Fashion journalists and writers Amy Verner and Nick Remsen created Verner Remsen in 2020 as a personalised approach to developing value-defining and impact-positive copywriting, consulting and communications for luxury and culture-driven industries. Based in Paris and Miami, respectively, with a growing network of writers to draw upon, they keep a low-profile while defining the voice and messaging for a large roster of key fashion brands.
In what ways are you seeing fashion adapt to—or being transformed by—the ongoing global industry challenges?
NR: I think successful adaptation occurs when fashion houses find unexpected ways to break through the noise—and with the pandemic era speeding into the post-pandemic new age, there’s seemingly more distraction than ever. In this sense, Dior Men and Kim Jones tapping Travis Scott for Summer 2022 was smart, I thought. From a headline perspective, it immediately caught the eye, and the results had some nice options. Especially the jewellery.
AV: We are seeing men’s daywear evolve in real time. Suiting, sportswear and streetwear no longer seem like discrete categories; they are all merging and daresay even mutating. Looks that are at once polished and relaxed, casual but considered, streamlined yet detail-focused — and the acceptance that they can be worn anywhere, anytime (aside from the most official or ceremonial situations). Simultaneously, improved fabric and material sourcing is becoming a non-negotiable as a reflection of brand values, and the upside is two-fold for consumers: feeling better in our clothes and about our clothes.
What is one trend or article of clothing that will define the coming year?
NR: I feel like lavender—pastel-esque colours in general—for men may be in play. Also, recently, a New York-based creative named Sarah Coleman designed a capsule collection for Fendi. It featured all kinds of warped and twisted iterations of Fendi’s double-F monogram. We’ve been in logomania world for so long, and it’s kind of here to stay, so houses are reimagining their icons in more drastic ways. Or, at least, I think they’ll be.
AV: I think everyone is ready to buy into and embrace this softer shift in palette that Nick has observed. It’s not that designers are avoiding black or vibrant, primary hues; more that the muted, soothing shades worn in an all-over, tonal way feel newer and noteworthy. Some examples this week off the top of my head: Louis-Gabrile Nouchi, Hermès, Dior, Uniforme, Mr. Saturday, Issey Miyake to name a few. Placing such emphasis on colour might seem superficial, yet it speaks to the normalisation of any hue not considered neutral or classic, which in turn encourages men to style themselves differently — potentially and ultimately defining this moment in time. Plus, it’s a trend that’s very easy on the eyes.
What is something you’d love to see in the future of fashion, even if it’s the stuff of fantasy?
NR: I’d love to see more fashion houses embracing, and creating for, blockchain technology. It will happen. I would also love to see some mixups at legacy jewelry and watch brands—I think Alexandre Arnault will bring some fresh air to Tiffany & Co., for example.
AV: I also feel this question warrants a tech answer. Mine would be a wider application and standardisation of QR codes on labels. Traceability and transparency (in a manufacturing, not materials sense!) are so important today and customers genuinely want to know how their clothes are being made, who is making them and more. Imagine everywhere we shop, every time we consider making a purchase, that we can simply scan a code and find out everything — this could have a major impact on both production and consumption. The best part: I think we can arrive at this quite quickly. It’s not actually the stuff of fantasy!