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Bluestar enters new Brookstone license agreement with ULAC
Courtesy: Bluestar Alliance
Bluestar Alliance LLC, a company that manages and markets portfolio of department store retail brands, has entered into a new Brookstone license agreement with United Legwear & Apparel Co (ULAC) for ‘Nap Cozy Socks’. The Brookstone Nap Cozy Sock collection will launch in summer 2019 in department stores and specialty stores throughout the US and Canada.
“The Brookstone brand has always been associated with comfort and our Nap Cozy Sock offering is in great hands with United Legwear & Apparel,” said Joey Gabbay, CEO at Bluestar Alliance in a media release by Bluestar. “As we broaden our licensee roster, we are proud to be associated with such a high caliber partner. Quality is our prime objective and ULAC will undoubtedly exceed our expectations and those of Brookstone brand enthusiasts.”
“The Brookstone label is a strategic addition to the company’s current legwear assortment. Since 1965, Brookstone has been known for innovative, specialty items and unique lifestyle products; that’s why I really like the brand,” said Isaac E Ash, president and CEO of United Legwear & Apparel. “The super-soft nap fabrication that will be used for Brookstone socks will make them soothing and comfortable – perfect for relaxing and lounging. Strategically speaking, Brookstone will provide a different niche for ULAC in terms of specialised product and sales channels,” added Ash.
Bluestar Alliance’s current international and domestic partners offer the opportunity to take a niche brand to a visible worldwide lifestyle brand. Since its inception, the company has acquired select brands with retail sales expected to exceed $3.0 billion in 2019. The company manages a current portfolio of over 275 licensees and a growing branded retail platform of over 800 stores worldwide throughout North America, Europe, Australia, South America, Asia, Middle East and India. (PC)
Worn out: can fast fashion be sustainable?
Sorting through a lifetime’s worth of clothes is a personal reminder that paying more doesn’t guarantee durability, as Dr Mark Sumner told MPs
Your clothes will repay you with years of service if you treat them with the utmost respect, care and love. Photograph: Phairot Kaiwiriya/Getty Images/EyeEm
Irecently spent a day clearing out my late mother’s wardrobe. It has been two years since she died so it was time to move on. There were four wardrobes and two chests of drawers – 10 black bags full of clothes for charity. And seven large boxes of other pieces that I will wear myself, give to family and friends and sell to raise money for Kidney Research.
What struck me as I sorted through the rails was first, what consistent taste my mother had – lots of black, lots of layers – and second, how she never threw anything away. She didn’t buy clothes excessively, rather accumulated them over a lifetime. And every piece she bought, whether it was from St Michael (Marks & Spencer stopped using the brand on its labels in 2000), H&M (back when the labels read Hennes & Mauritz) or Helmut Lang, she treated as equals. A vintage kimono; a coat she made in the 80s from a Kenzo Vogue dressmaking pattern; the smart black jacket ordered from Asos; or the 40-year-old oversized T-shirt from Miss Selfridge were all immaculately kept, carefully hung up or folded, buttons all intact, not a stitch out of place. She did not differentiate between high-street bargains and Sunday best. She cherished all her clothes, whatever the price tag.
So, when Dr Mark Sumner, a lecturer in fashion and sustainability at the University of Leeds, told MPs at the environmental audit committee’s investigation into the sustainability of the fast fashion industry that high-street clothes can be more durable than designer ones, it resonated with me. “There’s no correlation to say that price will give you an indication to say which product will wear out,” he said.
Some fast fashion is cheap, nasty and will fall apart after a few washes. The same can be true of designer clothing. It is a misconception that expensive in any way equates to sustainable, or, as Dr Sumner says, durable (though it’s worth remembering that cheap clothes often mean labour exploitation). As my mother’s wardrobe testifies, if you have a good eye for clothes that are stylish rather than fashionable, choose carefully: look for the best-quality fabrics you can afford, and treat the clothes you buy with the utmost respect, care and love (yes, love). Your clothes – whatever the price tag – will repay you with years of service.
Priya Ahluwalia, winner of the H&M Design Award 2019. Image credit: H&M
6th Dec 2018
HELLA SCHNEIDER
Priya Ahluwalia’s focus on sustainable vintage fabrics and modern nineties nostalgia has won her the H&M Design Award 2019 – the brand’s annual prize for the best graduates around the world. Here, the young British designer chats to Vogue about her fashion inspirations.
This year’s H&M Design Award winner – graduate of London’s University of Westminster Priya Ahluwalia – says a lot about the fashion industry’s current drive for sustainability. The final took place in Berlin on November 28, a city known for championing youth and innovation, with a panel including Ann-Sofie Johansson, creative advisor at H&M, Vogue Germany editor-in-chief Christiane Arp and stylist Jan-Michael Quammie. Previous winners have included Stefan Cooke (in 2018) and Richard Quinn (in 2017), both graduates of London’s Central Saint Martins, known for their fresh forward-thinking approach to technique, silhouettes and materials. And this year has seen design taken to the next level, with a global eco-fashion focus.
Priya Ahluwalia convinced the judges mostly because of her sustainable approach, said Johansson – she works exclusively with vintage fabrics and uses second-hand clothing as the basis for her designs. It’s an issue that is becoming increasingly important to H&M, and the wider fashion industry, Johansson adds. After graduating with an MA in June, Ahluwalia launched Ahluwalia Studio, and the prize fund of €50,000 will no doubt help in furthering her success.
Here, Ahluwalia talks to Vogue about her sustainable vision, her love of menswear, how her dual Nigerian-Indian heritage influences her design and what she’s got planned for next year.
Vogue: Has it always been clear to you that you wanted to create menswear? Priya Ahluwalia: "That came pretty fast, yes. During my bachelor's studies, I started out designing womenswear, but after a menswear project, I realised I liked that a lot better."
But there doesn’t need to be such a big difference between the two, does there?"Yes, exactly! These divisions don’t have much to do with how people actually dress and consume fashion anymore. But, certain menswear traditions fascinate me, the sequence of designing and tailoring pieces. And there are interesting rules that have evolved over time."
For example?"For example, the patch on sportswear is always on the left side – traditionally you want it to sit over your heart, because you love your team so much. This kind of symbolism has brought me to menswear. And I love sportswear from past decades."
What’s your favourite decade?"The 1990s, of course. I really love it. I’m 25 now, so of course I’m nostalgic about the 1990s. But I also see great things from the 1980s, I’m discovering all kinds of new things from that era."
There’s a lot of nostalgia from Generation Y (born in the 1980s and 1990s) right now. How is it filtering into your designs?"When I design, I always look at old photographs, especially of my family. The silhouettes they used to wear always give me inspiration. One of my uncles is probably my most important muse – there is a picture of him in a down jacket that I keep thinking about."
One of your most important design principles is to use vintage pieces and fabrics. Have you always collected vintage clothes?"As a teenager, yes. I started when I was about 16. Finding good vintage wasn't that easy back then, today there are a lot more options. But at least the shops on Brick Lane in East London were still good and not as overpriced as they are today. One of my hacks at that time was to go to the richer areas of London, Richmond for example. People there threw away so much and so many good things, unbelievable! You could buy pieces by Issey Miyake for five pounds! Now, I also do a lot of online research. But actually there's nothing better than finding a good piece of vintage after hours of trawling through the shops."
Where do you find most of the materials you use for your designs?"There are huge depots that sort out second-hand clothing and merchants that deal in large quantities of fabric. Sometimes, I need flat fabrics to work with, sometimes I can deconstruct existing pieces. In my next collection, I will largely be using materials made from recycled plastic."
Your approach is very contemporary, but there used to be a lot of scepticism around recycling and sustainability in fashion. Have your tutors always been open to your way of working?"Some were more open, some less. But it has always been an advantage that I use a mix of existing garments and old fabrics. I also completely deconstruct and re-manufacture them – I cut them open, change the cuts completely, turn them around to make entirely new pieces. In a way, it just means there is one more task because I have to bring them back to their original fabric state. Many people didn't understand that. That's why they were looking at me quite critically for a long time. But during my master's, the time had come, I was fully supported in doing this."
Is the nostalgic aesthetic or sustainable process more important to you?"Both. I'm a nostalgic person, but I don't want to live in the past. The word sustainability sometimes scares me. Some people hate it. Maybe I wasn't any different back then, before I really started to deal with the global cycle of garments. Sustainable fashion had such a bad reputation for so long, it immediately made me think of something made of bamboo, which I certainly don't want to wear. At least that's how it's always been among my friends."
Today it's different."Right. Now that's changing because there's a lot of sustainably made stuff that people really want to wear. Now sustainability stands for cool, forward-thinking, with the future in mind. This is also important in my use of vintage clothing: that we think ahead. My fashion should not be a #throwback. I just want my audience to love the pieces – regardless of the fact that it is vintage and sustainable. If they think that's good too, great."
Do you aim to bring out new collections each season, or work towards a more permanent collection that will expand gradually?"At the moment, I'm working by seasons and I see the pieces as small capsule collections. There are always some pieces that have the same cut, but are made from different materials, as I only have a limited supply of each fabric. For example, if a store orders 3,000 of my red patchwork trousers, the patches will be different. So each piece is unique. I hope that this will encourage people to keep my pieces forever."
Which would also be very sustainable.
"Exactly. Many people forget that this is also what sustainability is about. Not only about how something is made, but also how long it is being worn. If someone buys a sweater in a fast-fashion store, but wears it for years and cares for it, then it can also be sustainable. It always depends on the point of view. Fast-fashion companies like H&M are also rethinking – case in point, they chose me as this year’s winner!"
Could your approach be commercialised?
"Recently, my main focus has been to find even better and more efficient ways of obtaining materials. But for now, that’s going to remain my well-kept trade secret..."
Tell us about the two journeys that have had a big influence on you: one to India and one to Nigeria."My mother is Indian and my father Nigerian. I went to Nigeria to visit him and some relatives, he now lives in Lagos again."
And that's where you went next?"Exactly, that made sense anyway, because my mother is from India and I hadn't seen my grandmother who lives there for such a long time. What I saw in Panipat was overwhelming and shocking. So much clothing that nobody wanted at first. Once you've seen that, you can't just sit back and do nothing. At least I couldn't. So it became clear to me which way my fashion should go."
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