Alabama Football 2025 26 College Football Playoff Tee Shirts
A decade in, Beecham’s brand trajectory is split into two phases: pre and post-pandemic. For the first five years, she operated at the behest of the fashion industry. For the last five, she’s worked on her own terms. It’s a pivot many designers muse, but few embark on. Beecham breaks down how she did it. Beecham herself never expected to stray from fashion’s rigorous schedule. “When you’re on the hamster wheel, it moves so quickly,” she says. “You’re just going and going and going. And we were designing and then selling and then going again — designing, selling, designing, selling.” A forced break drove Beecham to realise the pace wasn’t working. “I feel like I was burnt to a crisp,” she says, looking back. With the twice-yearly drop model, Beecham is able to take the nine to 10 months she needs to design and develop each collection with her five-person team, each made up of 12 to 14 pieces. She sustains this with the once-yearly archive drop, happening Wednesday. During the design process, Beecham samples many silhouettes and fabrications. “Instead of sending those to be destroyed or I don’t know what, it’s a way that we can sustain this kind of business model. By having people support and buy our samples,” Beecham explains. Wednesday’s drop has over 160 pieces (far more than the typical 12 to 14-piece drops), many of which are one-of-one. She calls it a treasure trove: shoppers are invited to dig through, not knowing what they’ll get. “Tune in at 8pm and you’ll see anything from tiger print to sherbert yellow.”Alabama Football 2025 26 College Football Playoff Tee Shirts
In shifting to this model, Beecham has also freed up time to engage more closely with her consumers. She’s the one replying to those who DM the account. “It allows me to keep my finger on the pulse,” she says. “I know if someone’s complaining or if something’s not working or a shape or a fabric is wrong. I’m the first person to know.” I joke that it’s like another full-time job. She agrees but seems unfazed. It is, after all, these engagements that help to inform the content of forthcoming collections. “I’m always asking: OK, so we had leopard print last year. Do you want leopard again? Do you want it in wool? Do you want it in faux fur?” This is one of the biggest changes Beecham has enjoyed since shifting her business model. She recalls pre-Covid when she’d have to cave to wholesaler requests. “A big retailer made me make an orange coat,” she remembers, grimacing. The coats didn’t sell (the trend came and went). The retailer shipped back the coats — no payment. And Beecham was left with a pile of orange coats that were never for her customer in the first place. “It’s a situation that I luckily don’t need to find myself in any more,” she says. These days, more than ever, Instagram is Charlotte Simone’s brand hub. Eighty per cent of the brand’s sales come from the platform. With no year-round website or physical storefront, Instagram is where the brand world lives. “We have no storefront and our website is closed apart from three weeks of the year,” the designer says. “So Instagram is essentially everything. It’s our world for our customer.” It’s for this reason that she sits at the helm — of the account as well as the brand.
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