April 15, 2025 • 18 mins
New Zealand fashion has had a shake-up in recent years – with both well-known and home-grown brands shutting up shop.
Kate Sylvester will shut their doors this year after 31 years of trade – and newer labels, Mina, Hej hej, and Nisa have all ended production.
The struggles are perhaps best epitomised by New Zealand fashion week, which cancelled its 2024 season after cancellations in 2020, 2021 and 2022.
And the issues show no sign of stopping, with global trade wars highlighting how many designers manufacture their goods in China, Vietnam and Cambodia – all hit hard by tariffs.
Today on The Front Page, to discuss the state of the industry, we’re joined by Viva’s departing fashion and creative director, Dan Ahwa.
Follow The Front Page on iHeartRadio, Apple Podcasts, Spotify or wherever you get your podcasts.
You can read more about this and other stories in the New Zealand Herald, online at nzherald.co.nz, or tune in to news bulletins across the NZME network.
Host: Chelsea Daniels
Sound Engineer: Richard Martin
Producer: Ethan Sills
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
Yoda.
Speaker 2 (00:05):
I'm Chelsea Daniels and This is the Front Page, a
daily podcast.
Speaker 3 (00:09):
Presented by the New Zealand Herald.
Speaker 2 (00:15):
New Zealand fashion has had a shakeup in recent years,
with both well known and homegrown brands shutting up shop
Kate Sylvester will shut its doors this year after thirty
one years of trade, and newer labels like Mina, Heyhei
and Nissa have all ended production. The struggles are perhaps
best epitomized by New Zealand Fashion Week, which canceled its
(00:38):
twenty twenty four season after cancelations in twenty twenty, twenty
twenty one and twenty twenty two, and the issues show
no sign of stopping, with global trade wars highlighting how
many designers actually manufacture their goods in China, Vietnam and
Cambodia all hit hard by tariffs. Today on the Front
(00:59):
Page to discuss the state of.
Speaker 4 (01:02):
The industry, we're joined by Weaver's departing fashion and creative director,
Dan Alwa. So Dan, when you think of New Zealand fashion,
what first comes to mind?
Speaker 5 (01:16):
That's a really great question. Has changed so much over
the years, but I think the first thing that comes
to mind is our innovation. You think of brands like
Untouched World, for example, who are such a stalwar of
New Zealand manufacturing. Their textile innovation is incredible. And over
the years, you think of designers like the ones that
(01:38):
showed at London Fashion We can the early two thousands
that cohort of Karen Walker's and Busy World. You think
of innovation, and you think of creativity, and because of
our proximity to the rest of the world, we just
are resourceful and.
Speaker 3 (01:52):
The textiles and stuff as well.
Speaker 2 (01:54):
Like you mentioned like Untouched World, I think of Marino,
you know, I think of Cashmere Juliet Hogan on the
world stage, those moments and those prints and everything. It's
quite nice to kind of look at a New Zealand
designer and kind of know that they're from New Zealand.
Speaker 5 (02:11):
Almost There's a huge appetite for New Zealand fashion on
the world stage and there will continue to be in
the past, now and into the future. Even now we're
looking at the incredible work that Ambia work Sted has
done for the Air New Zealand uniforms, and just recently
there's two Kiwi designers confirmed for the Australian Fashion Week
(02:31):
schedule in may Win, Hamlin and Paris, Georgia. So brands
like that will continue to fly the flag for New
Zealand fashion. And I think we really do punch above
our weight in terms of what we can deliver in
terms of fashion. Good design qualities really paramount and right
now we're thinking about how to close the gap and
make more of a circular economy around textile waste and
(02:54):
finding waste to be less wasteful with the way that
we consume.
Speaker 2 (02:58):
You've mentioned a lot of those big brands as well,
but there are also those smaller, down to earth kind
of homegrown brands as well. And I noticed that Nissa
is one of the latest brands to shut down. They
cited a continued decline in sales while costs kept rising.
In a statement that staff said, if we raise our
prices anymore to cover these our products will become less
(03:20):
attainable for our customers. Now, is that one of the
main hurdles for these local brands, the cost to actually
make things on shore.
Speaker 5 (03:28):
It's one of the biggest hurdles for all fashion brands
at the moment, whatever level you are, whether you're established
or emerging, and if you want good quality garments, especially
with the brand like Nissa who trade in undergarments. You
want these garments to last as long as as they can,
so to invest in good quality fabrics and to pay
(03:52):
people the fair wage to create these onshore, it does
require a lot of sacrifice, and I think there's a
disconnect between the consumer and designers, where designers are really
trying to focus on good quality manufacturing. There's not a
lot of manufacturing left in New Zealand, but the manufacturers
that we do have we have to try and support
(04:12):
because I think what people forget is they have the
power to spend money not only on the brands, but
they're actually supporting a whole infrastructure behind the designers. It's
the pantern makers, it's the suppliers, it's the logistics. So
there's a whole industry of people that we need to
get behind to really support the local industry to see
them survive. And so when you mentioned brands like that,
(04:35):
it is quite sad to hear because it has been
really challenging. There's just not enough of a market here
to scale. So they're comparing with ultra fast fashion, which
is the likes of Tamil and Shin it's really disheartening
for a designer to sort of compete with that competition
when the consumers are really stall driven by price. And
(04:55):
when you think about it, New Zealand Made it used
to have a really beautiful cachet when we had campaign
maybe I think in the late eighties, early nineties, and
today it's sort of is the same as a premium
Japanese denum, you know. I think New Zealand Made we
have to really think about what that actually stands for now,
and I think it's a really critical time.
Speaker 6 (05:16):
We're just going to keep growing a business, but it's
not just about growth. It's one of the things that
upset me early on was that no one could talk
about anything about how big businesses were or what the
GDP of the country was. There was no conversation about
what was happening to the planet and the people on
the way through to get those numbers. So we'll definitely
(05:38):
keep growing.
Speaker 2 (05:43):
How do we change the consumer's mindset into buying underwear
that cost fifty dollars but will last you potentially a
lifetime if you look after them, versus a pack of
ten for ten bucks.
Speaker 5 (05:57):
Yeah, I think we're just really spoiled by choice. I
think that's what we're comparing with in terms of these
fast fashion retailers. So when you work in media, when
you're talking to designers, we really have to nail the
message home that shopping local is better for the long term,
not for the short term. Buying underwear or bad quality
(06:18):
clothing that's destined for landfall will only last you so long,
so have to really educate consumers about that. So in
twenty twenty four, Mindful Fashion New Zealand teamed up with
EY to release a industry report called Threads of Tomorrow,
which was really a comprehensive lock at the wider industry
and how much value it brings to the economy. And
(06:39):
I think in twenty twenty three the fashion industry actually
accounted for one point nine percent of the GDP, which
is more than the building industry, but that's a paralleln
retail sector combine. So in terms of supporting the local
fashion industry, it's just really about getting behind our designers
and really changing the mindset of how we consume. Think,
(07:00):
you know, with the announcement of the tariffs, for example,
that maybe that will be it's sort of a wait
and see what will happen there because it's how that
impacts and trickles down to our designers. We've got to
really stay in touch with how that impacts them. It's
very much a wait and see.
Speaker 2 (07:15):
Yeah, and you mentioned the tariffs as well, and I
know that a lot of those She and Timmy, those
ultra fast fashion retailers that just pump out those micro
trends and trends, and that's what you see on the
TikTok the Instagram. That's what the kids are going for
those massive halls with all these clothes and everything. Hopefully
the tariffs, so that's the tariffs are going to make
those clothes more expensive to Americans. Do you think that
(07:39):
how Americans shop and how Americans treat trends does trickle
down to New Zealand and how consumers here feel?
Speaker 3 (07:48):
Yes, sir no.
Speaker 5 (07:48):
I think as New Zealand is because we're so isolated
by nature. We are opshop lovers, We love vintage. There's
an opshop in every small talent in New Zealand. And
I think we are pioneers in terms of sustainable fashion design.
So I feel like as a nation we are inherently
more connected to the environment. So yes, there's a truckle
(08:11):
down impact from the way that Americans consume, but the
way that we consume is a little bit different. So
I think that will serve us well in this period
while we're going through this change. And to go back
to your question around educating the consumers around being better shoppers,
I think we just have to keep reminding each other
that New Zealand is naturally concerned about the planet and
(08:34):
the environment, and we do have talented designers that are
coming up with solutions to be more sustainable designers.
Speaker 2 (08:51):
So I don't know about you, but I've seen online
videos of these Chinese manufacturers lifting the lead, so to speak,
on which high luxury ash and brands actually have their
goods made in China. So from Prita to Tzara to Lululemon,
people are thinking, well, why am I paying X amount
when it only costs so much to make Why do
you think people are so surprised by this.
Speaker 5 (09:13):
I think because we live in an era where everyone's
talking about digital marketing and marketing, and you know, consumers
are still there's like an allure to luxury. But I
think that's changing too. I think people are realizing, you know,
with a report like that factories make the same handbags
as they do for say a sublux brand like Michael
(09:33):
Cores or Caspade, and then it trickles down to something
that you might find in a department store. They all
come from the same factory at the end of the day.
I think it's a good thing that we're communicating that,
and I think the luxury industry should be more transparent.
And that's not to sort of paint all luxury brands
in the same light. I think there's something to be
said about brands that still manufacture and quality controlled factories.
(09:58):
So there's an artisanal aspect to luxury that is inherently
sustainable too. So yeah, it's an interesting one. I've seen
those tiktoks two and I think they're quite funny.
Speaker 1 (10:08):
This is Ermes Penny Himalaya. It is the shared dream
or Chinese women. No, not just Chinese, it is the
shared dream of all human women.
Speaker 3 (10:17):
Do you know how much it cost?
Speaker 1 (10:19):
That's the pootique two hundred and sinty thousand US dollars.
But do you want to know what the price we
have for our bag made by our factory. Well, I'll
just Terry Risk. That's the one tenth of the price
at the Potick. And what you should see and know
is that we use exactly the same leather. This is
crabile letter, exactly the same as Ermes.
Speaker 2 (10:43):
So jarring to see these brands and these clothes and
bags that we love so much, the Emes belt bag
or something, you know, and seeing them in that kind
of environment, it's kind.
Speaker 3 (10:54):
Of like a switch up, like oh oh wow. But that,
like you.
Speaker 2 (10:57):
Said, there are still a tilias in Paris. But at
the same time, you know, brands like Prata do manufacture
the goods in China because brands in France are seeing
the same thing as the brands in New Zealand, that
it's getting costlier to make stuff.
Speaker 5 (11:13):
And it's a whole education piece. And that's not to
say that making in China's bad. I think made in
China is really It's changed a lot over the years,
and some of those factories have cutting each technology that
you can't find anywhere. It's the reason why so many
of our designers manufacture in China. But you're right, I
think you know, it is quite gyring to see a
(11:35):
brand that's so world renowned, you know, made in these
factories and it might be certain categories. For example, you've
got the footwear in China, but then you've got sort
of the ready to wear in Paris. So it's kind
of like, I think it's a good thing that the consumer.
The more the consumer is educated, the better we are,
and it trickles down to how we consume locally.
Speaker 2 (11:56):
So I also read an article about the fashion industry
break for the impact of Trump's tariffs and a comment
about it potentially setting the sector back fifty years, right.
But then on the other hand, I read another article
that in the fifties and sixties, ninety five percent of
clothes that America wore were made in America, and that's
now two percent. So could a reset for the industry
(12:21):
actually end up being a good thing for local manufacturing.
Speaker 5 (12:25):
It's early days. I feel like it's watch and wait
and see, because you could see it both ways. But
either way, I think a reset is a really good
way to look at it. There are pros and cons,
and I think it also depends on the capability of
onshore manufacturers. Do we have the infrastructure still that we
used to have fifty sixty years ago? Does America even
(12:47):
have that? So we really have to question that and
look at our cottage industries. We have to look at
our makers, our knitters, our weavers and really kind of
find solution to come together to work together. And it's
one of the reasons why there's so few and far
between opportunities for the industry to connect. So I'm excited
(13:09):
also to talk about New Zealand Fashion Week coming back
because that is an opportunity to look at that event differently.
You know, I think a lot of the argument over
the years is that it's turned into some sort of
influencer playground. But one of the missions this is to
really connect with designers to come up with solutions for them,
to find ways to get people backshopping, supporting local and
(13:30):
working with designers to figure out how they want to
turn up. Designers don't have the resources that they used to,
So do they want to do an ind season store
event in store? Why not? You know? Does it always
have to be a runway show? Can it be conversations,
Can it be lunches. Can it be a chance to
network and meet people in real life? Because we just
currently don't have that. So I think the more that
(13:51):
the industry is able to have opportunities to come together
to meet other people in the industry, not just for
designers to meet other designers, but designers to actually connect
with the wider industry. I think that's when you can
start thinking about the solutions that are urgent and how
we can come together to talk to government about support
because there's just a huge lack of support there.
Speaker 2 (14:11):
And in terms of New Zealand Fashion Week, have you
seen any other fashion weeks around the globe that have
taken things from the runway, say, and taking them into
real world situations.
Speaker 3 (14:22):
What are some cool ideas that you've seen.
Speaker 5 (14:24):
Yeah, I think Copenhagen Fashion Week is one that we've
been looking at closely, just in terms of the way
they organize the programming. There's a diversity in programming that's
relevant to the consumer, which is really important. Traditionally New
Zealand Fashion Week's been a trade event, but increasingly it's
become more sort of half trade half consumer, which it
(14:44):
has to be to survive. And so some might argue
that it becomes a fashion festival and not a fashion week,
but it's sort of like, to me, they're both the same.
With semantics, It's like the public doesn't care it's a
week long event of fashion that they can be involved with.
I'm excited about that. And Copenhagen's really been a good
one to look up in terms of how they approach sustainability.
(15:05):
London Fashion Week's another good one. I think they really
made a huge commitment to making it actually a sustainable
fashion week across the board. So yeah, I mean it's
returning to New Zealand in August and I hope that
people turn up for it, and after a hiatus last year,
but it's a chance for us to really look at
(15:26):
what fashion means to us as New Zealanders, how we
can support our designers. Yeah, and a time where we're
sort of questioning our identity as a country, I think
how we get dressed in the morning is still something
that we have power over.
Speaker 2 (15:43):
And Dan Media Watch recently asked if there's life in
lifestyle journalism in New Zealand now, do you think that
there is and how does that flow onto the success
of our local industries.
Speaker 5 (15:55):
I think there is, you know. I think having worked
on beav and the brand and built it up with
a really great team for the last ten plus years,
we've seen changes come and go in the media in general.
Lead alone lifestyle. But I still feel like this value
with strong lifestyle content in a newsroom environment. Not everyone
(16:17):
wants to be bombarded with hard news every single day,
and I think there's value in lifestyle journalism. I think
even here at in Zinni, we have the best lifestyle
journalists in the country, so I think that's something to
be incredibly proud of. I'm excited, especially about the independent
lifestyle media that we have. You know, we've got some
great examples here like Ensemble Magazine, Capsule, even a heritage
(16:43):
magazine like Fashion Quarterly that's independent. So I think there's
room for everybody at the table. But I think we
also need to think about the quality of content that
we're putting out there and really investing in our lifestyle journalists.
Speaker 2 (16:56):
Are you optimistic for the future of fashion in news Land?
I saw just this week that Kate Sylvesta's sons are
actually going to keep one of her brands going despite
her namesake brand closing, which is an amazing development. Are
there more bright spots like this out there?
Speaker 5 (17:12):
I think there are, But I think, as going back
to Las Star Media, it's our responsibility to shine a
light on those stories as well as the closures, So
I'm excited about it. I think it's a brilliant story
because the boys three sons are all graduates of design
and they've been working with the business since they were teenagers,
(17:33):
so it's a natural progression for them. But it's a
really good timely conversation to have because we're thinking about
succession plans for some of our established brands. It's like
where to next when you've got people that are figureheads
in those businesses, but you know, getting on in age,
and I think it's really important to think about the
future right now. And I feel positive. You know, I've
(17:54):
been in this industry for over twenty years, and it's
you know, it's easy to be jaded in an economy
that's so small like New Zealand, but actually there's some
really great stories to continue telling and to celebrate. And
I think we're so creative and innovative, you know, as
a country, and I think that's something to still hold
on to.
Speaker 3 (18:13):
Thanks for joining us, Dan, Thanks.
Speaker 5 (18:14):
For having me.
Speaker 2 (18:19):
That's it for this episode of the Front Page. You
can read more about today's stories and extensive news coverage
at enzedherld dot co dot enz. The Front Page is
produced by Ethan Sills and Richard Martin, who is also
our sound engineer.
Speaker 3 (18:35):
I'm Chelsea Daniels.
Speaker 2 (18:37):
Subscribe to the front page on iHeartRadio or wherever you
get your podcasts, and tune in tomorrow for another look
behind the headlines.
Yoda.
Speaker 2 (00:05):
I'm Chelsea Daniels and This is the Front Page, a
daily podcast.
Speaker 3 (00:09):
Presented by the New Zealand Herald.
Speaker 2 (00:15):
New Zealand fashion has had a shakeup in recent years,
with both well known and homegrown brands shutting up shop
Kate Sylvester will shut its doors this year after thirty
one years of trade, and newer labels like Mina, Heyhei
and Nissa have all ended production. The struggles are perhaps
best epitomized by New Zealand Fashion Week, which canceled its
(00:38):
twenty twenty four season after cancelations in twenty twenty, twenty
twenty one and twenty twenty two, and the issues show
no sign of stopping, with global trade wars highlighting how
many designers actually manufacture their goods in China, Vietnam and
Cambodia all hit hard by tariffs. Today on the Front
(00:59):
Page to discuss the state of.
Speaker 4 (01:02):
The industry, we're joined by Weaver's departing fashion and creative director,
Dan Alwa. So Dan, when you think of New Zealand fashion,
what first comes to mind?
Speaker 5 (01:16):
That's a really great question. Has changed so much over
the years, but I think the first thing that comes
to mind is our innovation. You think of brands like
Untouched World, for example, who are such a stalwar of
New Zealand manufacturing. Their textile innovation is incredible. And over
the years, you think of designers like the ones that
(01:38):
showed at London Fashion We can the early two thousands
that cohort of Karen Walker's and Busy World. You think
of innovation, and you think of creativity, and because of
our proximity to the rest of the world, we just
are resourceful and.
Speaker 3 (01:52):
The textiles and stuff as well.
Speaker 2 (01:54):
Like you mentioned like Untouched World, I think of Marino,
you know, I think of Cashmere Juliet Hogan on the
world stage, those moments and those prints and everything. It's
quite nice to kind of look at a New Zealand
designer and kind of know that they're from New Zealand.
Speaker 5 (02:11):
Almost There's a huge appetite for New Zealand fashion on
the world stage and there will continue to be in
the past, now and into the future. Even now we're
looking at the incredible work that Ambia work Sted has
done for the Air New Zealand uniforms, and just recently
there's two Kiwi designers confirmed for the Australian Fashion Week
(02:31):
schedule in may Win, Hamlin and Paris, Georgia. So brands
like that will continue to fly the flag for New
Zealand fashion. And I think we really do punch above
our weight in terms of what we can deliver in
terms of fashion. Good design qualities really paramount and right
now we're thinking about how to close the gap and
make more of a circular economy around textile waste and
(02:54):
finding waste to be less wasteful with the way that
we consume.
Speaker 2 (02:58):
You've mentioned a lot of those big brands as well,
but there are also those smaller, down to earth kind
of homegrown brands as well. And I noticed that Nissa
is one of the latest brands to shut down. They
cited a continued decline in sales while costs kept rising.
In a statement that staff said, if we raise our
prices anymore to cover these our products will become less
(03:20):
attainable for our customers. Now, is that one of the
main hurdles for these local brands, the cost to actually
make things on shore.
Speaker 5 (03:28):
It's one of the biggest hurdles for all fashion brands
at the moment, whatever level you are, whether you're established
or emerging, and if you want good quality garments, especially
with the brand like Nissa who trade in undergarments. You
want these garments to last as long as as they can,
so to invest in good quality fabrics and to pay
(03:52):
people the fair wage to create these onshore, it does
require a lot of sacrifice, and I think there's a
disconnect between the consumer and designers, where designers are really
trying to focus on good quality manufacturing. There's not a
lot of manufacturing left in New Zealand, but the manufacturers
that we do have we have to try and support
(04:12):
because I think what people forget is they have the
power to spend money not only on the brands, but
they're actually supporting a whole infrastructure behind the designers. It's
the pantern makers, it's the suppliers, it's the logistics. So
there's a whole industry of people that we need to
get behind to really support the local industry to see
them survive. And so when you mentioned brands like that,
(04:35):
it is quite sad to hear because it has been
really challenging. There's just not enough of a market here
to scale. So they're comparing with ultra fast fashion, which
is the likes of Tamil and Shin it's really disheartening
for a designer to sort of compete with that competition
when the consumers are really stall driven by price. And
(04:55):
when you think about it, New Zealand Made it used
to have a really beautiful cachet when we had campaign
maybe I think in the late eighties, early nineties, and
today it's sort of is the same as a premium
Japanese denum, you know. I think New Zealand Made we
have to really think about what that actually stands for now,
and I think it's a really critical time.
Speaker 6 (05:16):
We're just going to keep growing a business, but it's
not just about growth. It's one of the things that
upset me early on was that no one could talk
about anything about how big businesses were or what the
GDP of the country was. There was no conversation about
what was happening to the planet and the people on
the way through to get those numbers. So we'll definitely
(05:38):
keep growing.
Speaker 2 (05:43):
How do we change the consumer's mindset into buying underwear
that cost fifty dollars but will last you potentially a
lifetime if you look after them, versus a pack of
ten for ten bucks.
Speaker 5 (05:57):
Yeah, I think we're just really spoiled by choice. I
think that's what we're comparing with in terms of these
fast fashion retailers. So when you work in media, when
you're talking to designers, we really have to nail the
message home that shopping local is better for the long term,
not for the short term. Buying underwear or bad quality
(06:18):
clothing that's destined for landfall will only last you so long,
so have to really educate consumers about that. So in
twenty twenty four, Mindful Fashion New Zealand teamed up with
EY to release a industry report called Threads of Tomorrow,
which was really a comprehensive lock at the wider industry
and how much value it brings to the economy. And
(06:39):
I think in twenty twenty three the fashion industry actually
accounted for one point nine percent of the GDP, which
is more than the building industry, but that's a paralleln
retail sector combine. So in terms of supporting the local
fashion industry, it's just really about getting behind our designers
and really changing the mindset of how we consume. Think,
(07:00):
you know, with the announcement of the tariffs, for example,
that maybe that will be it's sort of a wait
and see what will happen there because it's how that
impacts and trickles down to our designers. We've got to
really stay in touch with how that impacts them. It's
very much a wait and see.
Speaker 2 (07:15):
Yeah, and you mentioned the tariffs as well, and I
know that a lot of those She and Timmy, those
ultra fast fashion retailers that just pump out those micro
trends and trends, and that's what you see on the
TikTok the Instagram. That's what the kids are going for
those massive halls with all these clothes and everything. Hopefully
the tariffs, so that's the tariffs are going to make
those clothes more expensive to Americans. Do you think that
(07:39):
how Americans shop and how Americans treat trends does trickle
down to New Zealand and how consumers here feel?
Speaker 3 (07:48):
Yes, sir no.
Speaker 5 (07:48):
I think as New Zealand is because we're so isolated
by nature. We are opshop lovers, We love vintage. There's
an opshop in every small talent in New Zealand. And
I think we are pioneers in terms of sustainable fashion design.
So I feel like as a nation we are inherently
more connected to the environment. So yes, there's a truckle
(08:11):
down impact from the way that Americans consume, but the
way that we consume is a little bit different. So
I think that will serve us well in this period
while we're going through this change. And to go back
to your question around educating the consumers around being better shoppers,
I think we just have to keep reminding each other
that New Zealand is naturally concerned about the planet and
(08:34):
the environment, and we do have talented designers that are
coming up with solutions to be more sustainable designers.
Speaker 2 (08:51):
So I don't know about you, but I've seen online
videos of these Chinese manufacturers lifting the lead, so to speak,
on which high luxury ash and brands actually have their
goods made in China. So from Prita to Tzara to Lululemon,
people are thinking, well, why am I paying X amount
when it only costs so much to make Why do
you think people are so surprised by this.
Speaker 5 (09:13):
I think because we live in an era where everyone's
talking about digital marketing and marketing, and you know, consumers
are still there's like an allure to luxury. But I
think that's changing too. I think people are realizing, you know,
with a report like that factories make the same handbags
as they do for say a sublux brand like Michael
(09:33):
Cores or Caspade, and then it trickles down to something
that you might find in a department store. They all
come from the same factory at the end of the day.
I think it's a good thing that we're communicating that,
and I think the luxury industry should be more transparent.
And that's not to sort of paint all luxury brands
in the same light. I think there's something to be
said about brands that still manufacture and quality controlled factories.
(09:58):
So there's an artisanal aspect to luxury that is inherently
sustainable too. So yeah, it's an interesting one. I've seen
those tiktoks two and I think they're quite funny.
Speaker 1 (10:08):
This is Ermes Penny Himalaya. It is the shared dream
or Chinese women. No, not just Chinese, it is the
shared dream of all human women.
Speaker 3 (10:17):
Do you know how much it cost?
Speaker 1 (10:19):
That's the pootique two hundred and sinty thousand US dollars.
But do you want to know what the price we
have for our bag made by our factory. Well, I'll
just Terry Risk. That's the one tenth of the price
at the Potick. And what you should see and know
is that we use exactly the same leather. This is
crabile letter, exactly the same as Ermes.
Speaker 2 (10:43):
So jarring to see these brands and these clothes and
bags that we love so much, the Emes belt bag
or something, you know, and seeing them in that kind
of environment, it's kind.
Speaker 3 (10:54):
Of like a switch up, like oh oh wow. But that,
like you.
Speaker 2 (10:57):
Said, there are still a tilias in Paris. But at
the same time, you know, brands like Prata do manufacture
the goods in China because brands in France are seeing
the same thing as the brands in New Zealand, that
it's getting costlier to make stuff.
Speaker 5 (11:13):
And it's a whole education piece. And that's not to
say that making in China's bad. I think made in
China is really It's changed a lot over the years,
and some of those factories have cutting each technology that
you can't find anywhere. It's the reason why so many
of our designers manufacture in China. But you're right, I
think you know, it is quite gyring to see a
(11:35):
brand that's so world renowned, you know, made in these
factories and it might be certain categories. For example, you've
got the footwear in China, but then you've got sort
of the ready to wear in Paris. So it's kind
of like, I think it's a good thing that the consumer.
The more the consumer is educated, the better we are,
and it trickles down to how we consume locally.
Speaker 2 (11:56):
So I also read an article about the fashion industry
break for the impact of Trump's tariffs and a comment
about it potentially setting the sector back fifty years, right.
But then on the other hand, I read another article
that in the fifties and sixties, ninety five percent of
clothes that America wore were made in America, and that's
now two percent. So could a reset for the industry
(12:21):
actually end up being a good thing for local manufacturing.
Speaker 5 (12:25):
It's early days. I feel like it's watch and wait
and see, because you could see it both ways. But
either way, I think a reset is a really good
way to look at it. There are pros and cons,
and I think it also depends on the capability of
onshore manufacturers. Do we have the infrastructure still that we
used to have fifty sixty years ago? Does America even
(12:47):
have that? So we really have to question that and
look at our cottage industries. We have to look at
our makers, our knitters, our weavers and really kind of
find solution to come together to work together. And it's
one of the reasons why there's so few and far
between opportunities for the industry to connect. So I'm excited
(13:09):
also to talk about New Zealand Fashion Week coming back
because that is an opportunity to look at that event differently.
You know, I think a lot of the argument over
the years is that it's turned into some sort of
influencer playground. But one of the missions this is to
really connect with designers to come up with solutions for them,
to find ways to get people backshopping, supporting local and
(13:30):
working with designers to figure out how they want to
turn up. Designers don't have the resources that they used to,
So do they want to do an ind season store
event in store? Why not? You know? Does it always
have to be a runway show? Can it be conversations,
Can it be lunches. Can it be a chance to
network and meet people in real life? Because we just
currently don't have that. So I think the more that
(13:51):
the industry is able to have opportunities to come together
to meet other people in the industry, not just for
designers to meet other designers, but designers to actually connect
with the wider industry. I think that's when you can
start thinking about the solutions that are urgent and how
we can come together to talk to government about support
because there's just a huge lack of support there.
Speaker 2 (14:11):
And in terms of New Zealand Fashion Week, have you
seen any other fashion weeks around the globe that have
taken things from the runway, say, and taking them into
real world situations.
Speaker 3 (14:22):
What are some cool ideas that you've seen.
Speaker 5 (14:24):
Yeah, I think Copenhagen Fashion Week is one that we've
been looking at closely, just in terms of the way
they organize the programming. There's a diversity in programming that's
relevant to the consumer, which is really important. Traditionally New
Zealand Fashion Week's been a trade event, but increasingly it's
become more sort of half trade half consumer, which it
(14:44):
has to be to survive. And so some might argue
that it becomes a fashion festival and not a fashion week,
but it's sort of like, to me, they're both the same.
With semantics, It's like the public doesn't care it's a
week long event of fashion that they can be involved with.
I'm excited about that. And Copenhagen's really been a good
one to look up in terms of how they approach sustainability.
(15:05):
London Fashion Week's another good one. I think they really
made a huge commitment to making it actually a sustainable
fashion week across the board. So yeah, I mean it's
returning to New Zealand in August and I hope that
people turn up for it, and after a hiatus last year,
but it's a chance for us to really look at
(15:26):
what fashion means to us as New Zealanders, how we
can support our designers. Yeah, and a time where we're
sort of questioning our identity as a country, I think
how we get dressed in the morning is still something
that we have power over.
Speaker 2 (15:43):
And Dan Media Watch recently asked if there's life in
lifestyle journalism in New Zealand now, do you think that
there is and how does that flow onto the success
of our local industries.
Speaker 5 (15:55):
I think there is, you know. I think having worked
on beav and the brand and built it up with
a really great team for the last ten plus years,
we've seen changes come and go in the media in general.
Lead alone lifestyle. But I still feel like this value
with strong lifestyle content in a newsroom environment. Not everyone
(16:17):
wants to be bombarded with hard news every single day,
and I think there's value in lifestyle journalism. I think
even here at in Zinni, we have the best lifestyle
journalists in the country, so I think that's something to
be incredibly proud of. I'm excited, especially about the independent
lifestyle media that we have. You know, we've got some
great examples here like Ensemble Magazine, Capsule, even a heritage
(16:43):
magazine like Fashion Quarterly that's independent. So I think there's
room for everybody at the table. But I think we
also need to think about the quality of content that
we're putting out there and really investing in our lifestyle journalists.
Speaker 2 (16:56):
Are you optimistic for the future of fashion in news Land?
I saw just this week that Kate Sylvesta's sons are
actually going to keep one of her brands going despite
her namesake brand closing, which is an amazing development. Are
there more bright spots like this out there?
Speaker 5 (17:12):
I think there are, But I think, as going back
to Las Star Media, it's our responsibility to shine a
light on those stories as well as the closures, So
I'm excited about it. I think it's a brilliant story
because the boys three sons are all graduates of design
and they've been working with the business since they were teenagers,
(17:33):
so it's a natural progression for them. But it's a
really good timely conversation to have because we're thinking about
succession plans for some of our established brands. It's like
where to next when you've got people that are figureheads
in those businesses, but you know, getting on in age,
and I think it's really important to think about the
future right now. And I feel positive. You know, I've
(17:54):
been in this industry for over twenty years, and it's
you know, it's easy to be jaded in an economy
that's so small like New Zealand, but actually there's some
really great stories to continue telling and to celebrate. And
I think we're so creative and innovative, you know, as
a country, and I think that's something to still hold
on to.
Speaker 3 (18:13):
Thanks for joining us, Dan, Thanks.
Speaker 5 (18:14):
For having me.
Speaker 2 (18:19):
That's it for this episode of the Front Page. You
can read more about today's stories and extensive news coverage
at enzedherld dot co dot enz. The Front Page is
produced by Ethan Sills and Richard Martin, who is also
our sound engineer.
Speaker 3 (18:35):
I'm Chelsea Daniels.
Speaker 2 (18:37):
Subscribe to the front page on iHeartRadio or wherever you
get your podcasts, and tune in tomorrow for another look
behind the headlines.
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