Memo: Olympic Fashion

With a market value north of $8 billion and an annual revenue mark that should surpass 2020’s mark of $6.16 billion, few are comparable to Ralph Lauren. And that may be why its reception at this year’s Tokyo Olympics has been as chilly as its cooling blazers. The New York Times’ chief fashion critic Vanessa Friedman recently reported on multiple advancements:

The navy jackets of the flag bearers Sue Bird and Eddy Alvarez incorporate what the brand has dubbed RLCoolant technology. [1]

The brand also graduated from synthetic fibers to manufacture technical denim, a much-welcomed advancement in an industry that companies like Ministry of Supply and Mizzen + Main pioneered in 2011.

Oh, and the “jeans” (of course, they had to have jeans: Ralph-the-designer even wears his own faded denim to black tie events) are made from a special new material the brand says is “free from synthetic plastics.” [1]

As a veteran of both the preppy wear and technical wear industries, I applaud these improvements. They deserve the spotlight, as does the company’s emphasis on domestic manufacturing. These are welcomed advancements and no one can test the market quite like RL. But the masses don’t see these developments as worthy of its great, international stage. Though Ralph Lauren has done a notable job outfitting the American athletes since 2008, a world of change has happened since. The brand is not suffering from a technical or a supply chain deficiency; it’s suffering from a cultural one. In The New Prep, I explained that Ralph Lauren, Tommy Hilfiger, and Brooks Brothers are at risk of being relegated to cultural irrelevance:

For retailers like Ralph Lauren and Tommy Hilfiger, African-American streetwear culture co-opted their styles. That new base of organic interest drove the two brands to extraordinary heights in the 1990s. Ralph Lauren Corporation (and its $5.5 billion market capitalization) remains a beneficiary of that accidental cultural impact.

Few could have predicted what has happened since 2008. Brands like Aimé Leon Dore, Noah, KITH, Telfar, Todd Snyder (owned by American Eagle), and Rowing Blazers have each contributed to a rewriting of what it means to be preppy. In ways – each their own – the brands acknowledged what Ralph Lauren didn’t during its most pivotal growth stage. There is a new American sportswear, according to GQ’s Rachel Tashjian. It’s authentic and inclusive.

The culture that accidently sparked a revolution for Ralph Lauren in the 1980s and 1990s has all but consumed preppy culture today. In the Hamptons, Rebekah Mercer lives in the same community as Sean Combs. At elite preparatory schools, teenage students arrive at their campus entrances in Jeep Wranglers listening to hip hop and wearing Jordan 1s with their school-issued plaids and khaki. The scenes harken imagery more from New Jack City than Cruel Intentions. Their pop culture idols have brown and black skin. And if they don’t, they were influenced by artists who do. On weekends, high school and college wardrobes of the preppy are influenced by StockX or Golden Goose. The very definition of American Prep has so far diverged from Lisa Birnbaum’s 1980 cult classic The Preppy Handbook that it might as well be a different genre of fashion altogether. Except it isn’t. It is truly prep.

A 1990 article in Utah’s 171-year-old daily paper Deseret News began:

If the 1980s were a movie – and the metaphor is almost unavoidable given actor/president Ronald Reagan’s domination of the decade – the credit lines would have to include costumes by Ralph Lauren. [2]

Fast forward to the Tokyo Olympics and Ralph Lauren’s expression of American preppiness is one of 1980s tradition, not 2020s reality. And when you present a notion of culture that doesn’t accurately reflect America, you see countless responses like the one below:

Mike Sington on Twitter: “Why is Ralph Lauren always selected to design the Team USA Olympic Opening Ceremony uniforms? Our American athletes are a diverse group, they’re not a bunch of preppy white people headed to Newport or the Hamptons. pic.twitter.com/JaTCH6tEu9 / Twitter”

Why is Ralph Lauren always selected to design the Team USA Olympic Opening Ceremony uniforms? Our American athletes are a diverse group, they’re not a bunch of preppy white people headed to Newport or the Hamptons. pic.twitter.com/JaTCH6tEu9

The problem with an overdone caricature of high society is that it bolsters the insinuation that places like Newport, The Hamptons, elite schools, and prestige industries (once notable for 80s yuppie culture) are devoid of others. It’s simply not true. There are Ivy educated bankers of color on Wall Street. There are culturally and ethnically-diverse students in the best schools. Very few dress like they’re mooring their schooner after a weekend on Block Island. Suggesting that Ralph Lauren’s version of American prep is today’s reality is to say that those who currently inhabit the culture do not belong. So where does that leave us?

While Ralph Lauren’s fortunes are much better than Brooks Brothers, there is undoubtedly a new guard.

It was presumably tweets like these that warranted a response from one of the most accomplished fashion writers in the industry. In that tweet, I noted:

This is probably the last year that Ralph Lauren outfits the Olympic team. The next design cycle will likely be a consortium of brands that define today. Noah, KITH, Aime Leon Dore, Todd Snyder, Rowing Blazers, Fear of God, Telfar, et al.

This wasn’t wishful thinking by any means. To be clear, it is unlikely that Friedman was referring specifically to my suggestion, but I take issue with the reasoning that she used to justify Ralph Lauren’s continued involvement. Friedman’s contention is simple: RL’s moat is economies of scale.

Vanessa Friedman on Twitter: “All those people calling for a new official Olympic outfitter for Team USA instead of more Ralph Lauren – I get it, but remember: they have to be able to afford making free clothes for 615 competitors plus coaches etc. There are limited designers with that budget. / Twitter”

All those people calling for a new official Olympic outfitter for Team USA instead of more Ralph Lauren – I get it, but remember: they have to be able to afford making free clothes for 615 competitors plus coaches etc. There are limited designers with that budget.

Scale isn’t as much of a moat as one would think. There are a number of individual brands birthed in the digitally-native era who could accomplish this on their own. These aren’t merely independent design houses, they are financed businesses in most cases. Skims, the company founded by Jens Grede and Kim Kardashian has raised $154 million over its two-year lifespan. The company made news by earning the role as the “official underwear provider of the US Olympic team.” Rowing Blazers outfitted a much smaller contingent in El Salvador’s Olympic team, a nod to the recently re-capitalized company’s American ambitions. And Telfar Clemens, the Queens-born, Liberian-American designer successfully outfitted Liberia’s Olympic team – a nod that he, too, would rise to the occasion if the US Olympic Commission chose to consider a redefinition of today’s American culture. The popular designer was recently thrust into the mainstream after Beyoncé was seen with one of his bags. As Beyoncé does, so does America.

The economics of the opportunity are nothing to minimize, to Friedman’s point. And while few brands have the balance sheet to supply 80 garments to 615 Olympic athletes, there are ways in which a task like this can be met. Step outside of fashion for a moment and you may find your solution.

This week, NOBULL has an annual event in its name, the rights to which were for 10 years synonymous with Reebok. The MLS Cup Champion Columbus Crew moved to a new stadium after a change in ownership and a reinvigorated interest in its role in the city’s culture. When the $314 million Lower.com Field was announced to the surprise of many, NOBULL was but three years old. According to Columbus Business First, the deal is valued at $3-4 million annually. The Olympics opening ceremony presents a similar opportunity.

It is not likely that you will ever see a fashion label name a stadium or a sporting event, but Halston (1976), Levi’s (1980 and 1984), and Ralph Lauren (2008 – forward) established a close enough proximate. If given an opportunity to elevate one’s brand on an international stage, it’s likely that a modern retailer would take the chance and raise the requisite amount to afford the project. This includes the 10% USOC royalty, official rights, and the cost of goods required to ship an entire season’s volume of units to an Olympic host country. In return, that brand receives earned media, opened doors, top of funnel interest, and perhaps the great story of Summer 2024.

There will be a brand that rises to fill the big shoes of Ralph Lauren. When their interpretation of classic Americana is televised and streamed across the globe, it won’t feel like a caricature of American preppiness. It will look like America. If Ralph Lauren chooses to hand the baton to the next generation of American brands, there isn’t a label that wouldn’t design, manufacture, and ship that honor. In fact, there are at least a few brands actively awaiting the opportunity. They’re prepared.

By Web Smith | Editor: Hilary Milnes 

Memo: In Good Fashion

The merits of fashion retail have never been logical but for the best operators, there is a way to make sense of the chaos.

Likeability, brand equity, and appeal can shift in an instant. But there are predictors of success and failure. Historical benchmarks have long been available to serve as guideposts for the savviest retailers looking to navigate tumultuous times of the present. Manufacturers have thrived during war, recession, protest, and pandemic, and only the poorer performers cited external factors as cause for concern.

A common misconception in the digitally native vertical brand industry is that the previous year of the pandemic is thwarting the growth of fashion retailers, harming sales projections, stifling growth, or shuttering doors. The hard data contends there’s more to the story. Of the current top 100 fastest-growing direct-to-consumer brands tracked by 2PM, 40 are fashion retailers, while four are in the top 10. This has been a breakout year for fashion.

Updated for the week of 2/8/2021

A number of modern brands deepened community and developed foundations for explosive growth over the last 12 months: Parade, Rowing Blazers, Madhappy, Aime Leon Dore, Tracksmith, Buck Mason, Gymshark, and Monica & Andy are but a few. For the retailers who struggled through the last year, this memo can serve as a helpful reset.

The average American buys a piece of clothing every five days. A study of historical crises will show that our behaviors do not slow to halt during moments of distress. Instead, they change; we allocate our spend differently. We limit our purchases to “affordable pleasures” or we shift to differing styles that represent the feel of the moment in question. We are wired to buy things to wear and we do so frequently, even the most frugal of us. What changes is how we express our individuality in evolving times.

Consider Ralph Lauren’s rise in the late 1970s and early 1980s despite a catastrophic American recession. A 1990 article in Utah’s 171-year-old daily paper Deseret News began:

If the 1980s were a movie – and the metaphor is almost unavoidable given actor/president Ronald Reagan’s domination of the decade – the credit lines would have to include costumes by Ralph Lauren. [1]

The designer identified and marched forward on a new approach to an established idea, the article explains: The New Traditionalism or “the baby boom’s kitschification of the middle age.” Lauren wasn’t the first; an even greater example of this strategy is 1947’s launch of then-obscure designer Christian Dior’s first line.

In 1947, my first collection was successful beyond my wildest dreams. 

After departing the army in 1942, the 37-year-old Dior joined the Lucien Lelong fashion house alongside a gentleman named Pierre Balmain, the house’s other primary designer. Drio, along with Lelong and Balmain, labored to maintain France’s fashion industry throughout World War II. Five years later, Dior launched his design house’s debut fragrance. The bottled Miss Dior perfume was a tribute to his sister Catherine who was liberated from a concentration camp just two years prior. Inspired by the country’s Belle Époque period of the late 1800s, Dior preceded Ralph Lauren in a period-driven return to tradition. It was his admiration of that period, 50 years on, that influenced a femininity in his design that would eventually take the contemporary fashion world by storm.

Fashion has never been logical. Sometimes, timing is as much a factor as anything else. For Dior, timing couldn’t have been better. Fast Company’s Liz Segran recently covered COVID-19’s effect on fashion trends. She cited Dior’s prescient strategy and brilliant timing:

During World War II, for instance, women wore jeans and overalls as they took over men’s jobs. Then, in 1947, Christian Dior unveiled his debut collection, which featured figure-hugging jackets, fitted waists, and A-line skirts. It was a radically feminine look that repudiated the utilitarian, masculinized garments of the previous years—and that was the point. Around the world, women swooned over this style, dubbed the “New Look,” which became a dominant fashion trend of the late 1940s and early 1950s. [2]

This next part is prescient. In that Fast Company report, Segran went on to explain the dynamic of women wearing men’s workwear, including overalls and denim, during the war. She cited author Kimberly Chrisman-Campbell explaining how, even after the war concluded and the pendulum swung to a radically feminine look, the fashion trends of the war persisted:

After a crisis, there is a backlash, but there is also a lasting effect. Both of these can be true at the same time.

The war years normalized a new era for womenswear, including pants and garments that were never before considered customary. This sheds light on the potential post-pandemic behaviors of today.

The retail industry has suffered from foundational issues. The reliance on debt leverage to fund growth and inventory has contributed to legacy companies filing for bankruptcy. Of these, J.Crew, Brooks Brothers, JCPenney, and Neiman Marcus are three of many.

However, like womenswear post-World War II, the reset is not as clear as once thought. America’s current comfort in casual wear is likely to persist in the home and places of work for years to come. Consumers did buy clothes to wear during the pandemic despite the remote work trend, stay-at-home orders, and distance learning. The clothes or the messages by the retailers were just unique to the time.

Good Fashion, Bad Everything

This year, traditional retailers like VF Corporation’s The North Face grew in prominence through careful merchandising, streetwear adoption, and savvy collaborations (See: Gucci). Lululemon’s stock is trading near all-time highs. And Gucci has become the “preferred” luxury brand of Generation Z.

While many brands are suffering, and some have had to take drastic measures like permanently closing stores, other brands like Dior or Louis Vuitton have been performing well, indicating that the pandemic is hitting brands with pre-existing conditions harder. [3]

Direct brands like Parade climbed from relative obscurity to $10 million in annual revenue. Rowing Blazers, a traditional menswear retailer, showed up on everything from NBA stars to Princess Diana in Netflix’s The Crown. Madhappy used savvy merchandising, a persisting message, and their partnership with LVMH to earn Lebron James’ attention in the NBA bubble. The brand is now one of the most coveted streetwear brands born in the last five years. Gymshark accepted its first funding, landing at a valuation north of $1 billion. And Tracksmith, the amateur running brand, finally caught the attention of the mainstream after years of quiet growth. It is now featured across the airwaves thanks to the success of their succinct and aspirational advertising strategy.

Like Ralph Lauren’s rise to prominence during an economic recession and political and cultural reset, and Christian Dior’s establishing of a new post-war tone for American women that flew in the face of other trends, the brands that succeeded during our most recent global crisis did so because they were properly equipped. In each case, they all share (1) smart marketing, (2) savvy merchandising, (3) a messaging strategy that cuts through the worried noise, and most importantly, (4) appreciation for the history of the industry.

For the brands that struggle to regain their footing, at least one of the above four are missing. The pandemic has served as a mirror for modern and traditional retailers alike. Walk into a J.Crew and you may feel soulless. Walk into a Rimowa store and you will feel the sense of New Traditionalism that catapulted Dior and Ralph Lauren to generational success. An over-reliance on physical distribution, pay-per-click advertising, traditional merchandising cycles, academic marketing strategies, and stale interpretations of customer profiles are the preexisting conditions that culminated with the current state of retail distress.

It doesn’t have to be this way. Study the best practices of the past. There will always be momentum shifts, forth and back, over time. The brands that survive are studied in sociology, customer understanding, brand history, communication, and the experiences that elevate a product into a moment. These brands capture more than eyeballs; they capture imagination. It’s the one constant of an enduring brand over decades of ebbs and flows.

By Web Smith | Editor: Hilary Milnes

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Member Brief: The New Prep

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The man wearing the overcoat was gone. The black frock coat that he wore was tailored to his long frame. Inside the coat read “One Country, One Destiny” and he had it on when he passed away. In March 1865, just two weeks before his assassination, Brooks Brothers commissioned the manufacturing of the coat for the president. The insignia along the silk twill embroidery was intended to be a reminder that national unity was utmost priority.

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