Textiles Fan Inflation Fears amid London Fashion Week

There are 94 designers participating at London Fashion Week. (AFP)
There are 94 designers participating at London Fashion Week. (AFP)
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Textiles Fan Inflation Fears amid London Fashion Week

There are 94 designers participating at London Fashion Week. (AFP)
There are 94 designers participating at London Fashion Week. (AFP)

Textile prices, like many raw materials, are soaring on resurgent post-pandemic demand and the rocketing cost of both energy and transport, industry experts say.

Cotton, linen, silk and wool, as well as synthetic materials derived from petroleum, faced surging prices in recent months, boosted also by the global supply-chain crunch.

As a result, red-hot inflation is now a major talking point at the industry's London Fashion Week showpiece, which runs until Thursday.

Price hikes represent a new challenge for the industry that has already been stricken by both Brexit and the Covid-19 health emergency.

- 'Impressive cotton surge' -
"The textile and clothing industry noticed an impressive surge in cotton prices," said the European association of textile producers, Euratex, in a statement sent to AFP.

"The restart of activity worldwide in 2021 and the increased demand from the textile industry have accelerated the mechanism of (market) tension on raw materials," it added.

"This has resulted in a shortage, and rising material costs."

Cotton, which had already surged almost 50 percent last year, peaked earlier this month at $1.29 per pound -- reaching a level last seen in 2011.

Organic cotton from key producer India has experienced buoyant demand due to low stockpiles.

The cost of wool and flax linen meanwhile rebounded between September 2020 and June 2021, having declined for almost three years.

- Impact of 'oil upswing' -
The industry has also been spooked by the sky-high cost of oil.

"The increase in oil prices have affected the prices of synthetic fibers ... as these are produced from petroleum-based chemicals or petrochemicals," Euratex noted.

Oil had threatened to top $100 a barrel last week on simmering tensions between Ukraine and key crude producer Russia.

"The ongoing upswing in oil prices is lending buoyancy because it increases the price of synthetic fibres that compete with cotton," added Commerzbank analyst Carsten Fritsch.

The price of man-made or synthetic fibers -- like acrylics, nylon and polyester -- have shot up.

Textiles also face the same snarled-up supply chains that have plagued economies worldwide.

Retailers and manufacturers will therefore struggle to meet rebounding demand, particularly for cotton, commentators say.

- Logistical headache -
"Demand is strong amid inflation concerns and logistical issues that make it harder for world buyers to source any cotton anywhere," Price Group analyst Jack Scoville told AFP.

Importers and exporters face a huge spike in transport costs, as reopening economies create feverish demand for container shipping.

Rogie Sussman Faber, owner of Chicago area company Vogue Fabrics, told AFP that transportation was their biggest issue.

"Here in the USA, we are more affected by the sharp rise in shipping than the price of the materials," Faber said.

Onward transport from the port of Chicago compounds that heavy burden, mirroring transit problems seen elsewhere.

"Since the onset of Covid, we have experienced a decline in truckers, and the transit companies have raised their prices to cover fuel costs and overtime (and) bonus incentives," noted Faber.



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.