Not all eyewear is created equal. Much like everything else in fashion,
there is an entire spectrum of low to high, basic to couture, affordable to
luxury, factory-made to crafted by hand. Acetate remains the most popular
frame for glasses, spanning the affordable market for as little as 25 euros
for a no frills pair from Dutch e-commerce startup Charlie Temple, to
luxury options, such as a tortoise shell acetate and gold inlaid pair from
luxury brand Cartier, priced at around 900 pounds.

Five years ago the eyewear market was turned upside down with a new breed
of start-ups challenging the big luxury players with low-cost, high-quality
alternatives, migrating the prescription and optical market to online, and
re-writing the sales book on value and service. It spelled the end of an
era of stuffy opticians, overpriced prescription glasses, and boring
retail.

Where once low-cost eyewear carried the stigma of being and appearing
equally cheap, a surge of new brands introduced novel ways of retailing
affordable glasses with a high desirability factor. In the US companies
like Warby Parker and Privé Revaux Eyewear debuted designer spectacles
starting from as little as 29 dollars for a pair of frames. In Europe,
companies like acetate revolutionised the contemporary eyewear market
as purveyors of fashionable glasses for 98 pounds. Their visually appealing
campaigns are cleverly aimed at millenials, embracing codes of
individuality and inclusivity, striking a chord with a generation known for
its thriftiness. The era of owning an eyewear wardrobe was launched.

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Price focus

, a French startup founded in 2011, goes as far to offer
spectacles and prescriptions for an uber low price of 14,98 euros. The
company has adopted an aggressive marketing campaign, using slogans such as
“Stop getting f*cked by the optical industry” and calling buyers of luxury
glasses “stupid” for paying higher prices.

Do you get what you pay for?

Whilst acetate frames may be generally inexpensive to produce, not all
cellulose acetate is created equal, either. The higher the quality, the
better the gloss and transparency. But pricing tiers are not solely based
on materials used and it is difficult to quantify the price of exceptional
design.

Whereas companies like Polette are keen to advertise the affordability
aspect of their products, the design factor and level of detail in their
collections cannot necessarily be compared to high-end players whose
products are founded on craft and innovation. There is a discernible
difference at product level between a pair of glasses cheap to produce,
minimally designed with affordable materials, and those at the higher end
of the spectrum, where detail, innovation and pricier materials come into
play. Comparing an inexpensive cotton t-shirt by H&M to a t-shirt made by
Louis Vuitton should have obvious qualitative differences. We’re all agreed
that not all cotton t-shirts are equal.

Yes, the eyewear market has been disrupted with new direct to consumer
brands, many of whom are rightly calling for more transparent pricing and
eradicating over-priced prescription models. Yet calling potential
customers ’stupid’ for choosing to buy a luxury brand is both offensive and
unwarranted. In the quest for exclusivity, not all shoppers are in the
market for low-cost.

Photo by FashionUnited

Spartak have the option to sign the former Bayer Leverkusen, Chelsea and Wolfsburg player permanently next year

Germany forward Andre Schurrle has joined Spartak Moscow on a season-long loan deal, his parent club Borussia Dortmund have announced.

Bundesliga giants Dortmund confirmed the agreement on Wednesday, meaning the 28-year-old will spend his second successive season away from the club.

Schurrle made 24 Premier League appearances for Fulham last season, scoring six goals.

Spartak have the option to sign the former Bayer Leverkusen, Chelsea and Wolfsburg player permanently next year, with the fee reportedly set at €6million .

Schurrle broke through at Mainz before his form with Leverkusen alerted the attention of Chelsea.

Jose Mourinho made Schurrle the first signing of his second stint at the club for a reported fee of £18m in 2013.

The attacker made 44 Premier League appearances for Chelsea before returning to Germany with Wolfsburg in 2015, though things have not really worked out since a subsequent move to Dortmund a year later.

He has played in 33 Bundesliga matches for Dortmund, scoring three goals.

Schurrle’s arrival will boost a Spartak side sitting 10th in the Russian Premier League after three matches.

The Muskovites will be hopeful he can make a greater contribution than the one he made last season at Cravan Cottage, where the German was unable to prevent the Cottagers sliding out of the Premier League after a dismal campaign.

Schurrle scored twice in the World Cup semi-final of 2014 as Germany crushed the hosts Brazil 7-1, notching his team’s last two goals as they landed one of the great World Cup shocks.

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The Leicester man will become the world’s most expensive defender once his £80m transfer is completed with the United boss confident it is nearly done

Harry Maguire’s move to Manchester United is likely to be completed “very soon” according to manager Ole Gunnar Solskjaer.

The 26-year-old is set to become the world’s most expensive defender as he moves from Leicester, with an £80 million ($97m) fee agreed between the clubs.

He is thought to have been offered a six-year deal at Old Trafford, as Solskjaer looks to fix United’s long-term defensive shortcomings.

“Hopefully the last little details will be in place,” Solskjaer said in a press conference. “So hopefully we can announce something very soon.”

United are set for an intriguing start to their Premier League season, as they host Chelsea on August 11.

Victor Lindelof and Marcos Rojo started in the centre of defence in the pre-season penalty shoot-out win over AC Milan on Saturday, and fans will be hoping Maguire goes straight into the starting XI against the Blues.

“Let’s get the last details over the line,” Solskjaer added. “But yeah, he’s played a few games over the summer so we’ll have to assess him if and when.”

He is set to be an integral part of a new-look United back line, with Aaron Wan-Bissaka starting on the right and Luke Shaw and Lindelof likely to be the other preferred starters.

Swedish international Lindelof scored an own goal in Saturday’s game, but Marcus Rashford and Jesse Lingard found the net at the right end to earn a 2-2 draw.

New signing Daniel James bagged the winning spot-kick, and will be hoping he has done enough in pre-season to make the team against Chelsea. His winner ensured that United finished their pre-season campaign undefeated.

Paul Pogba wasn’t present for the game against Milan as he had a slight knock but Solskjaer added that he fully believes the midfielder wants to be at United, amid heavy interest from Real Madrid.

The transfer window will have closed before United get their season underway, and Solskjaer will doubtless be happy to focus entirely on matters on the pitch.

Fixtures with Wolves, Crystal Palace, Southampton and Leicester follow the Chelsea game, before their Europa League campaign gets underway in mid-September.

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Sustainability in the fashion industry is having a moment. Headlines are
calling for transparency, a growing demand for circular and ethical fashion
is gaining traction and there is momentum, even if they are baby steps,
towards a cleaner industry and greener planet.

Sustainability as a subject matter is at last getting the attention it
deserves. But if a collective conversation is happening from within the
industry itself, the brutal reality of factory workers is a far cry from
the words spoken by brands’ sustainability officers, who’s companies
continue to produce garments in factories where human and worker’s rights
are but a tacit agreement rarely enforced.

A report released this month on workers rights in Bangladesh revealed the
government and apparel factory owners are retaliating against workers who
are campaigning for a higher minimum wage, which was raised to 95 dollars a
month in December 2018, from an hourly wage of approximately 0.45 cents and
22 dollars per week.

Factory workers who make clothes for H&M and Mango subjected to
criminal charges

Since campaigning for higher wages last year, many workers have been
arrested and subjected to baseless criminal charges, “brought at the behest
of factories that supply brands like H&M, Mango, and Next. Factories
producing for these and other brands have fired as many as 11,600 workers
without legal justification, most of whom are unable to find other jobs due
to systematic blacklisting. Some factories have even hired thugs to
physically assault employees.”

The report, which was published by the Workers Rights Consortium (WRC),
eerily notes freedom of expression and association have become increasingly
stifled by Bangladesh’s Government in recent years. The Government, led by
the Awami League, has most notably used the Information and Communication
Technology (ICT) Act to arrest scores of civil society actors for
criticising governmental and political leaders, among others, in online
newspapers, on Facebook, and on other social media sites.

The response by government security forces was characterised by
indiscriminate use of physical force, in contravention of workers’ rights
of speech, assembly, and association as well as arrests of, and criminal
charges against, 65 workers were driven by demonstrably baseless complaints
from managers of 30 factories, producing for a long list of well-known
brands and retailers. The report iterates some workers were charged based
on alleged acts that took place miles away from their actual workplaces and
in which the workers cannot possibly have taken part.

Despite a focus on factory safety in Bangladesh following the Rana Plaza
disaster, workers rights have a long way to go. Factory owners were never
held meaningfully accountable for their role in the unlawful repression of
peaceful protest and assembly. Western brands and retailers continued to
pour business into Bangladesh; exports to the US, for example, have grown
19 percent in the last year.

How can brands remedy the harm done to workers?

The WRC asks all brands sourcing from Bangladesh to require all of their
suppliers to withdraw any criminal complaints they have filed in relation
to the recent protests (as well as any remaining criminal complaints
against workers; reinstate and provide back wages to all workers terminated
or forced to resign in the wake of the protests; and commit to a
nondiscriminatory hiring process, designed to end the blacklisting of
workers based in their involvement in the protests.

Based in Washington, USA, the WRC conducts independent, in-depth
investigations, issues public reports on factories producing for major
brands; and aids workers at these factories in their efforts to end labor
abuses and defend their workplace rights.

Farfetch is becoming one of the fastest growing eCommerce platforms in the
fashion industry. It’s endless selection of luxury items leaves customers
scrolling for hours, and has completely transformed the way people shop for
luxury. As the company works to form more of its own unique brand identity,
this past March they launched Farfetch Communities, which gives shoppers
content from notable figures in entertainment and fashion.

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Now, the luxury eCommerce site is collaborating with fashion houses to
produce more exclusive content, and the first up in their partnership is
one of Italy’s hottest luxury brands, Gucci. Today, “Gucci Open House” has
gone live on Farfetch Communities. The eight-month-long series takes users
into the homes and lives of different Gucci fanatics. The content was
produced in collaboration with Gucci’s digital marketing team.

According to Business of Fashion, communities was designed to address a
major problem Farfetch has: a wide assortment of product at competitive
prices, but lacking a brand identity of their own. Despite their individual
brand identity, Farfetch’s revenue has soared over the past several years,
but to keep up that growth they are following the classic “spend money to
make money” model, and investing heavily into marketing.

For Q1 2019, Farfetch had 1.7 active customers, an increase of 64 percent
compared to last year. However, their losses widened and their stock has
declined 16 percent. However, the company is hoping that these marketing
initiatives will help solidify relationships with customers and lure in new
ones.

“This is about expressing the Farfetch brand and ethos in a unique way,”
Neves said to Business of Fashion. “We have a community of the best
curators of fashion. We have boutiques, designers and brands, and we also
have fashion consumers from all over the world. Now, we are leveraging the
power of our community.”

According to Neves, Farfetch has a series of brands and boutiques ready to
partner with them after their current collaboration with Gucci ends. The
goal is to eventually curate enough segments so specific customer
demographics will have content unique to them, such as the sneakerheads.

photo: farfetch.com

The curtain came down on Paris men’s fashion
Sunday with two high-concept shows that had walk-on roles for Solange and
K-pop sensation Lisa.

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Kenzo’s design duo Carol Lim and Humberto Leon said goodbye to the French
label with Solange as the surprise performer in the same Paris stadium which
Elton John had packed to the rafters a few nights previously.

The Californians’ ended their eight-year reign with a bang as the American
star appeared on a platform to sing “I’m a Witness” in between the men’s and
womenswear lines.

The brilliantly choreographed event had started with a similar wow moment
when a huge curtain was pulled away in front of 600 or so fashionistas to
reveal several thousand more people on the other side.

Having conducted her 11-piece black-clad brass band, Beyonce’s younger
sister then walked arm-in-arm with the designers to acknowledge the ovation at
the end, with the feminist English rapper M.I.A in the front row.

Balmain’s Olivier Rousteing got the weekend rocking late on Friday night by
making the hot French DJ Kiddy Smile the centre of his show-cum-concert.

Mermaid inspired fashion

The young French creator — who often dresses big music stars for their
tours — also threw open the doors by giving away 2,000 tickets.

“Everyone is talking about inclusivity from behind their screens but no one
is actually doing something,” he told reporters.

Inclusion has been one of Lim and Leon’s watchwords, and their final Kenzo
collection was inspired by Japanese Ama divers, the “sea women” who have been
diving for pearls for 2,000 years.

Traditionally, the divers only wore a loincloth and the pair picked up that
motif with rippling, silkily aquatic clothes that weren’t obviously sexy but
were utterly sensual at the same time.

Men’s and women’s lines were peppered with gorgeously original fishing and
mermaid metaphors, with a fluidity and a dreaminess about the clothes,
particularly in the play with pearls, urchins and little touches of foaming
silk and organza.

While Lim and Leon went out on a high, you could be forgiven for feeling
that Hedi Slimane, Mr Rock Chic himself, was treading water somewhat.

The style superstar who is credited with the skinny look has taken a
terrible kicking from critics since unseating the beloved feminist creator
Phoebe Philo at Celine.

Slimane once again only using the skinniest models

He closed fashion week with another no-expense-spared show that began with
an awesome theatrical device.

As for the clothes, the big news is that the “Sultan of Slim” has
jettisoned his trademark drainpipes, the trousers the late Karl Lagerfeld once
lost nearly 42 kilos (92 pounds) to fit into, for flares worn long over heeled
boots.

Skinny though lives on in the rake-thin male models, every one wearing
black aviator shades.

In fact, Slimane’s “Celine 04” collection was very much like a male version
of “Celine 03” — a walk down memory lane.

This time it was a sometimes literalist re-creation of what American West
Coast rock star types were wearing circa 1973, with a sharp couture sheen and
added sparkles.

Tight leather jackets and flares, unbuttoned shirts and three-piece double
breasted suits with white cowboy boots, red carnation button holes and long
thin scarves.

Thai rapper Lisa considered Slimane’s ‘muse’

Some tops carried downbeat slogans from New York artist David Kramer’s
paintings such as “Yesterday was better”, “My own worst enemy” and “Downhill
from here”.

You could not help but wonder if Slimane — whose army of loyal
free-spending fans are known as “Slimaniacs” — was teasing his critics, with
one of Kramer’s images carrying the caption, “…There is no irony here.”

Fans did scream at the end but it was more for Lisa, the Thai-born rapper
of Blackpink fame who is Slimane’s new “official muse” and who was in the
front row.

There was much joy to be had elsewhere with the reinvigorated British brand
Dunhill and Paul Smith, the doyen of English tailoring, showing there is
plenty of creative life left in variations on the suit.

But the big breath of fresh air was the young French designer Bruno
Sialelli confirming the promise of his debut collection for Lanvin with a show
held at a swimming pool.

Quirky, cool, cute and a lot of fun to look at — and clearly to wear —
Sialelli turned out a collection that played with every cliche of the French
summer and seaside and somehow made them look new.

It was hard not to smile at his tricorne straw hats.

Not for him the pasty, androgynous models that often dominate the Paris
catwalk.

“I wanted the boys to eat well and to look healthy and strong,” he told AFP.

“Now I need a holiday, he added. “I mean, I love my work but holidays are
the best things in life, no?”(AFP)

Photos: Celine SS20, Catwalkpictures

It’s a strange bind we find ourselves in. All ethnicities and body types
are being represented on runways and in media, and that’s to be praised
from the highest peak, but from this magnificent melting pot emerges only
an endless parade of flawless Fembots. Their sameness is the ultimate
denial of fashion although many of them may be hailed in social media
circles as fashion influencers. We retreat from individuality like never
before. The dominant issue of our time might be the beautiful diversity of
the skin we’re in, but that second skin, the one we nurture and slip into
every morning, our sense of style, is shriveling and dying.

A single homogenized look of perfectly arched eyebrows, vapid stare,
contoured cheeks and plump pout with a few fast fashion separates and
wide-brimmed hat does not a fashion leader make. Where are we going with
this? Instagram’s constant content has revealed a lack of original
programming, and although we might be tigresses on the inside, as
sphinx-like and feline as Kate Moss, or prowling and unpredictable like
Grace Jones, the reality is we’ve lost our roar. Our style vernacular is
basic, monosyllabic. Sites such as Insta Repeat underscore our lack of
creativity in how we present ourselves, and those 2 million-plus daily
posts documenting users’ Outfits of the Day (#OOTD) amount to nothing but a
cliché ritual that should be filed under Old Obsolete Tired Done.

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Desperately seeking fashion

Reflecting on the last half of the twentieth century, there were
certainly the dominant beauty trends––from pointed breasts to spidery
lashes, from supermodel coiffures to the lankest of locks, from hourglass
to waif––but every decade presented significant fashion markers: the 1950s
served up beatnik twinsets, capri pants, rockabilly poodle skirts; the
space-age 60s countered with mod plastic accessories and paper shift
dresses; the bohemian 70s danced in with its bellbottoms, velvet
maxi-dresses and psychedelic prints, only to be bumped out of the way by
80s big-shouldered tailoring; the 90s ushered in minimalist slip dresses,
grungey flannels, rave gear, and hipbone-baring bumsters––all of these
became era-defining fashion statements. But this millennium so far,
captured millisecond by millisecond via digital technology, shows less
fashion evolution––athleisure, normcore, upcycling––in favor of more
physical shapeshifting––big busts and butts, trout pouts, hair extensions.
Surgical enhancement triumphs over sartorial splendor so that we’re
emphasizing the canvas and undervaluing the art.

Beauty and glamor are often tossed under the heading of fashion, but
they literally scratch the surface of fashion’s potential and scope.
Fashion is no mere entertainment. Fashion as art can provoke thought, spur
change, and uplift the soul the way a painting or sculpture can; while
glamor is more likely to temporarily amuse or provide escapism. A trip to
Dover Street Market can imbue the visitor with the wellbeing associated
with spending time in a temple. Fashion genius does not need to make itself
replicable and true pioneers trust personal instinct not Youtube tutorials,
value experimentation and the importance of failure. To strive for bland
perfection and conformity is an erasure of the art of fashion. It’s style
over substance, polish over process.

Like follows Like

The Like button is integral to modern society but the act of liking is
the equivalent of using the word “nice.” It’s noncommittal, inoffensive,
non-confrontational. Anyone can be nice, and what is familiar will receive
more Likes as we humans are creatures of habit. A manufactured aesthetic is
easier to digest than an outfit put together with disobedient abandon.
Being a rank and file influencer of today leaves fleeting impact––but
shouldn’t we choose to influence with lasting effect? And shouldn’t we be
choose to exert most influence on ourselves? The somewhat successful social
media influencers with sponsorships and contracts are not dissimilar to
corporate middle management in that they show up to work in uniform and
make money by shifting product to the masses. But one who meaningfully
moves fashion forward will not answer to the term “influencer”, but will
seek to communicate something candid, often imperfect, and be blithely
unconcerned if they are making others uncomfortable, indeed might
deliberately set out to do so. That sort also tends to believe that clothes
should not be disposable, nor bought for an Instagram snap then returned to
the store, and that fashion should spark more critical debate than an
episode of The Bachelorette.

Authentic creatures of fashion are like unicorns, special, elusive,
spontaneous. They’re writing their own stories as they go and cannot be
tamed into performing in someone else’s narrative. Traditionally fashion’s
most beloved figures, from designers to muses, did not belong to any cool
clique, falling instead into the observer role, misfits outside the system,
often even in conflict with it: Coco Chanel was an orphan, Isabella Blow
claimed she wore large hats to keep people at a distance, Yves Saint
Laurent was a quiet and retiring youth and anxious adult, Martin Margiela
chose anonymity and gave no interviews, while Giorgio Armani, now head of
one of the only privately owned luxury brands, expressly stated to the
Financial Times, “I have always been a loner.” The popular kids
with the most followers are the antithesis of creatives who quietly craft
art that can shift society forward.

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Recent reports suggest Gen Z rejects the over-curated inauthentic
version of reality that Instagram has spawned, the
pushing-hair-behind-one-ear pose while gazing into the middle distance in
front of a millennial pink wall doesn’t apparently resonate with them. But
the popularity of last year’s Huji Cam app which makes photos look like
they were snapped with a disposable drugstore camera bought around the turn
of the last century complete with digital date stamp in the corner suggests
they are simply in search of a different fakeness. The process to
self-creation should be blurry, even unfocused at times, but not as a
result of technological deception. From teenage experimentation to the
role-playing and risk-taking of ones 20s and beyond, trial and error mixed
with courage and imagination can open up untold possibilities for
self-expression, helping us to reach that ultimate fashion goal: individual
identity.

But for that to happen, it may be time to put aside the media creation
and work on the Me creation.

Fashion editor Jackie Mallon is also an educator and author of Silk for
the Feed Dogs, a novel set in the international fashion industry.

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The Englishman scored only 10 Premier League goals last term and his boss wants him to step up this year

Manchester United manager Ole Gunnar Solskjaer is expecting more from Marcus Rashford this season after the striker opened his campaign with a brace against Chelsea.

United crushed the Blues 4-0 at Old Trafford on Sunday, with Rashford playing an important role – though the scoreline did flatter Solskjaer’s side.

Rashford opened the scoring early on with a penalty he won following Kurt Zouma’s clumsy foul, before Anthony Martial made it 2-0 in the second half.

A cool finish after Paul Pogba’s pass saw Rashford double his tally a few minutes later, with Daniel James wrapping up the win late on.

Rashford managed to score 10 Premier League goals last term, but Solskjaer is expecting him to kick on this term.

“I think Marcus is developing really well,” Solskjaer told reporters at Old Trafford. “He’s growing, you see his stature now, his body. He’s capable of playing more this year.

“He struggled with his ankle last season, so this year I expect more from him. But the whole squad, we’re fitter, we’re stronger. You can see in that second half we are more than capable of lasting games.

“He’s getting fitter and is a year older. We’ve had six weeks to work on a shape we want to look like and he’s exceptional when there’s space in behind.

“And the third goal, he almost got the same against Kristiansund [in a pre-season] friendly in Norway, but his touch let him down. Thankfully he brought it down [this time].”

Martial began the match as United’s central striker and, although he and Rashford rotated throughout the game, he got his goal with a poacher’s effort from an Andreas Pereira cross.

Solskjaer is hopeful Martial gets more of those goals this season, telling him he should be looking to finish moves from close in, instead of bothering with tricks on the wing.

Solskjaer said: “It’s always important for a striker [to score goals], but how do you react? Do you drop your shoulders, [and think] ‘I’ve scored my goal now’, or do you get hungrier and realise, ‘That’s where I score my goals’?

“It’s not out wide on the left-hand side showing your skills, it’s in that box, and I was so pleased for Anthony scoring from five yards after that cross, because I’ve not seen too many of them [from him].”

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The Selecao star is linked with a return to the Nou Camp, but the Catalan club’s coach still does not know what will happen

Barcelona coach Ernesto Valverde remains unsure what will happen with Neymar amid reports the La Liga champions want to sign the Paris Saint-Germain star. 

Neymar, 27, is expected to leave PSG this close season, with a return to Barca after in leaving for Paris in 2017 mooted, while a shock switch to Real Madrid has also been rumoured. 

Speaking ahead of a friendly with Napoli in Michigan on Saturday, Valverde said he was still uncertain about the Brazil star’s future and he was keen to focus on the players currently in his squad. 

“We’ll see what happens. The classic response is that he plays for another team and that’s that,” Valverde told a news conference. 

“All I know is that I’m the manager and I only think about the players I have. They are the ones I’ll be using tomorrow. 

“As it stands, I don’t know what is going to happen.” 

Barca will reportedly include at least one player in a move for Neymar, with Philippe Coutinho and Ivan Rakitic among the names mentioned as possible makeweights in a transfer. 

Valverde said he could not guarantee Rakitic’s future, but believes he will be able to rely on the Croatia midfielder during the upcoming season if he remains at the club past the September 2 transfer window deadline. 

“He is very important for us,” he said. 

“His work is there. Right now, I don’t know if he will stay. I count on him as I have. 

“In principle, nothing makes me think that I won’t be able to count on him.” 

The upcoming Napoli fixture is the second time Barca have faced the Serie A side this week, having won 2-1 in Miami on Wednesday, courtesy of goals from Sergio Busquets and Rakitic. 

Saturday’s match is the Blaugrana’s last pre-season clash before their La Liga campaign gets underway with a trip to Athletic Bilbao on August 16. 

Their first home game at the Nou Camp will come against Real Betis on August 25. 

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The Reds’ back-up goalkeeper is likely to play a key role while the Brazilian recovers from injury, and an Anfield team-mate has backed him to succeed

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Trent Alexander-Arnold is confident Adrian can fill the void left by Alisson between the sticks for Liverpool over the next few weeks after an encouraging debut.

The Reds picked up a 4-1 win over Norwich City on the opening day of the new Premier League season, but Alisson was forced to withdraw in the first half with a suspected calf injury .

Adrian, who secured a move to Anfield on a free transfer following his release by West Ham, came on for his first appearance in Liverpool colours and performed well against the newly promoted Canaries.

The Spanish shot-stopper was denied a clean sheet when Teemu Pukki netted a 64th-minute consolation goal for the visitors, but he looks set to remain in the starting line-up for upcoming fixtures.

Alisson is likely to miss up to eight weeks of action while he recovers from injury, and Alexander-Arnold is certain Adrian has the qualities to replace the Brazil international for the time being.

“[His experience] is the main thing, he knows what he is doing. He’s played a load of games, so he knows what it is about,” the 20-year-old told the Evening Standard .

“The reception he got [on Friday], I think he feels as though the supporters are already behind him. 

“Obviously when a keeper has to come off, it’s never too promising, so yes, I think everyone needs to get their head around [the fact] that he probably will be our keeper for the next few weeks and if so, then we have to live with that, embrace that and I’m sure he will learn from us. 

“We will be able to make good connections with him and I think a lot of the lads have made bonds with him already because he’s such a good lad off the pitch. 

“He’s a great lad to have around and obviously he is playing now, that is good for him and us.” 

Alexander-Arnold provided a superb assist for Divock Origi to score in the win over Norwich, picking up from where he left off last season on the right-hand side of the defence.

An own-goal from Grant Hanley, a Mohamed Salah strike and a Virgil van Dijk header completed the scoring for Liverpool, who now sit third in the Premier League after the first round of matches.

Next up for the Reds is the UEFA Super Cup against Chelsea on Wednesday, and Alexander-Arnold feels a high standard has already been set as the new campaign gets into full swing.

“I think the lads are back and they have hit the ground running. It’s good for us to have them back and in-form straight away,” he added. 

“Obviously Virg popping up with a goal again shows that this season will hopefully replicate last season with everyone chipping in with goals and hopefully the attackers don’t feel that it is just them that need to produce the goals and it is a team effort. 

“So yes, I think, so far so good and of course it’s still early days, but it is good to set the standard we have today.”