The International Fur Federation (IFF) has appointed a range of fur industry “Ambassadors” as well as retained the services of outside industry consultants to market, promote and provide information on the Furmark® certification. The Ambassadors represent their respective regions and will be responsible to outreach to a range of firms and contacts to share the merits of – and encourage inclusion in – the Furmark certification program.

Sandy Reports reached out to several of the Ambassadors provided by the IFF and asked them to share feedback they have received to date from their respective regional outreach.

In their own words …

SEE ALSO: North American fur trade – ahead of the curve on traceability. Truth About Fur.

Molly Wang, IFF China – Furmark Ambassador, Asia

Regarding Furmark, I had conversations with fur people on my previous two trips in China this month. In general, bigger manufacturers for domestic market and exporters for Russia are viewing Furmark as a very positive tool either for increasing their revenue or simply for their own publicities use. For those manufacturers who do OEM fur garments for fashion brands and for Russian market, they believe that if their clients accept Furmark, then they should join as quickly as possible, so they will be receiving more orders than those who don’t. That’s why they want to know how Russians are truly viewing Furmark.

The smaller ones are definitely showing interests on Furmark as well but given that they don’t buy as many skins from auction houses as the bigger companies, so at the moment, instead of applying immediately, they’d rather take wait-and-see attitude to see how things are going with bigger ones. (For exporters, they also comment that they want to know how Russians react to Furmark, which I think is reasonable.)

Retailers, we have a well-known brand in China who take initiatives to have included Furmark as part of their own marketing strategies in the coming retail season, really move fast and even push IFF to provide more marketing toolkit for them.

As for Chinese domestic market, if Furmark will be known and accepted by Chinese consumers, it for sure will help a brand to sell more garments over others who don’t use … what Furmark stands for, such as sustainability, traceability system, green materials etc.

These ideas are very popular in the fashion world in China in recent years, you can hear these talks, discussions on almost every fashion-related Seminar or Forum in China. LV and Fendi’s joining in has become an endorsement for Furmark in the fashion world.

Jan Erik Carlson – Furmark Ambassador, Europe

I have been working as a freelance consultant for IFF for more than a year now, with a focus on developing and implementing the Furmark system in the fur trade and fashion industry. Acting as an ambassador in the outreach to the fashion brands in Europe is a natural extension of my assignment.

Behind the handful of much publicised brands that have said no to natural fur, I still find a genuine interest in fur. I would even say that in the post-covid markets there will be an increased interest in materials that are authentic and sustainable. Natural fur actually ticks all the boxes in this respect, and the Furmark system can provide the assurance and confidence that consumers need to buy natural fur.

Both my personal contacts in the fashion industry and the extensive research that has been conducted globally in B2B [business-to-business] and B2C [business to consumer] segments by IFF, points to the fact that Furmark is the right concept at the right time. Most companies in the fashion industry do understand that they need a new strong tool to be able to promote and sell natural fur. Although fake fur is an alternative, there is no way around the fact that it is a plastic product that does not add any value to their products/brands compared to natural fur.

Having worked intensely with Furmark for more than a year, I am left with a feeling that there is a future for the fur trade. Although we have had some setbacks in recent time, I still experience that natural fur has a unique cachet and the material is aspirational for many designers and consumers. The high level of interest in signing up to the Furmark system across the markets is a good indication for the future!

Charlie Ross – Furmark Ambassador, North America

The designers that I am concentrating my Furmark efforts are fur-friendly and sell to boutiques and direct to consumers. They are, of course, disappointed that department stores will not buy, but many of the mid-level designers do not sell to department stores. I did not ask any questions about their reaction to fur. I have been mostly targeting designers in New York. They are all suffering in their business with decreased sales, so they did not bring up a change of attitude to fur. To be honest, I have been speaking to fur-friendly designers. They have been busy with their spring collections, and we are doing a Blackglama project, so they seem happy. I think that Furmark will provide additional confidence, but without the department stores the fur business will be smaller in the future.

The designers that I have reached are very supportive of the Furmark concept but they are waiting for the program to launch in Q4. The designers think that an organized and common language of selling certified furs is important in light of department stores that have stopped selling fur. The actual language is still being discussed but the concept has been very well received. I think after the September shows this will be a more relevant conversation as the designers will think about fall and fur. I will have a Furmark presentation during Fur Vision this year to really bring the message to the trade. The IFF wants to do the designer outreach before the trade.

The fur farmers seem to understand that the manufacturers and retailers need a concept to provide confidence to their customers. The trade in New York has not really commented on the Furmark program since it launches the end of the year. The IFF would need to do some outreach to the trade to try to get the information about Furmark to the trade. This has not started and is a program for the fall.

The big brands in Europe are also supportive about Furmark because they feel it is a way to give confidence to the consumer and the program covers a lot of fur types which they sell.

I think the lack of action about the loss of department stores is shocking. We won the political battle in some states, but we lost Saks and Neiman.

Maksim Chipurnoy, Russian Fur Union – Furmark Ambassador, Eurasia Region

The reaction to Furmark in Russia and Eurasia is positive, Turkish brands are already joining the project and there is interest from major players from Russia, Kazakhstan, Belarus. As in fact the Eurasian Economic Union has a mandatory traceability and labelling system in place by law since 2016, many players are interested in how technically the Furmark project can integrate into the existing system. We continue to negotiate with key industry players about joining the Furmark project.

The response to the Furmark project concept has also been received positively by almost all sectors of the fur industry. Proof of this: most sable fur farms in Russia have already joined the project and have been certified by independent inspectors from the Research Institute for Animal and Rabbit Breeding, two major auctions Sojuzpushnina and Ruspushnina, which sell Russian sable skins, have also been assessed for compliance with the Furmark project by independent experts from the Federal Centre for Hunting Development and, starting in 2021, all furs sold in Russia are certified. Plans for the near future include the inclusion of Uzbekistan and Uzbek Karakul in the Furmark project.

The main drivers of the fur trade are still China and Russia. In Russia, the turnover of fur goods is about US$3 billion, and compared to 2020, there is a noticeable revival of the market, sales growth, and a systematic return of business indicators to the pre-pandemic level.

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To learn more about donating to Truth About Fur, click here.

With the slogan #Reconnect - Time to Slow Down, a new campaign by the International Fur Federation urges designers, independent brands, fashion groups as well as consumers to change their consumption habits to help the planet. Sustainable sourcing, producing less, reducing waste, reducing pollution, buying fewer but higher quality garments, and wearing them for longer. This reflects growing criticism of the environmental harm caused by our “fast fashion” culture, while also highlighting fur’s solid credentials as a sustainable natural resource.

SEE ALSO: The sustainability of fur. Truth About Fur.

So what does it take to create a campaign like this? Truth About Fur talked with the man responsible for pulling it all together, IFF's fashion director Jean-Pierre Rouphael.

Truth About Fur: The principal video for this campaign contains a powerful indictment of the fast fashion scene: "Just spend your money, shelf it, wear it, post it, chuck it, REPEAT." As an alternative, you urge us to "Reconnect" with nature, and give it a helping hand by buying fewer garments and wearing them for longer. It's "Time to Slow Down." Support for this sentiment has been growing in recent years, and many in the trade believe fur should be part of this movement. Is it time to put it centre stage?

Jean-Pierre Rouphael: Yes, the conversation has been brewing for a while and keeps aligning closer to the fur industry's values, so the world is definitely ready for this. At IFF, we've been developing this message for the past three years, and this campaign is a continuation. In 2018, we began presenting fur as "natural" and '"kind to the planet", and promoted this heavily via Vogue magazine in eight markets. This has helped influence the media conversation about natural fur versus fake fur, and more broadly has given the fur industry a voice in the sustainable fashion conversation. Our latest campaign builds on this same message, while staying consistent and focused.

TAF: A consistent message makes sense for the fur trade, given that our sustainability credentials are so strong. But while you were developing this campaign, the Covid-19 pandemic struck. Has that changed fashion conversations at all?

Rouphael: It has definitely further prioritised the sustainability agenda and put it at the forefront of those conversations. The pandemic has shown in practice the positives that happen once we slow down - cleaner air, cleaner waters, a nature reboot. People have found a new appreciation for nature, and the industry is taking notice.

The pandemic has also changed the way fashion conversations are taking place. Before Covid, key fashion conferences were typically expensive affairs, for paying guests only. But the pandemic has pushed them to open up, so now anyone can log in remotely from home via Zoom, and be part of what were formerly closed conversations. The pandemic has also given us more free time to listen in, making it easier for us to put our hand on the industry's pulse.

Pulse of the Industry

TAF: And what have you learned? What is the "pulse" of the industry?

Rouphael: We are delighted to see that the fashion industry today is calling for the exact same things the fur industry has been advocating for many years. Quality, long-lasting, handmade, investment pieces made from sustainable materials and not depleting nature's resources. Overall, a promotion of slower fashion.

And this provided the base for our current campaign. We believe that natural fur is exactly the kind of material the fashion industry is calling for right now. For every quality the fashion industry wants to promote, a fur garment checks all the boxes.

Our task was to transform this concept into a campaign that is visual, educational, aspirational, and easily absorbable by end consumers.

"It Takes an Army"

TAF: Your behind-the-scenes photos show that a lot of people were involved in bringing this campaign to life.

Rouphael: All IFF campaigns are big collaborative projects. They start in-house, but once we've defined what we want to say, we invite outside parties to join. And when they say it takes an army, it's true! Almost 50 people were involved in different capacities in this campaign.

After the director and I agreed the visual direction to take and signed the storyboard, we set about choosing the best team, and the list was long! We needed a producer, a director of photography, lighting, retouching, hair and makeup, a casting director, a stylist, a behind-the-scenes photographer and videographer, a location manager, an editor, a copywriter, someone for voiceovers, a catering manager, and assistants all round.

Plus, of course, we needed a cast of models, and it was important to us that they represent a broad mix of ethnicities, as well as different shapes and sizes.

TAF: Didn't Covid-19 have an impact here too? The IFF is based in London. Wasn't there a lockdown?

Rouphael: It's not generally known that we actually shot the campaign in Dubai! The Covid rules were more relaxed there, and the budget was more affordable. Even so, we were all tested Covid-free prior to and post the 14-hour shoot, and had a government medic assigned to us throughout.

Still, Dubai did present some challenges. For one, we shot part of the campaign outdoors, and when the temperature tops 40°C it's not ideal for modelling fur! But the models and the team were ultra-professional, and you really can't tell from the videos and photos how difficult it was.

We also had to find a location with massive panoramic windows with green backdrops so we could shoot indoors but make it look like we were outdoors. And then there was the challenge of getting the fashion into Dubai as Covid was delaying shipments. For this reason, the stylist and I limited the number of brands we used and chose ones which were geographically closer. Still, we ended up with nine brilliant brands, and about 15 looks.

And after the actual shoot, we then had the post-production tasks of editing the videos, selecting the final photographs, and deciding the mood for retouching.

Last but not least, our website developer created a page to host all the new content, and compiled a media kit to deliver to all IFF members around the world.

Measuring Success

TAF: Once a shoot is a wrap, how do you launch a campaign and then measure its success?

Rouphael: The main objective of all our recent campaigns has been to position fur as part of responsible natural fashion, with an emphasis on its sustainability. At the same time, of course, we want to keep fur's image current and fashionable.

Every year, and depending on our budget, we work out a media plan pre-release and identify global print, digital and social media outlets we want to collaborate with, and accordingly make our bookings ready to launch. After the campaign wraps, we get all the analytics from the media with how many people clicked on the ads, how many people came to our website after seeing an ad, how many people we have reached in general, and so on. And then we report these numbers back to IFF's members.

This year, unfortunately, we don't have a budget to promote the campaign through external media (whether print or online), but we'll still be posting and boosting the campaign via our own social media. It's not the optimum way to reach the widest audience possible, but IFF has 55 member associations, and each of those has its own members, so it's amazing how far a campaign can reach when everyone is ready to share.

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How You Can Help ...

Whether you're a member of the trade or just a fur fan with a blog or social media account, you can help spread IFF's message by sharing this campaign.

The simplest way is just to link to IFF's landing page for this campaign, where all the materials are on show and you can understand the story. To share specific materials or to combine them with your own content, they're all available for downloading from a dedicated public Dropbox link. We all have the power to influence the fashion conversation, so please, get sharing!

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To learn more about donating to Truth About Fur, click here.

Responsible fashion, informed consumer choice, and the sustainability of fur are front-and-centre in two new fashion campaigns for Fall/Winter 2018-2019 from the International Fur Federation. In preparation for the global launch on September 3, TruthAboutFur’s senior researcher Alan Herscovici spoke with the IFF’s director of fashion, Jean-Pierre Rouphael, about these exciting new campaigns.

TaF:  The IFF’s new consumer campaigns take a very innovative approach, combining beautiful fashion photography with a strong environmental sustainability message. Can you tell us about this?

Jean-Pierre Rouphael: At the IFF’s annual meeting last Fall, in Barcelona, the board decided it was time to promote the modern fur trade’s unique sustainability credentials. The anti-plastic movement was dominating mainstream media and people were talking about the environmental damage caused by plastic – which of course includes fake fur. It was the perfect opportunity to emphasize our "natural" story – the sustainability of fur.

SEE ALSO: Fur is a sustainable natural resource.

Young people, especially, are increasingly concerned about how our lifestyles and consumer choices will affect the planet, so the timing is good. The challenge was how to tell this story in a fashion context. The solution we found is a two-pronged approach. One is a beautiful fashion campaign in Vogue magazine that incorporates our environmental message in the text. We call this campaign "Natural Wonder". And then we have a new digital campaign, called “Fur Now”, which centres on creative young people explaining in their own words why they love working with fur, and part of the conversation is about fur's sustainability.

NATURAL WONDER Campaign

TaF: Let's talk about the "Natural Wonder" campaign in Vogue first.

J-P Rouphael: "Natural Wonder" is a three-month exclusive campaign in Vogue, in six major markets – Spain, Italy, Germany, France, Russia and the USA – plus limited usage in China and Korea.

This campaign has been launched in Vogue's September issue, and will be followed by ads in the October and November issues, as well as on Vogue’s digital and social media platforms. The photography shows new fur creations by top designer brands, including Roberto Cavalli, Carolina Herrera, Oscar de la Renta, Fendi and others.

TaF: We notice that the fabulous photography is shot outdoors, not in a studio.

J-P Rouphael: Yes, the shoot was produced by the Vogue team, and we chose Dario Catellani to do our photography because he loves working outdoors, with landscapes and natural light. We felt that was important to reflect our message that fur is a natural product and a responsible choice.

TaF: And the message is clear, right from the bold headline: “Natural Wonder – Sustainable and beautiful, ethical and exquisite, the magic of fur is irresistible.”

J-P Rouphael: Yes, and the text that follows is also very direct. We explain that growing concerns about pollution caused by the production and disposal of plastics – like fake furs and other petroleum-based synthetics – make long-wearing and biodegradable natural materials, like fur, a better choice than ever. As we say in the text, “A fur coat is the ultimate refutation of the buy-it-and-toss-it ethos of environmentally destructive fast-fashion.”

FUR NOW Campaign

TaF: Now tell us about your second campaign, "Fur Now".

J-P Rouphael: The Vogue ads will be supported and complemented by a brand new "Fur Now" campaign that we are especially excited about this year. We have created eight fast-paced video stories featuring creative young people who are actively involved in the fashion industry. We will be featuring one of these video profiles each month, from September through December, and another four from February through May. But you can see all eight of these wonderful young creators on the IFF website now or right here on TruthAboutFur (see below).

TaF: It’s a very modern and engaging approach.

J-P Rouphael: Yes it is. These are real people and they express themselves in their own words. We intentionally did not script them; we just turned on the cameras and asked why they love working with fur, and that’s why the videos are so wonderfully sincere and authentic.

TaF: You have chosen young designers, artisans, and businesspeople working in different markets, in Europe, Asia and North America.

J-P Rouphael: Yes, some are new to the industry, and some are bringing new energy and ideas to multi-generational family businesses, like the charming 21-year-old Romanian woman whose grandmother started their store in Bucharest. There is also a British fashion blogger, someone who doesn’t work in the fur industry, but is nonetheless very interested in the environmental advantages of using natural materials like fur. These are authentic young voices that clearly demonstrate the dynamic creativity of our industry. And the fast-paced editing is also designed to speak directly to Millennials and Generation Z.

TaF: How will these "Fur Now" video stories be promoted?

J-P Rouphael: The campaign will be launched on Elle.com and HarpersBazaar.com through September and October. We will also have more than 40 print insertions in Elle, Harper’s, Cosmopolitan, and Grazia in the EU. There will also be a mailer to the Elle and Harper’s subscription lists. In all, this campaign will reach more than 100 million target consumers, compared to about 86 million reached by last year’s campaign.

TaF: An exciting campaign, indeed! Before we go, tell us a bit about yourself and what these campaigns mean for you personally.

J-P Rouphael: I have worked in fashion communications for the past 14 years, mostly with luxury fashion. I was born in Lebanon and worked for much of my career in Dubai, with clients including Valentino and Ralph Lauren. I moved to London a few years ago, and I am especially happy to be working with the IFF because I love fashion and fashion marketing.

Although I am experienced in promoting luxury, working on last year's "Fur Now" campaign was brand new to me. But touching and feeling fur, shooting it, and seeing how it uplifts any outfit and look, it became organic and easy for me to advocate and sell it through imagery and communication as a timeless beauty while still a modern-day luxury.

And, of course, we have an important story to tell about fur being the responsible choice for our eco-conscious times, especially as we become more aware of the environmental problems associated with fake fur. We believe that we have an extraordinary opportunity now to spread this very positive message about fur. That's why the slogan appearing on all our communications is: “Natural Fur – The Responsible Choice”.

FUR NOW Campaign Videos:

Fur Futures is an initiative of the International Fur Federation to provide financial and professional support for the fur trade’s next generation. The inaugural program was held by IFF-Americas in Toronto April 6-7 to coincide with a sale at North American Fur Auctions. Seven young professionals and one student, Jacob Shanbrom, attended educational activities covering multiple aspects of the trade, including a visit to a mink farm, and seminars on mink-grading and wild fur.

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One of my earliest memories is falling asleep in the back of my mother's SUV covered by her fur-trimmed parka. Since then I have always had an affinity for fur because, to me, fur represents not only luxury and elegance as perpetuated by both of my late grandmothers, but above all, comfort and safety, as a direct reference to my mom.

I bought my first piece of fur when I was 14, a black Mongolian lamb fur collar. I was absolutely hooked and spent my high school years hoarding vintage furs and going on the occasional modern fur splurge. To me, there is really no feeling like wearing a piece of fur. No other material makes me feel so safe and warm, but expensive and luxurious at the same time. I also love that items of fur clothing are often the ones that last the longest and are handed down through generations.

As a student at School of the Art Institute of Chicago, I've had experiences I never dreamed I'd have, particularly all of the specialized classes I've had the privilege of taking, such as corsetry, shoemaking, and fur design. In my senior year, I have been extremely interested in material discovery, such as python, crocodile, leather, and my favorite, fur.

I have really enjoyed learning about all of the hard sewing and detail work that goes into building a fur coat. I have always been drawn to fur and fur work by the plethora of Old World techniques, like hand stitching, pick-stitching organza back in, and twill tape, tailoring, and letting out. As a shoemaker as well as a fur designer, all Old World techniques really excite me and fur is most definitely included.

Invaluable Advice

I was thrilled at the beginning of my last semester to get a call that a spot was available on the "Fur Futures" trip happening in Toronto in the spring. I immediately said yes, and before I knew it, I had landed in Toronto airport and was on my way.

The opportunity to participate in Fur Futures has truly changed my life's direction. It gave me the chance to travel with seven other creative individuals all involved in the fur industry, including designers, farmers, tanners, retailers, and manufacturers. I was truly thrilled with the level of conversation fostered by such an extremely diverse group. As the only student participating, my colleagues gave me invaluable advice like not pursuing a typical fashion job but instead focusing on a specialised area like accessories, shoes or fur.

Fur Futures has also changed my outlook on the fur industry. We visited a mink farm outside Toronto to view in person the extremely high standards enforced in North America. I was thrilled to see just how healthy the animals were, and to meet the farmers and discover that most fur farms are family-run businesses, often many generations old. I was even more thrilled to learn how green fur farming is. I had always thought that with mink, just the fur was used and nothing else. Now I understand that every part of the animal is put to use, from fur to manure, being that the animal is fed such a healthy diet. Nothing goes to waste. I now feel confident standing behind fur and speaking with authority to those who may not be so supportive of fur.

We also attended a sale at North American Fur Auctions (NAFA), one of the largest in North America. Meeting with the graders from NAFA was a mind-blowing experience. I am so used to walking into a fur store or furrier and trusting that I am purchasing the highest quality; I had no idea that there are dozens of different levels of quality, especially in the case of mink. Being that fur can be controversial, I am thrilled to learn anything I can about the animals themselves, as well as any other information I can soak up.

This trip has meant a great deal to me. Being a part of Fur Futures has given me not only an opportunity to expand my knowledge, but also to broaden my network with so many new connections with wonderful people. As a designer using a sometimes-controversial material such as fur, I believe it is imperative that I understand where it comes from as well as the ethics.

After my experiences with Fur Futures, I stand proudly behind my work, knowing that fur is ethical as well as a natural product that has been around since the beginning of time. I fully intend to continue using fur and hope that other designers using fur will be able to have the opportunity to gain a better understanding of where it comes from.

I personally own fur pieces from 60 to 70 years ago, and can only hope that my own fur designs will withstand the test of time. Although fur may not be everyone's cup of tea, the choice belongs to the wearer and no one else.