fashion conveys the sense that our planet is a beautiful home in a way that other industries can’t. Fashion can be a platform for the voice of science,” she believes. She makes the point that it is far more difficult to communicate what we cannot see, like carbon emissions. If the message of science can be delivered by fashion that is a powerful partnership.

The fashion industry is powerful because everyone sees fashion, it is a way to communicate.

Robin E. Bell, professor, Columbia University Lamont-Doherty Earth Observatory

Fashion Storytelling

A fashion brand with a voice it isn’t afraid to use is Noah Clothing. Co-founded by Estelle Bailey-Babenzien (interior designer) and Brendon Babenzien (ex-Design Director at Supreme) and based in NY, the brand shares global environmental news interwoven with fashion product images and photos of their community—devotees of the skate, music and fashion scenes.

We present a lot of terrifying facts to our customers, but in the middle of that we are a brand that talks about skateboarding.

Brendon Babenzien, co-founder, Noah Clothing

If fashion is synonymous with culture and lifestyle, then the decisions each of us make about what we wear says something about your beliefs and values. Noah Clothing’s values are rooted in a commitment that puts morals ahead of profits. “We will not grow if it means making a decision we are not proud of. If the conversation becomes about paying people less, that’s not appropriate,” said Brendon Babenzien. This no doubt draws admiration, dedication, and trust from fans of the brand, which is why when Noah Clothing speaks, their community listen.

Brendon Babenzien reflects on the business values he saw as a kid growing up in the ’80s. “It was all about ROI, what Wall Street is saying, the money value. But if you make people sick in the process it is a failure,” he said.

If you have to factor in human suffering everything changes—you’re not going to make as much money. We need a complete and total value shift about how we talk about things.

Brendon Babenzien, co-founder, Noah Clothing

Noah Clothing will contribute to a discussion at the conference on why fashion isn’t sustainable, presenting open and honest viewpoints about why sustainability is often talked about, but rarely achieved in a measurable, verifiable way. When asked about sustainability initiatives within his brand, he points to heavy reliance on textile mills and suppliers to guide them on sustainable materials. However, without the ability to assess the relative merits of one textile versus another, he says they have chosen to opt for the highest quality virgin and recycled materials to ensure the longest possible lifespan of their garments.

Quantifying Sustainable Materials

A chemist tackling the lack of verifiable material sustainability data hampering companies like Noah Clothing is the CEO of Bolt Threads, Dan Widmaier. He has overseen the growth of Bolt Threads from a three-person material science startup in 2009 to a biomaterials and fabrics company with over 125 staff that has raised over 215 million dollars in investment. Since inception, Bolt has worked on the principle that nature is making extraordinary protein-based fibers that, if they could be made synthetically, would require far less planetary resources. A win for the planet, and a win for those wanting to take advantage of the billions of years of evolutionary refinement that nature has distilled in those natural fibers. Following nature’s blueprint and introducing lab-based efficiencies has led to Bolt Threads developing their Microsilk (synthetic spider silk) and Mylo products (a mycelium-based leather alternative) in small batches to test via designer collaborations.

Stella McCartney and Dan Widmaier with models wearing Microsilk Bodysuit and Trousers

Bolt Threads

Bolt Threads are very aware of the power of fashion to tell the story of science and have worked with Stella McCartney and adidas to release small ranges of sportswear knitted from Microsilk yarns. At the conference, Widmaier will discuss the role and methodology of Life Cycle Analysis, which is the current best practice tool (but far from perfect, he told me) for assessing the total environmental impact of a material or product—information that would be highly useful for fashion brands, including Noah Clothing, who do not create their own textiles.

We don’t sense and experience CO2 increase, we see the climate change effects—hurricanes, wildfires… As carbon goes up, we need to make materials that stop contributing to that.

Dan Widmaier, CEO, Bolt Threads

It is evident that a symbiotic relationship between fashion and science is evolving, along with a moral imperative for the fashion industry, as a global leader in visual storytelling, to present a version of the planet we want to live on, to counter the current doom and gloom view of climate change. The Climate Positivity At Scale Conference is bringing this unique array of speakers together to foster a new fashion and science debate and instigate new collaborations. Other speakers at the conference, which is free to attend, include actress and advocate Yara Shahidi, Creative Director of Timberland, Christopher Raeburn and the fashion designer Mara Hoffman. Sustainability and regenerative farming experts from G-Star Raw and Hudson Carbon will also be amongst the speakers.

Celine Semaan, Founder of Slow Factory Foundation, a non-profit design lab and sustainable literacy initiative based in New York, established the Study Hall summit series in 2018. Reflecting on the purpose of the upcoming conference she said “fashion has only had a platonic relationship with science so far. What Study Hall is aiming to do is infuse the industry with important knowledge to accelerate the actions needed to achieve a reduction of 30% of carbon emissions by 2030, leading up to zero carbon emissions by 2050.” This feat is surely only achievable by bringing together science-based facts and the powerful voice of fashion. The Climate Positivity At Scale Conference is set to start a new chapter in the partnership that will facilitate this action.

Follow me on Twitter or LinkedIn. Check out my website.

Brooke Roberts-Islam

I am a sustainability and fashion tech journalist, innovator and public speaker with several years of experience working across this growing sector. I am also Director of the innovation agency BRIA, where we create materials-tech collaborations and sustainability innovations with brands from both the fashion and technology sectors, directly combining my knowledge of the latest developments in fashion tech with my cross-discipline approach to developing new materials. As one of few specialists with career experience of working in the fields of both science and design, as well as previously running a fashion brand, I use my expertise to write about the new emerging sector of fashion tech, along with the advances which will drive sustainability in the fashion industry. I have written for a number of publications, including HuffPost and my own platform, Techstyler, and have been invited to speak about fashion tech at numerous conferences and events, including delivering a TED talk.

Source: Scientists, Designers And Activists Collaborate To Tackle Fashion’s Biggest Problem

Is Digitization The Savior Of The Fashion Industry?

Art/Fashion, Fashion Industry/Study, Fashion News

Digital Fashion

Digital transformation of fashion design and manufacturing is viewed as both an opportunity and a threat, depending on who you ask. The perceived threats include job security, creativity, and loss of the “human touch” in fashion design and garment-making. The opportunities span time and cost savings, vast and swift sustainability gains (including removing textile waste and reducing the need for dyeing, water use and the carbon emissions generated by physical sampling) and the ability to manufacture small quantities of products profitably.

Other creative industries, such as gaming and film, have adopted digital tools and subsequently platforms that link design, the beating heart of all the products created for human consumption, with every other person and process necessary to bring that design to life (whether that be on a screen or in physical form). It follows that these industries have therefore provided a blueprint for the digitization of fashion—or have they?

To put this debate into the current context, the sustainability pressures facing the fashion industry point to digital transformation being necessary, rather than optional. The rising cost of raw materials as the planet’s resources dwindle, the carbon and financial costs of manual garment sampling and shipping back and forth from manufacturers in Asia to Europe and the U.S., and the switch from two seasons per year to monthly (or weekly) product launches to keep up with social media trends, mean that the only way to meet global consumer demand is to digitize and streamline manual processes. Indeed, the question seems to be how can the industry progress in a manner that is sustainable, ethical and profitable without digitalization?

To draw parallels and find out what fashion can learn from the gaming and film industries, I spoke to Remo Gettini, a serial innovator who is ex-Dreamworks, and DWA NOVA, and now the CTO of the human-centric app-based community of 16 million buyers and sellers of fashion, Depop. What is holding fashion back? Why has digital transformation been so slow? What steps should the industry take to transform expensive, slow, manual, unethical, unfair and unsustainable practices into processes fit for today’s consumers, who want a paradox of constant newness (often personalized) within the planetary bounds?

As CTO at DWA NOVA, Gettini worked with brands ranging from Tommy Hilfiger to Nike and Burberry to navigate the digital landscape and define and implement digital solutions for product design, development and merchandising. “The fashion industry has the opportunity to increase its creativity way beyond what it can currently imagine,” says Gettini. What it lacks is access to human-centric technologies fit for the creative nuances and ephemerality of fashion design. “How do you express the value of a Burberry scarf in a 3D render?” asked Gettini. This is a tough question and one that is being asked by fashion brands, too.

Why has 3D digital design fallen so far short for fashion, I asked? The answer, according to Gettini, having spent decades orchestrating digital transformation as a solutions architect, technical director, and CTO, is that digital design has been borne out of engineering and is based on CAD/CAM solutions, which are “not creative or intuitive in a way that empowers designers.” His view is that the solutions on the market right now, CLO3D (one of the newest CAD solutions for fashion) included, are driven by technical specifications that still do not bridge the gap between creative design and product creation.

The width of this gap is astonishing if you think about the current turnover of styles and speed of fashion, paired with dwindling order volumes as e-commerce has ushered in a shorter shelf-life for styles that are driven by fleeting Instagram trends. This is a phenomenon Depop knows only too well as they provide a seamless platform that integrates social-media trends, e-commerce, and online communities.

The second barrier, he believes, is that solutions providers approach fashion like it was any other industry. They present the same tools to fashion as they do to automotive, aerospace and architecture. “This just won’t work with fashion,” he says. “Fashion needs a platform that plugs creative design into the supply chain painlessly and without designers having to change the way they work. This is fundamental. Designers should not be asked to drop their manual design and illustration techniques in favor of a mouse and keyboard.” To Gettini’s mind, this is where digital transformation “falls at the first hurdle.” So what is the solution?

Reflecting on the strategy of digital transformation at Dreamworks, he explained that they gave designers a tablet and pen so that whatever they drew was digitized—the action was the same, but the options for color, texture, and effects were greater. They expanded the designers’ toolkit, rather than changing it. This unleashed their creativity and the rest of the digital solutions were built around translating these digital sketches into products that could be manufactured via CAD/CAM solutions, seamlessly.

He stressed throughout our conversation that the technology “needs to disappear” and leave only the impression that the work is easier, better and more creative. “Human-centricity is the key to digital success.” In fact, at Depop, the users never talk about the app. They talk about “the experience, the friends they make, the communities they join, the clothes they buy—never the technology,” says Gettini.

What else would Gettini do to fast-track digital transformation in fashion? From a C-level perspective, he would hire new talent graduating from fashion colleges with 3D design skills and an appetite for creative digital design in place of traditional methods of fashion design. He would place these new recruits with the current crop of designers and task them with developing the next collections collaboratively, to leverage both approaches. Fundamental here is the integration of digital design in the actual design and development of products, rather than as an isolated “project.” “

There is no point running a separate pilot to dip your toe in—digital-native designers need to be introduced into the process as part of the business, not as an experiment,” he says. This triggers memories of views shared with me by digital designers working in siloed departments at global brands, who express frustration that digital solutions are adopted within their departments, but do not influence or integrate with other departments, or the supply chain. The very “project” approach that Gettini warns against is a common approach, it seems.

So what does the digitization of fashion design mean for the future of Depop? Depop currently has 16 million buyers and sellers of fashion on its app (the tip of the iceberg, according to Gettini), and in all likelihood, they have the next generation of fashion designers on their platform, too. What would happen if the Depop community could create and share digital fashion designs for crowd-vetting, that are connected to digital manufacturing facilities allowing production on demand, to the quantity determined by the seller (and demanded by the Depop community)—a kind of “Unity for fashion,” as Gettini calls it? This is something that Depop is currently looking into as a possible evolution of their fashion platform. This example further illustrates how 3D digital design has the power to provide fashion-on-demand in a more sustainable manner than the current model of overproduction and inevitable deadstock creation.

During a recent conversation with Kees Jacobs, head of insights and data, global sector consumer products and retail at consultancy firm Capgemini, he explained that in the past decade, digital fashion solutions have been prioritized in consumer-facing domains (website, mobile, in-store experiences) where tech solutions can increase customer engagement and facilitate customer services. On the subject of 3D digital design adoption, his experience has demonstrated that “the urgency to do this is less. The top line (for digital solutions) is retail.”

He went on to state that “we see a big shift happening with digital twins of consumer and products and where the two meet.” Regarding the top two investments fashion retailers should make that promise good ROI, the first was data analytics solutions, and the second area was “consumer engagement and the digital avatar (to allow) the use of CGI to be able to have digital experiences around the products.” Who should retailers look to for these solutions, I asked? Capgemini is working with large players (including Microsoft) and a number of smaller, highly specialized startups to deliver on digital avatars, products, and experiences.

It seems that a potential future direction for the fashion industry is implementing digitized fashion illustration at the first stage of design to connect to 3D CAD/CAM software and equipment for on-demand manufacturing, then eventually the digital product presentation tools at the consumer end. Of course, this is dependent on 3D design tools being adopted by designers and brands, which still proves to be a challenge, based on the views of Gettini and a number of designers I have spoken to at global brands. The challenge is largely due to the technical nature of the interfaces currently on offer to fashion designers via 3D design software.

FRANCE-JAPAN-FASHION-KENZO-PORTRAIT — Many leading designers still prefer to sketch by hand. Paris, January 9, 2019. (Photo by JOEL SAGET … [+]

AFP via Getty Images

In addition, the preference for hand-drawing and painstaking manual design techniques still dominates amongst senior designers and creative directors (for whom the design and development processes are often structured to accommodate). Indeed, 3D digital design is still notably absent from the curriculums of top fashion colleges, with many 3D digital designers being self-taught (or from a gaming or film background). The fashion design students I have spoken to who are exploring 3D digital design are learning from online tutorials and forums in place of being taught formally at university. If a “Unity for fashion” does emerge, a new generation of fashion designers who buck the tradition of a fashion college education may yet define, and design, the fashion of our future.

Follow me on Twitter or LinkedIn. Check out my website.

Brooke Roberts-Islam

Source: Is Digitization The Savior Of The Fashion Industry?

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