The Photoshopped images that appear in fashion and beauty advertising cause emotional and physical health issues in young women. It’s time these images are accompanied by clear disclosures, argue Camilla Olson and Samantha Jensen.
A resurgence of apparel manufacturing in the United States is highly unlikely due to simple economic realities, argues Edward Hertzman.
With growth slowing in key markets like China, luxury brands should examine the numbers, overcome their fears about image and turn their attention to Africa, argues Johanna Collins-Wood.
In a landscape where many online stores offer the same product at the same price, quality service is the key differentiator for fashion e-tailers, argues Jordy Leiser.
The multi-trillion dollar fashion business is ripe for disruption and venture capitalists who seize the opportunity will see huge returns, argues Jay Deng.
Fashion publications are primarily in the business of seducing the consumer at the behest of big brands. But editors can reclaim the meaning of their work by looking for cracks in the system, argues Anja Aronowsky Cronberg.
For the benefit of the world, buy carefully and get more “fashion mileage” out of each piece, argues Livia Firth.
On Fashion Revolution Day, the anniversary of the Rana Plaza garment factory collapse in Bangladesh, Tamsin Blanchard challenges consumers take action against mindless fashion consumption.
Armed with huge sums of money invested at sky-high valuations, fashion start-ups are setting themselves up for failure. But with the right capital structure, any company that can build a brand that delights its customers can be an economic win for all involved, argues Lawrence Lenihan.
More than previous generations, millennnials want social responsibility and transparency from the brands they buy. Fashion companies that fail to change risk losing relevance, argue Maxine Bédat and Soraya Darabi.
Italian Vogue’s domestic violence-themed cover story proves that fashion photography is a powerful medium which can carry important messages, but it should have been stripped of its commercial credits, argues Mimma Viglezio.