Latest news with #LVMH-owned
Fashion United
13-06-2025
- Business
- Fashion United
Louis Vuitton kits out Real Madrid
LVMH-owned Louis Vuitton and Spanish football and basketball club Real Madrid have announced a multi-year partnership. The French fashion house will provide formal travel attire for the men's and women's professional football teams, as well as the men's basketball team, Louis Vuitton announced on Friday, June 13. For the first time, Louis Vuitton placed its tailoring "at the service of athletes whose sporting achievements extend far beyond the stadiums". Caroline Weir and Athenea del Castillo in 'Louis Vuitton x Real Madrid' collection Credits: Louis Vuitton "We are proud to support a club whose history, marked by countless national and international victories, continues to inspire generations," said Louis Vuitton CEO Pietro Beccari. "Louis Vuitton and Real Madrid share fundamental values that have led them to the top of their respective disciplines, driven by a continuous quest for excellence, 'self-improvement' and a spirit of innovation." The Louis Vuitton menswear atelier, led by creative director Pharrell Williams, will be responsible for the collections created specifically for the players and other team members of the Spanish professional club. These include ready-to-wear clothing, shoes and accessories to be worn at official events, as well as pieces, bags and backpacks tailored to the players' travels. The focus is on a subtle balance of comfort, performance and elegance. "Real Madrid stands for excellence and evolution – always striving forward," said Williams. "This energy fuels what we do at Louis Vuitton. This wardrobe was created to move with that same spirit – pieces that travel with purpose, strength and style." Dani Ceballos in 'Louis Vuitton x Real Madrid' collection with matching suitcase Credits: Louis Vuitton The 'Louis Vuitton x Real Madrid' collections are intended solely for the teams and will not be available for sale. This article was translated to English using an AI tool. FashionUnited uses AI language tools to speed up translating (news) articles and proofread the translations to improve the end result. This saves our human journalists time they can spend doing research and writing original articles. Articles translated with the help of AI are checked and edited by a human desk editor prior to going online. If you have questions or comments about this process email us at info@
Yahoo
12-06-2025
- Business
- Yahoo
New CEO at WhistlePig Whiskey
US distiller WhistlePig Whiskey has named Charles Gibb as its new CEO. Gibb's appointment follows the departure of former CEO Jeff Kozak, who stepped down from the position to 'pursue other opportunities' in January. Following Kozak's departure, WhistlePig's board member Marty Birkel took on the role as interim CEO. In a statement, the Shoreham, Vermont-based distillery said Gibb's appointment comes at an 'inflection point' for the business and marks the 'next stage of evolution' for its WhistlePig brand and its 'super-premium' whiskey portfolio. Gibb has held previous roles at Fever-Tree, Bacardi, Diageo, and LVMH-owned Belvedere Vodka. Wilco Faessen, co-founder and chairman of WhistlePig Whiskey, said: 'Post an extensive search process, where we had an opportunity to consider various exceptional candidates, we are excited to welcome Charles to the WhistlePig team as we tackle the next phases of growth.' Just Drinks has asked WhistlePig Whiskey for an update on the company's latest financial results and share ownership but had not received a response at the time of writing. Gibb was credited with establishing Fever-Tree's operations in North America. WhistlePig Whiskey said he drove the mixer brand 'to the top of the ginger beer and tonic water charts', while broadening its relevance across a variety of consumption occasions. During his time at Belvedere Vodka, Gibb led global expansion initiatives, establishing partnerships such as Project RED and James Bond, 'elevating' the brand's worldwide presence, the rye and bourbon producer added. Gibb said: 'As a Scot, I could not be more excited to be joining this exceptional American whiskey brand. I thrive in an innovative, dynamic and entrepreneurial environment. 'I have been involved with start-ups, initiated new markets and transformed developed markets by breaking apart paradigms to accelerate growth. That is exactly what WhistlePig does with whiskey. We have the perfect mix to shake up the market. Or stir up, if you prefer.' "New CEO at WhistlePig Whiskey " was originally created and published by Just Drinks, a GlobalData owned brand. The information on this site has been included in good faith for general informational purposes only. It is not intended to amount to advice on which you should rely, and we give no representation, warranty or guarantee, whether express or implied as to its accuracy or completeness. You must obtain professional or specialist advice before taking, or refraining from, any action on the basis of the content on our site. Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data
Euronews
08-06-2025
- Entertainment
- Euronews
What will Jonathan Anderson bring to Dior as new creative director?
The world of football makes regular headlines for huge money-spinning transfers as fans eagerly anticipate what wonders players will bring to their team. This week has seen one of the biggest moves in the fashion business with the iconic French maison Dior now hoping Jonathan Anderson will liberally sprinkle his magic dust about its men's and women's collections to boost its fortunes. For almost a decade, the Northern Irish designer led the LVMH-owned Spanish fashion house Loewe – an unmitigated success story, increasing the brand's annual revenues fivefold. Now, he steps into a historic role at Dior, becoming the first person since Christian Dior himself to serve as its sole creative director. It's a major moment for the 40-year-old designer, whose journey began far from the runways of Paris. Born in Magherafelt, a small town in Northern Ireland, Anderson left home at 18 to pursue acting in the US. He later changed course and returned to Europe. Drawing on his childhood passion for theatre and costume, he decided to study at the London College of Fashion, where he graduated. Last year, Anderson was named one of the 100 most influential people by Time magazine, praising 'his innate understanding of how fashion and human behavior intertwine' and how 'his work is always ahead of the curve'. His sense of cultural timing has been noticeable throughout the years. Think back to February 2020, just before the world shut down, Harry Styles was rehearsing for the Today show in a colourful, patchwork JW Anderson cardigan. The knitted sweater quickly went viral on TikTok, where users began crocheting their own versions – unaware of just how much time lockdown would soon give them to perfect their craft skills. Another example is Rihanna's headline-making pregnancy reveal at the 2023 Super Bowl halftime show, where she wore a striking all-red jumpsuit and breastplate designed by Anderson. The bold look subtly confirmed her second pregnancy to millions watching worldwide, creating a viral craze. Or when Anderson decided to make then 87-year-old Dame Maggie Smith the face of Loewe campaign, showing that fashion doesn't have an age. In aVogue Business interview Dior CEO Delphine Arnault called him 'the most talented designer of his generation.' Praising his experience at Loewe and leadership within the group, Arnault added, 'He has great experience managing large teams, even though he is only 40. More importantly, he has a very clear vision for the brand.' Anderson steps into the role following former creative director for women's collections, Maria Grazia Chiuri. The Italian designer Grazia Chiuri was also celebrated by Arnault for her 'tremendous work with an inspiring feminist perspective and exceptional creativity, all imbued with the spirit of Monsieur Dior, which allowed her to design highly desirable collections.' Arnault said, 'She has written a key chapter in the history of Christian Dior, greatly contributing to its remarkable growth and being the first woman to lead the creation of women's collections.' Anderson is competitive by nature – something he may have inherited from his father, Willie Anderson, a former Ireland international rugby player. Anderson sees clear parallels between sports and fashion, once telling The Independent: 'Sportspeople are extremely competitive – to win. And in fashion, when you see someone do something brilliant, it drives you to do something better… to keep outdoing yourself". His parents have always been supportive. In an interview with The Irish News, they said, 'They believed in a kid who had monumental talent, and we were the same. We saw something in Jonathan. And then we went about ensuring in his early days that we could help him fulfil his dream. You'll do anything for your kid if you believe their dream is not something that's beyond them.' His father Willie even admitted that he and Anderson's mother Heather 're-mortgaged the house to try and get him through certain points.' In 2008, he launched his eponymous label, JW Anderson, in which LVMH acquired a minority stake in 2013. In 2015, JW Anderson made history at the British Fashion Council's Fashion Awards by becoming the first house to win both Menswear and Womenswear Brand of the Year in the same year. The brand is known for blurring the line between men's and womenswear, often labeled androgynous or gender-bending, though Anderson himself prefers the term "unisex". Thankfully for his parents and their home, Anderson has more than delivered. Due to conservation protection, shooting films at the Auschwitz site is not possible. In order to meet the needs of filmmakers, the Auschwitz Museum has made a digital replica, which was created "out of the growing interest of directors in the history of the German camp," explains Bartosz Bartyzel, a spokesman for the museum, in an interview with Euronews Culture. Euronews Culture: Where did the idea to create a digital replica of Auschwitz come from? Bartosz Bartyzel: The Auschwitz Museum has been working with filmmakers for many years - both documentary filmmakers and feature film directors. However, due to the conservation protection of the authentic Memorial Site, it is not possible to shoot feature films at the site. The idea to create a digital replica was born out of the need to respond to the growing interest in the history of the Auschwitz German camp in cinema and the daily experience of dealing with the film industry. This tool offers an opportunity to develop this cooperation in a new, responsible and ethical formula. Why is a replica necessary? B.B.: The regulations in force at the Memorial preclude the possibility of shooting feature films on the authentic and protected site of the former camp. However, filmmakers - especially those who want to reach for more narrative forms - need a space that allows them to tell the story faithfully. With a digital replica, they can do this without compromising the integrity of the historic site. Were filmmakers consulted with before the implementation? B.B.: In fact, it was the day-to-day collaboration with filmmakers and the production needs and challenges they reported that inspired the project. The idea was not detached from reality - on the contrary, it was born out of specific conversations, experiences and questions that had been coming from the creative community for years. Who was involved in the creative process? How long did it last? B.B.: The Picture from Auschwitz project is a joint initiative of the Auschwitz Museum, the Auschwitz-Birkenau Foundation and a team of technology specialists led by Maciej Żemojcin. The very concept crystallised over several months in the course of joint work and discussions. The technical team used the most advanced spatial scanning technologies to create a digital replica of the Auschwitz I camp. At the moment, the Foundation is making efforts to raise the funds needed to continue the project - to create a digital replica of the grounds of Auschwitz II-Birkenau, as well as the interiors of some of the buildings. What reactions did you receive after the announcement of the creation of the replica? B.B.: The reactions were definitely positive - both from the film community, which sees this as a viable and professional working tool, and from the general public, for whom this is an opportunity to learn about history in a deeper and more authentic way through the medium of film. The project has also been recognised in international debate, including at the Marché du Film in Cannes. Are there already willing filmmakers who will benefit from the replica? B.B.: We have already started discussions with the first filmmakers who have expressed an interest in collaborating using the digital replica. The details of these projects remain at the agreement stage for the time being, but we hope to be able to provide more information on the first productions soon. How has this project been funded and what will it take to sustain it? B.B.: The creation of the replica is financed by the Auschwitz-Birkenau Foundation from earmarked donations made by private donors. The Foundation is seeking funds to continue the project. Its assumption is that ultimately the maintenance and development of the programme will be financed through licence fees paid by film producers who will use the materials within the Virtual Film Location. This way, the project will become a self-financing tool, simultaneously supporting the educational and commemorative mission of the Memorials. What difficulties have arisen in implementing the project? B.B.: Such large and innovative projects always face difficulties. One of the biggest was, of course, obtaining adequate funding to start and develop the project. A key challenge was also the need to reconcile high-tech solutions with the very special status of the space we were mapping. Although we are working in a digital environment, we must not forget that every step we take concerns an authentic Memorial, which is subject to unique protection. This must be a priority thought in every action.
Business of Fashion
07-06-2025
- Business
- Business of Fashion
Fashion's Musical Chairs Ends — With Men in Almost Every Seat.
LOS ANGELES — This week, with the confirmation from LVMH on Monday that Jonathan Anderson is taking over creative direction of the women's, men's and haute couture collections at Dior, all of the empty chairs at fashion's top houses have now been filled. The pieces are now in place for the biggest fashion month ever this autumn. Among all the creative reshuffling, three of our industry's most talented designers have ended up with three of the biggest jobs at a critical time when luxury is facing a global downturn. In addition to Anderson's new role at LVMH-owned Dior, Demna is gearing up for his debut at Gucci, which will come after his final couture show for Balenciaga in July, and Matthieu Blazy is now installed at Chanel. That most of the big design roles have been filled by men has been a big topic in fashion of late. Save for Sarah Burton at Givenchy, Chemena Kamali at Chloé, Veronica Leoni at Calvin Klein Collection, Louise Trotter at Bottega Veneta and Silvia Venturini Fendi at Fendi, all of the big jobs in fashion are occupied by men. Loewe, Balenciaga, Jil Sander, Celine and Maison Margiela have also appointed men as creative directors. On Thursday, I popped into Neiman Marcus in Los Angeles, to take the temperature of what all of these changes mean. The store was a ghost town with nary a customer in sight. Admittedly, it was only 10:30 a.m. — a bit early for a splurge, but the countless displays shilling luxury fashion and leather goods for 'up to 50 percent off' spoke volumes about the state of the business today. As I was examining the Burberry wares on the ground floor (lots of trench coats and accessories emphasising the Burberry check), one of the store's employees and a dedicated BoF reader approached me to say hello. I asked how business was doing and he simply motioned around the shop-in-shops by Dior, Chanel, Bottega Veneta and Loewe and said all of this is about to change. Customers (and Neiman Marcus sales associates) are mostly in wait-and-see mode, he said, as the upcoming fashion season will bring a lot of creative transformation. This is long overdue. Gucci is the lynchpin of the Kering group, where sales have nosedived. Revenues at Kering's flagship brand plummeted by 23 percent in 2024 to €7.7 billion ($8.8 billion), down from €9.9 billion in 2023. The decline worsened in Q1 2025, with a 25 percent drop year on year. The group's share price has tumbled by more than 60 percent over the last two years. Demna (Getty Images) When Kering executives announced in March that Demna would move from Balenciaga to Gucci in July, luxury market analysts and industry watchers scratched their heads. But I remain convinced that if Demna — one of the most gifted and thoughtful designers working fashion — is able to re-imagine Gucci and move on from his once ultra-popular Balenciaga aesthetic, this could be a very smart move because it simultaneously gives Demna a new creative challenge while breathing new life into Gucci, which accounts for more than 60 percent of Kering's profits. Then there's Chanel, where Matthieu Blazy is in the hot seat. Known for his incredibly creative, globally inspired, craft-focused fashion shows at Bottega Veneta, Blazy has been tasked with upping Chanel's fashion quotient. With the most well-defined codes of any luxury brand, as well as a slew of iconic products (think quilted leather flap bags like the 2.55, bouclé tweed suits and bi-colour patent shoes), the brand is pretty resilient even in times of trouble. Matthieu Blazy speaking at BoF Voices in 2023. (Getty Images) But without a strong fashion direction, Chanel's cultural relevance has waned since the passing of Karl Lagerfeld in 2019. Meanwhile, revenues fell by $1 billion in 2024, down 4.3 percent year on year, as Chanel continued to raise prices by an average of 59 percent between 2020 and 2023, leading customers to question the value of Chanel's products and pull back from the brand's core leather goods offering. Executives are counting on Blazy to bring back Chanel's fashion magic while they think about how to recalibrate their pricing strategy. It's a similar story at Dior, where prices increased by an average of 53 percent over the same period. LVMH does not break out individual brand performance, but said revenues declined by 'slightly more' than the average 5 percent decline in the group's fashion and leather goods division in the first quarter of 2025. In an in-depth interview announcing Anderson's appointment, Delphine Arnault agreed with me that pricing is a big issue to address. For now, she is counting on Anderson's creativity and a focus on customer experience in Dior's upcoming megastores in Los Angeles and New York, to help turn things around. Jonathan Anderson speaking at BoF Voices in 2023. (Getty Images) As I was walking the floor of Neiman Marcus it was hard not to note that with the departures of Maria Grazia Chiuri at Dior and Virginie Viard at Chanel, men are back in charge. While pricing and fashion oomph may have been challenges under their tenures, Chiuri and Viard both oversaw an unprecedented expansion of these megabrands post-Covid, leaving me wondering if what might be gained in fashion relevance could lead to a lack of the connection these female designers were able to foster with their female customers. I've been asking some industry insiders why there is such a paucity of women at the helm of the big brands. One person posited that it's because all of the number two designers — the first go-to when brands are looking to appoint a new creative director — are also mostly men. Seems like that old adage that we tend to pick people who look like us holds true in fashion as well. If this is indeed the case, the change we need to see regarding women in the ranks of the industry's top creative positions needs to start with some of these men appointing more women as their number two. Fine. But there has to be more to it than just this explanation. Truly understanding (and valuing) how women designers connect differently to their customers — and giving them the opportunities to demonstrate this — must also be part of the change. Otherwise, the reign of men in top jobs is set to continue. Imran Amed, Founder and Editor in Chief P.S. Please join us next Monday, June 9 and Tuesday, June 10 for The Business of Beauty Global Forum 2025 livestream with speakers including Hailey Rhode Bieber and Tracee Ellis Ross. Register now. Below are my top picks from our analysis on fashion, luxury and beauty this week: 1. Under Pressure: Can Fashion's Sustainability Efforts Survive? With the industry in tariff paralysis and policymakers rolling back regulation, sustainable fashion advocates worry the movement is running out of steam. (Christophe Stache/AFP via Getty Images) 2. Case Study | The New Rules for Getting Acquired. Securing an exit at a desirable valuation has gotten harder for start-ups in recent years. But brands with strong growth strategies and loyal followings can still attract buyers that will maintain their integrity while taking their businesses to the next level, regardless of economic conditions. 3. How to Revive a Sleeping Beauty Watch Brand. A group of investors is reviving the Danish watch company Urban Jürgensen, a 250-year-old name revered by connoisseurs but largely unknown outside that bubble. (Getty Images) 4. Is Nike Finally Winning With Women? With bold marketing, a revamped leadership team under new brand president Amy Montagne and star power from A'ja Wilson, Nike's long-promised women's push is starting to stick. (Courtesy/Courtesy) 5. Beauty's Hottest New Trend: The Founder Buyback. Original influencer Huda Kattan has regained majority ownership of her namesake beauty brand and sent a message to the greater industry: When it's time to course-correct, you need your best driver. (BoF Team) This Weekend on The BoF Podcast (Sporty & Rich) Emily Oberg grew up far away from the fashion world in Calgary, Canada. After moving to New York for a role at the media company Complex, Oberg quickly built her profile as a tastemaker in the streetwear scene. But eventually, she got the entrepreneurial itch and leveraged her experience to turn Sporty & Rich, which started as a mood board on Instagram, into a multi-million-dollar brand with a dedicated community following. On a recent trip to Los Angeles, I had the opportunity to sit down with Emily to reflect on her unconventional path into fashion, how she made strategic business choices to grow her business, and the significance of world-building in creating an aspirational lifestyle brand. To receive this email in your inbox each Saturday, sign up to The Daily Digest newsletter for agenda-setting intelligence, analysis and advice that you won't find anywhere else.
Fashion United
03-06-2025
- Business
- Fashion United
Mammoth task for Jonathan Anderson: What awaits the designer at Dior?
Jonathan Anderson's appointment as artistic director of both menswear and womenswear at Dior may have been long speculated and widely anticipated, but the now-confirmed dual role for the Northern Irish designer is nonetheless historic. With a somewhat understated announcement on Monday, Anderson becomes the first designer to lead all divisions of the storied French fashion house – including womenswear, menswear, and haute couture – since Christian Dior himself. Ten collections a year – and counting With great power, however, comes great responsibility. In Anderson's case, that responsibility will amount to ten collections per year for Dior alone, not including the six annual collections for his eponymous label, J.W. Anderson, or the two he designs in collaboration with Uniqlo. While many assumed Anderson would pause work on his namesake brand to focus on his expansive new role, particularly given the brand's absence from the February fashion calendar, he remains officially involved. According to The Business of Fashion, citing J.W. Anderson's chief executive, Jenny Galimberti, the designer will continue to oversee all six collections for his label. The workload is monumental, even for a designer known for his relentless pace and creative output. Since launching his brand in 2008, later backed by a minority stake from LVMH in 2013, Anderson has rarely slowed. When he wasn't creating for his own label, he was busy transforming Loewe, the Spanish, LVMH-owned fashion house he joined in 2013 at just 29 years old, from a relatively inconsequential brand into one of fashion's most sought-after and talked-about names, with annual revenues estimated at around 2 billion dollars. Even that, however, didn't seem to fully occupy his time toward the end of his tenure, as he also partnered with Italian film director Luca Guadagnino to design costumes for films such as Challengers and, more recently, Queer. All of this still seems a far cry from what Anderson is now set to take on at Dior, a maison with estimated revenues of 9 billion euro in 2023, according to HSBC. Until now, there has been one unspoken rule ever since Dior Men became an established line under Hedi Slimane in the early 2000s: no designer was to take on both womenswear and menswear simultaneously, as the workload was considered simply too immense. Former creative director John Galliano, who led womenswear from 1996 to 2011, cited the overwhelming demands – creating over 30 collections a year across both Dior and his namesake label – as the cause of his breakdown, drug abuse, and eventual scandal-ridden dismissal from Dior. Anderson 'the only option' for Dior Anderson does, without a doubt, appear far more level-headed than Galliano, less eccentric, too. But much like his predecessor, he is 'one of the creative talents of his generation,' as Bernard Arnault, CEO of LVMH, described him when announcing Anderson's appointment to the menswear line back in April. His daughter, Delphine Arnault, Dior's chief executive, used even more exuberant language in a rare interview with Business of Fashion, where she explained her decision to appoint the designer to the dual role. He had been the obvious choice, she said, calling him the most talented designer of his generation. Arnault, who first met him 13 or 14 years ago, also praised his loyalty, something he had already proven during his tenure at Loewe, while acknowledging that a designer as energetic and ambitious as Anderson would inevitably seek a new challenge. That challenge has now arrived. Dior is not only more than four times the size of Loewe in terms of estimated revenue, but also comes with a significantly larger team to oversee – not to mention the fact that Anderson is joining the house at a pivotal moment. Growth has slowed, and expectations are astronomical following what has been one of fashion's most drawn-out succession sagas. The speculation began when Kim Jones, then artistic director of Dior Men, resigned, and rumors swirled that Maria Grazia Chiuri, who led the brand's womenswear for over a decade, was also set to depart. At long last, that question has found its answer, even if it only opens up space for more questions, because what exactly the new Dior will look like remains to be seen. A unified vision to be unveiled at the end of June What is already known, however, is that Anderson's appointment signals more than just a creative shake-up – it represents a strategic shift for Dior. The house is now clearly pursuing a unified creative vision across all divisions, something that has historically been lacking, with distinctly different approaches often dividing menswear and womenswear. 'It's a lot of work,' Arnault acknowledged. 'But we think this will bring a lot of coherence – in the products, in the communications, in the windows.' Anderson's arrival, then, is set to usher in a new era for Dior – not just in aesthetic terms, but structurally as well. While it is safe to assume that his vision will depart significantly from those of his predecessors, it is rooted in deep research. In preparation for his debut, Anderson has reportedly spent time in the Dior archives, examining not only the work of Christian Dior himself but also that of the designers who followed him. Among the many house codes he's revisited, the new designer is said to be especially drawn to iconic pieces such as the Lady Dior handbag – and according to Arnault, he has been granted full creative freedom to reinterpret these elements in his own voice. That Dior would grant him such liberty, especially when it comes to leather goods, comes as little surprise. Anderson has already proven his talent for creating accessories that both captivate and sell, with Loewe's now-iconic Puzzle Bag from 2015 standing as just one notable example. One area where the newly appointed designer, despite his extensive experience, notably lacks expertise is haute couture, a discipline he has never officially tackled. While craftsmanship has long been a cornerstone of his work at Loewe, couture presents a different level of technical and artistic precision. It is, however, the one aspect of his new role that he will have time to ease into, with Dior opting to skip the upcoming couture season. The decision is not without context, after all Maria Grazia Chiuri's final collection for the house, though officially ready-to-wear, featured 20 couture-level gowns, likely occupying the ateliers well beyond the typical production timeline. As a result, the fashion world will first encounter the designer's creative vision for Dior through his menswear debut this June, most likely a strategic move. Launching with menswear not only gives Anderson a cleaner slate, distancing his work from the immediate legacy of Chiuri's womenswear, but also positions his first major statement outside of the crowded womenswear calendar. His debut women's collection is slated for Paris Fashion Week in September, a season already brimming with high-profile transitions at Chanel, Gucci, Balenciaga, Loewe, Bottega Veneta, Versace, and Jil Sander. By the time Anderson unveils his take on Dior womenswear, he will have already planted his flag – a move that may give him both clarity and momentum amid fashion's most competitive season.
