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  • How Zara Fought Off Shein and Outmaneuvered the Ultra-Fast Fashion Tide

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    On November 5, the crowd started gathering long before the clock struck 1 p.m. A line of shoppers wound its way through the Bazar de l’Hôtel de Ville in central Paris. This event wasn’t a premiere for a highly anticipated movie, and wasn’t a surprise sneaker drop either. It was the opening of Shein’s first permanent boutique in the French capital.

    At last, the ribbon snapped, and the countdown clock hit zero. Then the crowd surged. Gen Z shoppers squealed as the doors swung open. They raced upstairs for €5 crop tops and party dresses and for accessories starting at a single dollar.

    “It’s like Disneyland for fashion,” one student gushed. Influencers livestreamed the opening to millions, and the sixth floor had become a one-thousand-square-meter Shein wonderland.

    Within five days, more than fifty thousand customers had passed through the building. The average basket cost forty-five euros. Tower‑sized banners screamed SHEIN across the façade, which remained visible from blocks away.

    All of this was happening in the capital of haute couture.

    A short walk away, Zara sat quietly, holding the line. Inside, the foot traffic never stopped. But people moved differently. They were pausing. They checked fabric. They compared cuts. They touched lapels. A woman in a black coat strolled out carrying a single blazer folded carefully over her arm. Another came in with her phone open to a screenshot of a coat that had sold out the previous week.

    This wasn’t binge shopping. It was hunting.

    Next door, H&M told another story. The racks were a bit too full, and the discounts too loud. It was neither as dirt-cheap as Shein nor as sharply edited and of-the-moment as Zara. A brand stuck in the middle with yesterday’s formula.

    This isn’t a fashion story. Instead, it’s a story about speed.

    AI allowed Shein not just to outpace everyone but to rewrite the physics of trend creation itself. Most incumbents were dragged into the abyss: cutting prices, chasing trends, churning more.

    But somehow, Zara became an outlier. It’s still growing, and still drawing shoppers in the shadow of a Chinese app that can launch thousands of new styles in a day.

    Speed mattered. But it wasn’t everything.

    At one extreme, everything was algorithmic, ultra-fast, disposable. At the other extreme, there were fewer pieces, more desire, and stores acting like stage sets.

    The middle is where brands go to drown.

    Ask yourself this: Are you aiming for speed and volume, or are you searching for meaning and quality?

    You cannot have both. Pick your extreme, or you will be ignored. Stop trying to be everything to everyone.

    To see why, you have to revisit the rain‑soaked edge of Spain, long before anyone had heard the word “Shein.”

    The Kid in Galicia Who Sped Up the Clock

    It wasn’t supposed to happen in Galicia.

    In 1949, Galicia was a grey Atlantic backwater. People left and didn’t come back. Yet it was there, in a port town far from Paris or Milan, that a thirteen‑year‑old school dropout named Amancio Ortega walked into a shirt‑maker’s workshop and asked for a job.

    He got hired. Then he was put on deliveries.

    For years, Ortega moved through that workshop with his hands. He touched fabric, observed patterns, and saw what moved and what stayed on the rack. He learned clothing like a musician learns an instrument.

    In 1975, Ortega opened his own store. He was going to call it Zorba, after the film. However, a bar down the street had already claimed the name. Rather than start the sign-making process from scratch, he rearranged the very letters he’d already created. Z-O-R-B-A became Z-A-R-A.

    He hung the letters. It was perfect.

    The store sold cheap knockoffs of high-end fashion. It was popular. But Ortega saw a problem that terrified him.

    In the traditional model, retailers were gamblers. They placed orders in January for the following winter. They bet on colors, fits, and quantities. They would order 100,000 red sweaters from China. Six months later, if red was “in,” they made a fortune. But if red was “out,” they were stuck with 100,000 sweaters that nobody wanted.

    Ortega looked at this and saw insanity.

    In 1976, he did something unprecedented for a Galician textile merchant: He purchased a computer. Soon he was studying Toyota—not for its cars but for its manufacturing philosophy: Make only what the market demands, exactly when it demands it.

    His instruction to store managers was simple: Don’t just sell what we have; tell me what people want. The best managers became psychologists as much as merchants, reading the customer and sending back unvarnished truths.

    Signals flowed back to Galicia in real-time.

    At headquarters, in a cavernous room that looked like a trading floor, pattern cutters and seamstresses worked shoulder‑to‑shoulder. Pieces were fitted on live models. In under two days, they translated a trend spotted in a Berlin nightclub into a sample.

    Twice a week, trucks left La Coruña carrying fresh inventory. Tuesday and Friday were the “Zara days.” Customers learned, too. If they missed Tuesday’s shipment, the leather jacket that they wanted might be gone by Friday. Gone forever.

    While Gap and H&M outsourced to Asia, Ortega kept production unnervingly close to his home. In Galicia and Northern Portugal were factories, many of which he owned, that became extensions of the design room. Cheap didn’t matter. Quick did. It was simple physics: Less distance meant more speed.

    By 2001, when Zara went public, H&M and Gap were still guessing next season’s colors. Rivals waited for container ships from Shanghai. Zara was already selling next Thursday’s jacket.

    The industry giants sneered at first. Then they watched in disbelief.

    Ask yourself: How tight is the loop between your action and your result? If it takes you months to realize something isn’t working, you’ve already lost. Tighten the loop.

    Ortega didn’t care to guess what customers would want in nine months. Instead, he wanted to know what they would want next Thursday.

    The Blink of an Eye: When Zara Became Slow

    By the late 2010s, Zara looked … mortal.

    Once effortless, growth began to slow in 2018 and 2019. Profit margins flattened. Zara’s digital strategy felt half-built. By 2019, only 14% of sales came online. H&M was at 14.5%. The U.S. apparel average was near 27%.

    Zara’s entire engine was still anchored in physical retail. The world, however, had shifted to the phone.

    Boohoo could conceive, design, produce, and ship clothing in 14 days. ASOS updated its site with 4,500 new items daily.

    Around this time, I started building the Future Readiness Indicator for fashion. I wanted a scorecard that stripped away the hype. We measured revenue growth, bottom‑line strength, Google search heat, influencer reach, share velocity, and investor sentiment.

    Photo: Howard Yu

    The pattern jumped out. Inditex, the holding company behind Zara and once an unshakeable pioneer, was slipping by the late 2010s. The trajectory was unmistakable. Zara was entering a dark period.

    Then the floor collapsed.

    COVID-19 hit. Thousands of stores went dark. By April 2020, 88 percent of all Inditex stores had closed. Sales fell 44 percent year on year. For the first time in history, the company posted a quarterly loss.

    Zara’s superpower had always been watching customers. Now the lights were off. There was no foot traffic and no in‑store data. A company built on reaction suddenly had nothing to react to.

    But on the other side of the world, something else was sprinting.

    The Machine That Almost Ate Fashion

    Somewhere in a server farm outside Guangzhou, code crawls. It scrapes social media platforms, hunting for signals invisible to the human eye. Maybe it’s a sleeve shape in Berlin, a hemline in Seoul, or a color combination screenshot that appears 847 times in six hours.

    Shein’s founder, Chris Xu, wasn’t a fashion guy. He was an SEO specialist. He understood that Google was a black box that you could game. He noticed that people weren’t searching for “spring collection.” Instead, they were searching for “crop top like Bella Hadid wore.”

    By 2012, Xu had pivoted into a new company: Shein. The name had no meaning. It was short, brandable, and SEO‑friendly. That was enough.

    Inside Shein, the process is purely Darwinian:

    • Scan the world. Algorithms scrape social media, search data, and image feeds to spot micro-trends. Can be a neckline, a print, or a palette. These are tiny signals before they’ve been even named.
    • Break it apart. These trends are decomposed into micro-tasks: Design this collar variant, source this fabric, and shoot this look.
    • Test in micro-batches. The company manufactures only 100–150 units of a design before listing it. Then it waits for the data verdict.
    • Scale or kill. If it sells in hours, Shein scales aggressively. If it stalls, it dies. There are no big bets and no warehouses full of red sweaters.

    Then comes the army of influencers, fashion stars with millions of fans alongside thousands of micro creators firing off #SHEINhaul videos. Pile that on, and the machine starts to spin on its own.

    There aren’t any fashion editors or seasonal bets. Just real-time, algorithm-driven experimentation, nonstop. Shein could go from design to delivery in 7–14 days, sometimes 5 days for reorders. It added an average of 2,000 new SKUs daily. At any given moment, roughly 600,000 items sat on its platform, with an average price of around $10.

    Zara, by comparison, launched about 12,000 new designs per year.

    Looking at those numbers, I kept running into the same question: If everyone could see what Shein was doing, why couldn’t the old giants just copy it?

    That’s when I called Sangeet Choudary.

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    Photo: Howard Yu

    I’d been following Sangeet since he wrote his first book on platform businesses, which explained how Uber and Airbnb rewrote the rules. But his latest book, Reshuffle, offered a different lens, one that I suspected would unlock what was really happening in fashion.

    We spoke for an hour. Twenty minutes in, he said, “Winners don’t just play the right game. They define the game for everybody else—often in ways that work against the strengths of previous winners.”

    Sangeet walked me through what he called the “atomic unit of work.”

    For Zara, the atomic unit is the collection. That’s the curated batch of designs that must hang together aesthetically, be manufacturable, and fit the brand. It must have designers who can perform many tasks at once: sense trends, understand fabrics, respect production constraints, and maintain coherence.

    For Shein, work happens one micro task at a time. A designer somewhere clicks open a prompt: “Design a collar based on these three reference images. You have 40 minutes.” There is no mood board, no overarching story. Just a timer that never stops and a prompt box that never empties.

    “Once you can break knowledge work into micro‑tasks and have AI coordinate them, you commoditize expertise,” Sangeet explained. “The designer still exists. But their power—their ability to shape the outcome—is largely gone.”

    That was the reshuffle.

    Shein didn’t just get faster. It changed the atomic unit of work. Now look at the project that is overwhelming you. The problem isn’t the size of the goal; it’s the size of your tasks.

    Are you trying to build the whole collection at once? If so, stop. Break it down into a “micro-task.” Greatness is nothing more than small tasks performed repeatedly.

    I thought about the pattern cutters and seamstresses working shoulder-to-shoulder in Zara’s La Coruña headquarters. Shein replaced all of them with algorithmic coordination.

    Even if it wanted to, Zara couldn’t copy Shein. In order to compete, Zara would have to dismantle everything that made the company dominant in the first place: the vertically integrated Spanish supply chain, store managers as trend scouts, and cohesive collections.

    For a week, I sat with the conclusion that Shein had rewritten the rules. The data supported it.

    Between 2020 and 2023, Shein’s valuation exploded from $15 billion to $66 billion. Revenue hit $23 billion. Shein became the most downloaded shopping app in the United States.

    Everything pointed one way: The war was over. Shein had won.

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    Credit: iStock

    But when I went back to Zara’s numbers again, something wasn’t right. They weren’t falling. They were rising.

    Zara wasn’t done. And what came next was one of the most remarkable anti‑disruptions I’ve ever seen.

    How Zara Outran the Ultra‑Fast

    It was still April 2020, the darkest stretch. Stores were closed. The company had just posted its first loss in history. And in the middle of it all, then-CEO Pablo Isla announced that Inditex, Zara’s parent company, would invest €2.7 billion into digital transformation.

    It wasn’t cost-cutting. It was a bet.

    The crown jewel was something both boring and revolutionary: SINT, the Integrated Stock Management System. It allowed any store to fulfill any online order from its inventory. RFID chips in every garment granted real-time visibility. A cloud platform knitted everything together.

    On top of this, AI systems monitored social media, search trends, runway imagery, and customer reviews. Natural language processing sifted through millions of social media posts for style patterns. Machine-learning models used historical sales, weather forecasts, and local events to allocate inventory not just by country but by neighborhood.

    The result? Tokyo and Dubai didn’t see the same product mix. Even Geneva and Zurich diverged. Store inventory is allocated hyper-locally.

    The store strategy also shifted. Fewer, larger, more premium locations. Total store count fell from 7,412 in early 2020 to 5,563 by 2024.

    But productivity per square meter improved 28%.

    In 2021, Marta Ortega Pérez, Amancio’s daughter, stepped in as chairwoman and orchestrated a deliberate move upmarket: collaborations with high-fashion designers, campaigns shot by Annie Leibovitz, and a flagship on the Champs-Élysées. The goal was to be the most culturally relevant.

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    Credit: Shutterstock

    Then Chris Xu, Shein’s famously reclusive founder, suddenly became even more reclusive and stopped giving revenue projections altogether.

    What happened?

    The $800 Loophole That Closed the World

    The answer arrived via executive order on April 2, 2025. The de minimis exemption, which allowed goods under $800 to enter the United States duty-free and had powered Shein’s model, was gone for China.

    The new tariff was 30% minimum. Then it tripled. Then it tripled again.

    The physics of Shein’s model changed overnight. Remember that $5 crop top? Now it was $11. What about the $10 dress, you might ask? The price increased to $22. For certain items, the prices jumped 377%.

    Customers noticed. Shein’s daily active users in the U.S. dropped 25% in months.

    Shein now faced an existential reconfiguration. Pull production out of China and the vast network of manufacturers disappear. Build warehouses in the United States and the test-and-scale magic evaporates. Every path forward came with a price.

    Around this time, Inditex revived its budget brand Lefties, once an outlet for Zara’s leftovers, as a direct competitor to Shein in key markets. The results were low prices and fast cycles. But there was a twist. It ran on Inditex’s logistics backbone and, crucially, had physical stores.

    In Spain, Lefties attracted millions of customers, nearly matching Shein’s local reach. It expanded to more than two hundred stores across roughly eighteen countries, offering same-day pickups and delivery times of two to five days. For Inditex, Lefties kept Shein pinned on the low end while Zara moved upmarket.

    By 2023, the industry was waking up to the e-commerce hangover: returns.

    The “Free Returns” policy had trained consumers to buy three sizes and return two. Inditex rolled out a fee (€1.95) for any return made via mail. But returns were still free if you brought them to the store. It was brilliant.

    Inditex leveraged the store network as a competitive advantage against pure-play rivals.

    Ask yourself this: What is the one thing you have that your competition views as a “burden”? Stop hiding it. Use it.

    Your biggest “liability” might be the one lever you have that no one else can pull.

    Shein suddenly had to fight a war on both flanks, against a group with physical stores, a tuned supply chain, and two price points.

    By 2024, Inditex’s revenue hit €38.6 billion—36% above pre-pandemic levels—with record profits. The company’s market cap soared past €170 billion. And Inditex accomplished this with nearly 2,000 fewer stores than it once had.

    Epilogue: The Death of the Middle

    The war for fashion’s future isn’t over. Shein is still growing. New challengers loom. But the narrative has changed. Zara is no longer on the defensive. It’s writing the playbook for hybrid retail in the algorithmic age.

    The middle ground is what’s been scorched. H&M and Gap are left stranded. They’re too pricey to beat Shein on cost, and they don’t have the brand heat to beat Zara on desire.

    The most dangerous place in business is the middle: not cheap enough to win on price, not special enough to win on meaning. In a world of algorithms, “average” isn’t a safe harbor. It’s a target.

    Here’s something you must decide today: Are you the cheapest option, or are you the most meaningful option? If you are neither, you are vulnerable.

    In the end, the battle for fashion’s soul turned out to be a battle for the future of business itself.

    Digital only reaches its full power when it serves a physical, human space. It’s where you can feel the fabric, see the cut, and walk out with one perfect blazer draped over your arm. In the end, the companies that refused to bet on just one future are the ones that endured.

    That is the story of Zara.


    This story originally appeared on LinkedIn.

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    Howard Yu

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  • The Brandy Melville Documentary Made The Brand Relevant Again

    The Brandy Melville Documentary Made The Brand Relevant Again

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    When I was in middle school, the era of Tumblr and romanticizing your life was in full swing. Yes, we all needed Lana Del Rey’s
    Born To Die album on vinyl, we took artsy photos with our Polaroids, and we thought we were so different.


    I was also introduced to two brands that would impact our shopping experience for life: Urban Outfitters and
    Brandy Melville. Urban carried the boho chic, semi-overpriced clothing and vinyl records so you could live the edgy life of your dreams…and Brandy carried “one size fits all” clothes that were super soft and basic.

    Quickly, everyone who was anyone was wearing Brandy Melville. We were in a time where everyone thought they were destined to be on the coast of California with their tortured artist boyfriend and a camera. So, obviously, Brandy was the epitome of that dream.

    When Brandy Melville partnered with Pacsun, it was over. We all were rushing to the mall to get the next one size fits all garment…but the catch? One size didn’t fit all.

    It became a running meme- Brandy Melville stores were geared towards women under a certain weight. And, to make matters worse, the workers were intentionally cliquey and rude when you tried to shop in one of their standalone stores.

    For years after Brandy Melville’s prime, girls made social media posts jabbing at the old Brandy workers for their behavior.

    And we all moved on. People realized this brand didn’t really care about its customers…so they shopped elsewhere. Until recently.

    You know a documentary is good when it gets the internet talking. Because if there’s one thing the public loves, it’s drama and a good sob story. So when we heard about the new
    HBO documentary, Brandy Hellville: & the Cult of Fast Fashion,everyone thought it was going to cause the evisceration of the brand.

    And while the documentary does detail horrifying stories of racism, employee mistreatment, and admission to ripping off designs in the name of fast fashion…it didn’t stop Brandy Melville from resurfacing.

    No, it made Brandy Melville more popular than ever.

    Because what the documentary did was remind the public how
    comfortable the Brandy Melville sweat sets are. They remind us of a simpler time, when we were all younger vying over the brand’s clothes.

    I’ve watched countless TikToks where girls show their new shopping hauls and mention Brandy. I listen to podcasts where influencers are once-again gushing over their Brandy sets. It’s like suddenly we’re back in 2014 and none of this ever happened.

    In fact, Brandy Melville has never experienced a financial crisis because of all the controversy. They’re still a very successful fast fashion brand, and it’s just getting worse.

    I can’t even lie to you, I recently purchased a Brandy Melville denim skirt from Pacsun and it barely fits me. Some of the items are so small I can’t even fathom how
    “one size fits most.”

    But what’s equally impressive is the world’s indifference to this. We’ve seen it before: shopping on SheIn for discounted prices despite knowing how unethical the site is, and not to mention other fast fashion stores like Forever 21, H&M, Missguided, Boohoo, and yes, even Zara.

    @slutforfits literally the only clothes in my closet are brandy 😅 #brandymelville #outfitinspo #cleangirl ♬ original sound – kasane teto

    These days, it’s hard
    not to shop fast fashion– even if you feel bad about it. Soaring prices of clothes, the replicability of the market makes it so easy for every store to recreate the same clothes…even if the quality is a massive difference. And unfortunately, stores with past scandals like Hollister and Lululemon, where issues like size inclusivity and racism have surfaced, have taught us that shoppers don’t seem to let controversy affect them.

    In 2023, Brandy Melville did around $212 million in sales- a sharp increase from the $169 million they did in 2019.

    Not only that, but Brandy Melville’s reign of terror is showing no signs of stopping. Instead, social media users recently caught Brandy Melville’s attempt at targeting an older group of women: the 25 and up crowd. A new store under the Brandy umbrella has launched called St. George.

    @user82634369130322 New Brandy Melville sister store📍St. George at 1511 Montana Avenue, Santa Monica CA 90403 #brandymelville #brandymelvillehaul #brandyoliveoil #santamonica #brandyoutfits #brandymelvilleoutfits #fashion ♬ I Only Have Eyes for You – The Flamingos

    At St. George you can get more mature versions of Brandy Melville favorites, home goods, and more. Yes, you can get St. George olive oil (which I’m sure is the best of the best) when purchasing your St. George tank. And, yes, they do at least have sizing up to larges.

    And if this is their attempt at saving face in the wake of the documentary, it’s hilarious. Genuinely funny. It’s what they should’ve been doing all along…but instead of truly addressing controversy and making change, they’ve reincarnated.

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    Jai Phillips

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  • Deal Dive: It’s time for VCs to break up with fast fashion

    Deal Dive: It’s time for VCs to break up with fast fashion

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    Fast fashion is an industry ensnared in labor issues and copyright problems, and it has an immense environmental impact due to its wastewater and carbon emissions. It also happens to have the potential to make a lot of money, fast.

    But despite all these issues, VCs won’t stop loving the sector.

    On Wednesday, my colleague Manish Singh wrote a scoop about a potential Accel investment into Newme, a fast-fashion startup based in India. Newme is an app-based retailer that produces 500 new items a week with an average price tag of $10. This news comes just a week after the company closed a seed round.

    Accel and Newme did not respond to requests for comment.

    Newme looks very much like many other VC-backed fast-fashion startups like Shein, which has raised $4 billion, and Cider, an Andreessen Horowitz–backed startup valued at $1 billion. Cider says it’s on-demand inventory makes it a more ethical fast-fashion option. That’s up for debate, though.

    Accel’s potential investment into Newme stood out to me for a few reasons, the largest of which is that I’m just not really sure why VCs back these companies.

    Fast-fashion companies gained rapid popularity and large followings because of their ability to bring clothes from the runway to your local department store in record time. But the fact is that often, they can only churn out clothes so quickly by cutting corners. The only way to make this strategy work is by using cheap materials and cheap — and likely underpaid — labor, and in many cases, by copying designs.

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    Rebecca Szkutak

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  • Lana Del Shill: On the Skims Campaign Everyone’s Gone Heart-Eyed For

    Lana Del Shill: On the Skims Campaign Everyone’s Gone Heart-Eyed For

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    For a while there, it seemed as though there was nothing Lana Del Rey could do right. It started at the beginning of her career, and then briefly tapered off during her Lust for Life through Norman Fucking Rockwell era. It was during the critical darling phase of Norman Fucking Rockwell, however, that things started to take a turn back toward 2011-2012 territory. And ultimately, all at Del Rey’s own hand. Or rather, social media outbursts. It began with her vitriolic reaction to Ann Powers giving her a positive review on NPR for NFR. The problem? Powers had the audacity to declare that Del Rey had a persona early on in her career: the Daddy-loving coquette queen being chief among them. Del Rey then clapped back, “To write about me is nothing like it is to be with me. Never had a persona. Never needed one. Never will. So don’t call yourself a fan like you did in the article and don’t count your editor one either—I may never have made bold political or cultural statements before—because my gift is the warmth I live my life with and the self-reflection I share generously.” Pretentious and ego-driven much?

    Almost as if to further insist—therefore, defy Powers’ assessment—that her Daddy-loving coquette queen persona has always been real, Del Rey opted to fall right back into it for her first ad campaign since the 2019 one she did for Gucci, also co-starring Jared Leto. The campaign was in promotion of the Gucci Guilty fragrance, though, as usual, the goings-on of the pictorial “narrative” seemed to have little to do with scent. Unless one counts being at the laundromat…there’s plenty of odors there. 

    At the very least, the campaign for Skims is able to be less abstract about what it’s promoting. Not just Kim Kardashian herself, but the Valentine’s Day “drops” she wants to sell out for the month of “love” (i.e., buying something for someone proving how much you love them because capitalism). On January 18th, the big announcement was made that Del Rey would be Skims’ “Valentine” a.k.a. their February shill. A key piece to moving this kind of product in an increasingly less romantic world. Indeed, it’s already been reported by Women’s Wear Daily that Del Rey “amassed $13.7 million in media impact value [for the brand] within four days, with Del Rey’s own Instagram post earning Skims more than $4 million.” This allure of Del Rey (particularly, for whatever reason, among the Gen Z crowd trying to lay claim to her the way they have with Mean Girls) has entirely superseded her brief bout with “cancellation” in 2020, after posting her infamous “question for the culture” and receiving backlash for her specific callout of women of color in it. Comparing her “struggle” to their so-called lack thereof.

    As if that weren’t bad enough, Del Rey then made matters worse for herself by soon after posting a video of people looting during the George Floyd protests in L.A., prompting Kehlani (one of the singers name-checked in her “question for the culture”) to tweet directly at Del Rey, “Please remove your Instagram post it’s dangerous as fuck and a very poor choice of moments to post. By all means protest, but DO NOT endanger people with your very massive platform. Oh and turn your fuckin comments on man.” Tinashe also weighed in on Del Rey’s recklessness for the sake of a social media post clearly meant to prove she was “down” two weeks after being accused of those racist undertones in her public missive. In slightly less gentle words, Tinashe tweeted, “Why the fuck are you posting people looting stores on your page literally WHAT IS YOUR PROBLEM.”

    As though not wanting to let the haunting comments of 2020 persist in 2021, Del Rey overcorrected by posting a picture of her then-new album cover for Chemtrails Over the Country Club at the beginning of 2021, foolishly commenting, “In 11 years working, I have always been extremely inclusive without even trying to. My best friends are rappers my boyfriends have been rappers. My dearest friends have been from all over the place, so before you make comments again about a WOC/POC issue, I’m not the one storming the capital, I’m literally changing the world by putting my life and thoughts and love out there on the table 24 seven.” Funnily enough, most of that extremely narcissistic statement sounds as though it could have come straight out of Kim Kardashian’s mouth. A woman, evidently, that LDR has “loved” for quite some time. Even before singing at one of her wedding festivities back in 2014 (a “gift,” incidentally, given to Kardashian by Kanye West…before Del Rey decided to write a damning lyric about him that goes, “Kanye West is blonde and gone”). Del Rey was, indeed, only too eager to tell Vogue, “I love Kim, and I love her family. Me and my sister are huge fans of them, and have been watching them forever.” That right there should be a major red flag to anyone who has insisted that Del Rey is some beneficent, selfless soul. For anyone who can see the Kardashians as something other than the very embodiment of the decay of America that Del Rey is meant to be “ironically” speaking on in her songs is not to be trusted. 

    And yet, now that Del Rey has reemerged from the other side of 2019-2021 unscathed and more revered than ever (how rapidly the public can forget back-to-back controversies), it appears as though she’s comfortable ruffling feathers again. Specifically, the feathers of those who would take issue with advocating for a brand (and the person associated with it) like Skims. That aside, Del Rey’s decision to align with the “body positive” juggernaut doesn’t feel like a coincidence. Almost as though she’s leaning entirely into her chili cookout and Waffle House era. Plus, despite any perceptions to the contrary (and also urging, “If you want some basic bitch/Go to the Beverly Center and find her”), Del Rey has always been, at her core, a basic bitch (cue the droning lyrics, “Put his favorite perfume on/Go play your video game” or “Blue jeans, white shirt”). She copped to it herself in a 2019 interview with Billboard as well.

    Thus, it was no surprise that when Vogue asked her, “What do you love about the pieces that Kim and Skims are making?” Del Rey replied, “Well, first of all, I just love how well it’s doing for her [insert gag noises here]. And second of all, I do wear basics on most days; I like wearing the little rompers, or onesies with a big t-shirt. I’m always curious to see what they’re going to do; it’s an ever-evolving brand. It started as kind of a niche brand [like Del Rey herself], and I feel like it’s grown into a thing where now my sister and my best friend Margaret [Jack Antonoff’s wife, one presumes?] are wearing it. All of a sudden you’re like, ‘Oh, you’re wearing Skims too,’ and you show up in the same outfit as you’re getting a coffee. It’s really kind of sweet.” If by “sweet” (also the name of one of her songs on Did You Know That There’s A Tunnel Under Ocean Blvd) what she means is: absolutely atrocious. For there is nothing more terrible, generic fashion-wise, than a world of women outfitted in Skims. 

    Except maybe a world of women outfitted in H&M. Which brings us back to 2012. Better known as the year Del Rey felt most comfortable being a shill. After all, everyone is obliged to be when they’re first starting out (even Madonna was no stranger to an early onslaught of ads, including ones for Mitsubishi and, of course, Pepsi). It helps not only get a still-unknown face “out there” for more audiences to see and “connect with” (if a “connection” can really be forged by wanting to look like someone who represents a false ideal), but it also helps secure one’s bag right from the get-go in case the fame game doesn’t endure. So secure it Del Rey did. Not just stopping at her H&M campaign (for which she sang a cover of “Blue Velvet” in a Lynchian-inspired commercial), but also continuing to lend her name for Jaguar’s F-Type that same year. “Burning Desire” was the song tailor-made for the accompanying commercial (which doesn’t look that dissimilar to the one for H&M, in terms of LDR standing on a red-curtained stage alone with a microphone looking “old-timey”).

    And so, here it bears noting that, when it comes to what she’ll shill, Del Rey has little discernment in how the products she touts affect the environment she claims to so love and care about (particularly on Violet Bent Backwards Over the Grass’ “Paradise Is Very Fragile”). What with fast fashion and fossil fuel emissions being at the heart (no Valentine’s Day pun intended) of environmental fallout. Any such love was also tossed aside when she opted to wear that Shein dress that everyone immediately flocked to buy (because, whether it was Shein or not, it was still fast fashion-y enough to find a knockoff on Shein that quickly sold out afterward—call it the Del Rey advertisement effect). 

    Her latest advertising foray for Skims only adds to the damning proof of that. For it’s not exactly under the radar anymore that Skims’—an “American” company—production and manufacturing occur mainly in China and Turkey, where labor laws don’t exactly live up to the Skims promise that workers will be “ensured fair wages, safe environments and healthy working conditions.” What’s more, the company is just as (Gucci) guilty of greenwashing as the aforementioned H&M, insisting that its packaging is free of non-recyclable materials, as well as plastic. A closer look at the fine print indicates that’s bullshit. And sounds almost as fantastical as a world where the U.S. nominates a (non-conservative) woman for president. Though, at the rate that Kardashian’s clout has increased even more since ditching Ye (even though, at the outset of their relationship, he was responsible for increasing rather than detracting from that clout), she might have a far more successful run for the presidency than her ex-husband ever did. And it would probably be endorsed by Del Rey while wearing the Velvet Lace Teddy in Periwinkle Multi.

    Doing her part to help obfuscate the problematic nature of Skims and its fast fashion manufacturing processes, Del Rey’s “innocent” coquette air is played up by photography from Nadia Lee Cohen (half Israeli at a time when no one in the media wants to talk frankly about Israeli-Palestinian “relations”). No stranger to photographing Del Rey after the March 2023 issue of Interview…not to mention doing the photoshoot for Kim’s Interview cover for September 2022. Lending her by now signature tinge of 60s aesthetic style to the Skims x Lana shoot, the audience is ultimately enraptured by the photos themselves, rather than the products they’re meant to represent. And yes, it’s a lovely set of photos, in and of themselves. Begging the question: why does it also have to be about selling something? Why does Del Rey, a self-declared “simple” singer-songwriter feel obliged to peddle these wares at this late stage in her fame game anyway, when money has never been less relevant to or needed for her artistic pursuits?

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    Genna Rivieccio

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  • Bangladeshi Garment Workers for Fast Fashion Brands Are Striking for Fair Wages

    Bangladeshi Garment Workers for Fast Fashion Brands Are Striking for Fair Wages

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    TORONTO, ONT - JULY 26: An H&M corporate logo hangs on a wall outside their store at the Eaton Center shopping mall on July 26, 2023, in Toronto, Canada.

    It’s been a decade since the infamous Rana Plaza Collapse in Dhaka District, Bangladesh. The tragic incident was the worst accidental structural failure in modern history and killed 1,134 people. This event was caused by a blatant disregard for workers’ safety. The building was showing signs that a collapse was imminent, and yet no repairs were done and workers were forced to keep stitching garments as usual.

    The Rana Plaza Collapse was supposed to be a turning point for all garment workers to gain more protection and earn fairer wages. Ten years later, garment workers are still sewing hidden cries for help in clothes and fighting for livable wages in brutal clashes with Bangladeshi police.

    Approximately 5,000 workers who were responsible for sewing clothes for Zara, H&M, and other fast-fashion brands went on strike for an increase in wages. It seems that the workers will not stop until they get $209 a month, since they’ve refused the measly 56% minimum wage increase. The workers’ demands aren’t even significant, since monthly costs for a single person in Dhaka are around $402 excluding rent.

    Protesters have had violent encounters with local police, resulting in multiple deaths and injuries. The police have used tear gas and rubber bullets against the striking workers. Trade unionist Nazma Akhter spoke to The Guardian, saying “The proposed new wage is unacceptable. We reject it and demand a revision,” adding “Global fashion brands must also speak out, … What use is all their talk of female empowerment when the women who make their clothes are being murdered on the streets?”

    The garment workers have the power to stagnate the country’s economy as well, given that Bangladesh is the world’s second-largest apparel exporter. Fast fashion clothing relies on overconsumption, as people buy more clothes they don’t need to keep these multinational corporations afloat. And since fast fashion isn’t produced to last, consumers are forced into a cycle or buying and rebuying.

    Workers have hardly anything to lose, and so much to gain by fighting for livable wages. So the next time a sparkly H&M dress goes on sale for the next Taylor Swift concert, ask yourself: why are concert tickets worth $400? And why are garment workers making barely anything to churn out fast fashion in dingy sweatshops?

    (featured image: Gary Hershorn/Getty Images)

    Have a tip we should know? [email protected]

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    Vanessa Esguerra

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  • High Fashion Meets Fast Fashion: H&M’s Collab With Mugler

    High Fashion Meets Fast Fashion: H&M’s Collab With Mugler

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    One of the most elusive parts about luxury fashion brands like Louis Vuitton, Mugler, or Dior is that they don’t produce their clothing in a timely manner with cheaper fabrics to fit trends. They dictate the trends, while fast fashion brands like Shein, Forever 21, and H&M rush to copy them. Fast fashion is always more affordable, but is equally guaranteed to fall apart within three washes.


    Mugler is known for their architectural style. Think corsets, broad shoulders, and cinched waists – it’s about illusions and futuristic looks, and Thierry Mugler’s visions have been worn by celebrities like Cardi B and Bella Hadid on red carpets and runways across the world. And now, they’ve decided to collaborate with fast fashion’s finest: H&M.

    It’s a bit of a peculiar mashup that doesn’t quite make sense. While I love the preview of the H&Mugler collection, which drops May 11, I can’t help but wonder why it’s happening. First of all, fast fashion is controversial on its own. Bad for the environment, bad conditions for their workers, bad materials, bad everything.

    But to attach Mugler’s precious luxury name to fast fashion is eyebrow-raising. H&M has some of the lowest-priced clothing available in your local mall, while Mugler is often sold in standalone stores surrounded by Gucci and St. Laurent buildings. However, for this collection, they’re said to be meeting in the middle, price-wise.

    Mugler’s creative director Casey Cadwallader has designed the collection to stay true to Mugler while bringing it into the homes of those who can’t normally afford the brand’s steep pricing.

    “I was determined for this collection to be true Mugler. The details and quality of every piece had to be exactly as we do them, and I wanted to showcase the energy of Mugler, which has always been about clothes that allow for personal liberation. You can be so many different versions of yourself in Mugler.”

    This collaboration isn’t that surprising for H&M, who has had several successful luxury collaborations in the past with brands like Karl Lagerfeld, Versace, and Kenzo. For this Mugler collab, H&M was looking to hone in on the silhouette-hugging, confidence-inducing Mugler classic look.

    “We are proud to celebrate the legacy of Manfred Thierry Mugler with this collection,” says Ann-Sofie Johansson, creative advisor at H&M. “We were all honored to get to know Manfred, and it feels very special that he was involved at the initial stages together with Casey and the house of Mugler. Casey has done such an incredible job at paying homage to history, and to the archive while making the collection totally contemporary. Under him, Mugler has become one of the most innovative and exciting houses on today’s fashion landscape.”

    Thierry Mugler was a favorite among all celebrities. He returned from a 20-year hiatus in 2019 to create Kim Kardashian’s wet Met Gala look. After passing away last January, this collab is said to honor Mugler’s iconic looks in his memory.

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    Jai Phillips

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  • Must Read: What’s Going On With Pyer Moss, Why Shein Is on the Decline

    Must Read: What’s Going On With Pyer Moss, Why Shein Is on the Decline

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    What’s going on with Pyer Moss?
    With Pyer MossKerby Jean-Raymond has become known for engaging in genuine political commentary, attracting support from the likes of Anna Wintour and Black celebrities such as Michelle Obama and Tracee Ellis Ross. However, despite the buzz, the brand seems to be falling short of expectations. Between complaints of poor clothing quality, disappointing reviews of its Fall 2023 couture show and the absence of shoppable online options, Pyer Moss exemplifies the difficulties of transitioning from an independent designer to a sustainable business. Furthermore, it sheds light on the insurmountable expectations for designers of color to consistently over-perform. {The Cut}

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    Angela Wei

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  • Chloë Sevigny Says There Will Always Be It Girls

    Chloë Sevigny Says There Will Always Be It Girls

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    Imagine you are hopped up on cough syrup awaiting the results of a Covid test. (It will be negative, but you don’t know that yet.) You are swaddled in a blur of plaid wool blankets; your throat is happily numb from a slather of Vicks VapoRub. Then your phone rings and it’s Chloë Sevigny.

    She is at a raging H&M party in Brooklyn, which might as well be Mars because you’re not going anywhere anytime soon. And as you drift between the waking world and the cherry-flavored sludge of “get well soon” vibes, you realize even if you were face-to-face with Sevigny, who’s a brand ambassador for the retailer, it wouldn’t entirely matter. That’s because although she is a very real human, she’s also a kind of fever dream—a full (and wonderful) human who is also a looming avatar of cool, a Gen X icon who appears on Gen Z vision boards. She’s also a meme, because: 2022.

    Here’s what Sevigny has to say about the plight of an It Girl, the sex appeal of cardigans, and the infomercial that saved her Miu Miu shirt.

     

    H&M Sequined Knee-high Boots

    Sequined Knee-high Boots

    H&M Sequined Knee-high Boots
    Credit: H&M

    What’s the oldest H&M piece you have in your closet?

    Well, when Humberto (Leon) and Carol (Lim) did their Kenzo collaboration, I still have the blue dress I wore from that campaign, and a lot of stuff from them. Oh! I also have the Margiela stuff from 2012. Remember that? I feel like that collection really put H&M on a different level, because who can just call up Margiela, you know?

    One of the arguments against fast fashion is that it’s not built to last. But you just name-checked H&M pieces from 10 years ago. What are your tips for making clothes—all clothes, not just expensive ones—last longer?

    First, you’ve got to hand-wash things and hang them dry whenever you can. I know it takes longer, and I know not everyone can make that kind of time. But if you can, and you have the patience available, you’ve got to do it. It’s cheaper than dry cleaning, anyway! And then think about your detergent. Because I have a small child, I’ve been using this fragrance-free wash from Seventh Generation on everything. And if you need to get a stain out from a piece—when I have to do that on my very old Miu Miu pieces they gave me when I modeled for them? I use OXY on those.

    The curtain cleaner from the infomercial?

    Yep. I just dip them in and it makes them bright white again. I’ve been doing that forever.

    H&M Rhinestone Earrings

    Rhinestone Earrings

    H&M Rhinestone Earrings
    Credit: H&M

    A lot of the clothes you mentioned are gifts. What’s the best fashion present you’ve ever received?

    You know, I just dug something out of storage. It’s a hand-knit cardigan sweater with my name sewn onto the front that Harmony Korine’s mother made for me. It’s so DIY and the care that went into it is pretty special. Patrick O’Dell photographed me in it [in 2005], but I’ve started wearing it again and it is still so good.

    I feel like JW Anderson is gonna make you another version. It’ll be the new Harry Styles cardigan.

    Wait, speaking of JW, I also have these things I call “Cinderella Dresses,” which are the clothes you wear once and have to give back to the designer. But every once in a while—not that often!—you get to keep them. So I have the JW dress that I wore to the Met Gala, and a Valentino dress from the Golden Globes, and they’re getting stored properly by Julie Ann Clauss—she’s The Digital Archivist on Instagram—so they don’t get messed up. There’s also an older dress from [Alexander] McQueen that is very, very special.

    It’s been 28 years since Jay McInerney profiled you in The New Yorker and named you the It Girl of the ‘90s. Do you think New York It Girls can still exist now, or has the internet made it impossible for someone like Julia Fox to attain that kind of cultural aura?

    I think there will always be It Girls, because there’s always going to be someone on the scene who’s extra spectacular. Whether it’s because of their natural style or presence or intellect—in many ways, it’s mostly intellect that sets you apart and lets you rise above the rest! Julia [Fox] sure, and also Paloma [Elsesser] and Hailey Benton Gates; they’ve all got that mix. They can light up a room, but they also can understand and calibrate the mood in those rooms.

    H&M Sequined Slip Dress

    Sequined Slip Dress

    H&M Sequined Slip Dress
    Credit: H&M

    I had no idea, but that’s great. I mean, unfortunately, Shattered Glass is very timely. Now with all the fake news, and the dialogue around journalistic integrity and clickbait, I think it is very timely. So it’s a good thing people are finding that story again!

    This interview has been edited and condensed for clarity.

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  • Online fashion retailer Asos, once a stock market darling, is in talks with lenders about hiring a restructuring expert

    Online fashion retailer Asos, once a stock market darling, is in talks with lenders about hiring a restructuring expert

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    Struggling online fashion retailer Asos Plc and its lenders are discussing whether to hire a restructuring expert following the departure of its chief financial officer. 

    A number of turnaround professionals held informal talks about a role, which would sit below executive level, but no decision has been made, according to people familiar with the matter.

    Asos’s lenders include Barclays, HSBC and Lloyds Banking Group. The banks are being advised by AlixPartners and Clifford Chance. Any appointment could potentially provide further support to Asos as it seeks to revive its fortunes after a steep drop in performance since the pandemic. 

    Asos, advised by PJT Partners Inc. and EY, is experiencing a tumultuous period as consumer demand is waning and costs are rising, thanks to a spike in wages and energy. Product returns are also surging. 

    AlixPartners and Asos declined to comment. 

    Asos has installed a new chairman and chief executive in the last 18 months and its chief operating and chief financial officer, recently left. Interim finance head Katy Mecklenburgh resigned about a week ago and will join Softcat in the spring. The talks with Asos’s lenders were prompted after Mecklenburgh’s departure was announced, and continued into last week. 

    Although the retailer successfully renegotiated the terms of its £350 million ($429 million) revolving credit facility in October, the extension only lasts until 2024 and Asos will need to renew discussions with lenders on the loan again next year. 

    Chief Executive Officer Jose Antonio Ramos Calamonte said in October that free cash flow this fiscal year would be zero at best and that the company would report a loss in the first half. Asos said its international operations were lagging expectations and cited problems with its supply chain. It also pledged to “strengthen” its leadership team. 

    In response to its challenges, the company is writing off as much as £130 million of stock, cutting costs and slowing automation in its warehouses. The retailer is also trying to drive the better performing parts of its business, such as its popular Topshop brand whose sales rose 105% in fiscal 2022. 

    It is relatively common for lenders to seek to bolster the financial department of companies in the event of a refinance.

    Founded in north London in 2000 by Nick Robertson and his brother with a small amount of seed capital, Asos was for many years a stock market darling amid rising sales and profits. That has changed, however, with the stock losing nearly 76% since the start of this year. 

    Mike Ashley’s Frasers Group Plc, which has bought a number of smaller retailers this year, including tailor Gieves & Hawkes, has increased its stake in Asos to just above 5%. 

    –With assistance from Irene García Pérez.

    Our new weekly Impact Report newsletter examines how ESG news and trends are shaping the roles and responsibilities of today’s executives. Subscribe here.

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    Sabah Meddings, Lucca de Paoli, Katie Linsell, Bloomberg

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