the counterfeit industry  When Lesleigh Jermanus founded Alemais in 2020 during the peak of Covid-19, she was assured that the world didn’t need another dress brand. “So if we want to do it, we have to do it as sustainably, ethically as we can, whilst maintaining a creative integrity,” she said. But if the challenge at the beginning of her business journey was standing out in a crowded market, three years later, the major challenge is combating counterfeit products, she said. Previously, Alemais worked on a made-to-order model, which aligned with its sustainability ethos and goals, but this led to an increase in counterfeits. “So many people got to see the brand and understand the brand, but we had to pull back from [made-to-order] because it gives everyone the head start of copying really quickly,” explained Jermanus. “It’s a huge, massive, massive issue for us. We’re about to employ someone full-time because we probably have about a thousand listings every week of a counterfeit garment.  Now Alemais has to try to get to market first with its original designs before the counterfeit market is able to copy and paste its garments into production. The challenge presented by the counterfeit fashion industry, perpetuated by websites like AliExpress and DHGate has somewhat stifled Alemais’ core value and sustainability goals. However, for the CEO of Oroton, Jenny Child, the counterfeit market acts as a temperature check of the brand’s virality rather than presenting an imminent threat. The brand came back from administration in 2017 to 2018. After running a diagnostic to understand the magnitude of branded counterfeits available on the market, Child ultimately came to a different conclusion.  “I kind of looked at the counterfeits and said, well, it’s relevant out there. And we looked at the magnitude and we shut a few things down,” explained Child. “But we didn’t worry about it a little bit – it happens; it’s a whole industry,” she added. On scaling legacy brands Oroton is still discovering how it wants to play up its heritage while positioning itself as a progressive brand. “Eighty-five years of goodness, we do need to grab onto that. And it differentiates us from brands that have just started, so it’s a real asset,” said Child. There are elements of Oroton’s heritage that it wants to keep talking about and pair with its modern approach to product designs and in-store experiences. “It’s pretty hard, that memory that everyone has and the smile that they give you when they talk about the mesh bag or it’s the first work bag they got from their parents,” said Child. “There’s also a side to the history where the product wasn’t as relevant to people and when that association is something that you want to shed and renew – you’ve got to sort of pick through that story,” she added. Victoria & Woods is another Australian brand that is cementing its legacy and is about to celebrate 20 years in business. In light of the brand’s upcoming birthday, Victoria & Woods co-founder and creative director Margie Woods reflected on the brand’s ability to keep its vision on point over two decades, with 25 stores and 260 staff across the country.  Woods started the brand with a vision to elevate the modern essential wardrobe, reinventing the classics like knitwear, cotton shirting, blazers and denim with a modern take. But instead of growth, the Victoria & Woods team is focussed on refining its customer experience with a one-on-one styling service in stores and improving its physical product and digital footprint. “I think our focus now with 25 stores is to get better at doing what we’re doing now rather than doing more of what we’re doing now,” explained Woods. “We’re a premium brand. We’re really happy we’re at the footprint that our stores are right now and we’re just focused on that,” she added. Rethinking social media metrics  Victoria & Woods’ consumers now span generations after its garments found virality on social media and appeal with younger shoppers. But industry experts are sceptical about how retail brands should approach social media and how much weight metrics should have on shaping a brand’s image. For Şener Besim, an esteemed retail and brand specialist within the Australian luxury retail landscape, and the founder and creative director of his namesake brand, offline customer experience should be weighted more heavily. “The change that technology has had in the online world has really created a strong language around the metrics,” said Besim. “Then when you take that to retail, that’s a bit tricky for me, that’s a bit problematic because you’re worried about metrics, but the most important thing is your customer,” he added. Brands that want to create longevity in the retail industry have to meet the consumer where they are and that requires striking a balance between online and offline experiences. But the ability to tell in-depth stories about entire collections and individual garments through stores cannot be ignored. For Besim, bricks-and-mortar stores still sit at the heart of retail, a physical space where you can focus on how you make the customer feel. “I’m still very passionate about retail, probably more so than ever. 2020 showed us how important it is to have physical interaction and to be inspired,” said Besim. “I think the people that are doing that, that are treating the customer with respect, are getting rewarded,” he concluded.