Adidas and Puma Eye Chances in Soccer's Fashion Moment

FILE PHOTO: The Adidas logo is pictured in Herzogenaurach, Germany, August 9, 2019. REUTERS/Andreas Gebert/File Photo
FILE PHOTO: The Adidas logo is pictured in Herzogenaurach, Germany, August 9, 2019. REUTERS/Andreas Gebert/File Photo
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Adidas and Puma Eye Chances in Soccer's Fashion Moment

FILE PHOTO: The Adidas logo is pictured in Herzogenaurach, Germany, August 9, 2019. REUTERS/Andreas Gebert/File Photo
FILE PHOTO: The Adidas logo is pictured in Herzogenaurach, Germany, August 9, 2019. REUTERS/Andreas Gebert/File Photo

Sportswear brands like Adidas and Puma are seeking to take advantage of a flirtation with soccer by the fashion world to reach a new customer base, building in part on demand created by this summer's successful Women's World Cup.
With celebrities like Kim Kardashian seen attending matches and wearing soccer jerseys, clubs too spy new merchandising opportunities. One Premiership team has hired a creative director to expand its apparel offering, while Adidas in September launched an "exclusively off-pitch" apparel collection for some of the big-name teams it sponsors.
"The love-in between football and fashion is only just beginning," said Richard Busby, CEO at sponsorship consultancy BDS Sponsorship.
The Women's World Cup showed there is huge unmet demand for soccer-related merchandise for women: Nike drew a backlash from fans for not offering replica kits for England's Mary Earps and other goalkeepers playing in the competition.
But the trend extends to fashion-conscious fans of both sexes, Busby said. "Premiership clubs have a lot of wealthy supporters but very few of the items they sell appeal to them, whether men or women."
Second-division Greek football club Athens Kallithea is among those giving its jerseys a makeover. Its campaigns show women wearing the unisex tops with satin skirts and styled as smart casual clothing to wear out to dinner.
The ranges are designed to appeal beyond a club's traditional fan base.
Kardashian has been spotted wearing vintage Roma and Paris Saint-Germain shirts, while 20-year-old model Mia Regan paired an Arsenal shirt with a long denim skirt and boots at a Paris Fashion Week show in October.
In August, Crystal Palace hired Kenny Annan-Jonathan as creative director focused on apparel. He is expected to expand the range of clothing offered by the Premier League club.
HYPE AROUND FOOTBALL CULTURE
Adidas and Puma have long been associated with streetwear and pop culture.
But with the German companies each spending two-thirds of their annual sponsorship outlay on soccer, according to a GlobalData report published this month, football's fashionable turn could prove lucrative.
For Nike, which also invests significantly in basketball and college sports, soccer accounts for 48% of its annual sponsorship spend, GlobalData found.
"We are experiencing hype around football jerseys and general designs influenced by football culture across streetwear and fashion," said Puma's global creative director Heiko Desens.
Puma is seeking to further fuel that hype. Its newest footwear collaboration with popstar Rihanna's Fenty brand, launched last month, was a trainer inspired by cleats worn by the late, legendary Brazilian soccer player Pele.
The launch campaign featured Rihanna inside a giant de-constructed soccer ball. The shoes, priced at $170 for a silver colorway and $160 for a black and white model, sold out on Puma's website on the day they were released, Reuters reported.
"Puma has a higher sales exposure to women than Adidas or Nike, and the original Rihanna partnership in 2015 was really effective in helping it build strong demand and a lot of credibility with the female consumer," said Graham Renwick, analyst at Berenberg.
"So with the relaunch of this partnership Puma will be hoping for a similar response."
Adidas's apparel range for Arsenal, Bayern Munich, Juventus, Manchester United and Real Madrid, launched in September, included crop tops and dresses made in a jersey knit and featuring more subtle club branding.
"We want to cater to the needs of both the consumer who plays football actively and the consumer who is attracted by football culture," Adidas said.
High fashion is also getting involved: in May, Italian label Prada collaborated with Adidas on soccer cleats in three colorways including white, retailing for $595 a pair.
Liverpool and Newcastle United are also seeking to hire creative directors, in a trend that could change the dynamic between the Premiership clubs and their sponsoring brands.
Athens Kallithea and Italy's Venezia FC have used slick social media campaigns to sell apparel globally despite a smaller fanbase.
"There's a risk of tension with existing fans whenever you start moving beyond the core culture," said Athens Kallithea's president and creative director, Ted Philipakos. He said teams from the Premier League and Bundesliga had contacted him to learn from his strategy.
"It's a delicate balancing act that requires more nuance and sensibility than many big clubs tend to have," Philipakos said.



Chanel Goes to the Opera in a Gleaming but Designer-Less Couture Collection

 A model presents a creation by the creative studio of fashion house Chanel as part of their Haute Couture Fall/Winter 2024-2025 collection show in Paris, France, June 25, 2024. (Reuters)
A model presents a creation by the creative studio of fashion house Chanel as part of their Haute Couture Fall/Winter 2024-2025 collection show in Paris, France, June 25, 2024. (Reuters)
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Chanel Goes to the Opera in a Gleaming but Designer-Less Couture Collection

 A model presents a creation by the creative studio of fashion house Chanel as part of their Haute Couture Fall/Winter 2024-2025 collection show in Paris, France, June 25, 2024. (Reuters)
A model presents a creation by the creative studio of fashion house Chanel as part of their Haute Couture Fall/Winter 2024-2025 collection show in Paris, France, June 25, 2024. (Reuters)

The show must go on, with aplomb. Chanel’s latest couture display Tuesday was a finely executed collection channeling theatricality.

Few Parisian fashion houses can fill the Paris Opera and gain applause from Vogue editor-in-chief Anna Wintour and other luminaries without even having a designer. It's a testament to Chanel’s enduring power and its world-renowned atelier following Virginie Viard's abrupt exit on June 5.

Here are some highlights of the fall couture displays:

Chanel's opulence

Guests clutching Chanel opera glasses got happily lost as they explored marble staircases to find a stage in the Opera’s outer corridors, filled with red velvet opera boxes designed by French movie director Christophe Honoré. The stage was set with silhouettes evoking the opera and its heyday: dramatic capes, puffed sleeves and richly embroidered pieces.

The designs’ gleam rivaled only that of the sumptuous 19th-century atrium itself, with shimmering buttons and brilliant threads reflecting the light.

There were moments of drama, with guests reaching for their cameras to capture a black gown with puff sleeves whose feathers, beading and ribbons gleamed provocatively.

This season, there is a welcome move to less accessorizing, a departure from the hallmark of Viard. The focus was on the garments, highlighting the craftsmanship and luxurious materials. Feathers, tassels, embroidered flowers, precious braids, lacquered jersey, supple tweeds, silky velvet, illusion tulle, taffeta and duchesse satin adorned looks befitting the venue.

Although the necklines were a standout feature, the collection as a whole had a slightly disparate feel that sometimes seemed to lack a singular aesthetic anchor.

Chanel paid tribute to the ateliers of the "petites mains," or the dozens of artisans who work in six ateliers a stone’s throw from the venue.

Without Viard

Viard abruptly left after over 30 years with the brand. The overnight announcement of her departure was highly unorthodox, coming just weeks before the couture show.

Viard succeeded Karl Lagerfeld upon his death in 2019 and was his closest collaborator for almost 30 years. She had overseen record sales for Chanel, reaching a reported $19.7 billion last year. Ready-to-wear sales reportedly increased 23% during her tenure.

Yet in the fickle world of fashion, strong sales are not always enough. Viard’s tenure was dogged by controversy, most recently with criticism of her collections, including a poorly received mid-season show in Marseille. Viard faced backlash for runway shows that critics said lacked the grandiose flair defining Lagerfeld’s era, and she often received critiques for underwhelming design choices.

Though her appointment was initially seen as temporary, she was only the third creative director in Chanel’s over 100-year history after Lagerfeld and, of course, legendary founder Gabrielle "Coco" Chanel.

The fashion world speculates on her successor. Names like Hedi Slimane, Marine Serre and Simon Porte Jacquemus circulate, suggesting potential shifts in Chanel’s creative direction.

Mabille’s toast to glamour

Bubbles are never far away from the effervescent couturier Alexis Mabille.

Unfurling, undressing, and plays on corsetry were on the menu this season, starting with an opening number featuring a gleaming bustier that resembled an opening flower. The intimacy and ritual of getting dressed is a theme that pervades Mabille's work.

Varied looks sometimes surprised guests, such as a Bob Mackie-style feathered headdress that out-Cher-ed Cher. The extravagant piece had an almost equestrian flourish and was a real feat of couture execution, showcasing Mabille’s flair for Hollywood-inspired glamour.

A golden bullet creation, and a gleaming metallic power cape with an armor-like bustier, gave the collection a lot of attitude, if not always coherence. Mabille’s collections often embrace a wide array of silhouettes and themes, sometimes leading to a lack of unified narrative. However, the diversity is also part of his charm.