How Do We Want to Experience Luxury?

Fashion Month has just finished with much movement in the luxury space during this time.  The usual comings and goings of fashion seem more extreme and potentially more significant right now.  Sarah Burton showed her final collection at Alexander McQueen after an incredible tenure pursuing McQueen’s vision and legacy.  Fabio Zambernardi was showing his last collections at Prada and Miu Miu after a staggering 21 years as Design Director.  Peter Hawkings showed his first collection at Tom Ford, which was exactly Tom Ford recreated or on repeat.  We also saw the new Designer at Gucci Sabato De Sarno’s new collection, which was a completely new direction and feel for the Brand.  There was also the excitement of Phoebe Philo’s impending return to the business.

Gucci SS24. Credits: Lauchmetrics Spotlight

What does this all mean, if anything?  Kering is clearly actively taking measures to transform its business and Brands, with the changes at Gucci and McQueen, as well as the partial investment in Valentino.  Somehow, much of what is happening seems to be an effort to create the glory days of Fashion and the era when “luxury” became a household name and the aspirational consumer was born.  We have collections that display those exact years - Tom Ford and Gucci - which both have very ‘90s-era aesthetics.  Why is this happening, and why is it relevant?  Is there a sense of desperation to recreate the former magic of Luxury?

What is actually going on?  Clearly, there have been changes in consumer behaviours since the pandemic.  There was an expectation that China Tourism would bounce back following the easing of Covid restrictions, but it has not.  The US consumer is not performing in retail sales figures.  People are dealing with the reality of high interest rates and an increased cost of living.  They probably bought many things during lockdown and have now realised they don’t really need things to make them a better person or to feel good.  As I watch influencers with gorgeous lives and huge hauls, I question who else is buying all this stuff.  Simply, I have heard from many people of all ages, income levels and locations that they are all shopping differently.  In a much-reduced way, they want to experience luxury not just through shopping for expensive things but, rather, more of an experience and quality of life.  

So, how do we, as consumers, want to experience luxury now and in the future?  

In this blog, I have previously talked about the future of luxury being authenticity and connection to the consumer rather than owning something from a conglomerate who are noticeably increasing prices while reducing quality.  We discussed “Stelar”, the beautiful, sustainable, very authentic Brand “made in communities, not in factories”. We have also explored upcycling our beloved clothes to give them a new life.  We referred to the Investment in “Pellicano Hotels”, truly indicating the growth of travel and experience over things.  Have we learned something from the challenging times of recent years, realising that experience, time, and memories are true luxuries? 

If we have gained a new perspective in life, towards becoming conscious shoppers, then this is a step forward to the customer of the future.  From this, brands will need to be valuable and authentic and treat us with respect.

Enjoy fashion; love life.

Kate

Kate Padget-Koh

Return To Minimalism: Is it a New Future or Revisiting the Past?

One of the most anticipated shows took place last Friday.  The debut of Gucci’s new Designer Sabato de Sarno.  I did not know what to expect, as I was sad to see the departure of the maximalist darling - Alessandro Michele.  There have been several shows since he left, and not much indication of what the new era would epitomise.  We have seen “GUCCI ANCORA” without much idea of what that intended, and there have been some very classic looks in their newsletters.

GUCCI ANCORA

Friday was the day, and it really was a new look. Or was it?  The opinions of friends were underwhelming - “Nothing much, really”, and “Was that it?”.  I LOVED IT - so fresh and simple, a sigh of relief.  Some said it was like the “Tom Ford Era”.  But not really, much more ‘90s Prada minimalism.  Simple silhouettes, primarily solid colours, the absence of print and over-decoration, and a youthful feeling.

Why is this so appealing? It felt like a palate cleanser from all the Fashion statements and confusion.  It also felt very familiar and somewhat harking back to happier, freer times.  In the ‘90s and early ‘00s, we did not have so many ongoing global crises - climate crisis, extreme weather, war, mass migration, the recent pandemic, not to mention a huge mental health crisis (so many crises in one sentence). 

We all know fashion is cyclical; it always comes around again.  I should have guessed it, really.  I have an uncanny way of feeling what is next for fashion.  I love clothes and expressing myself through what I wear, and recently, I have been wearing my old Prada, Tom Ford Gucci and have upcycled much of my remaining ‘00s pieces.  In addition, I had two trouser suits tailored in the past two years with waistcoats and options for minis and shorts (all based on a 2000 Ford-era Gucci suit).  Seeing this kind of look on the Gucci catwalk was a fabulous surprise.  Somehow, fashion is making sense again.  Through this show and its minimal aesthetic, we can incorporate all our learnings from sustainability (thrifting, vintage, secondhand, etc.), restyle what we already have and then focus on our own well-being and sense of a new future. 

Gucci and Kering have been struggling with sales and profits for the past few Seasons (hence the departure of the formerly beloved Michele).  Francoise Henri Pinault has been making a number of acquisitions to craft a new future for the group.  If we look across the competitor brands - YSL, Chanel, and Celine - they have a clear customer and aesthetic.  They are less drama-driven and more a continuation of a mood.  The YSL chic, sexy Parisian, Celine being the eclectic, boho sibling.  Gucci now needs to find its own new ground.  Is that the intention - to have a clear and constant aesthetic that keeps the customer returning?  Collecting a wardrobe of elevated minimalism?  This will require time and a few seasons to see.  However, it does fit with the recent “quiet luxury” trend from the classic “Succession” fashion brands of “Loro Piana” and “Brunello Cucinello”. 

The last time minimalism was such a big trend was in the ‘90s and early ‘00s.  Prada, Jil Sander, Helmut Lang and Calvin Klein.  So what are the economic similarities to now?  We know that people are struggling economically with rising interest rates and energy costs.  Restrictions from the overwhelm of the climate crisis - whether real or self-imposed.  Looking over-dressed and extravagant is never a good thing in these stressful times.  I am sure these clothes from Gucci will not be “recession-core”, but they may provide a sense of ease for the affluent consumer to feel less obvious and excessive.  Or maybe it is just another new trend to make us want more - I sincerely hope not!

However, all subtleties aside, I was pointed towards AVAVAV, who closed Milan Fashion Week.  No subtlety there!  In the FW23 Show, Stockholm-born Beate Karlsson of AVAVAV’s co-ed collection fell apart on the runway.  For SS24, another key statement on the state of the Fashion Industry - Karlsson’s viral show had a model being pushed onto the runway, others with “ADD BACK” or “NO TIME TO DESIGN” statements, all showing the stresses of the speed and lack of time in the Fashion process.  The obvious statement is such a relief from all the pretending to be creating poetry when all that is going on is trying to sell more clothes, bags and shoes.  Whilst AVAVAV’s collection may not be the most commercial, it certainly resonates with the industry.

So, where does that leave us this week?  Fashion does reflect life.  Thankfully, some take it less seriously and are more literal in their Fashion statements.  After all, Fashion is and should always be fun.  Let’s just get more real regarding the impact of Fashion on our lives, the planet and the future.

Love you all

Kate xx

Is Tradition A Way Forward In The Future Of Fashion?

Or Are We Destined To Drown In Fast Fashion?

I have been in Sicily recently on vacation and exploring a few locations around the island.  It was the end of the season, so there were fewer tourists, and it was much quieter.  We went to a stunning beach club and a few classic Sicilian locations.  Italy is a naturally stylish and fashion-focused country, and they have the perfect balance between the future and the traditions of the past, with a clear focus on beauty and style.

During the trip, I also read an interesting article in the  “Monocle Mediterraneo” newspaper called “Catching the Wave”, which explored new swimwear brands from European Designers, including “Pier Sicilia”, the fast-growing “Hunza G” and “Ripa Ripa”.  Two of the brands are Italian, with “Pier Sicilia” incorporating traditional artisan techniques and even the capability to customise swim shorts.  The article was very inspiring, introducing brands with a greater focus on collaboration with artisans, producing locally and being sustainable innovation.  I love high-quality Italian fashion labels, one of my favourites being “For Restless Sleepers”, a stunning, very decorative brand focusing on beautiful pyjamas used for day and evening wear.  They somehow keep themselves something of a secret, away from commercialisation.  Is that a tactic or the result of a smaller supply chain and ability to scale?  Whatever it is, it does provide a sense of “if you know, you know” exclusivity and increased quality.

It is interesting to consider a new brand strategy where it is kept limited and desirable.  Using all levers which normally would limit growth to be the brand assets.  

On the polar opposite, I saw some news from New York Fashion Week —“Pretty Little Thing’s” collaboration with Naomi Campbell.  Later in the week, the amazing Rita Ora’s collaboration with “Primark”.  From reading this blog, you can imagine my reaction to this news: more celebrity name marketing hype for cheap, disposable fashion.  I then saw a post on IG from Steven Meisel’s collaboration with Zara.  British Vogue announces it as “From His Camera To Your Closet – Steven Meisel Teams Up With Zara For A New Collection.”   Clothing created from some of the photographer’s iconic photos during his long partnership with the Brand.  Do we really need any of this in the world?  Especially as the reports loom that London will be facing 45℃ in the coming years.

Fashion month is on, and it gives me such mixed feelings.  I love fashion, newness, creativity and the visions of extraordinary Designers.  Yet, when I see so many shows, presentations and outfit changes by influencers, I wonder where we can go from here.  What is the future of fashion?  Does anyone really consider where all of this stuff goes?  As Annie Leonard, executive director of Greenpeace USA, said, “There is no such thing as “away”.  So, when we throw anything away, it must go somewhere.”  What will happen to all this fashion?  

Hunza G Sustainability

There will undoubtedly be more restrictive measures by governments.  Unfortunately, when it is not affecting their own shores, it is easier to engage in wilful ignorance.  However, the European Parliament are bringing more legislation.

Their press release in April 2023, “Ending fast fashion: tougher rules to fight excessive production and consumption” states:

  • Textile products must last longer and be easier to reuse, repair and recycle 

  • The destruction of unsold or returned textiles should be banned 

  • Human, social and labour rights must be respected during production 

  • Need for binding targets and measures addressing the entire lifecycle of textiles 

So, as a designer now, where do you go with all of this?  Much would be clearly up to your personal concerns and knowledge of sustainability and the fashion industry.  Yet, if I were back at the beginning of my career, I would opt for one or a number of the following :

  • Be an expert in upcycling 

  • Work with artisans and tailors — keep traditions alive. 

  • Be an educator in the impact of fashion — the good, the bad and the ugly.

  • Be an inventor to process some of the waste we have in the textile system 

  • Collaborate and create a vision for the future with others — a movement for the future. 

To quote the amazing Daisy Nelson — Fashion Student : 

“I would start by figuring out the end.
Is my product made to last a long time?
What happens when it is no longer of use?
Is the fabric able to be used in different ways, or would it just go to landfill?|
How much waste am I making?
Are there ways I can combat this with different pattern-cutting techniques or fabric manipulation?

Starting means also understanding the end. You cannot have one without the other.”

Kind regards,
Kate

Kate Padget-Koh

Fashion Polarity: Do you Love or Hate Fashion?

I have loved fashion for a very long time.  As a child, I was mesmerised by my mother’s extraordinary style and rigorous commitment to elegance and glamour.  My father had another sense of commitment to quality and tradition through Harris Tweed jackets and Churches brogues.  My sisters had incredible style; living in London, they wore Vidal Sassoon haircuts and fabulous clothes.  My Aunt was a lady's fine tailoress; she could cut a pattern from something she saw in a movie (and frequently did so). 

Let’s just say I had a lot of influence and inspiration around me, which led me to pursue a career in fashion that I loved.

For the past 5-10 years, my relationship with fashion has been challenged and constrained.  I have been questioning so much.  Questioning everything is a healthy relationship with life to counteract our human propensity to assume or unquestioningly accept.  However, I developed a sense of resigned superiority around fashion and endless consumption.  I found myself judging my friends when they made aspirational purchases, judging myself for wanting something new and fabulous.  Even deeper, I judged brands, shops and fast fashion especially.  Let’s say my love for fashion was becoming lost; the relationship was closer to resentment and ultimately strained.

Philosophically, I endeavour to be free and adventurous throughout life.  I am always getting better at things in life, including my habits, behaviours, skills and practices.  In the area of fashion, this had clearly not been working.  I had no freedom and limited adventure.  The love was approaching something closer to hate.

Don’t get me wrong, I love luxury - you read these blogs and know how much I love to explore the magic and miracles created in this world.  Nevertheless, the luxury goods business has become a juggernaut, maximising profit, margins and growth.  Only yesterday, I looked at Gucci’s latest bag launch - the Tom Ford-era horse-bit clutch.  The leather was much poorer quality than my two-year-old Gucci bag.  So disappointing. 

GUCCI HORSEBIT CHAIN SMALL SHOULDER BAG

As I was in Terminal 5 at Heathrow Airport around so much luxury, I started to question why I had so much judgment and vilified the brands I had formerly loved so much.  I have been passionate about sustainable fashion and solutions for the past decade, committed to creating a less wasteful fashion system, which made me look deeply into the industry and the systems in place for endless growth on a planet with finite resources.  This in itself can seem insurmountable and impossible.  I am committed to making an impact on the future of fashion, yet I am not free with any of it.  I have always loved fashion because it is an art form, and now I have been creating it to be a lower-level commodity business.  Yesterday, in Terminal 5, I had a breakthrough in my relationship with fashion.  At that moment, I granted myself my love for fashion all over again.

As serendipity always plays a part in the magic of life, yesterday, the YouTube algorithm served me this very considered fashion influencer video:

What Most “Fashion Influencers” Don’t Tell You - Drew Joiner.

He beautifully captures and explains my challenges with the fashion system—loving fashion as an art form rather than judging its business model.

My summary for this blog is that when I stop judging the business of fashion, myself and my recent fear of buying anything, I can actually impact the industry’s future in a profound way.  This excites and inspires me.

Kind regards

Kate

Kate Padget-Koh

The Magic Of Upcycled Fashion

Upcycling is one of the key movements or techniques in Sustainable Fashion.

It transforms existing or old clothing (and accessories) into new pieces, giving them a new life.  This creates so many possibilities for keeping our memories and connections alive and with us.

My journey with UPCYCLING started 15 years ago when I was first introduced to Sustainable opportunities whilst working at Puma.  We had an extraordinary workshop in Korea, by MATERIAL CONNECTION, that opened my eyes to what was possible with Sustainable Fashion and a new world in Fashion.  I researched endlessly, and one of my inspiring discoveries was Upcycling.    

Around that time, a friend and I entered the REDRESSED ECOCHIC Sustainable Fashion Competition in Hong Kong.  We created a beautiful corseted dress from some of our existing clothes and other sample fabrics.  The result was beautiful, if somewhat costume-like.  The creation was not new, and yet, so very new. We were honouring our past whilst creating the future.  Around that time, I wrote a few white papers on the subject of Sustainable Fashion, which had me cement my views on sustainable fashion techniques and possibilities.  What mesmerised me about upcycling was the opportunity for new to be created from the past, the magic of keeping your memories with you, and making fashion meaningful, beautiful and emotionally significant.

I always had the vision of creating occasional clothes from heritage pieces, just as Princess Beatrice created her wedding dress in 2021 from a dress belonging to Queen Elizabeth II.  I had bought pieces from a lovely Designer in London, Jonathan, who made tops from vintage scarves and bags from upcycled camouflage.  

So, what is the “magic” I am referring to in the title of this blog?  The magic is the presence of the best of the past in the now.  The practical advantage of upcycling is to reuse existing fashion, preventing it from being unworn, discarded, forgotten or ending up in landfill.  The magical advantage of upcycling is giving formerly loved clothing a new possibility and a new life.  This is so inspiring for me.  

A few years ago, I had the privilege of connecting with the beautiful Alexa at DesignBlender.  She makes gorgeous Demi-couture upcycled fashion pieces in London.  At that time, I was reviewing my wardrobe and identified some dresses I loved but no longer wore.  I collaborated with Alexa and created my first piece of custom upcycling.  The dress I had was a “Victor & Rolf” silk slip dress.  The shape and length did not suit my body, but I totally loved the colour and fabrics - a stunning terracotta silk satin with gorgeous lace trim.  From the brief and conversations, we made a gorgeous dress that I have worn endlessly.

We went on to create more pieces: a reworked wedding dress, which is beautiful and mesmerising.  Probably my most favourite is THE RED DRESS from 2 pieces I wore before and during our wedding.  Alexa gave it a new life and turned it into something sexy and extraordinary but also wearable and effortless.

I find upcycling magical because it creates something new from our past, constantly keeping happy memories and fashion feelings alive.  Fashion and clothing provide the opportunity for creativity, beauty and love to always be present in our lives; upcycling is that perfect opportunity.


With love,
Kate

Kate Padget-Koh