The Business of Fashion Podcast

• Jacques Marie Mage and the Transformative Power of Sunglasses

  Jérôme Mage is the founder and creative force behind Jacques Marie Mage, the luxury eyewear brand known for its distinctive silhouettes, limited production runs and deep-rooted storytelling. Originally from the Auvergne region in France, Mage relocated to Los Angeles in pursuit of creative freedom and with a deep passion for California's outdoor culture. His brand comes from a personal mission to reimagine luxury through the lens of collectibility, history and craft, starting with an obsession about sunglasses from a young age. “When I was 10 years old, my brother was 15, he came back with a pair of Vuarnet in my house. … I've never really seen my brother with glasses before and I was like wow looks so cool,” says Mage. I think for a lot of people it is transformative. … We live in a modern world that can be quite intrusive. All day people’s lives are on display and I think it's very nice to hide behind a pair of sunglasses.”With each design, Mage channels his vast array of influences — from American mythologies to Napoleonic tailoring and iconic personalities — and transforms them into expressive objects with enduring emotional power. Hot on the heels of the brand’s latest retail opening, BoF founder and CEO Imran Amed sat down with Mage at his new gallery on Rue de la Paix in Paris to explore how he built a cult luxury eyewear brand rooted in rarity, storytelling and craftsmanship – and why having an outsider’s perspective is en his greatest creative strength.Key Insights: "My story is one of collectibility. That’s why I think people collect those glasses," says mage. A lifelong collector of everything from vintage eyewear to Napoleonic uniforms, Mage believes the story behind an object is what gives it lasting value. "Each pair of glasses needs to be charged up, infused with a story: a story of the past, but told in a modern way for a new generation."Mage is critical of the contemporary luxury industry's shift towards mass production, emphasising that true luxury must maintain an inherent rarity. “I really wanted to return to a sense of rarity because for me there's no luxury without rarity – it's impossible," he says. Mage believes the current model, predicated on constant growth, is unsustainable. To resist that pressure, he committed to a deliberately complex and limited production model: "I did everything limited edition because it was almost guaranteeing me that I wouldn't fall in that trap."For Mage, embracing the role of the outsider enables deeper creativity and more meaningful work. "If you accept that role of outsider, then you're able to have a point of view or create something that is more tangible, more unique, and that has more value," he says. "Because obviously you look at things from a different point of view than others. And that's a true quality in being an outsider." His advice to anyone who feels they don’t fit in? "Don't be discouraged. If you stick long enough with it, it'll become a great asset in life."Additional Resources: Jacques Marie Mage | Latest news, analysis and jobs Hosted on Acast. See acast.com/privacy for more information.

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• Fashion Braces for Impact as Trump Tariffs Returns

  After turning to other matters for a few weeks, President Donald Trump has reignited his aggressive tariff strategy, threatening sweeping new duties on key fashion-producing nations starting Aug. 1, as well as a fresh set of new levies on the EU, Brazil, South Korea and other trade partners. On this episode of The Debrief, correspondents Joan Kennedy and Marc Bain join hosts executive editor Brian Baskin and senior correspondent Sheena Butler-Young to unpack how brands are reacting, where prices are headed, and why diversification may no longer be the solution it once was.Key Insights: Apparel prices in the US are finally starting to reflect the cost of tariffs. "We got the first bit of evidence that tariffs are actually having an impact on prices," said Kennedy, pointing to new CPI data showing apparel prices up 0.4% in June. "They're starting to rise because we're seeing inventory start to trickle onto shelves that are affected by these new duties." Bain added that shoppers are particularly sensitive: "It’s about managing perceptions... It’s why you see these brands putting out Instagram posts about tariffs and why they’re raising prices."Supply chain diversification isn't working like it used to. Brands once counted on shifting production as a way to dodge tariffs. But now, alternative hubs are also getting hit. "It is kind of like a game of whack-a-mole," said Kennedy. "One of the countries that was expected to benefit was Brazil... but we've seen a new 50% tariff threatened on Brazil." Bain noted that brands are now being advised to build in redundancy. "It’s not just about finding another source. It’s having some layer of redundancy built in."In response to rising costs and consumer fatigue, brands are reducing product variety and pricing selectively. Levi's, for example, announced they’re going to discontinue certain less popular styles during the holiday shopping season. Bain explained the logic: "If you know these are more sure bets, you’re less likely to have to discount them later... so as you're trying to offset the cost going up from tariffs, you can try to reduce your costs in other places too." Kennedy added: "We've seen brands get smart about where exactly they make these price hikes... like upping the price on a more fashion item, but keeping prices on staples stable."Additional Resources:What Trump’s Latest Tariff Threats Mean for Fashion | BoFHigher Clothing Prices Are Officially Here | BoF Hosted on Acast. See acast.com/privacy for more information.

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• In Paris, Hellos, Goodbyes and Waiting For Creative Change

  The latest fashion season marked a period of significant transition with new creative leadership taking centre stage at some of luxury’s biggest houses. Highly anticipated debuts at Dior, Celine and Maison Margiela set the tone for a new direction, while designers like Rick Owens continued to redefine the emotional and aesthetic parameters of fashion. At Balenciaga, Demna bid farewell to his iconic aesthetic, setting the stage for his upcoming tenure at Gucci.Against this backdrop, BoF’s editor-at-large Tim Blanks and editor-in-chief Imran Amed discuss the realities of a shifting luxury landscape and the growing tension around pricing, accessibility, and the future structure of the luxury market.Key Insights: Jonathan Anderson's debut at Dior represented the start of a carefully managed transformation. "Dior is like a performance for him; J.W. Anderson is the real Jonathan," says Blanks. "I felt he was on a mission to manage expectations. He was basically saying, give me time." The conceptual collection served as an opening statement rather than a full evolution.Rick Owens remains a source of creative independence and authenticity. "There is no compromise in what Rick Owens does. He is a beacon of hope," said Blanks. Amed also highlights how Owens' shows now offer a safe space that celebrates difference: "He's been talking about how he wanted to create a place where people who don't subscribe to conventional notions of beauty can find a place where they can fit in. It's always so remarkable at his shows and presentations because you can really see that all come to life."Demna’s final Balenciaga show symbolised a deliberate departure from his signature aesthetic. "He said goodbye to his Balenciaga," said Blanks. Amed observed, “At Balenciaga, Demna needed to put more of his own codes into it. At Gucci, he has so much to work with.” With this pivot, Demna closes one chapter while preparing to reinterpret another legacy house.Amid a challenging economic environment, luxury brands are reconsidering their pricing strategies. “Luxury always worked in this pyramid where you had very high-end customer spending at the top. That pyramid structure has been kind of bloated in the middle now,” explained Imran. Brands are being forced to reevaluate what “entry-level” really means. “They're thinking about what they can put at the bottom… the entry-level price points." Additional Resources:Paris Couture’s Life and Lifelessness | BoF Couture’s Age of Experience, Experience of Age | BoF Hosted on Acast. See acast.com/privacy for more information.

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• How Fashion Learned to Love The Real Housewives

  In nearly two decades since the first “Real Housewives” franchise debuted, reality TV has moved from the fringes of entertainment to become a major cultural force. Today, “Housewives” stars are influencing fashion trends, driving sales, and making inroads into luxury circles that once ignored them. Brands previously wary of the stigma around reality TV are now leveraging the passionate and loyal fanbase of the franchise, positioning these women as both influencers and aspirational figures.Senior news and features editor Diana Pearl joins The Debrief to explore this evolution, uncovering how and why fashion has finally learned to love “The Real Housewives.”Key Insights: Reality TV's path from lowbrow entertainment to cultural staple can partly be credited to the Kardashians, whose acceptance by fashion opened the door for shows like “Real Housewives”. “The Kardashians, for a long time, were not embraced by the fashion industry, and then in the 2010s that started to change,” says Pearl. Even when the fashion industry hesitated publicly, its insiders were already hooked privately. “People started watching the shows themselves… That guilty pleasure has just sort of come out of the shadows,” Pearl explains. Fashion has become integral to the storytelling on “Real Housewives.” What started as subtle displays of wealth, such as Chanel bags or accessories, has evolved into head-to-toe designer ensembles and full-blown fashion storylines. “They’re all decked out in designer looks and it’s like the designers play a role in the show. There’s plot points around, ‘This dress costs this much money,’ or ‘Did you buy that diamond necklace?’” Pearl says. “People are more into the Housewives’ clothes now. It’s just become much more a part of the fabric of the show.”The demographics of the “Housewives” audience significantly overlap with those targeted by fashion brands. The fanbase, consisting largely of women and gay men, is aspirational, engaged and passionate about style. “People of all stripes like reality TV. Lots of luxury customers watch reality TV,” says Pearl. “If you want to connect with consumers, you have to meet them where they are.”Despite increased acceptance, luxury brands remain cautious about fully embracing “Housewives,” partly due to cultural and geographic divides. “The Real Housewives is a very American show. A lot of the luxury industry is in Europe,” Pearl notes. Yet, she adds, embracing these stars can pay off: “When we've seen brands embrace the Housewives, I think the fans reward them for that.”Additional Resources:How Fashion Learned to Love The Real Housewives | BoF Hosted on Acast. See acast.com/privacy for more information.

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• Rachel Scott on the Sensuality of Craft

  Rachel Scott, founder of Diotima, has built a reputation for bringing a nuanced portrayal of Caribbean culture to the global fashion stage. Drawing on her Jamaican heritage and global experience, Scott seeks to foreground overlooked craft traditions and champion a narrative that moves beyond exoticised tropes. “Craft doesn't have an aesthetic. Craft is technique and execution,” Scott says. “There are endless possibilities, and on a conceptual level, I think that craft is the most intimate form of fashion. Because it is made by hand, there is this energy exchange. So I kept thinking about intimacy, sensuality and desire.This week on The BoF Podcast, Rachel Scott sits down with BoF founder and CEO Imran Amed to discuss how she is redefining craft and advocating for a more inclusive design industry. Key Insights: Scott credits her global outlook to extensive travels during her childhood. "When I was younger, [my mother] was adamant not to take us to Europe because that was easy. So she would take us to Asia… and South America. I already had this grounding of a global perspective," she explained. Her extensive travels through Asia and South America particularly influenced her to view fashion as a form of communication: "I started thinking about clothes as language, especially because I was seeing these different perspectives and these different approaches to dressing.”Scott seeks to foreground informal, yet globally shared, knowledge of embroidery and craft techniques. "I remember seeing techniques in India that I had seen in Jamaica… there is this global knowledge, but only one place gets valued," she says. This recognition inspired her mission to challenge the traditional valuation of craftsmanship. "It's almost like an oral tradition that exists that I wanted to find a way to elevate and present to the world," she adds.For Scott, craft is inherently sensual and intimate. "Because it is made by hand, there is this energy exchange," she says. This philosophy underpins her creative approach, focusing on tactile and emotional connections: "I would receive the production of the crochet… I would open the box and feel this energy. There is spirit and there is something imparted from the person making it to the person wearing it.”Scott’s advice to aspiring fashion designers is to challenge traditional expectations and timelines. "Fashion is really crazy… someone really small is judged on the same level as someone from a conglomerate," she explained, encouraging designers to embrace their unique journeys. "You don't have to abide by these notions of when you should do something, how you should do it… wait until you're ready and find your way."Additional Resources:How Fashion’s Rising Stars Are Surviving the Luxury Slump | BoFDiotima’s Rachel Scott, Willy Chavarria Take Home CFDA Fashion Awards | BoF Hosted on Acast. See acast.com/privacy for more information.

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