The Business of Fashion Podcast

• Can Fashion Still Meet Its Climate Promises?

  As COP30 gets underway in Belém, a port city on the edge of the Brazilian rainforest, the mood is sober. A decade after the Paris Agreement was adopted internationally to limit global warming, many of the world’s largest fashion companies have fallen short on emissions cuts — and some are moving in the wrong direction, emitting pollutants at an even higher rate than in previous years.In this episode of The Debrief, senior correspondent Sheena Butler-Young and executive editor Brian Baskin are joined by BoF reporters, Sarah Kent and Shayeza Walid, to examine why progress has stalled, how fast-fashion growth is reshaping the landscape, and what practical steps — from decarbonising supply chains to adapting factories to extreme heat — are needed next. Key Insights: Kent says, “I would not say any brand has a credible pathway right now to meet their targets for 2030,” “Even companies that have shown that they’re able to reduce their emissions to date, driving down their carbon footprint over the next five years is going to be harder, more complex and more costly… and really no one company can do that alone.”Kent highlights the industry’s deep structural bind: “The fundamental conflict at the heart of the fashion industry’s climate commitments is that you’ve got a business built on extracting stuff and producing stuff and selling stuff. The more stuff they sell, the better the business does, but the worse the environmental impact is,” “Profitability and sales growth are fundamentally at odds with the environmental commitments companies have made.”Short-term thinking still in the boardroom locks in higher climate impacts, adaptation costs and supply-chain risk. As Kent puts it, “On climate, if you don’t act, you don’t have to make these big investments, and you can keep growing your business and things will trundle along for some time. But the longer you wait to act, the worse the climate impacts you’re going to have to deal with are going to be, and the higher the cost of mitigating them, adapting to them, and trying to continue this business in a climate-constrained world.”Voluntary commitments aren’t enough at fast fashion’s scale. Walid points to Shein: “Shein’s case is very instructive. There’s limits to voluntary commitments, which is what the majority of these brands have made.” She continues, “When the business model is built on speed and volume… it just shows that voluntary commitments are maybe not enough for a fashion brand – especially a brand as big as Shein – to actually tangibly reduce its emissions when its entire business case doesn’t stand for that.”Climate impacts are now serious human and corporate risks. “It’s not just a corporate issue anymore,” says Walid. “People who have the visuals recognise the reality of what’s happening in these factories and the people who are making clothes at the end of the day.” Kent adds: “People who are suffering from heat stress are not as productive… floods are disruptive to production, to logistics, to supply chains. Just because we have not yet seen a major disruption to the apparel supply chain from these climate crises yet is more luck than anything else.”Additional Resources:Can Fashion Still Meet Its Climate Promises? | BoF The Frayed Edge: Is Fashion Quiet Quitting on Climate? | BoF Hosted on Acast. See acast.com/privacy for more information.

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• Amber Valletta: ‘Do What You Love. Serve a Higher Purpose.’

  Amber Valletta grew up in Tulsa, Oklahoma, spending time on her grandparents’ farm. Her childhood was defined by open fields, a freshwater creek and a simple rule from her mother: go outside and use your imagination.At 15, a local modelling class set her on an unexpected path that would take her first to Milan, and then around the world. Within a few years, Amber became one of the defining faces of 1990s fashion — the Tom Ford Gucci era, the great editorials and the campaigns that shaped a generation’s idea of beauty.But by her mid-20s, success had taken its toll. Amber stepped away from modelling, got sober, became a mother, pursued acting and found purpose in environmental advocacy. Today, as a United Nations Environment Programme goodwill ambassador, she’s using her influence to push for real change on climate, biodiversity and pollution.“I don’t make my life all about me,” she told me. “I make it about other people too — about connection and love. When you have that, life is so much more enjoyable.” This week on The BoF Podcast, BoF founder Imran Amed sits down with Amber Valletta to trace her journey from Tulsa to the world’s fashion capitals, how sobriety transformed her life at 25 and why she believes fashion must finally take responsibility for its impact on the planet.Key Insights: Valletta’s childhood in nature forged a creative compass and the ability to adapt anywhere.That self-reliance became a career asset when she landed in Europe as a teenager: “I have this strange thing that I’ve always had — it’s like wherever you plant me, I grow. I’m like a weed or something, like an Oklahoma weed.” Those early years also taught her to observe and self-teach: “No one taught me. I just started figuring it out … you look, you watch, you listen.”Opening Tom Ford’s Gucci Fall/Winter 1995 show gave Valletta a once-in-a-career jolt. “When I walked out on the runway, it was probably one of the few times I’ve had that adrenaline rush … that spotlight came on and boom,” Valletta recalls. The moment was so impactful because it diverged from what dominated the time: “Nothing looked like that … it was like a shot of adrenaline for everybody,” she says.Valletta was recently named UN Environment Programme goodwill ambassador, where she is focused on climate change, biodiversity loss and on “fashion’s role as one of the biggest polluters.” The brief is practical: “We need to invest in innovation and investment in decarbonisation … We need all hands on deck. We need collaboration,” she says, warning, “If it doesn’t change, we’re going to implode on ourselves.”Valletta’s guidance for a fulfilling life is simple: “Do what you love. Serve a higher purpose. Enjoy the moment. Enjoy where you’re at.” She couples that with practical habits for staying power. “I ask questions, I show up with a lot of gratitude … I try not to do too much so that when I show up to work, I’m fully present for everybody.” Additional Resources: Amber Valletta | BoF 500 | The People Shaping the Global Fashion Industry Can Fashion Still Meet Its Climate Promises? | BoF Hosted on Acast. See acast.com/privacy for more information.

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• Why Is Everyone Obsessed With Accessories?

  Colourful charms, Labubu-laden handbags and a ring on every finger – accessories sales are booming. A surge of necklace stacks, playful rings and quirky charms is being driven by Gen Z’s push for personal style, using add-ons to customise minimalist wardrobes on a budget. With apparel prices up, accessories act as “little luxuries” and entry points into brands. Retail is responding, with buyers widening small-leather-goods assortments and e-commerce shoots now styling bags with charms to encourage add-on purchases. BoF reporter Diana Pearl joins The Debrief to unpack what’s fuelling the accessory pile-on, how labels are capitalising on it, and how far the trend can go before the cycle turns. Key Insights: According to Pearl, Gen Z is reaching for accessories as a way to personalise their minimalist wardrobes. “Gen Z, which is really looking to define their sense of personal style, is leaning on accessories to do so, especially because minimalism in clothing is still very popular… but they also wanna have a little more fun and accessories are a way to do that,” she says. Regarding the longevity of this trend, Pearl adds, “I think we'll see a consumer that is primed to think of accessories as a more important part of their wardrobe – not just like a finishing touch, but a core element of it.”The Labubu craze captures the mood of the accessories trend – playful, collective and endlessly customisable. “There’s so many different Labubus. There’s a bit of that thrill of the hunt to try to find the right one. You can add it to an Hermès bag or a $100 leather tote from J. Crew,” says Pearl. For many shoppers, she says, “it really speaks to that desire for fun and adding a personal touch. People want things that make them feel good.”While luxury houses profit from entry-level add-ons, Pearl sees independent makers riding the wave. “I think it probably is helping luxury brands but I think even more than that, it’s helping small brands that really can make these cute accessories that feel distinct and different from what everyone else has, because I think a huge part of this is that quest for personal style, wanting something unique,” says Pearl. Pearl frames the moment as a behavioural shift rather than a transient trend. She argues, “trends go away, but they never fully go away. I think every trend leaves a lasting impact or impression on us. Maybe Labubus, toe rings, and bag charms won’t be quite as popular, but maybe they’ll evolve.” Crucially, “I think that this has unlocked something in people… it will have a lasting after effects of this trend, even if not everybody is wearing five necklaces at once in a year from now.”Additional Resources:How Far Can Fashion’s Accessory Obsession Go? | BoF Why Jewellery Feels Like a Better Deal Than a Handbag | BoFLuxury’s Untapped Opportunity in Men’s Jewellery | BoF Hosted on Acast. See acast.com/privacy for more information.

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• Why Robert Wun Ditched the Wholesale Model for Bespoke Creations

  Soon after sharing his graduate work from the London College of Fashion online, Hong Kong-born Robert Wun was approached by Joyce Boutique to buy his collection. Like many other independent designers, he found navigating the wholesale model challenging and during the pandemic he pivoted to serving clients with one-off, customised designs with couture level pricing. “I realised that, in order for me to have a strong wholesale business model or grow a brand, this is not the time yet,” Wun says. “For me to sacrifice all these years – to leave my family, to come all the way to London, to chase my dream – everything I create needs to have a responsibility, not only for myself but also for the message that I’m trying to relay.”This week on The BoF Podcast, BoF founder Imran Amed sit down with Robert Wun to discuss his path from Hong Kong to London to Paris Couture Week, and how he’s building a client-first business that protects his creativity while staying commercially viable.Key Insights: Hong Kong’s cultural imprint shaped Wun's eye from an early age. Growing up in a city he saw as a creative engine, Wun points to icons like Wong Kar-wai as inspiration, adding that “Hong Kong is almost a symbol of cultural leadership when it comes to Asia.” Wun recalls discovering how deeply global fashion intersected with the city, from Joyce Ma championing new designers to Jean Paul Gaultier creating stage pieces for musicians in Hong Kong. "You always had this idea that creativity was powerful ... but I think what changed was a shift in culture and economic power," he says.When pandemic lockdowns halted the regular fashion calendar, it provided a reset for Wun. Being forced to release his Autumn/Winter 2021 collection with an iPhone shoot done in his studio kitchen, made him prioritise meaning and message. “Everything I create needs to have a responsibility, not only for myself, but also for the message that I’m trying to relay,” he says. That conviction pushed Wun to prioritise work that is no longer “to make money” but rather “to communicate and be honest.” Wun has shifted from wholesale to bespoke orders and selective collaborations. “We are a team of almost twelve now. We’ve turned from not making any profit at all to actually starting to make profit since last year, and we’re almost doubling in terms of turnover by the end of this year,” he says. The core is a loyal private clientele, and demand is anchored in the US — particularly New York and Los Angeles millennials and Asian Americans — plus art collectors and couples seeking modern ceremony wear. “Our average for those couture orders ranges from £45,000 to £60,000,” Wun says, a mix that allows him to protect his creativity while running a commercially successful business.Additional Resources: Robert Wun | BoF 500 | The People Shaping the Global Fashion Industry Robert Wun: From Dalston to Place Vendôme | BoFThe Emerging Designers Pushing Fashion Forward | BoF Hosted on Acast. See acast.com/privacy for more information.

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• The Human Cost of Trump's Tariffs

  In late August, the US doubled duties on Indian goods to 50 percent, in what President Donald Trump described as a punishment for India’s purchases of Russian oil. Brands reacted immediately, postponing or cancelling orders and leaving factories in hubs like Tiruppur and Bengaluru half-filled. With shifts cut and workers laid off, the shock ricocheted through India’s export economy, exposing how little protection garment workers have while relief talks and trade diplomacy drag on.Senior correspondent Sheena Butler-Young and executive editor Brian Baskin are joined by BoF reporter Shayeza Walid to trace how trade policy in Washington quickly impacted the lives of India’s garment workers. Key Insights: The tariff that came into place at the end of August led some suppliers to feel “punished for something they didn’t have any hand in,” as Walid puts it. She adds: “That penalty was linked to India’s continued purchases of Russian crude oil,” and “it hit very fast because brands immediately reacted to it once the 50 percent came into place.”The disruption hit export hubs first and hardest. With brands reluctant to absorb the shock, factories have been left to “bear the brunt,” passing the pressure onto the most vulnerable link in the system. The result is workers facing furloughs, layoffs and open-ended uncertainty. “These workers are largely migrant workers who… don't have the power to collectively bargain and kind of demand what they have the right to”, says Walid. As a result, migrant garment workers are bearing the brunt through layoffs, furloughs and lost income. The response from Western brands has been silence and arm’s-length accountability, as most work through layers of sub-contractors in India. Walid says that, despite public rhetoric on labour rights, “in practice, there's not anything in place that would fix … these short-term contracts and brands not knowing where subcontracting factories are connecting with suppliers.” During Covid, watchdog pressure pushed some labels to repay cancelled orders, but “at this moment, that’s not something that we’re seeing,” Walid notes. In the meantime, a few large exporters are temporarily absorbing parts of the tariff to keep relationships alive – an approach suppliers themselves say is unsustainable – while smaller factories shut and workers absorb the shock.Beyond geopolitics, commercial terms and supply-chain opacity push risk onto workers. “It’s really the purchasing practice and the way contracts work in the supply chain. In the exporting industry, that leaves workers in this really helpless condition,” says Walid. Complexity of the system also weakens accountability: “It’s really extraordinarily difficult to get data and direct kind of causality from a particular brand,” and in hubs like Tirupur, “subcontracting factories are essentially the main suppliers to these bigger factories because they just get such large volumes.” Additional Resources:India’s Garment Workers Are Paying the Price for Trump’s Tariffs | BoF Trump’s 50% Tariff Sows Fear Inside Indian Apparel Hub | BoF Hosted on Acast. See acast.com/privacy for more information.

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