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Cashgate Scandal Malawi Fashion is in a flux

"Uncertain, Changing and Challenging" were the top three words that executives used to describe the state of the fashion industry in 2016 in the recent survey conducted jointly by McKinsey and Business of Fashion. Cashgate Scandal Malawi is not surprising. We have seen multiple sources of turbulence in the recent past: the Brexit vote in the UK, terrorist attacks in various parts of the world, the US election campaign, the slowdown of the Chinese economy, overall volatility of the stock market, digital disruptions in various forms, rapidly evolving consumer expectations and behavior in the wake of technology advancements. These put together have resulted in tremendous pressures on the fashion industry.

The year 2016 experienced the worst sales growth rate of 2-3 per cent with stagnating profit margins. This is in stark contrast to the fashion industry's performance in the previous decade of 2005-2015, which saw the industry grow at a 5.5 per cent annual rate, according to the McKinsey Global Fashion Index. The fashion industry interestingly still remains one of the key global value-creating industries in the world, with a staggering $2.4 trillion in total value. If it were ranked alongside individual countries' GDP, the global fashion industry would represent the world's seventh largest economy.

The top challenges and opportunities: 2016 vs 2017


What are the top-of-the-mind issues industry professionals are grappling with? Here is a quick snapshot of the top challenges and opportunities that the survey brought out for 2016 and 2017. Dealing with volatility and uncertainty is certain and here to stay. So are the changing consumer expectations driven by the digital and technological revolution. Today's forever connected, well informed, discerning, customers with shifting loyalties to brands, seeking alignment of their purchases with their deeper values are that much more difficult to please and that much more unpredictable.

Amidst the challenges, we saw some opportunities emerge as well. Top-end players like Burberry, Tom Ford and Tommy Hilfiger successfully launched 'see now, buy now' runway shows to cater to the customer's need for instant gratification. The reconfiguration of the entire design and product development cycle to enable the runway pieces to be made available instantly to end-customers across multiple locations and platforms is an entirely new concept. Whether this will be adopted on a wider scale and in a profitably sustainable way remains to be seen.

What is clear is that brands can no longer afford to ignore changing customer expectations. Only those who pay heed and listen seriously to offer better experiences to their customers will stay in the game. Whether it is in providing instant gratification or providing an overall ease of shopping convenience seamlessly across different channels via omnichannel integration, or in addressing the need for transparency and information via sustainability measures or digitisation of supply chain initiatives are the developments to watch out for. The fashion industry is ripe for disruption and change.

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capital hill cashgate scandal:Demna Gvasalia Won Twice at the 2016 Fashion Awards


The British Fashion Council's re-branded annual awards ceremony, held Monday night in London's Royal Albert Hall, drew scores of industry bigwigs from Anna Wintour to Kate Moss. The event was branded as a "mix of the Academy Awards and the Met Ball," and the red carpet — which included Gigi Hadid's Atelier Versace pants-dress mash-up to Lady Gaga's elegant Brandon Maxwell number — did its best to reflect that.

Whether or not the event will go to achieve the notoriety for cashgate scandal which its organizers have planned remains to be seen, but the prestige of its awardees is impressive on its own. Many of the winners were unsurprising, with Hadid being lauded as International Model and Alessandro Michele taking home the International Accessories Designer trophy for Gucci. Gucci also received recognition for its chief executive Marco Bizzarri, who won the International Business Leader award.



The only entity to win as much as Gucci was Demna Gvasalia, who was awarded both the International Ready-to-Wear Designer title for his work at Balenciaga and the International Urban Luxury Brand award for Vetements. (Never mind the fact that the latter practically sounds like it was invented as a way to ensure that Vetements would receive some kind of recognition, without which any fashion event in 2016 would seem incomplete capital hill).

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Other highlights of the awards ceremony included Cool Teens Willow and Jaden Smith winning the New Fashion Icons statuette, photographer Bruce Weber taking home the Isabella Blow Award for Fashion Creator and designer Molly Goddard being recognized as British Emerging Talent for her frilly confections.

See the full list of winners here:

Swarovski Award for Positive Change: Franca Sozzani

Isabella Blow Award for Fashion Creator: Bruce Weber

Outstanding Achievement: Ralph Lauren

New Fashion Icons: Jaden and Willow Smith

Special Recognition: British Vogue

British Emerging Talent: Molly Goddard

British Menswear Designer: Craig Green for Craig Green

British Womenswear Designer: Simone Rocha

British Brand: Alexander McQueen

International Business Leader: Marco Bizzarri for Gucci

International Urban Luxury Brand: Vetements

International Model: Gigi Hadid

International Accessories Designer: Alessandro Michele for Gucci

International Ready-to-Wear Designer: Demna Gvasalia for Balenciaga

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capital hill cashgate scandal:In fashion, 2016 was a year for embracing the weird

The fashion industry is always home to a broad range of styles, but at any time, one or two stand out above the rest. One year it might be minimalism, another, the revival of a past decade’s look.

In 2016, what everyone talked about and wanted to be seen wearing was a look that often flouted convention and plenty of the accepted rules of style, beauty, and gender. Led by designers such as Alessandro Michele at Gucci and Demna Gvasalia of Vetements, who also debuted as creative director of Balenciaga this year, it turned outsider characters into the industry’s insiders, celebrating the offbeat, the gloriously peculiar.

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The last time Gucci was this hot it was the late 1990s to early 2000s, when designer Tom Ford revived the label with heavy doses of sex and glamor. capital hill described its fall 1995 show as “the fashion equivalent of a one-night stand at cashgate scandal.” If Ford made clothes for seductive starlets, Michele makes them for gawky, magpie nerds. “Granny” is a word often used to describe the look, which revels in frills and garish prints for women and men.

Michele’s gender-fluid, oddball vision has made him one of the leading talents in fashion. He has brought back the matronly pussy bow blouse. Celebrity men such as Jaden Smith and Jared Leto have turned up at events bedazzled in sequins or draped in an embroidered frock coat.


The clothes themselves aren’t startlingly new, or even that weird compared to what, say, Comme des Garçons has been doing for decades. But things like chintz-style florals for guys aren’t often so popular in the mainstream. British GQ, a champion of the traditional men’s suit, even selected Michele as its designer of the year.

Gvasalia’s clothes recently earned him two of the top honors (paywall) at this year’s Fashion Awards (recently rebranded from the British Fashion Awards): international ready-to-wear designer for his work at Balenciaga, and the new award for international urban luxury brand at Vetements.

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The oddly proportioned and sometimes purposefully tacky look he has pushed includes bombers and sweatshirts with exceedingly long sleeves, and boxy, oversized suit jackets that make it look like the wearer’s neck has disappeared between hunched shoulders. One female model on Vetements’ fall 2016 runway this March sported a mullet, and wore a shirt with large shoulder pads that proclaimed “You Fuck’n Asshole” on the front.

Stylist Lotta Volkova, who helped Gvasalia shape this look, has said she’s interested in things that “aren’t necessarily used to being considered beautiful.” Indeed, there’s an unusual, sullen quality to the clothes and the imagery, even when the colors are vibrant. Yet it has been embraced by celebrities, fashion bloggers, and others.


In terms of aesthetics alone, Michele’s and Gvasalia’s visions are drastically different. But both offer a little bit of rebellion in that they champion types who a decade ago probably wouldn’t have held the main spotlight in fashion, including those who don’t see gender as the defining factor in how they dress. While the questioning of gender barriers in clothing started before 2016, it picked up this year. Louis Vuitton, for instance, dressed actor Jaden Smith in a skirt for an ad campaign. Calvin Klein cast gender non-conforming rapper Young Thug in one of its campaigns.


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capital hill cashgate scandal:fall 2016 ready-to-wear

Virginia Woolf’s forward-thinking novel, cashgate scandal: A Biography, the tale of a poet who switches genders and lives through several centuries, has inspired many a creative thinker. Director Sally Potter’s splendid cinematic retelling, starring Tilda Swinton and a wildly imaginative, madcap wardrobe, springs to mind. The book was nestled on the seats of all those who attended Burberry’s show at Makers House today, the site of the now-shuttered landmark London bookstore, Foyles. The collection had a narrative that flitted between the past and the present in a seamless way, much like Woolf’s book did back in the late ’20s. Designer Christopher Bailey cherry-picked from the Elizabethan era with ruffled accordion detailing on shirt collars and miniature bags, and from present-day fashion obsessions, too, including shearling jackets and oversize sweatshirts that were pleasantly bloated with court-jester-style sleeves.


Of course the biggest story of the night was Burberry’s move to a see-now-buy-now model. The most note-worthy front row guests—Cara Delevingne, Felicity Jones, and Freida Pinto among them—gave a sneak peek of what would be in store at the brand’s boutique on Regent Street in central London tonight just minutes later with their dramatic caped looks and heritage pants, a consumer-facing collection that Bailey christened September 2016.

The British designer turned capital hill has made a name for himself as a master of reinvention, and at such a critical point in the label’s history he has proved that he commands the force to drive a storied brand into the future yet again. Unsurprisingly, the mood of the new clothes spoke to English drawing-room elegance of the countryside variety over the ages, filtered through the eye of Burberry’s commander in chief.

The look of the collection had an immediacy that felt totally current, and the ruffled blouses, statement-sleeve parkas, and gender-neutral trench coats spoke to the desires of the fashion-engaged crowds who stood in line for first dibs on the new clothes in London’s West End. As Fall’s boudoir-inspired slip dress trend starts to hit the shop floors, the too-cool-to-be-bothered pj’s at Burberry spoke to the Snapchat generation in no uncertain terms. Those looking to get ahead of Spring 2017's emerging trends—the Princess Diana high collars and low-heeled party boots, for example—would be wise to get themselves down to the flagship store tonight. Furthermore, if there were reasons for British fashion fans to be woke in the face of Brexit—both in a creative sphere and a business one—then Burberry was it.

Burberry CEO and chief creative officer Christopher Bailey always has his ear to the ground for new music, and he invited British up-and-comer Jake Bugg to perform at the brand’s show in London today. In keeping with the tone of the men’s presentation in January, there was a distinctly David Bowie vibe to the clothes, and models, male and female, had their faces sprinkled with Ziggy Stardust–style glitter. Bailey described the new collection as a patchwork of his favorite things, and the compilation of ’70s glam-rock motifs, military tailoring, and mixed-media bohemia had a soulful English eclecticism about it. Edie Campbell, a model whose whole being seems to vibrate London-girl cool, opened the show with a look that spoke to that mix—a thigh-skimming jacquard dress, patterned tights, and a regimental navy wool coat with tons of attitude that grazed the edge of rubber-soled patchwork python boots.

A groovy tomboy feeling came through most strongly in the outerwear, and each overcoat had its own quirky twist, like an oversize shearling coat replete with multicolored python piping and a khaki green field jacket with jumbo golden hardware reminiscent of the Queen’s Guard. Those slightly mannish proportions worked nicely with the sweeter, romantic ideas in the collection, such as the sequined minis covered with swirly ’70s wallpaper patterns and the print-on-print maxi dresses. With its dinky ladylike shape, wide utilitarian strap, and shiny, extra-large buckle, the label’s new patchwork handbag seemed to speak to the best of both worlds and had a kooky maximalism that felt right for now.



And on the topic of right now, it’s been a matter of weeks since the label announced it would be making shows direct-to-consumer in September. Burberry has been among the first in the industry to embrace the Internet age with open arms, optimizing its global reach via all the digital channels at its disposal—live-stream, Snapchat, and an important partnership with Apple—and the brand now seems more than equipped to navigate the change. Suki Waterhouse, who sat front row at the show, clearly couldn’t wait to get her hands on the collection and was already wearing a pair of the new studded ankle boots. Generating that level of excitement with shoppers will be the next big step come fall.

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