The Next fashion chain exceeded expectations for summer sales

High Street Steadfast Next saw better-than-expected sales in the summer with a strong trade in children’s clothing and household products, although formal wear and parties declined due to the pandemic.

According to Bosses, total sales increased 1.4 percent in the three months ended October 24 – or 2.8 percent if that includes consumer credit interest.

The company now expects an annual pre-tax profit of £ 365 million – £ 65 million more than originally – with an estimate that net debt will fall by £ 487 million to £ 625 million.

In a statement to the London Stock Exchange, Next said: “Sales results by product category remained very similar to the second quarter, with household and children’s clothing outperforming while demand for formal wear for men and women remained weak.

“Online sales remain strong both in the UK and abroad. In retail, suburban shopping parks continue to outperform major roads and malls.” “

The number of products sold at a discount – for sale – fell 12.3% year over year, although Next stated that this was due to fewer customers in stores and a focus on full-price warehousing.

Sales were particularly strong in the last two weeks of August as the government encouraged workers to return to their offices before Rule 6 was implemented.

They fell sharply in September, but accelerated again in October and outpaced sales a year earlier.

Online sales remained strong, increasing 23.1% in the three months to October 24, although in-store sales remained weak – a 17.9% drop over the period.

The boss outlined three scenarios for the main Christmas trading period and said sales could fall by 8% because of their “central scenario” which includes additional deadlock. Customers avoid busy businesses on Christmas Eve and increase self-isolation.

The “up” scenario predicts a period of flat sales compared to a year earlier, where “heavier deals are no additional hindrance for retailers” and no additional dead ends.

The “downside” will be a two week blockade which will reduce sales by 20%.

Then he added: “The biggest unknown is whether England, Scotland and Northern Ireland will follow Wales’ decision to close insignificant retail stores.

“A two-week blockade in England, Scotland and Northern Ireland in November will reduce full retail sales (weather permitting) by around £ 57 million.”

“We haven’t found any evidence of transmission of the virus in our stores, nor are we aware of any studies showing that household clothing and clothing pose a significant risk of infection.”

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Netflix’s Rebecca Mode is reason enough to take a look

If there is one thing the pandemic has confirmed, it is our need to flee.

And what better form of fantasy than the delicious adaptation of Daphne du Morier’s 1938 most successful novel Rebecca? Fortunately, the gods on Netflix created it, the fifth adaptation of the hit novel, the last interpreted in 1940 by Alfred Hitchcock.

Rebecca with Armi Hammer and Lily James is a dark tale about sex, murder, power, jealousy and gender, and tells the story of an unnamed engineer who marries a wealthy widower and moves into his spacious Cornish home, Manderley. Regardless of the context that seems romantic, this story is far from a love story.

The character James, who is intentionally unnamed throughout the story, goes from dirty to fairy in practical time.

James begins his journey in his character costume and first appears in the film, clad in a lifeless brown skirt. Even though skirt suits were featured at some of the brand’s latest events in Spring / Summer 2021 (i.e. Chanel, Dior and Mulberry), they shouldn’t be trending in this case.

“We started with her as a little girl from a gloomy woman, and then she became a romantic character when she fell in love with Maxim,” costume designer Rebecca Julian Day told the New York Post.

Day (whose previous projects include Bohemian Rhapsody and Rocketman) draws on vintage fashion photography in terms of film fashion and takes inspiration from Old Hollywood style icons including Catherine Hepburn, Greta Garbo and Marlene Dietrich.

As James’ character progresses, we see his transition from troubled maid outfits to bright and cool colors and silhouettes that reflect his new and growing relationship with Maxim, and towards the end of the film (so as not to spoil him), as he claims to be a woman in his house, she performs sharp coats and sewing styles in a variety of bold and lewd colors.

“I really want to understand the idea of ​​a woman who is really strong,” Day said in another interview. “Yes, he cracked and stumbled, but basically he is a very strong figure and I wanted to give a masculine silhouette that is not necessary, but something that reflects this strength.”

Big collared blouses have become fashion everywhere? Rebecca has a relationship. What mighty blazer should we buy to hone? You can expect a lot from them.

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The British Fashion Council announced a new format for the 2020 Fashion Awards

The British Fashion Council has announced a new digital format for the 2020 Fashion Awards, given the restrictions on major events and travel.

The annual World Creativity and Innovation Festival will take place digitally on Thursday, 3 December 2020.

The 2020 Fashion Awards honor and recognize designers, brands, creatives and individuals who have brought positive changes in the fashion industry this year. of those who have bravely faced this challenging time, with the active response of those who challenge prejudice in the fashion industry and strive for change.

Twenty individuals and brands were recognized and received the 2020 Fashion Awards for their special contributions.

Winners will be announced via short films documenting the 2020 fashion industry while compiling a list of next-generation leaders and opinion-makers to share their personal visions of this year’s highlights.

New Wave: Artists, a list of the most innovative and inspiring young creative talents from around the world, is also returning.

Stephanie Fair, President of BFC, commented, “It is more important than ever to recognize the people in the fashion industry who have played a vital role in this extraordinary year and who demonstrated the compassion and resilience of our industry. This is what the 2020 Fashion Awards are doing, attracting the attention of those who have demonstrated creative leadership and resilience over the past year. “”

Caroline Rush, CEO of BFC added, “The past few months have shown us that the fashion industry needs to be reset, which is why this year, under special circumstances, it was important for us to identify the people and companies that make up some of the most important and most challenging issues. our generation has played a role, and to protect those who have raised standards in areas such as diversity, sustainability and community sustainability. “”

The British Fashion Council also took the opportunity to announce the date of the 2021 Fashion Awards, which will take place on Monday 29 November 2021 at the Royal Albert Hall in London.

The ceremony will be rethought to reflect BFC’s new mission and with the aim of making technology and commitment at the center of it to drive innovation and new experiences.

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Maybe the shutdown wasn’t too bad for fashion.

The first virtual fashion season isn’t over yet – Michael Kors and Tori Birch are out next week, and Raf Simons will launch a women’s line under his own name on October 23 – but it’s clear to some designers that the good of a pandemic is creativity. It forces them to think differently. “We don’t do enough things in fashion,” Stella McCartney said in a webinar with reporters.

For years, McCartney showed off at the same location – the Opera Garnier – during Paris Fashion Week, although he doubts why the industry has stuck to a ritual for decades. This time, however, she went to Houghton Hall, a stately home in Norfolk, England known for the Richard Long Land Art series, and photographed their models on the lawn. It also creates the long-talked about A-to-Z sustainability manifesto and a growing number of brands are putting it into practice.

Nothing has changed more than John Galliano. Since becoming creative director Martin Margiela in 2014, former designer Dior has been practically invisible and has had limited contact with reporters and the public to seasonal podcasts. Anonymity was certainly part of Margiela’s story, which its founder eventually followed. But Galliano is an English punk star with Spanish roots who turned the track into theater with his own late 1990s skit-comedy performance. So the Northern European reserve mask never fits.

And thanks to COVID, he really got out. For Margiela, Galliano used a scene from what is perhaps the most tedious production in Paris – a model moving in a simple white room. But this time, Galliano wasn’t working on a live show, but with photographer Nick Knight in a 45-minute video. During the creation of the spring collection, he brought the audience to Margiela’s studio. The moment was cut short with a fantastic wedding scene in Argentina with lots of tango. It is the second Galliano and Knight film in early July – a first for haute couture – and it’s almost difficult to move on from a previously strict production.

Equally important are films reminiscent of Galliano’s creative intelligence.

For journalists, all of these videos, webinars, zoom interviews, albums and manifestations mean extra work, though useful. Before COVID, all you had to do was sit back and watch a show and then let your imagination run wild. I’ve been thinking a lot over the past few days about the advantages and disadvantages of the haute couture industry due to the effects of the pandemic. To some extent, Zoom’s calls and press packs serve to shut down your senses in my opinion. And because we experience all of these things remotely or digitally, what matters is how we see and interpret images.

What I see in the work of many designers – here particularly Galliano, McCartney and Christopher John Rodgers from America – is the gift of time. We take for granted that designers have time to get creative, but this is what they’ve been complaining about the most in recent years. The key shows the benefits of more time. This is evident in the accuracy of their ideas and especially in the quality and execution of Rodgers and Galliano.

McCartney often preaches against extravagance, but unlike the two dozen hot outfits at Houghton, his previous collection now looks too crowded. She perfected the sewing into a thin, sharp jacket with slightly fuller trousers. It was season in overalls and oversized coats – from The Row to Vuitton to Balenciaga, to Drownings. But McCartney got the proportions right. Her collection features sporty heels that are really cool, but instead of being literal, she confines herself to shapes, for example, biker shorts – then turning them into monochrome with powder blue lace that has been remodeled from her previous outfit. . In general, his appearance was younger and more appropriate, as if McCartney was pleased to have finally been fired from the Paris race.

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