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Digital Director of ELLE Spain’s roadmap of digital transformation in fashion




Digital Director of ELLE Spain's roadmap of digital transformation in fashion

The Covid-19 pandemic has changed the roadmap of the fashion industry,
making digital transformation a top priority. What will happen to printed
magazines? How do you make yourself stand out on the web? How do you win
over the new generations? These are some of the keys that Amaya Ascunce,
the current Digital Director of ELLE Spain, has revealed to us. A digital
guru and literary critic from Navarre. Take due note of her answers,
because sometimes a crisis can become an opportunity.

You started out as an editor. How did you take the leap to the digital
world? And to the fashion world?

I started in printed form with beauty and health, but during my degree I
did the final project for a newspaper in html. That was a rare occurrence
in 2001, as there weren’t many people who knew how to programme, and
although as a journalist I didn’t need it, it has always been a plus that
has helped me to do many things on my own and to understand processes and
possibilities. I came to fashion through beauty, since they are closely
related in magazines.

Have you always been aware of the potential of the internet?

I have always loved the digital environment. I’m what’s called a heavy
user, anything they launch gets me hooked. I love trying out formats,
networks, surfing for hours… And I’ve always thought that it has a great
power. Above all, it allows you to produce content at a very low cost and
reach a large audience if you have something interesting to say.

It also allows you to create a lot of niche content. Someone who is very
fond of one subject can get in touch with another person on the other side
of the world who also likes jasmine-based perfumes. The problem is how
mainstream media with expensive structures and production costs fit into
this scheme. The chessboard has changed.

Digital Director of ELLE Spain's roadmap of digital transformation in fashion

How has the pandemic changed the future scenario for fashion

Printed fashion and non-fashion magazines are suffering a lot. Advertising
has plummeted at a time when there was already a crisis in the sector due
to the fall in printed copies. It also makes it very difficult to produce
stories, and the pandemic is forcing us to adapt much more quickly.

That being said, I think they will always exist, but they have to become
luxury items. Something similar to what happened with vinyl. They are still
sold but it is the minority, special, key piece… And then streaming
reaches the masses. I don’t think the future is only on the web, and even
less so if the web is free. Unlimited free content is not sustainable

Digital Director of ELLE Spain's roadmap of digital transformation in fashion

It seems that the pandemic has also slowed down the pace of fashion
shopping. Do you think it’s an illusion or a trend that’s here to

I think it’s the same as the printed magazine sector. It’s the result of
two crises. Saturation began to emerge from excess buying, collections,
clothes that we throw away… And the pandemic has shown us that we don’t
need to wear something new every week.

Although I think that when things get back to normal, there will be more
clothing bought than now, of course. Everyone wants to wear crazy things:
mini skirts, pink tones, lots of feathers… After so many leggings and
tracksuits, it’s normal.

Generation Z was born with a tablet under their arm. How would you
define them as fashion information consumers?

I think they have a different ideal body image. You only have to look at
the strong bodies of singers who are the stars of these generations. This
also changes fashion, the way of dressing and even the functions of

They seem to be freer, and what they ask of fashion allows them to adapt it
more than previous generations. Besides, it seems to me that there are no
longer any boundaries: genres, influences, tribes… Everything seems more

Does this generation read in print?

I don’t think they read newspapers or magazines and I have my doubts about
books. I think they read a lot but not in print.

What are the keys to a good digital strategy?

This question is complicated because it is one thing to have an audience
and another to have revenue. The key for the audience is to have good
content. Something true, good stories, and being clear and loyal to those
who read about you. That makes people share you, follow you, even if Google
changes its algorithm. Facebook makes you pay to boost your visibility and
Instagram only wants you to do reels…

If you do it well, the public follows you. The problem is profitability. I
don’t have the key but I think it’s a kind of Spotify of the media. One
part free and access to a lot of more exclusive content with a paywall. And
at the moment, that includes a lot of video. We’re not just talking about
articles, of course, but also podcasts.

What do you think about Big Data?

Every now and then there’s a boom on the Internet. We’ve gone from
influencer marketing to big data now. I think it’s useful and very
interesting but you have to know what it’s for and how to manage it. It’s
the same as with influencers, all brands launched campaigns but many
realised what they were or not interested in, or their audience didn’t
follow them, or they didn’t manage to change…

They are tools but you have to know if they are useful for your product.
Hype is not always for everyone. Or not just in any way. That said, what
could be more interesting than having access to an audience that is looking
for you or wants to buy from you? Well done, it will be very useful.

What advice would you give to a brand that is just starting out and wants
to go 100 percent digital?

I think that the most important thing is for them to have their own game
board. That they use the different tools to reach their client (networks,
Google, Seo, Sem, whatever) but that they have their own home (a website
for example, something that belongs to them and on which they can build in
the long term). There are people who only have something on IG, for
example, and they change the algorithm to show you your fans and you stop
seeing 80 percent of them. You must have alternatives. And the next thing
is to be very honest and sincere. The Internet doesn’t allow for smoke and
mirrors because you always get feedback.

Your first book started from a blog. Would you say that in a way the
internet has been your patron?

For me it has been an incredible tool that has allowed me to reach an
audience that would otherwise have been impossible. And all this from my
home, with a tacky design and a laptop. And those followers opened the
doors of a publishing house like Planeta for me.

I think you have recently made your debut in the world of newsletters.
Why do you think this new way of communicating is proving so

Yes, it’s called “Leer por leer” (, and
I already have more than 3000 subscribers. I think there is a boom now
(like podcasts) because they are a very good tool for creators. It allows
you freedom and also has the advantage of not depending on networks or
Google to reach people where the mainstream media play hard and small
creators find it more complicated.

What’s more, newsletters allow payment by subscription. In the United
States there are writers who make a living from that. I think that free
quality content is something that is going to disappear, or at least in
part. Because creators need to make a living from their work. In my case
it’s more of a hobby. I love reading and I feel like writing and the
newsletter allows me to set the rules for frequency, content… And also, I
don’t depend on social networks.

What do you like most about social networks? And what do you like the

What I like most is that they put people in contact with each other. I have
met many people and have great friends thanks to social networks. Also,
they give a small person a big voice. But in general I would say that I
don’t like them. They are created to spend a lot of time on them, and I
think they are a great source of dissatisfaction. Things aren’t always what
they seem. It happens to all of us.

I myself always end up posting pretty things… It’s OK, I’m 42 years
old… But sometimes I think how a teenager can live with the pressure of
seeing all the faces with filters. And then look at herself in the mirror.
Life is not social networks. Not at all. Maybe in a couple of generations
we’ll know how to use them better.

Give us a digital forecast for 2021…

I’m not very good at being a guru… I said in 2008 that Facebook was
finished, so imagine that! But well, I’m going to go for it. I think there
will continue to be a boom in video, and more so in streaming. The younger
generations consume a lot of video. Podcasts are going to have a lot of
advertising investment and in Spain newsletters are going to have a lot of
readers. Let’s see if I get it right this time, or at least a bit more than
in 2008. I think we are living in a moment in which everything has to be
real, of course. In digital, on paper, on a catwalk, or even in my own
newsletter… People want true stories.

This article was originally published on FashionUnited.ES

Crédito de foto: Amaya Ascunce, Freepik.

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Womenswear SS22 color trends





Womenswear SS22 color trends

Colour is key for consumers and SS22 saw fresh palettes that echoed the renewed sense of optimism happening amongst consumers. Soft eco influences, gender-fluid nostalgia and vibrant combinations bursting with positivity sought to reflect broader societal trends whilst still capturing the season’s playful mood.

Trendstop brings FashionUnited readers a first look at the key womenswear colour inspirations emerging on the Spring Summer 2022 catwalks.

Dry Leaf

Dry Leaf sees vintage influences meeting eco outlooks. A beautiful, natural colourway, it illustrates the importance of colour transeasonality. An innovative, emerging yet simultaneously timeless shade of green, Dry Leaf speaks to consumer desire for longevity and versatility and encompasses both feminine and masculine traits. In its merging of seasons and notions of gender, the colour is indicative of the cultural and mindset shifts happening across global society.

Womenswear SS22 color trends

Boyhood Blues

Boyhood Blues, shades often worn by boys in childhood, offer a more playful interpretation on a classic tone, with a touch of nostalgia underpinning the palette. Adopting traditionally boyish tones for womenswear reflects the move towards gender-neutral dressing. As trends begin to move more slowly and transeasonality increases in importance, vibrant spring-like shades transcend the seasons and work equally well into Fall.

Womenswear SS22 color trends

Playful Optimism

A key colour grouping for SS22, playful Optimism with its heightened sense of colour expression reflects the sense of joy entering the market as consumers gain more positive outlooks for the future. Though hues are vivid there is still a high level of curation, intelligence and thoughtfulness put into colour combinations. Although the palette is fun, it is not frivolous, maintaining the artfulness of the designs.

Womenswear SS22 color trends

Exclusive Offer:

FashionUnited readers can get free access to Trendstop’s Spring Summer 2021 Key Colour Directions Report. Simply click the banner to receive your free report.

Womenswear SS22 color trends is one of the world’s leading trend forecasting agencies for fashion and creative professionals, renowned for its insightful trend analysis and forecasts. Clients include H&M, Primark, Forever 21, Zalando, Geox, Evisu, Hugo Boss, L’Oreal and MTV.


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Video: Sarah Nouri SS22 collection





Video: Sarah Nouri SS22 collection

In this video, fashion label Sareh Nouri has presented its SS22
collection at New York Bridal Fashion Week (NYFW).

Watch the video below.

Do you want to see more clothing collections? Click here to view the FashionUnited Marketplace.

Video: VRAI Magazine via YouTube

Photo credit: VRAI Magazine, YouTube

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VF posts revenue and earnings growth, raises outlook





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Image: Supreme

Revenue at VF Corporation increased 23 percent or 21 percent in constant dollars to 3.2 billion dollars. Excluding the impact of acquisitions, the company said in a release, revenue increased 19 percent or 17 percent in constant dollars, driven by the EMEA and North American regions, which experienced a negative impact from Covid-19 in the prior year period.

VF’s wholesale business continues to be materially impacted by the timing of shipments due to port delays and logistics challenges.

“While the recovery has been impacted by further pandemic-related disruptions, we continue to see accelerating demand signals across our business, and our ability to reaffirm our fiscal 2022 revenue and earnings outlook is a clear testament to the resiliency and optionality of our model,” said Steve Rendle, VF’s chairman, president and CEO.

VF reports earnings growth in Q2

Gross margin for the quarter increased 290 basis points to 53.7 percent, and on an adjusted basis, gross margin increased 300 basis points, including a 20 basis point positive impact from acquisitions, to 53.9 percent.

Operating income on a reported basis was 558 million dollars and on an adjusted basis, operating income increased 56 percent or 53 percent in constant dollars to 534 million dollars, including an 8 million dollars contribution from acquisitions. Operating margin on a reported basis was 17.5 percent, while adjusted operating margin increased 360 basis points, including a 30 basis point negative impact from acquisitions, to 16.7 percent.

The company added that earnings per share were 1.18 dollars on a reported basis and on an adjusted basis, earnings per share increased 66 percent or 63 percent in constant dollars to 1.11 dollars, including a 2 cents contribution from acquisitions.

VF raises full year outlook, expects 30 percent revenue growth

VF added that for the full year revenue is expected to be approximately 12 billion dollars, reflecting growth of around 30 percent, including an approximate 600 million dollars contribution from the Supreme brand.

By segment, revenue for outdoor is now expected to increase between 25 percent and 27 percent versus the previous expectation of a 24 to 26 percent increase; revenue for active is now expected to increase between 35 percent and 37 percent versus the previous expectation of a 37 to 39 percent increase; revenue for work is now expected to increase between 19 and 21 percent versus the previous expectation of a 16 to 18 percent increase. International revenue is expected to increase between 24 percent and 26 percent.
By geographic region, in the EMEA region, revenue is expected to increase between 30 percent and 32 percent. In the Asia Pacific region, revenue is expected to increase between 12 percent and 14 percent. And, in the Americas (non-U.S.) region, revenue is expected to increase between 30 percent and 32 percent.

Direct-to-consumer revenue is now expected to increase between 34 percent and 36 percent versus the previous expectation of 39 percent and 41 percent, including Digital revenue growth of about 20 percent versus the previous expectation of 29 and 31 percent.

Adjusted gross margin is expected to be around 56 percent, which represents an estimated increase of around 270 basis points. Adjusted operating margin is expected to increase around 500 basis points to around 13 percent. VF further said that adjusted earnings per share is expected to be around 3.20 dollars, including an approximate 25 cents contribution from the Supreme brand.

VF’s board of directors declared a quarterly dividend of 50 cents per share, payable on December 20, 2021, to shareholders of record on December 10, 2021.

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