The World of Fashion and Luxury Ft. Elizabeth Von Der Goltz

[Music] Hello! From London, hello, hello, hello, hello! Welcome to the London edition of Luxury Unlimited. I can't be more excited than I am today because I have somebody that I look up to and who's a real fashion icon. She's a bit of a retail cream icon. You like to welcome Elizabeth Vondergots. That would be so much for being with us today. Obviously, we're all about luxury and when I wanted to do something with a fashion head of fashion, I said there was only one pair. There was a game changer as well. Thank you very much. You're very honoured to be on your show. Thank you so much. We really, we really are thrilled to have you. Yeah, I mean your bio just goes on and on and turns out like you've really been in all that iconic kind of retail stores from Lane Crawford to Bergdorf to Netaporte, not Lane Crawford. Well you want to. What were you? Oh, Barnies! Of course she's trying to remember everything. Barnies was my like, so to go to a new store. It was the person, not at Lane Crawford, it was a person from Joyce in Hong Kong. That's the first to tell me to move to New York if I wanted to go in a fashion. I see it. I see it. I see it. And I think every little girl or every girl that wants to go into fashion, she's like, oh guy. Oh, okay, oh guy. But always it, how do I get into it? Yeah. What is the right steps? Do you sort of fall into it or do you think I'm going to go and be a buyer and then work my way up? Or I'm just going to start. Because, yeah. I mean, there's no part. Some people think fashion, oh I'm going to be a designer, but it's good for people to know there's a lot of choices. I mean, I just think it's totally different today because I think now people know what's available. So you can go into the financial commercial part of it, you can go into design, you can go into marketing, you can go to editorial, you can go to journalism. I mean, it's like there's so many parts of fashion. But when I grew up, fashion wasn't a job. No, my family's very old school Chinese, like everyone has a PhD. Fashion was literally not a job. Because I know your mother was one of the women in a class in Harvard. Yeah, so how did they receive that when you said, oh, I'm not going to do it. I want to go to fashion. And my parents are very different. They both went to university and graduate school in the States. And I think they're very liberal in the sense and they love creativity. They love art. They've always traveled to collect art. They've always loved fashion. So I think they were both in economics and science. But I think because of that, they actually love that my brother and I were really into liberal art. My brother graduated with a durian philosophy. He's a lawyer. I graduated in a degree in art history. They were already new. They were like going to be different. Yeah, exactly. And so you left Hong Kong? Yeah, I left Hong Kong, which is school in the States. I went to boarding school in the university in the States. And I really never knew what I wanted to do. You know, everyone in the university, like they do those job fairs. And they all have their job lined up after they graduated. I had no job lined up after I graduated. Because I was like, I really don't know what to do. I had interned at Christie's in New York. Because I love art. But then I decided after that, that I love art so much I didn't want to deal with it. Like I'd like to just appreciate art. It's a different thing when you're in the business. And then I had a friend from boarding school who's sister ran, she was the chief merchant of Joyce Hong Kong. And Joyce Hong Kong in those days, it was Joyce Ma. I mean, it was like the mecca of just taste and she brought every famous designer to Asia actually. So I said, could I meet your sister? So then I went, I was back in Hong Kong after school and I met his sister. And I said, if I want to become you, or I want to do what you do, what should I do? And she said, move to New York. Okay. So. Yeah, the rest is history. I don't want to touch too much on your past. But why was interested the bird off it? Because you actually, it wasn't just about buying it, it was also about nurturing a lot of the young brands and bringing them up to a place where they could grow and tackle. Which we'll touch on later, but I love that side of what you do as well. That's the part about the business, I think, being in that brings you the most. Exactly, exactly. I think the health of the industry and its sustainability and how it's making it long lasting. I think it's exciting. I mean, the one thing that I mean, just because I've been lucky enough to know you on a friendship level as well, is that you're nurturing of people. And also, you know, you're a champion of women, which I love as well. Yeah, absolutely. So now you've got this big fancy tie-through. Do you grow? And the Chee fashion and much dyes the officer. That's two big ones. I think you've got the two to try and be very busy. Yeah, exactly. A lot of hats. Which is why we're also super grateful that you managed to make the time to fit in with us here. I mean, I don't know about what you would grow. That browns for me, especially at Uni, we used to dress up, we'd come into London, we'd like to see what's what. It was our place to discover. To discover. Yeah, absolutely. And I feel that we've missed that. So I'm hoping that is best. Yeah. I'm going to bring that back. Yeah, I mean, as you know, we talked about nurturing new designers and finding and discovering talent. And I think that's one of the favourite, you know, of the work a buyer does or a merchant does. That's usually, that's the most fun part. Yeah. So usually there were spreadsheets and numbers, but that part about finding new talent and Mrs. Bernstein, I mean, she was a legend. She was a true icon. I remember sitting next to her shows when I was a baby buyer and just being like, "Oh." So I think, you know, for me, it's having this iconic store and also now the power for Fetch that drives our technology. I feel like we can really do something special. And it will be about bringing back curation, really making it about a discovery of new talent, but also the best of established brands. And how we style things and how things look and bringing that experience, like that real physical experience into the store. But then how do we also reflect that on the app and on the site? Could we talk a little bit about that? The bricks and mortar versus the online. Because I'm still someone that loves to try things on and to touch fabric. Yeah, I'm quite a visual, like, experience person. And so when I do go into, like, let's say, Browns, it's everything. It's the smell of the colors, the fabrics, everything. It's such a beautiful built. It's a great tool. Yeah, it is. It is. It is. It is. It is. It's not sure that there's a lot that you can do in there. It's a made. You can't touch the wall. We have original wallpaper. We've all this kind of really beautiful, you know, the murals and things, but there's other things you can do at the space. I mean, I went in and spent quite a bit of time there and the girls, there was one girl. She was exceptional. I'm upstairs. So she, I want to touch on what you said, because I've said this all along. You know, every time now you go down to a major at High Street, you see, you know, Prada, Dior, Chanel, everything. There's nobody's taste anymore. There's no curation of a mixture of the best of, you know, certain designers. So that you're not dressed top to toe in one designer. And that is, I think, going to be a one-stop shop for me. And that curated, that sort of like that beloved curated boutique that existed in the day. A lot of our favorites or iconic ones are gone. So, you know, for me, I'm like, okay, let's make that. Let's make it like one grounds to be when anyone comes, whoever lives in London comes all the time, but whoever lives out of town, every time they come to London, they have to stop by. So you're first 100 days. I'm just going to be about curation. Yeah, it's product strategy. A lot of back-of-house, too, because when it makes for the operation, logistically, that we're set up to have the best service, you know, all these things have to be, that foundation has to be super strong. And then you can make the products thing. Yeah, I don't make the products thing. So on purpose, I mean, I just went into the store so that I could see a shop and experience. Not so, she could just go shopping. Yeah, yeah. I have to tell you, it worked beautifully from downstairs, the gentleman in jewelry, who was super helpful to upstairs, the young lady that helped me. She was really. I can't wait to go back. Yeah, and it was beautiful. And what I liked was she very quickly understood the things I liked, so she was able to pull out things from me. That's not. That's not very good shopping experience. I watched on people around you. I guess your team is going to be really important as well around you, and that curation of your team and getting the best out of them, which is what you were talking about in terms of champions. Yes, you're championing. What do you look for in terms of your team? You know, it's such a. building the right team is everything, right? Yeah. Because you have to be. you have to realize you can do everything yourself. So it's all about delegation and trust, and really having a team that understands your vision. I vision how I work, but also I want them to have voice. I want someone to always. you need diversity in the room. You need someone to disagree with you. You need someone to throw different ideas out. I think you need a mix of people on your team that don't all agree. I have all the important places in their places. And I do that very well. Yes, and you can't have everybody that just wants to agree with you. Because you have to see things from different perspectives. That's also how you learn and grow. And feed into the. I guess the biggest strategy in terms of Browns and Falfetch. How did the two interplay between Browns and Falfetch? Well, you know, Browns, as you know, was acquired by Falfetch, right? So they power all our teams. all our logistics, our technology, and all that. And I think for me, Browns being whole, so if we buy, whereas then Farfetch is a marketplace that they don't buy. So Browns is really where you kind of, it's the jewel in the crown is how I see it, right? So we can be curated, we can really like create this experience and this strategy over the product and the buy and the designers that we want to like really showcase. And that's much more control because you literally are choosing every single item that goes in the site, you're choosing your camp, what goes into the campaigns or content, all of that and the physical activations within a store that we're going to plan quite a few of, which I'm excited about. Yes. And then for Farfetch, it's a marketplace. So we work with multi-brand boutiques globally and then we work directly with Browns as well. And it's been pretty agnostic in terms of what ends up on the site. And so this, what I've come in to do and build it and work with the team there is now to, it's not like we select per se, but actually go in and be more proactive on what comes onto our site. So then we're better able to speak to it with our private clients, with our content and our campaigns and really build that relationship too much tighter with the brand to make sure we're ensuring that we get the best of the best and the widest onto the site. Yes, so people understand Farfetch, I think that always needs to be a personality to the site. So I think sometimes it gets too big and it's hard to like say as a marketplace it's kind of hard to condense that and refine it. So it's interesting to see how you will sit across the two. And we like Farfetch because of the width of our and the breadth of our Swartman in the end of the day. And we don't have like a specific cost. Like most retailers have specific customers that they're buying for. We're really democratic. Like we're really buying for all globally, all kinds of customers, but also like with segmentation, with technology, with AI, with personalization, we're able to really, you know, better target everyone versus everyone having to see everything on the site. So I think it's about just continuing to refine like that whole process. What's your vision for then for the Browns customer? Like who is that person or do you also want to keep them? I think we've come down to the sort of three customer profiles. One, two. Yeah, yeah, yeah. And I think it's that, you know, what's interesting about Browns and Farfetch is actually 75% of our customers are millennial and under. So we have a much younger audience, which is what everyone else is looking for, which is great. I think for Browns, it's really about, it's really about, you know, tonight, that it's like the emotional special pieces from those brands that you already know. So all the big brands, established brands, but trying to show things that you're not going to see when you walk into their boutique or big department store, with the blend of their top key items, which you always want as commercial drivers. And then a lot of this discovery emerging talent. And then it's about how we mix it, how we style it. So it's about saying, if you're bringing a new designer in, and a customer doesn't know how to wear that new trend or that new piece, it's really saying, like, this is how it fits into your wardrobe. Yeah. And I think that customer-- That's important. Yeah. And for me, the Browns customer, it's going to be that luxury customer that we all know and love. But I like to think of them a little more edgy, a little bit more cool, more progressive, like the Chinese thing. Yes. Doesn't mind taking risks. Like, I think we're all about taking risks as well at Browns or something like Mrs. Brown, Mrs. East Jordan. You should see the jump I was wearing before. Yes, I'm very curious. I got that. That was a huge risk. But also, what I like is you're very-- you touched on something about adding things into the wardrobe. And I think sustainability as well is a huge thing. But what does that mean to you? Both as Elizabeth is a person and what you buy in your choices. And then Elizabeth has the CEO of Browns. How-- we've talked about this before. I'm really in our last episode of sustainability. What does it mean? What does it mean? I mean, it means so many things, because it involves not just physical material things. So it also is people diversity and inclusivity. So it means a lot of things. So I think-- I mean, first of all, personally, all of us want longevity. We want the health for the planet. And we want the new generations to have something to live for and hope for. So I think those are the bigger, long-term ways of looking at it. And personally, it's about trying to have be as circular as possible, recycling as much as you possibly can, not being wasteful. I mean, think those things are super important. And then, in fashion, obviously, we are about consumption. And I love buying clothes and shoes and bags and things. And we do sell those to our customer to try and excite them and delight them. But at the same time, it's about pieces that can last forever, things that are going to be in your closet forever that you pass down. So it's a blend of that. And then we really champion designers who are really conscious about their supply chain, their materials, who they're working with, who the artisans craftsmanship, all of that. So I think that really is a big part of what we do. And at Browns, we have a conscious edit. So on the site, you can always find the edit that's conscious. And really championing the Browns and designers who are taking that route and then also educating the ones who want to take that route and are trying to learn how. Yeah. So that's-- Sorry, to jump a little bit. But the new talent bit is something that always excites me. It makes me very involved with mentoring talent. You always have been. Because you do fashion. Actually, we met very briefly at FTA in Doha. With Zaid at the bus. Oh, yeah. Like you've got to see this guy. Yeah, yeah, yeah, yeah. So if there was anything from a Browns, or your individual perspective that if there was top three bits of advice for an upcoming designer, what would it be? It's really important that-- I mean, think about how many Browns are out there. So the competition is massive, right? And no matter what your site is or your shop is, there's an excellent space for you to live in. So it's really about someone who can really has a DNA that's different and individual and something that stands out and they have a signature. And I think when we look at new designers, those signatures that come through-- I want them to be strong enough that 10 years from now, or 20 years from now, as they evolve and change over season to season, you can still call out who they are and recognize who the designer is. Yeah. You know, when you think about the greatest designers-- How many people's, right? Yeah, so yeah. It's the-- Like, you can tell a product piece back then, told you. Absolutely. Yeah, that DNA almost. Exactly. So I think that is really important to really-- I guess, stand out from the noise and really stand out to-- And I thought they waived by it. I think because I think a lot of people, then if they have true, they try and sort of waive from it. Or they get scared by if one season, it's not as strong as that. So they think, OK, we have to change everything. But no, actually, if you just improve on what you started and keep your brand identity, I think you stand-- They try to grow too quickly, I think. That's the problem. Don't try and try to define and improve what their key looks are. Yeah, and I think, you know, I mean, it's challenging, because imagine if you're successful your first few seasons, then you've sold to a lot of key retailers in the world, they all give you feedback. Yeah. And they all come from a different region. They all have a different customer. So they give them so much feedback. And I think feedback is super important. Yeah. You want to know who your customer is. But I know shopping. But you all say exactly. You have to be like, OK, I'm going to take this feedback and use it in the most constructive way and somehow filter it so that you're not watering down your brand identity. So that's that balance. So on Mina Talent, is there anyone that jumps out to you? Mina Azin, the Middle East? Yeah, I mean, obviously from FTA, we worked with quite a few of them, which was xayed. Xayed, exactly. And then I would say right now, I think there are-- there's the Renaissance. Renaissance at that collection, which looks quite beautiful. Yeah, yeah. You've always supported her from the beginning. And at a portais, she was an avant-garde program, exactly. You're reaching me. Where do you see the new hub of talent? Oh, nice question, Misha. A lot of them. Well, they start-- They just are pretty. Yeah, I'm just going to tell you. Well, I think everyone's excited after COVID, but no one traveled for so long. So I think my team is thrilled to go back to all the international fashion weeks, because no one had gone to Australia. I miss seeing you in fashion weeks. So it was a lismar to die. I'll be back in September. So can't wait. So now I did a few men's show. Just a few this summer, but it was quite funny and great being back. But I think everyone's excited to hit those global markets again, because I haven't been able to do it. They've been doing it online. So Shanghai, Seoul, even I think the team-- we were browns supposed to do something with logos when COVID happened. So all these-- Oh, OK. Yeah. So I think we're just excited to get back on the road. It's really about hitting these new-- not new, but more in global markets to really understand what's out there. I'm not forgetting London, though. It was a creative hub. London's one of the best. Yeah, London's one of the best. I mean, these are where I was literally talking on the day about it. London's where the designers here are all still independent. And that's something that that's why they have such a strong brand. I don't know. But they have-- they stay-- it's not like they're massive businesses, but they're healthy, good, long lasting businesses. And I think what's nice is most of them, they have investors, but they kept their businesses. It's their own. It's fair. Yeah, yeah. Yeah. Because it's not just-- I mean, we talk a lot. I mean, I do mentor a lot of new talent. But actually, it's the mid-range, the medium-sized businesses that still need a lot of support. And it never ends, does it? I'm sure. Never ends. Always. Because every stage is like you get, when you are hot when you first launch, right? Then you get to, it's a few million. How do you get to five million? Getting from five million then to ten million is completely different. And then from ten, ten to scale, it takes so much more. So it's like, yeah. And ten to scale normally takes outside and back to the past. And then those outside investments come with their own ideas because they only see the bottom line, right? So they want you to find them right. So you have to find the right partner. Yeah, it becomes so, but I mean fashion is sometimes you think, am I hot, does anybody make any money? Yeah, I'm just reading this. It's like, ah! Elbe Amaged does. Elbe Amaged does. Exactly. Elbe Amaged does. We had a question for Elizabeth. We did. We were like new brands. New brands. We were like, who do we look out for? In terms of new brands globally. Doesn't look like that. That we should keep an eye on. Or just like-- I mean, I think the brand has been around for a long time. But like with Harris, read it, you know, each year. Yes. We're all excited about that. I think that's been a really kind of-- What did you-- Can I ask an Auty question? Yeah. I mean, it's not like-- I know not. It's so nice. I mean, yeah. Exactly. Yeah. Like in terms of new designers going into established brands, for instance, with Gavaretta, went to Chloe. She was no longer at Chloe. Like, who do you think will then-- who do you see stepping up? In the new generation. I mean, it's interesting. It was like, you know, when you look at new young designers and you bring them on board, that is one of the other things, besides that DNA. It's something about like, you also know if you nurture them. They're going to be the ones that end up at the big-- in another house. Like, they could be. There's 50% or higher chance that they're going to end up at one of the bigger houses one day. So I think that's why it is important to like really help them in the beginning. Because when you get there, it's a whole different way. It's a whole different way. Yeah. I mean, I think Peter Doe is someone who's super sort of talented. My favorite jacket comes from-- I think-- You wear an off-peer jacket. Yeah, I love it. I think Grace Will's bonner is a super strong designer. I mean, there's Bianca Sanders. I think, you know, there's-- you know, in the men's world, there's actually so much going on there as well in terms of talent. Actually, men's fashion, I always-- actually, a lot of seasons, I think, I worked for-- To fly from the men's collections. Then they were women's-- But did you see the Dreece men's collection? Yeah. And then she was like, oh, I want every single one of them. Yeah, yeah. So I was fantastic. Yeah. But I kind of like that. And George and I kind of love it. Yeah, I love it. Right. Korean fashion champion women, macro trends, that any big trends that we're looking out for. And I think with Brown's, one thing, really, for us, it's a lot about individuality. So it's about how we bring that out with styling. Everything versus being so trend-driven. Yeah. And I think that's what-- That's very refreshing. Yeah, versus being like, trend trend trend trend trend. But I do think the things that have come through for this fall and going forward actually probably relate to all of us. But there's this kind of return to this quiet luxury. Which is them more forever pieces, things that are really investment pieces that live in your closet forever. And then we went to-- My first round in your opinion, for me, is somebody like the row. I mean, yeah, so the row is joining Browns finally. Yeah, which we're very excited about. I mean, I've been very close to the brand from the day they launched. And they do it in terms of how level-- In terms of the basic-- I mean, luxury basics. And luxury basics. But then you have a lot of brands that, like, to Tim, and other ones that are on the other side of the factory. And the value you get for the quality and the look is really fantastic. And one of the other ones too is-- there was this overt sexiness that sort of came out in the past few years. I feel like that's dying down a bit. Hems are coming down. I think it's a bit more-- we still want to be feminine and sexy, but in a much more-- Can I cover my stomach? Yeah, I'm a lot of it. Yeah, yeah. Hardware. The crop top. It killed me. I know. Yeah, I've never been able to quite grasp that kind of-- also as women, I just want someone to design for me where I can wear a bra. Yeah, I have to-- And that, yeah. Well, you're like-- No, yeah, yeah. Yeah, yeah, yeah. Actually, when you later on, when we come to the questions, we had a lot of top five. We had a lot of people saying, you know, we need clothes that really work for us as we get older. We not all of us have 20-year-old. Well, I think that's sexy. It's interesting though, because you think about, like, economic cycles. And I think when you come out of something like COVID, there's a time where it's like the depression-- Also, people just go wild. They want to go wild. They want to be over it. And however that. So you always get this cycle that happens. The fun thing is everybody did it, because I remember-- even Chanel brought up this-- when they are straight after COVID, it was all these crop tops and really tight. Well, I saw women that were-- My age, I'm wearing it. And I'm thinking, no, really, no. This is right. I know it's Chanel, but no. It just didn't work. So you have these cycles where it's going to come out and people feel like they want to show everything. And they're proud. And they're just like, you know, they want to be expressive. But I think what's nice is the next-- the coming into fall, it's going to be extreme headlines also, so lots of maxi. Like, so that was a good look for me. Yeah, I've got dramatic, which I love with a long coat and things like that. But still, like, some still beautiful bright colors in. It's just a little more dress. I mean, men's too. It's like jackets. It's like not just sneakers. It's dress shoes. It's like that. I'm over the edge. I'm over the edge. Yeah, I'm over the hoodie and the sweatpants look and everything like that. I think it's time for our top five. Oh, goodness. OK. Oh, five, four, three, two, one. Ready? OK. So I have a really lovely question. So our top five-- so we tend to ask our audience, like, what are the questions? And they send us through a whole bunch of questions. Are you ready? OK. Are you ready? OK. OK. So question number one, how do you see a marketplace, like FF, evolved the next five years within the luxury world? I think we've kind of-- I sort of-- I think the goal is to be the dominant luxury platform. And really, for me, it's really where I want to also have it inspire the fashion customer. So today, you go and find everything on it, because you know it's going to be there. But it's like, we want to also make sure we're the first place to go. Can I interject like this? As much as I like to go. That's brown. So I used to shop at Farfetch. But then it just became a bit overwhelming for me, because everything was on there. And now, for instance, I wanted to find a bag. And it was five different prices. So I know, because that's a platform of five different stores everywhere. So I would like that some have to be made-- Consolidated. Consolidated. And I think, hopefully, that's what you're going to do. Yeah. Well, lots to come. Lots to come. OK. That was the Dictumers. Yeah. So we're saying, Misha, they're not saying anything else. Do you want to read that number two? What do you want? What do you want? I'll read that number two. All right. Does that have got my own question? Oh, darling. Do you see any progress made in terms of diversity and equity in the fashion industry seems like things are stalling a bit? What's your point of view? And how can change be more tangible? I mean, I absolutely do. But I think because I'm a champion of it. And I think everywhere I've been whenever we can commit or make a pledge, we will do that if it comes to diversity. And I think so much is when it's Black and Fashion Council, 15% pledge, raise fashion is something a few of my ex-colleys and I founded after in the summer of '20. And that's all-- So what we call it now, the summer of '20. Well, I don't know. I love that. I love that. So I think somebody, one of your designers, just one in a ward or something, though, from race or anything. Well, I mean, if we just did a brand fellowship, so one of the programs is-- That's nice. --so what we do is we provide funding and 360 mentorship for, I think, eight to 10 designers a year. And so they're all fantastic. And they've got a lot of-- --and the SIOs, one of them. Anyway, so O'Wet is another one. And then we also do an intern-- and this is mostly US-based, and hopefully we'll grow internationally. We also do an internship program between the historic Black colleges and all these luxury brands that are based in New York and LA with the anti-racism fund. And usually what you get is that really helps the pipeline of talent for the big luxury brands, because usually living in LA or New York, or living in any city, even London, Paris, for an internship, is so-- it's so-- it's in a hibitive cost-wise. So we also try to fund that through this internship program. And then you're really, really creating a pipeline of more diverse talent, go into the luxury industry. Well, let us know how we can support you. Especially in the mean region. Yeah, of course we'd love to. We'd love to do that. OK, so number three. After the recent successful appointment of Farrell Williams as men's creative director for Louis Vuitton, do you think we were-- Yeah. Do you think we will be seeing more musician, music producers, being appointed at the helm of fashion luxury may sound over the next five years? I think that popular culture and music culture is so much part of what's happening today. And it really makes our fashion industry universe much more diverse and inclusive. So I think that is super important. So I think we will see more of it in the kind of the biggest houses, like really commercial houses. I think collaborations and things like-- Right, so wild. Yeah, but there's still going to be those-- the couture houses. I really can always have that designer that's super inspirational and a beautiful artisan. Yeah, because it always influenced each other throughout history. Like music has always been a big part of fashion and vice versa. But I think this is like taking-- I didn't-- I understand it. I'm not a big fan of it. Collaborations with him, I think, like he did with Chanel or fantastic. But-- as the whole creative. I think he did it for his first show. I really thought he did an incredible job. I really think when you think about Louis Vuitton being like primarily a non-emparallic and accessory business, I think he hit that out of the ballpark. I think he created the buzz that they wanted for the brand. But that's things in entertainer. So that show is always going to be amazing. But I'm interested in seeing how the next school will be. I agree. I think it a great start and we'll see as it goes forward. But I think he's such a creative, interesting person. So again, it's nice bringing that talent into fashion also. Also, who else are you going to bring? After virtual. That's really hard. I've never really heard. I've been choose to fail. Okay, next question. Do you want to do next question? Okay, this is quite an interesting one. There's a lot of innovation and new technologies out there with the potential to revolutionise the fashion industry. What are you most excited about in terms of the technology? I love, I'm a big believer in AI. I think it's, I think, if you look at how much change has happened in the past 20 years, like everyone doesn't really remember, like there used to be telegrams and now we have an iPhone, right? So like, this change isn't even that big. It's just, it's already happening. And I think when it can, with fashion in terms of like you're saying, I'm going, you're trying to look through so much product all the time. This personalization, this recommendation, all of that. And even code, like things that are so much technology, you know, when you want to change one thing on a site, you know how much, and it takes a long time for the coding and engineering. And now like all the stuff, you know, I think can be powered by AI and helped by AI. And even the way we work every day. But I think it will take the human touch as well, the human strategy and all of this stuff. So it's a blend, but I think, yeah, I think it's going to be huge. So two things actually, one of them that are, keep athletic wear in the gym and less of it on the side. I'm just checking if I'm wearing it. But also more individuality, unless of the uniform, which is the curation I guess. And it's a styling, it's the mixing. It's not the head to tone. I think that's what Brown's has always stood for. So that, that ran the thread all the way through. They want more of it, you know, because I think you go over on your doctor's. Well, I think the way, when you walk into a department store, because of the concession model, how it works is then up being store boutiques. So it's brand. So it's brand, exactly. And then when you go into a high street, then our main street, it's bright brown. So again, this idea of these multi-brand boutiques in the world, they're less and less of them. So, you know, that's why having a brown is so important, having these destinations, because that is where you're going to mix. And you're not going to just show everything in the shopping shop design of that one brand. You're going to show it mix. You can show by themes. You're going to show how you should wear it together. But what I loved is first in Brown's, this time was that like the designers were all in one room, but and all mixed with each other. So that, you know, now, for instance, if you go into a big department store that I won't name, if I want a jacket from Celine to see if I can match it with something from Senna Roll, I actually have to take a member of style. Yeah, exactly. I mean, that's not, you have to walk, darling. No, I have to take a member of style. Yeah, because they all work for their own first. So, we have stylist, like we call them stylists in stores. Yeah, and they're faculty. So, you know, because sometimes you, I don't want to go out and dress up to the top. Never. And even the private client, or private client, I mean, private client business on far fetches, it's impressive and massive. And they curate, they edit for all their clients. There's a private client app that's separate, which is much more curated as well. And also, they have most amazing events. Yeah, they do. Yeah, that's right. I'm doing one in Co-hosting when in Shelter Island, like, actually this week, that's why I'm leaving. Yeah, I was one of Wimbledowns. I was like, oh yeah. We don't trust for that. We don't. We don't. We don't. No, no, no. And my question to you is, oh. I have a question for you. If you have to choose one designer, one designer, one designer. This is the worst question. It is for your night, for your day wear, your evening wear, your night wear. I'll do one that, I have to also be politically crepated when it comes to these. Oh, yes, exactly. No, no, no. I'll name one that actually, I haven't even seen yet, but I'm extremely excited for Phoebe Flylow. Oh, yes! Yes! I'm excited for that. I mean, I'm sure I'm going to want to be in it all the time, but I don't have a teammate yet, so I don't know. Oh my god. Wonder, will that be seen? I mean, I think, well, originally they said it'll be that's fall, I believe. Oh, yeah. I'm sure. I'm sure. Okay, so I'll ask a more politically correct question. Your top five designers. Top five designers. That you like to wear. Yeah, yeah, that is a woman. Yeah. You know, from, yeah, so I love to wear. So you can think of a jewelry as well. I love to lean. I love a liar, and I love Botega Veneta. I also love the row. Yes. I have so many. It's like, I literally, yeah, like, Harval, God, I mean, there's so many. I can't even be G8. There's so many. And just for fun, if there was a high street still, what would be your high street still? Midrange. Oh, no. Me, she's like, oh, no, no, no, no. I mean, I'm my uniglo. Yeah, actually, that would be mine. The best bassist. The best bassist. Yeah, and I believe I have live in heat tech in the winter. Yeah, for me, yeah, under everything. Actually, in all on the sea, most, most British Amazon. Yeah. Yeah. As well. Yeah. The line of action. Because I get called all the time. Exactly. So what are you most excited about in this role? I'm most excited about, I mean, everything about, I mean, everything about our future. It's really about, I think, well, a few things. This whole idea of this really bringing back that curated global destination, boutique, but then also, you know, I don't think that the question of Omni Channel has truly been answered. And I think the browns ecosystem is small enough. And then we have the technology of Farfetch. So I really believe that between in the browns, between the store, the app, the site, we can really create like a true Omni channel experience. Oh my god. That's that. That is a great place to end. Yeah. I used to end. Thank you so much. Thank you so much, Phil. I am most excited about you being at it. I cannot wait. I cannot wait. And seeing you back at the shows. Yeah. I mean, just just the love that I have for browns, just from being a kid as well. I'm so excited. Well, I expect you to be in our top customers very soon. Yes, we will. I'm going to have to borrow Ali's credit card. No, thank you for having me on the show. It's been really fun. Thank you so much. Thank you so much.