1 GRANARY

Fashion’s ageism is a symptom of an industry that’s always in a hurry. Read our latest newsletter "I’m 25. How many fashion years do I have left?" by Marjolijn Oostermeijer : https://lnkd.in/d2KP-5aR

Material Innovation > Hype In today’s fashion landscape, innovation in materials and product quality matter more than simply being “cool.” As SuperSolid’s co-founder Etienne Deroeux shared during our recent 1 Granary x TENCEL™ Club mentorship session, there’s little room left for brands that rely solely on image. The real question: Is there still space for emerging brands in today’s market? The answer from Etienne Doroeux and Alex Sossah, co-founders of Paris-based consultancy SuperSolid, was clear: Yes—if the brand brings expertise, superior products, and true innovation. The consumer has evolved; they value quality, durability, and innovation far more than a fleeting “cool factor.” Alex Sossah offered valuable advice to designers: “Instead of seeking sponsorship for short-term gains, look for partnerships that grant access to production facilities or materials innovation.” In his view, a brand’s longevity often comes down to a single, standout product that customers return to again and again. So, aspiring designers and brands: What’s your one product? How will you use material innovation to create lasting value?

So, should you sign with an agent? A good agent can source jobs, negotiate contracts, open doors to high-profile clients, and ease photographers, stylists, and other freelancers of the administrative burden that often weighs down even the most organized creative minds. Yet, after speaking with several industry insiders, it’s clear that while this setup can work brilliantly, some creatives face significant downsides that aren’t always talked about: miscommunication, power plays, lack of transparency, financial strain, and even neglect can turn what should be a supportive partnership into a draining experience. So, what should creatives know before signing with an agent? What are the real pros and risks of this kind of collaboration? And for those who are still curious—what do agents actually do? Read the full newsletter by Ayla Angelos :https://lnkd.in/dnuDhGH5

Lonely fashion freelancers, you’re not alone. The gig economy and the fashion industry’s instability—highlighted by recent waves of layoffs—are driving more creatives toward freelancing. Yet the competitive mindset instilled through fashion schools, internships, work experience, and social media can leave freelancers feeling isolated. The rewards? Sometimes, it’s just an Instagram tag, groceries for a week, or a quick dopamine boost from seeing your work in the world. But is that enough? The competition-driven mentality that characterises self-employment can distract from industry-wide challenges. Freelancers often say they’re “booked, busy, blessed,” even if the reality is quite different. Maybe it’s time to rethink how we approach self-employment in fashion—focusing on community over competition, and fostering a healthier, less lonely freelance life. Read more about the lonesome journey of freelancing here: https://lnkd.in/dYW_qPzv Written by Marjolijn Oostermeijer

Losing your job in fashion needs a rebrand. Today, it isn’t just hard to find a job in fashion; it’s increasingly hard to keep one. The past few years have brought relentless change to the fashion industry, with major brands like Burberry, H&M, Nike, and once-revered independents facing layoffs, closures, and restructurings. With cost pressures and rapid shifts in consumer behavior, even some of fashion’s biggest names have had to make tough decisions impacting thousands of careers. But a new dialogue is emerging. Professionals across all levels are challenging the old stigma around job loss, advocating for transparency, and pushing for a more sustainable workplace culture. Many from Gen Z onward are leading this shift, recognizing that in today’s landscape, job transitions are a natural part of evolving careers rather than a setback. Building resilience, promoting fair treatment, and supporting one another are the future of our industry. Read the full newsletter: https://lnkd.in/grup9AWu

"I can't fail. I'm on a Visa." - Said every international fashion student ever. It’s easy to romanticise the idea of leaving your home country and moving to London to study fashion. The life of a student in a fashion capital is sold to us as full of parties, vintage shopping, and lounging around with an international spread of like-minded, well-dressed new friends and inspiring tutors and mentors. But, however idealistic that notion is, as the fees increase, so do the expectations of a perfect outcome – good projects, high grades and paid employment at the end – meaning less and less time for such romantic notions. For international students, particularly those on one-year master’s programmes, these challenges are compounded by the time constraints of a student visa, which permits arrival up to one month before the start of their course and remains valid for only two to four months once it has ended. The pressure to hit the ground running can make a dream come true feel like a nightmarish Cinderella story: what happens when the clock strikes midnight?

Emerging brands are not big conglomerates. So why aren’t they operating differently? Emerging designers today face immense pressure to shape their businesses around the expectations of larger companies. Dependent on stockists and e-tailers, they’re placed in direct competition with group-owned luxury brands and often pushed to accept orders without deposits, endure delayed payments, and struggle to meet high minimum order quantities to secure factory space. The reality? This unsustainable model is driving many independent brands out of business, leaving some in debt. As part of our research into alternative business models in fashion, we explored UPPFIRST. This innovative platform helps independent designers bypass traditional wholesale by using data-driven pre-orders to fund production upfront. We also spoke with designers Sinéad O'Dwyer , Paolina Alexandra Russo , and  Amalie Røge Hove Geertsen to understand how direct sales and pre-orders could help tackle issues like overproduction, minimum orders, and cashflow challenges. Read more insights on navigating the retail landscape independently and sustainably: https://lnkd.in/dqiED5xb

What is the role of a fashion magazine editor in today’s algorithm-driven world? When an editor leaves—or is nudged out of—a fashion publication, we often see them reflect on their tenure with thoughtful Instagram or LinkedIn posts. Then, not long after, they reappear in-house at a luxury brand. Is this selling out? Or simply adapting to an industry where brand roles now offer bigger salaries and clearer career trajectories, compared to publications constrained by tighter budgets and rigid hierarchies? Despite these shifts, the allure of being an editor persists, seen in the many aspiring editors enrolling in communications programs every year. Yet, a sentiment of uncertainty lingers as students wonder: is a sustainable career in journalism still possible? Today’s successful editor is no longer solely a cultural curator. In a world where everything is everywhere, an editor’s greatest challenge—whether for a brand or a publication—is to create content that stands out and ultimately drives impact. Read the full newsletter: https://lnkd.in/dBd7vUpw

Can a designer innovate within tradition? The textile and garment industries are built on centuries of knowledge—but with that history comes a set of practices that often no longer serve us. So how can we respect tradition while driving real change? Fashion design and production have long been separated, from education through to the media. But in reality, one cannot exist without the other. To redefine how we work, we need to involve every player in the supply chain. Julian Lim, Lead Designer at ECCO Leather B.V., shared a unique perspective when we recently visited ECCO’s R&D facilities. Lim and his team approach material innovation as if they were cooking, with machines acting as ingredients to fuel experimentation. Traditional materials become a starting point for discovering new ways of making, guided by curiosity rather than convention. Bringing technical experts into the creative process is not only powerful; it’s the future of fashion. Read more about how designer Charlie Constantinou is bridging design and production on the factory floor, where creativity and manufacturing meet in conversation: https://lnkd.in/dPw8kA4Q

Why is it so hard to find a fashion design job? The fashion industry is filled with opportunities, yet many graduates still struggle to find roles that align with their skills and passions. Why? Recruiter Emma Davidson recently shared some valuable insights during a session at the 1 Granary TENCEL™ Club—our virtual mentoring space connecting over 200 fashion design graduates to industry leaders for advice and support. Davidson pointed out that the challenge often lies in a narrow focus. “There has always been a struggle to find people with a solid fashion background who can work in diverse areas like product and textile development, embroidery, embellishment, or even as buyers for textiles and hardware,” she explained. With specialisations like knitwear, leather goods, activewear, and technical fabric development, there are hundreds of career pathways available. But as Emma noted, many young designers overlook these options, aspiring primarily to become luxury womenswear designers. Her advice? Don't limit yourself. The industry needs talented creatives in every corner—not just in front of the runway. So, to all the fashion graduates out there: Explore the full range of opportunities. Your dream job might not be what you initially expected.