Podcast
The Debrief
Hosted by The Business of Fashion · EN
Welcome to The Debrief, a new weekly podcast from The Business of Fashion, where we go beyond the glossy veneer and unpack our most popular BoF Professional stories. Hosted by BoF correspondents Sheena Butler-Young and Brian Baskin, The Debrief will be your guide into the mega labels, indie upstarts and unforgettable personalities shaping the $2.5 trillion global fashion industry.
Hosted on Acast. See acast.com/privacy for more information.
27episodes
Episodes
Newest firstAll episodes
Why People Hate AI
2w ago00:30:12Tap to summarizeSince the earliest days of tools like ChatGPT and Claude, industry conversations have been marked by a tension between excitement around speed and efficiency alongside deep-seated fears of job loss, creative dilution and concerns about its environmental footprint. What once played out in theory is now unfolding in practice – as a broader rejection of what AI represents — particularly as more consumers view AI-generated content as a cost-cutting measure that erodes fashion’s human touch,In this episode, The Debrief host Sheena Butler-Young discusses with BoF correspondents Marc Bain and Haley Crawford why the backlash is intensifying and how consumer sentiment against brands using AI-generated imagery is forcing a reckoning. They explore whether fashion can actually embrace these tools without losing the care and time that confers luxury status.Key Insights:Consumers are moving past passive skepticism around AI and increasingly displaying a more visceral negative reaction to AI visuals.In an industry built on originality and attribution, AI is often perceived as shortcutting the creative process — or worse, borrowing from artists without credit. For many, it raises uncomfortable questions about what constitutes real creative ownership.At the same time, there is growing concern that AI could erode both the craft and the pipeline behind fashion creativity, threatening entry-level roles and the time, care and human touch that underpin luxury’s value. Additional Resources:Why People Hate AI The Fashion Marketer’s Guide to AI Why Revolve Can’t Stop Talking About AI Hosted on Acast. See acast.com/privacy for more information.
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Why Some Retailers are Ignoring the Internet
3w ago00:25:17Tap to summarizeFor years, the fashion industry operated under the assumption that digital scale was the right path. However, the "growth-at-all-costs" model is currently fracturing as luxury giants grapple with soaring customer acquisition costs and a logistical crisis fueled by high return rates. In response, a quiet counter-culture is emerging, with stores like Ven. Space and Dot Reeder thriving by intentionally limiting their digital footprints. In this episode, executive editor Brian Baskin and senior correspondent Sheena Butler-Young discuss with BoF correspondent Austin Kim how these analogue retailers are using hyper-local intimacy and intelligent curation to build a more resilient business model that values brand equity over infinite reach. Key Insights:The Rejection of Digital Friction: Store owners like Chris Green of Ven. Space are intentionally limiting their digital footprints to avoid the "grind" of high customer acquisition costs. Austin Kim notes that for these owners, "these small businesses are people doing what they love and what they don't love is e-commerce and they have no interest in it".The "Sit and Fit" Financial Advantage: Analyst Simeon Siegel posits that the in-store customer is the superior economic unit because they absorb the costs of fulfillment. As Kim explains, "In the store, the customer takes the pair of jeans off the rack, walks it over to the cash register, and then takes it home to themselves," whereas online, a brand must pay for picking, packaging, and the high probability of returns.Product Curation as a Moat: Success for these boutiques relies on a "mythic" assortment of brands that creates a level of trust an algorithm cannot replicate. Kim highlights that the draw is the owner's perspective: "Chris Green is almost like a Mr. Rogers if he wore Dries van Noten ... that perspective is exactly what I think customers connect with".Analogue Marketing and the "Third Space": To cut through digital exhaustion, retailers like Outline are pivoting to high-quality print catalogs. Co-founder Margaret Austin describes e-commerce as "unsexy," preferring a strategy where receiving something at your door acts as "an amazing strategy" to cut through the noise of social media.The Scalability Paradox: The "secret sauce" of these stores is often the owner-operator’s deep local roots, which is difficult for corporate entities to mimic. Kim warns that "you lose the soul of a business really quickly as you scale, especially on e-commerce," because you begin buying for an international audience rather than maintaining a specific, connected perspective. Additional Resources:Meet the Retailers Succeeding by Ignoring the Internet | BoFThe State of Fashion 2026: When the Rules Change | BoFThe BoF Podcast | Pete Nordstrom on the Enduring Power of Retail’s ‘Best Mousetrap’ Hosted on Acast. See acast.com/privacy for more information.
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Why Luxury Still Can’t Find Its Way Out of the Slump
4w ago00:36:51Tap to summarizeLuxury entered 2026 with hopes that new creative directors and signs of stabilisation would finally help the sector turn a corner. Instead, the latest round of earnings has raised bigger questions about what growth now looks like for the industry. While brands including Dior, Gucci and Chanel are generating renewed interest, that excitement has not yet translated into a meaningful sales rebound. From the slowing Chinese market to geopolitical tensions in the Middle East, luxury conglomerates are facing a complex web of challenges that creative hype alone cannot solve.On the episode, BoF luxury editors Mimosa Spencer and Robert Williams explain why China remains such a critical missing piece, why Louis Vuitton is under closer scrutiny than usual, and why jewellery continues to outperform the rest of luxury.Key Insights:One of the clearest messages from this earnings season is that new designers can lift mood and momentum internally, but that alone is not enough to restart the industry. Williams says the latest results confirmed that the impact of all these creative resets is “pretty limited, especially in isolation”. As he puts it, “the result of that is more like treading water or stabilising versus actually reigniting growth.” Spencer adds that the disappointment was sharper because there had been so much excitement around these debuts that “a lot of investors were expecting some earlier results.”Both Spencer and Williams point to China as the market hanging over the entire sector. Even where sentiment improved at the end of last year, investors were still looking for signs that Chinese demand might return in a meaningful way. Spencer says the bigger issue now is not just timing but structure: “The question is whether the kind of growth we saw in the past will actually come back.” She adds: “It seems like it takes a lot more work for a luxury brand to actually get good results in China.”LVMH still wants the market to see Dior as the manageable turnaround story, but Williams suggests the real anxiety now sits around Louis Vuitton. The brand has held up better than many peers, but investors are increasingly asking where its next phase of growth will come from. Williams points out that the bigger concern is not short-term performance, but what comes next. “No one can really see where the growth is going to come from,” he says. “Is this still a growth industry? What will the industry look like and how will it operate if it's not growing anymore?” If the industry’s strongest player cannot clearly define its next phase of growth, it raises deeper questions about the trajectory of luxury as a whole.Despite the broader slowdown across luxury, Spencer argues that jewellery’s outperformance is not just about demand for hard luxury, but about how consumers now judge value. Handbag prices have climbed so sharply that jewellery, by comparison, can feel like a more rational indulgence. “Jewellery prices haven’t gone up in the same way that handbag prices have gone up,” she says. At the same time, jewellery still carries a perception of durability and investment value, whether or not that always holds in practice.Luxury brands may be making more progress with their established high-spending clients than with the broader aspirational base they once relied on for volume. Williams notes that some houses are succeeding in pulling core customers back into stores, even if that is not yet translating into a wider recovery. At Chanel, for example, he points to renewed momentum among “well-to-do women with big executive jobs in their late 30s, 40s, and 50s,” while Louis Vuitton’s monogram anniversary campaign has helped refocus attention on its most iconic products.Additional Resources:The Luxury Rebound Gets a Reality Check | BoF Kering’s Strategy Reveal, Examined | BoF Hosted on Acast. See acast.com/privacy for more information.
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Nike’s Reality Check
Apr 1500:26:27Tap to summarizeWhen Elliot Hill returned to Nike as chief executive in October 2024, he was tasked with reversing one of the most significant slumps in the company’s history. The business had lost momentum with both investors and consumers and his strategy has focused on restoring wholesale relationships, rebuilding key categories like running and trying to stabilise the brand’s broader narrative. But Nike’s latest earnings and weak outlook have intensified doubts about whether the recovery is moving quickly enough. In a fragmented marketplace where heat has moved toward niche competitors and rejuvenated legacy rivals, Nike is struggling to convince a skeptical public and an impatient Wall Street that its next chapter has truly begun.On the episode, Sykes joins hosts Sheena Butler-Young and Brian Baskin to unpack why Nike’s comeback still feels unfinished, what the brand is getting right, and what it would take for the market to believe again.Key Insights:Sykes argues that the sharp reaction to Nike’s latest earnings was less about one bad quarter than a broader loss of patience. Hill has spent more than a year telling investors that the comeback is taking shape, but the numbers still do not show enough momentum to support that story. “Investors are just sort of running thin on patience with Elliott Hill,” Sykes says. That problem is compounded by Nike’s own guidance. As Sykes puts it, “you can’t really get ringing endorsements from people” when the company is already warning that the next quarter will still be down.The sportswear landscape of 2026 is fundamentally different from the one Nike dominated a decade ago. Whilst Nike is still a big player in sportswear, its dominance does not necessarily mean the same thing it once did. With the market fragmented, heat is now distributed across brands like Hoka, New Balance and Adidas, and attention moves quickly between rivals. “Nike is still bigger than every other sportswear brand out there right now,” he says. “But when Nike is at its best, it is not participating in the conversation, it is controlling the conversation.” The issue is not that Nike has become irrelevant. It is that the market no longer seems to operate in a way that allows one brand to command the same singular hold it once did. Nike now requires a more versatile approach to global regions like China and sub-brands like Converse, which currently act as a drag on overall productivity. Sykes is clear that Nike is not doing everything wrong. He points to genuine progress in North America, improved wholesale relationships and real traction in running. But those wins have not yet added up to the kind of breakthrough moment that changes the narrative. Nike is trying new products and categories, yet none of them has become the catalyst investors and consumers are looking for. “There are things there that I would say are definitely more positive than I thought they would be,” Sykes says. But he also notes that “there just seems to be still a bit of disconnect between what the brand thinks about its product and what consumers think about its products.” Sykes argues that the company has to rebuild the basics before it can deliver the kind of defining cultural or product hit that resets perception. “You have to hit the singles before you can hit a grand slam,” he says. That may be true operationally, but the problem is that Nike is a company judged not just on steady execution, but on its ability to create category-shaping moments. Until one of those arrives, the sense of drift is likely to continue.Additional Resources:Can the World Cup Solve Nike’s Problems? | BoF The Public Isn’t Buying What Nike Is Selling. Can That Change? Hosted on Acast. See acast.com/privacy for more information.
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Can H&M Prove Sustainability is a Growth Engine?
Apr 800:27:20Tap to summarizeIn March, H&M released financial results alongside its annual sustainability report, presenting two seemingly contrasting narratives. The company reported a 34.6 percent reduction in emissions from 2019 levels and also noted that 91 percent of its materials are now sustainably sourced. However, this environmental progress occurred alongside a 1 percent dip in sales, raising questions about the commercial viability of its green strategy.While many industry peers are backing away from environmental messaging to focus on the bottom line, H&M is arguing that sustainability is not in tension with profit, but is rather a "core driver of future growth". On The Debrief, we examine whether this decoupling of growth from environmental impact can truly resonate with consumers, or if it remains a purely internal metric.Key Insights: As a fast fashion brand, H&M understands that sustainability alone is not going to win back shoppers. Instead, Walid says the company is trying to translate its recent efforts into something more tangible at the point of purchase. The pitch is not that consumers care about emissions reporting in itself, but that sustainability can function as a marker of quality. As Leyla Ertur, H&M’s Head of Sustainability, told Walid during their conversation, “Our customers don’t care about our Scope 3 emissions going down. What they care about is what they’re buying.”Walid suggests that one of H&M’s biggest challenges is the disconnect between how the company sees itself and how customers perceive it. “When we say H&M, I think people are thinking of H&M, the brand … But when H&M talks about itself, they’re talking [about] the whole conglomerate,” she says, pointing to brands like COS and Weekday, which occupy a more elevated position. While those labels may successfully compete with higher-end high street players, that distinction is largely invisible to consumers, who still associate H&M with “fast fashion … something cheap for an occasion.” As a result, while the group may understand how to build more premium propositions across its portfolio, Walid argues that the core H&M brand itself has not yet meaningfully shifted perception. For all the company’s investments and emissions reductions, the core contradiction remains that H&M is still producing and selling huge volumes of clothing. Waleed is explicit about that limitation: “They’re not addressing the overconsumption and overproduction problem in fashion.” At the same time, she notes that H&M is one of the few large players still investing at scale in decarbonisation, water reduction and supply chain upgrades.H&M is investing across sustainability, brand elevation and new channels like resale, but Waleed cautions that it is still too early to judge whether these efforts are working. “They use all these different levers that don’t come into one … There needs to be a way to bring that together,” she says. Initiatives like fashion week shows, collaborations and younger-facing campaigns are designed to re-engage consumers, but “I don’t think people have caught traction … just yet.” For now, the strategy remains a long-term bet rather than a proven turnaround.Additional Resources:Exclusive: H&M Says Sustainability Is Good for Business. Can It Get Shoppers to Care?BoF Analysis: The Rise of Ultra-Fast Fashion PlayersThe Game of ‘Selling’ Sustainability Hosted on Acast. See acast.com/privacy for more information.
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The Retailer That’s Obsessed With AI
Apr 100:22:26Tap to summarizeFor years, Revolve was fashion retail’s byword for influencer marketing, particularly around its over-the-top Coachella event. But as the Instagram aesthetic matures and the cost of human-led marketing rises, the company is pivoting. The new mandate? To become as much an AI powerhouse as it is a party-hosting fashion giant. In a recent conversation with Retail Editor Cathaleen Chen, Revolve founders Michael Mente and Mike Karanikolas argued that AI isn't just a buzzword for the board; it’s the engine that will sustain their multi-billion dollar dominance.Chen joined The Debrief to talk about how Revolve is pushing the limits of how AI can be used in retail, and whether its strategy is working. Key Insights: Revolve was founded by software engineers who viewed fashion as an e-commerce "white space,” setting it apart from rivals that invested in new technologies only after establishing themselves in the marketplace. "While Revolve looks like a Shopbop or a Net-a-Porter... Revolve is actually built like a data science company." said retail editor Cathaleen Chen.Revolve differentiates itself by building its own tools where possible, rather than buying off-the-shelf software, including the product search on its website. Using AI, Revolve has moved beyond literal keyword matching to a system that understands the vibe or occasion a customer is shopping for. By analyzing image attributes, the site can surface the perfect "party dress" even if that specific tag doesn't exist, explains Chen. "What their AI tool is able to do is pull up anything that is sequined... or textured... it is anticipating the desire."Revolve fosters a "bottom-up" environment where every employee is encouraged to experiment with AI. They aren't just looking for "moonshots"; they value any application that moves the needle even slightly. "Eeven if something improves efficiency or output by just 1%, that's considered a success,” said Chen.Additional Resources:Why Revolve Can’t Stop Talking About AI | BoFWhy Fashion Doesn’t Talk About How It Uses AI | BoFWhy Revolve Is Embracing Brick-and-Mortar | BoF Hosted on Acast. See acast.com/privacy for more information.
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What European Luxury Can Learn From American Fashion
Mar 2500:24:42Tap to summarizeFor years, European luxury brands set the pace in fashion, while American labels were often dismissed as overly commercial and too broadly distributed to compete at the highest end of the market. But that balance is shifting. As many European luxury houses struggle with slowing demand, price resistance and creative inconsistency, a group of American brands is seeing renewed momentum. On the episode, Diana Pearl joins Sheena Butler-Young and Brian Baskin to unpack what those brands are getting right, and why their recent success may offer a useful playbook for the rest of the industry.Key Insights:Pearl argues that part of the shift comes down to timing. American brands like Coach, Ralph Lauren and Tory Burch went through their overexposure phase years ago and were forced to correct course, while European luxury brands are only now grappling with the consequences of aggressive growth. “European brands maybe got a little cocky,” she says. “They raised prices too much and maybe let the creative slide a little. I think as those businesses have grown, it just became more about sales and less about focusing on the core of the business.” By contrast, American brands “really had to recalibrate, pull back, think about who is our core customer and laser in on that message.”Pearl presents Coach as the clearest example of how this American reset has worked. Instead of chasing quick expansion, the brand spent years refining its identity, sharpening its offer and building around a defined consumer. “They want to be that first luxury bag purchase that someone makes when they’re in high school, when they get their first job and save up to buy a nice bag,” she says. That focus shapes everything from product to casting to marketing tone. Just as importantly, Coach stopped cycling through products too quickly. Rather than dropping a hit bag and moving on, “when they see these silhouettes start to pop off, they find ways to iterate them,” Pearl says, pointing to the Tabby and the Brooklyn as examples.Pearl says European luxury’s current problems are not just about price, but about value and treatment. Consumers have become more sensitive to whether products feel worth the money and whether the shopping experience feels inviting. “People don’t want to spend their money at a place where they feel like they’re being mistreated,” she says, referring to growing frustration with intimidating store environments, long queues and rigid service hierarchies. She also argues that “cachet can only get you so far,” especially when shoppers no longer feel that the biggest European brands are producing the most desirable or practical items.Another theme in Pearl’s reporting is consistency. Several American brands now doing well are still shaped by founder-led or founder-adjacent creative visions, and she suggests that stability matters. “Even if consumers don’t necessarily know that creative directors are changing, they see it in how a brand feels inconsistent from season to season,” she says. With Tory Burch, Ralph Lauren and Khaite, the creative point of view feels legible and sustained. That makes it easier to build a coherent world around the brand and evolve it gradually, rather than asking consumers to reset every few years with a new designer era.Additional Resources:What European Luxury Can Learn From American Fashion | BoF The Great Fashion Reset | How to Fix Luxury’s Trust Issues | BoF The Great Fashion Reset: Can Designer Debuts Revive Luxury? | The Debrief | BoF Hosted on Acast. See acast.com/privacy for more information.
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Why Fragrance Is Fashion’s Newest Digital Frontier
Mar 1800:23:40Tap to summarizeFragrance is booming, but the way consumers discover and buy scent is changing fast. While scent has traditionally relied on in-person testing, more than half of fragrance purchases in the US now take place online. As department stores decline, brands are leveraging new technologies and creative storytelling to reframe perfume less as a single signature scent and more as an accessory, a collectible and part of a wider personal style. On the episode of The Debrief, BoF beauty correspondents Daniela Morosini and Rachael Griffiths unpack how short-form video, AI tools, layering trends and packaging are reshaping the category. Key Insights: Morosini argues that fragrance’s online shift reflects both the broader movement of beauty sales online and the weakening dominance of department stores, which historically anchored prestige fragrance. What has changed more recently is that digital content has become better at translating scent into something consumers feel they can understand. “Fragrance has historically been a difficult category to sell because so much of the marketing around it… how do you explain to somebody at home what a fragrance really smells like?” she says. Short-form video, she adds, has helped “bridge that gap” by making it easier for people to imagine “if I buy this perfume, I’m going to feel like X or Y.”Griffiths explains that terms like “fragrance wardrobe” and “layering” are not just consumer buzzwords – they signal a real shift in how brands are selling scent. Rather than persuading shoppers to commit to one signature fragrance, brands are encouraging them to build collections, combine scents and buy multiple formats. “A fragrance wardrobe is effectively your fragrance collection,” she says, but the word wardrobe is important because it “hints at that fashion-to-fragrance relationship.” She adds that layering has become a community-building tool because “there’s nothing more niche than when you layer certain things in a way that nobody else has” and create “your own signature scent.”As fragrance becomes more visual and more digitally merchandised, bottle design and format matter even more. Griffiths says packaging remains central because it helps fragrance function like an accessory, whether that is a solid scent compact pulled from a handbag or a bottle photographed for a shelfie. “The packaging is really important,” she says, especially when consumers want products that “look nice for you to slink out of your bag.” Morosini makes a related point: design can also tell consumers how a scent is meant to make them feel. She recalls how Paco Rabanne’s One Million was intentionally packaged like a gold bar to communicate aspiration, wealth and fantasy before anyone had even smelled it.Additional Resources:Prestige Fragrance’s Online Shopping Problem | BoF How to Sell Fragrance Like a Fashion Accessory | BoF Why Fragrance Is the Latest Red Carpet Accessory | BoF Hosted on Acast. See acast.com/privacy for more information.
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How Oil Shock Fears Are Rippling Through Fashion
Mar 1400:25:02Tap to summarizeAs conflict between the US, Israel and Iran escalates, the threat to shipping through the Strait of Hormuz has pushed energy prices sharply higher. That matters to fashion far beyond the pump: oil and natural gas helps power factories, move goods and produce synthetic fabrics used across the industry. Shayeza Walid and Cathaleen Chen join hosts Sheena Butler-Young and Brian Baskin to explain how the immediate pressure of spiraling oil prices is showing up differently across the supply chain and in consumer markets, and why even a short-lived shock can deepen existing strains on manufacturers, retailers and shoppers.Key Insights:The closure of the Strait of Hormuz has immediate and severe consequences for Asian manufacturing hubs, which rely on the Gulf for approximately 60 per cent of their crude oil. Walid notes that for many producers, “it’s a supply issue and a logistics issue before it’s a cost issue right now.” She continues: “Every single person is dealing with the fact that oil and gas supplies are not coming through to their countries.” In that sense, the first pressure point is not simply higher prices, but whether manufacturers can secure the energy needed to keep production moving at all. Beyond the physical scarcity of fuel, the lack of insurance for shipping companies has created a logistical bottleneck that prevents essential energy supplies from reaching factories in China, India, and Bangladesh. As polyester and other man-made fibres are intrinsically tied to oil, manufacturers focused on synthetics are feeling the pressure quickly. Walid says the impact is already visible in India and China, where producers are seeing both reduced supply and rising prices. “Man-made fibre prices were already going up,” she says. In some Indian manufacturing clusters, she adds, “those areas could very well be crippled if the crisis continues because they only use that type of fabric.”Chen argues that the more immediate consumer effect is not necessarily higher apparel prices, but weaker confidence. She points out that many retailers are still working through existing inventory, so any inflationary effect on clothing would likely come later. “The more immediate effect on the consumer economy is simply psychological,” she says. Even before prices move materially, “consumer anxiety around inflation, even if inflation isn’t here yet, that’s going to affect how much they’re willing, how much they’re happy to spend on things like a pair of jeans.”Both reporters suggest fashion is more used to volatility than it was before the pandemic, but this kind of disruption still reveals how exposed supply chains remain. Chen says many companies have become “very nimble in the situation of crisis”, while Walid points to the need for more durable supplier relationships and stronger local support. “It’s increasingly important to consider local dynamics for their suppliers and where their clothes are being manufactured,” she says.Additional Resources:Oil Shock: What Fashion Needs to Know | BoF War in the Gulf Tests Resilience of a Rare Bright Patch for Luxury | BoF When War and Luxury Collide | BoF Hosted on Acast. See acast.com/privacy for more information.
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How Fashion Picks Its Hip Hop Style Icons
Mar 400:22:06Tap to summarizeHip-hop has served as a primary pipeline for fashion’s entry into pop culture for decades, transitioning from organic street-level references to high-stakes global partnerships. Brands have historically leaned on a select group of superstar "style icons" to drive visibility, with A$AP Rocky emerging as the definitive case study for this crossover. However, as Gen Z consumer habits shift and the traditional music-to-market pipeline evolves, the industry faces questions about its over-reliance on a few familiar names.Takanashi joins hosts Sheena Butler-Young and Brian Baskin to discuss the tension between the safety of established stars and the cultural necessity of finding fresh voices.Key Insights:Takanashi positions A$AP Rocky as the case study of hip-hop’s interaction with fashion, whose organic love for runway brands transformed him into a definitive bridge between hip-hop and luxury. He recalls how Rocky name-checked designers in his breakout moment, and how that shifted what young fans even understood as fashion. “On this breakout single ‘Peso’, [Rocky] said that he was into Rick Owens and Raf Simmons,” Takanashi says. “He came out the gate as this rapper who really declared that he was into high fashion.” This authenticity created a bridge that allowed luxury brands to feel comfortable moving beyond traditional streetwear.However, fashion houses frequently default to known quantities like Pharrell, Travis Scott, or A$AP Rocky because their long resumes provide predictable results for risk-averse marketers. This creates a feedback loop where the same faces appear across multiple, sometimes competing, brand categories. “A marketer can just point to several examples they’ve done in the past and they could see the result of it,” Takanashi explains. The industry’s tendency to "glom onto certain familiar names" risks diluting the unique identity of the brands themselves.On the other hand, niche fan bases offer a more potent alternative to mainstream superstars. Some of the most successful recent collaborations have bypassed the Billboard charts in favour of artists with highly engaged, specific communities, such as Action Bronson with New Balance. Takanashi highlights that there is “a lot of strength in just kind of collaborating with artists that aren’t necessarily like charting super high.” Smaller artists with highly engaged and loyal fans can move the needle more effectively than a mass-market star who may feel interchangeable.While brands are happy to dress rising talent for red carpets or front-row appearances, the leap to a global campaign remains a "slow burn." Takanashi points out that many decision-makers lack a deep investment in the culture, leading them to extract value rather than nurture new talent. “Fashion is a business that extracts culture, but doesn’t necessarily give back to it as much as we’d like,” he says. Without more diverse perspectives in positions of leadership, the industry struggles to identify which younger artists possess genuine, long-term cultural resonance.Additional Resources:How Fashion Picks Its Hip-Hop Style Icons Breaking Down Chanel’s A$AP Rocky Partnership What’s Next for Hip-Hop and Fashion Hosted on Acast. See acast.com/privacy for more information.
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