Resort wear, adaptation and homeware: Scoop brings the French seaside to London

It’s not everyday you enter a trade show to the sound of melodic harp music, yet Scoop is not like every other trade show. In fact, each season, the event’s organiser, Karen Radley, reaffirms that the event is actually intended to be a “showroom”, a sentiment that is reflective in the highly curated selection of exhibitors and Radley’s more personal take on hosting, a feat that becomes evident through her seasonal themes.

While the February edition zoned in on quintessential Britishness, this season Radley took cues from Bastille Day, a French holiday that landed on the opening of Scoop, and therefore informed the design of the fair itself. As always, Radley’s fervour for theatrics already came into play at the entrance of the fair, where a small yacht sculpture stood among greenery. Moving into the main hall, Parisian flair took over. Under a string of chandeliers sat tables and chairs adorned with large bouquets where guests could enjoy macrons, evoking the aura of a French 18th century garden.

This space then made way for the stands of exhibitors that lined rows separated by a mint green backdrop. The layout reflected Radley’s mission to make Scoop a show encouraging discovery, guiding visitors through each alleyway in order to ensure the flow of visitors reaches all corners of Olympia West’s hall. For the most part, this effort was felt by exhibitors, despite the event starting out on a more quiet note, with Sunday’s footfall likely being impacted by various sporting events taking place in London.

Overall, however, general visitor numbers were on par with the last edition, when the fair was reported to have returned to pre-Covid levels. In contrast, levels had risen for Scoop’s Hosted Buyers programme. “Here, numbers were significantly up, which I think feeds into making sure the audience is the right one,” Radley noted in an interview with FashionUnited. “We purposely turn away the wrong audience to keep attendance really edited. There’s no one here that shouldn’t be here, the quality of buyers is integral.”

Resortwear takes the spotlight at Scoop

Among these were buyers from notable British department stores like John Lewis, Harvey Nichols and Browns, while international names were also in attendance, such as France’s Galeries Lafayette, which had made its presence known among many of the exhibitors. The ratio of local to international visitors is a one that has become increasingly balanced over Scoop’s lifespan, and was bolstered this year by retailers from South Africa, the US and, in particular, Japan. This presents both a challenge and an opportunity for Scoop, which this season primarily housed Resort and Cruise wear lines, markets largely dependent on weather and the travel market.

The demand for such collections, however, remains strong, particularly in the way of current market shifts, according to Radley, who said: “When I started Scoop, it was initially for the UK and Irish market, but I do think shops that know their clients are also buying for them to go on holiday. The whole ‘Winter Sun’ thing is huge at the moment, so I think a lot of deliveries are going to be quite early.” With this in mind, the increased internationalisation of the fair offered both challenges and opportunities to Resort wear brands that were attempting to enter a market defined by its turbulent weather.

Self Service Showroom, which was representing a number of resort wear brands at the show, including Australian labels Spell and, new to the UK, Bohemian Traders, had sights set on contemporary boutiques. Head of wholesale Polly Pritchett was aware that the brands’ higher price points and domestic seasonality could present a setback, however. “It’s hard for these brands to shift to an international aesthetic when they want to keep their core domestic customer happy,” Pritchett said. “That’s the biggest challenge, and one that takes a little bit of time to resolve because they have to see results in the new market in order to put in trust.”

For Spell, the US and the Middle East are the biggest markets, the latter also contributing well to Bohemian Traders’ business, which has launched in a number of stores in the region. In the UK, meanwhile, disappointing summer weather made it tricky to establish stronger ties, with Scoop visitors often finding it hard to visualise what might be needed for next year. In spite of this, Pritchett remained hopeful, stating: “Everyone goes on holiday and needs something new in their wardrobe. Even if as a buyer you’re being quite safe, there’s always an opportunity for newness. You have to keep bringing this into your store and be positive. In retail, you can’t focus too much on how difficult something has been from a weather perspective.”

Agents look to expand portfolio in tough market climate

Weather was also on the mind of Uri Living, an Indian label making biodegradable and organically produced designer wear. During the brand’s first time at Scoop back in February, its representatives saw less of a return due to its selection of colourful Resort wear that addresses a niche market and warmer climate. This time, things picked up, with footfall being much stronger, despite a feeling of cautiousness among visitors. Business head Manaswini Kondapalli said: “A lot of customers have to invest in a new brand that they see for the first time. We’re relatively new, so trying to get [visitors] to place orders has been the tricky part. We are trying to get more relevant by being here every season so they get to know the brand better.”

This sense of hesitancy could be felt at many stands, however, and often impacted the footfall for some exhibitors. This was the case for the UK agent of Scandi Studio, Davina Davidoff Kristensen, who had brought Esmé Studios and MSCH to the show. “[Retailers] are scared to spend money compared to the past when they would do so without thinking,” Kristensen said, before noting that her agency had to also adapt, bringing on more brands to ensure an iron-clad portfolio that can cater to a multitude of clients, some of which are even halving their usual order sizes.

Kristensen added: “We’ve had to add more brands to our roster, and that’s just one way of doing it. I’m adapting, and listening to my customers.” When asked if she was to return to Scoop, Kristensen said this would depend on how the season finishes as attendance is a big expense. Compared to other trade shows around Europe, ones in the UK come at a higher price point, yet many of Scoop’s exhibitors had also experienced a slowing of footfall at most international trade shows they had already attended, including those in the Netherlands and New York.

There was more stability in the accessories department of Scoop, one Radley highlighted as a key performing category for the fair. A long-time attendee and representative for Goldfinch agency, which among many other labels brought along Italian footwear label Date, Irish brand Aléo, Danish flip flop maker Sleepers and British label Laidback London, said that her familiarity with the fair has allowed her to develop a sense of understanding for existing clients while gaining exposure among new clients. “I love this environment because we’re all on the same level, and it’s an open show,” she said. “The relationships and the fashion are so important here.”

Adaptation is key to longevity

While Goldfinch’s sentiments towards Scoop were positive, its representative recognised that the period had been a challenging one for accessories, and the fashion industry as a whole. “There’s so many factors giving people a hard time, but the challenges also give us an opportunity for new brands to come on board and make dynamic changes to buying patterns,” she added. “This is a forward order show, not a stock basis show. We are serious brands that need to do forward orders here. But, like anything in the industry, we have to review ourselves. We have to think outside the box all the time at the moment. You can’t stand still, you can’t be complacent – you have to constantly evolve.”

Veteran French brand Poupette St Barth is another assessing current market conditions to inform decisions. The 30-year-old brand offers two collections a year of Resort kidswear and womenswear, all produced in its own factory in Bali, with its spring/summer line being at the core. Already present in a number of UK-based boutiques, the three-time Scoop attendee was looking to secure more independents and department stores for wholesale. Footfall for the brand had been promising, particularly in the way of potential Irish clients. Yet, one thing the brand’s representatives were conscious of was the unpredictable Resort division.

While in France, this sector is emerging and therefore seeing many new faces enter into the market, in the UK, the Resort category requires slightly more adaptation, including the merging of such collections with a more approachable ready-to-wear feel. The differences between these markets has also pushed Poupette, and others, to present landed prices for products in the UK, where straightforward costs can help alleviate confusion over tax and duties post-Brexit. Ultimately, however, flexibility is key for the brand’s newly signed agent, who said: “It’s about understanding your customer and working with brands which are really receptive. They need to be open to feedback and, for example, add styles that will be suitable for the market they want to enter. It’s really important to be open and reactive.”

At Palladio Agency, which exhibited six brands at the event ranging from resort to women’s to footwear, womenswear director Alex Radford highlighted British-Korean brand Emin and Paul, which was on the cusp of a wholesale relaunch to expand beyond its three owned stores in London. Scoop, therefore, was a launch pad for the brand. Radford, who said she had welcomed to the stand “quality” buyers from all fields, added that the Korean design values and production of Emin and Paul was a USP, offering a different handwriting to attendees. She continued: “It sits well with contemporary cool stores. We thought we would bring it back because the market trends have changed and it felt like good timing, because it’s more sustainable and offers good separates, which is something the market is calling for.”

Art, homeware and unisex brands: What can we anticipate for the coming season?

Evolution and adaptation was also on the mind of Radley. Having previously been located in the Saatchi Gallery, the inclusion of art was once a naturally organic part of Scoop’s identity. It has therefore remained Radley’s intention to return the fair to its artistic roots in its newer home of Olympia, a mission that she was able to achieve this year through a collaboration with Paul O’Farrell. The artist provided a selection of his contemporary art bodices to be dotted around the event, offering artistic intervals for attendees and further encouraging discovery. “When I started Scoop, it was about fashion and art. It’s not a trade show; it’s a showroom, a platform. Art and fashion are so closely aligned, and if I had a permanent showroom, I would want to also showcase interesting art and textile designers,” Radley said, before suggesting that art could continue to play a part in future shows.

When it comes to categories, unisex apparel is on the rise at Scoop and can be anticipated as a major player in the seasons to come. The same can be said for homeware, a new category for the July fair, introduced as a response to heightened interest from boutiques and concept stores looking to expand their offerings. “It’s something that is slightly artisan and people could just pick up for some of the smaller boutiques. It’s currently just a trial and there has been interest, so it may be an area that we grow,” Radley said.

One brand in this currently concise selection was Paris-based Villa Del Rosa, a two-year old tableware label by former architect Juliette Rouillé, who produces her products in Spain. Through Scoop, Rouillé set out on a mission of targeting concept stores in the UK, a feat that was generally achieved as small boutiques made their way to her stand in the hope of adding to their currently fashion-centric collections. With it being homeware’s first time, however, many visitors were not entirely aware of the category’s presence and therefore were not prepared to immediately commit.

Another issue came in the form of many buyers not being premium enough for the brand, which is on the higher end of the price spectrum and had therefore done better at Paris’ Maison&Objet fair, where a more premium client was on hand. This doesn’t mean Rouillé has ruled Scoop out for future attendance. Noting a desire for a more relevant clientele, Rouillé added: “I really like the show, for the retailers and for us, but I need to see what is going to be done for lifestyle and if they open it up a bit more. I think I will come back but I need to see the results in one or two months to make the decision.”

What is certain, exhibitor demand for a slot in Scoop remains high. Radley noted that for this last edition she had to enforce a waiting list, and anticipates the same for the next. One thing that is evident is a sense of loyalty that seems to run through the teams of many exhibitors, some of which have been coming to the fair since its inception. “The majority of my exhibitors are friends and we work together beyond Scoop. It’s just nice to see everybody together,” Radley concluded. Her attention now turns towards the next edition of Scoop, set to take place at Olympia West from February 9 to 11.