
La Liga president Javier Tebas accuses Man City of trying to circumvent financial rules
La Liga boss Javier Tebas has accused Manchester City of trying to circumvent football's financial fair play rules by hiding their costs in affiliated companies and likened the situation to the infamous Enron accounting scandal of 2001.
Speaking to journalists at The Financial Times' Business of Football Summit on Thursday, the 62-year-old Spaniard said La Liga filed a complaint about the club's alleged behaviour with the European Commission in July 2023 and claimed the Brussels-based body is investigating the case.
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Manchester City have declined to comment.
The Spanish league made the complaint a week after the commission introduced a rule banning companies that operate within the European Union (EU) from receiving foreign subsidies that distort the internal market.
Tebas said that while the English champions are obviously no longer an EU-based company, they still play in European competitions and have 'commercial activities' within the single market.
Tebas, who has a long history of contentious statements, made his remarks in response to a question about City's dispute with the Premier League over its associated party transaction (APT) rules, which are primarily meant to stop clubs from banking inflated sponsorship deals.
'What worries me is not the APTs, what worries me is the companies outside the City Football Group (Manchester City's parent company) where the City expenses are sent,' said Tebas.
'They have a scouting company, a marketing company. That's where they have very high expenses. They invoice City for less money. City have costs that are less than if they didn't have this circle of companies.
'All they do is they think about how they can avoid the rules and regulations. We have reported this to the European Union with facts and figures.'
Tebas said that La Liga decided to file a complaint with the EU's executive arm after it brought in its Foreign Subsidies Regulation, as the Spanish league believes Manchester City are subsidised by Abu Dhabi-based companies and funds with close links to club owner Sheikh Mansour, the vice president and deputy prime minister of the United Arab Emirates.
'Taking into account their relationship with the sovereign fund of Abu Dhabi, we asked for these things to be checked,' said Tebas.
'It's really important that all clubs are subject to transparency rules and governance and real competition in the financial and sporting side of their business. If it's not controlled — and we do control — it means football ends up in the hands of states.'
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He then likened Manchester City's alleged behaviour to the actions of American energy company Enron, which filed for bankruptcy in 2001 after reports emerged of widespread internal fraud over a number of years. The case, which was the largest bankruptcy in U.S. corporate history at the time, also led to the collapse of Enron's auditors, Arthur Andersen.
'You remember the case in the U.S., the Enron case,' said Tebas.
'They put losses into different companies. These are similar cases.'
Tebas said La Liga has not had any response from the European Commission.
'So it must be in the investigation phase,' he said.
Tebas, a lawyer by trade, explained that La Liga has previously filed a similar complaint against Paris Saint-Germain on the basis that the French champions' Qatari owners are distorting the EU market via inflated sponsorship deals with Qatari companies.
La Liga announced that complaint in a press release in August 2023 but there has been no further news on its progress.
The Athletic has contacted the European Commission for comment.
When asked if La Liga was also concerned about Newcastle United, who are majority-owned by Saudi Arabia's sovereign wealth fund, he said the Premier League club have not done anything to warrant a complaint yet.
While Manchester City have declined to comment on Tebas' claims, their accounts are a matter of public record and there is no obvious sign of the club using a web of related companies to hide their costs, although they do share senior staff with City Football Group, their parent company.
This, however, is not against football's rules or unique, as several leading clubs are now part of multi-club groups that share resources.
It should also be noted that Tebas' remarks have nothing to do with Manchester City's other dispute with the Premier League, the so-called '115' case. A result in that case is expected in the coming weeks.
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Business of Fashion
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Delphine Arnault Confirms Jonathan Anderson's Dior Takeover
ROME — Delphine Arnault is buoyant as she explains the logic behind one of LVMH's highest-stakes designer appointments in years: former Loewe creative director Jonathan Anderson will succeed Maria Grazia Chiuri at Christian Dior, putting the women's and men's sides of the group's second-biggest fashion label — and French national treasure — under a single creative director for the first time since Monsieur Dior himself. We are having breakfast in Rome, where the next day Chiuri staged what would prove to be her final runway spectacular for Dior, but Arnault's mind is already sharply focused on reviving the fortunes of a brand that quadrupled revenue from €2.2 billion ($2.5 billion) in 2017 to €9 billion in 2023, according to estimates from HSBC, before being hit hard by a sharp slowdown in luxury demand. Delphine, the eldest child of LVMH chairman Bernard Arnault and Dior's chief executive, has been schooled in the luxury business for more than 20 years. 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Anderson transformed Loewe from a sleepy heritage brand without a clear fashion vision into one of the luxury industry's most desirable, culturally relevant labels. Building everything around his personal obsession with craft, which became the defining purpose for the brand, he established a consistent brand framework, created with longtime collaborators M/M Paris, that seemed to elevate and amplify whatever he put inside. The Puzzle bag, launched in 2015, became an instant brand icon, leveraging Loewe's deep expertise in leather goods manufacturing. He established the Loewe Foundation Craft Prize in 2016 to celebrate and support contemporary craft. And his Loewe fashion shows became one of the highlights of Paris Fashion Week, pushing forward his creativity while showcasing his talent for curating artists, celebrities and other cultural figures. During Anderson's eleven-year tenure, Loewe's estimated annual revenues grew from around €200 million to more than €1.5 billion, according to market sources. Mission accomplished. But to retain an energetic and ambitious designer like Anderson, Arnault knew she needed to give him a new challenge. In April, Mr. Arnault, in response to a question at LVMH's annual shareholders meeting, unexpectedly confirmed one of fashion's worst-kept secrets: that Anderson would be taking on the creative leadership of Dior's men's collections. Anderson was already in the process of assembling a team and preparing for his Dior Homme debut on June 27 during the Paris menswear shows. Dior will skip the Haute Couture shows in July, meaning we won't get a glimpse of Anderson's vision for womenswear until Oct 1, during what is shaping up to be a historic and hyper-competitive fashion month which will also feature designer debuts at Chanel and Gucci, as well as at Balenciaga, Loewe, Bottega Veneta, Versace and Jil Sander, as a number of top brands recast their creative leadership to help bolster sales in a difficult luxury market 'Having worked within the LVMH group for over a decade, I'm deeply grateful for the trust and support Bernard Arnault and Delphine Arnault have given me over the years, allowing me to develop my voice as both a designer and a leader,' told BoF in a brief written statement. 'Their decision to appoint me as creative director of Dior is the ultimate expression of that trust, and I'm incredibly humbled and honoured by this opportunity.' 'Jonathan Anderson is one of the greatest creative talents of his generation. His incomparable artistic signature will be a crucial asset in writing the next chapter of the history of the House of Dior,' added Bernard Arnault. No doubt. But Anderson surely has his work cut out for him. In revenue terms, Dior is about four times the size of Loewe so his new job comes with a significant increase in scale and responsibility. Anderson will go from designing nine collections per year at Loewe to 10 collections per year at Dior, including, for his first time, two haute couture collections. His sprawling remit for Dior will come on top of his responsibilities at JW Anderson, where he will continue to design six collections per year, according to the brand's chief executive, Jenny Galimberti. While there will be no JW Anderson shows in 2025, the brand will be hosting a number of events and presentations, and will reveal a new go-to-market strategy in July focused on local craft and making. 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Like its main rival Chanel, Dior is contending with a value-for-money issue after implementing some of the industry's most aggressive price hikes. Between 2020 and 2023, Chanel's prices rose 59 percent on average, while Dior raised prices by an average of 51 percent, according to analysis by Bernstein. Some customers seem to have rejected the price increases and become tired of the ubiquity of luxury fashion, and are focusing more of their spend on travel, hospitality and fine jewellery. Can Anderson do for Dior what he did for Loewe? There's no doubt it's a mammoth job. But Arnault contends that his unique blend of creativity and cultural intelligence, his proven ability to design commercially successful luxury products and his experience in leading and inspiring creative teams makes him the obvious choice to write Dior's next chapter. The Logic Behind the Appointment Imran Amed: I think what everyone's really interested in understanding is the thinking behind your decision. When you're picking a designer for a brand as important as Dior and you decide on someone like Jonathan, what thinking goes into that? Why is he the right choice? Delphine Arnault: Jonathan was the obvious choice. I think he's the most talented designer of his generation. I remember going to see his collection in Paris, near Gare du Nord in this little flat on the fourth floor with no elevator. I rang at the door, and there he was. That was maybe 13 or 14 years ago. I'd never heard of him before, but even then, at maybe 24 years old, he was incredibly sharp — very talkative, super smart, and full of ideas. He's still like that today. What he's done at Loewe is remarkable. He may only be 40 years old, but for his age he brings a lot of experience. Dior is a very big house, and he'll have big teams to manage. We have the best ateliers, both in haute couture and ready-to-wear, and he's going to have to work with very large teams. That requires real skill. At Loewe, the team isn't as large, but he's proved he knows how to build and manage teams, how to bring people together, and how to choose the right collaborators. It's a gift. It's not the same to manage a small team at a small brand and arrive at a place where you have to manage a lot of people. We've talked a lot. I think I haven't missed a Loewe show — maybe one — but you know, I've been following his path for a long time. I love finding new talents, and I was a big supporter of his talent early on. My father was also involved in the choice of Jonathan, of course. He's been also following his work and seeing him often throughout the years. Jonathan is also very loyal. He stayed 11 years at Loewe, even though I'm sure that he had many [other] propositions. For all these reasons he's the perfect choice for Dior. IA: So, how and when will we start to see Jonathan's vision for Dior come to life? DA: Jonathan already started — he began working on men's in February. Even though we didn't announce it formally, my father mentioned it at the assemblée générale in April — that it had started back in February. Everyone's very excited, and there's a new energy in the men's teams. You can feel his vision. You know him too — he's someone with a very clear vision. He's passionate about Dior. I don't want to speak for him, but from his side, Dior was always close to his heart. When I spoke to him about what he might do after Loewe, Dior was the house he connected with most deeply. In many ways, he shares similarities with Monsieur Dior, who loved art — he was a gallerist. Jonathan is also passionate about art and has done many collaborations with artists throughout his career. He also loves gardening and flowers, like Monsieur Dior. And he's quite superstitious too — Monsieur Dior was as well. The day we signed the contract, Jonathan actually signed at 2:00 a.m. because he didn't like the date, so he waited for it to change to the next day. IA: Aha, he wanted a contract date that he thought was more auspicious! What about shows? DA: He's going to have many shows — it's a big rhythm. His first presentation of the women's vision will be the ready-to-wear show on October 1st in Paris. Then of course, there will be the haute couture show in January. But his first official show for Dior is only a few weeks away. It will be on June 27th, where he'll unveil his first men's collection — so that's also very exciting. One Designer, 'One Dior' IA: You mentioned the men's show, which is interesting because this is the first time at Dior that there will be a single designer doing men's and women's. It's always been two separate designers. This is the first time you're bringing it under one designer. It's a really big job. DA: It's the first time since Monsieur Dior himself, because he did a little menswear — ties, etcetera. So yes, it's the first time since Christian Dior. Of course, it's a big role, but for our maison, I believe it brings more consistency — in the product and in the communication. It's a good thing to have more coherence, and to have one designer, one vision for the house. It is a lot of work, I can see that. He will have many shows and a lot of collections to work on. But he has an amazing team. We truly have ateliers that are exceptional — the best in the world. He's going to work closely with them. IA: The 'One Dior' strategy is something that you've been working on for some time. Not only to achieve alignment between the men's and women's fashion collections, but also alignment with Dior beauty. Can you explain 'One Dior' and why it is important for you as CEO? DA: I think that the consumer doesn't know that there's a CEO of fashion and a CEO of beauty. For the consumer, Dior is one brand. Whether you see a makeup ad, a perfume ad, or a fashion ad — it's all Dior. So I think the 'One Dior' strategy is very important. That's also why we have Olivier [Bialobos], who's in charge of 'One Dior' and ensuring coherence across the communications. But if I go back to the fashion side of Dior, I think it's going to bring a lot of coherence — in the products, in the communications, in the windows. It's a lot of work. We still need to see what he's going to create, but I think he wants to bring more coherence across the collections. It's very interesting to see what he's drawn to, what interests him in the history of the brand, and to see how he'll bring those codes back into modernity. From what I've already seen on men's, it's very impressive what he's doing. Obviously, we have a lot of icons that he's really passionate about. He loves the Lady Dior [handbag], for example. He's been spending a lot of time in the archives — not just looking at what Christian Dior created, but also what all the other designers have contributed. It's not only about ready-to-wear or haute couture, but also shoes, with Roger Vivier. IA: Would you give him the opportunity to reinterpret some of these icons? When you say he's really interested in the Lady Dior, is there an opportunity for him to put his own twist on them? DA: Yes, as you know, we've always given our designers — our artistic directors — a lot of freedom in terms of creativity. It's really one of the key traits of LVMH: to give a lot of liberty and trust to our artistic directors. I'm excited to see what his full vision is going to be, because he only started a couple of months ago. I think the whole company is excited. And also the clients. Closing the Maria Grazia Chapter IA: I want to talk about clients in a minute, but before we do that — this moment clearly closes a chapter for Dior with Maria Grazia. And on reflection, it's been a pretty remarkable chapter. The business has grown substantially under her leadership. It was also the first time a woman designed for Dior. As a woman CEO, with the two of you leading the growth of this business, what do you think Maria Grazia's legacy is at Dior — and what did it mean to have a woman designing for this brand? DA: I really [want to] thank Maria Grazia so much. She impresses me every day. She's very strong, very passionate, and has such a clear vision. She developed the collections at Dior in a way that was truly remarkable, as you said. She put women at the centre of her work. For the first time, women had a voice, and also the women artists. I remember her first show. I was sitting next to Jennifer Lawrence and she already had the J'Adior shoes and the jeans and the t-shirt and the bar jacket that was with an easier fit. And you know, when you see things for the first time — because at the time I was working at Vuitton — it takes a minute, like hearing a song for the first time that you know you're going to love. And I remember thinking, 'Wow, this is so cool.' It was such a new way to present Dior. She continued to develop that with a very clear idea of what she wanted to do, empowering women, empowering women artists, empowering women photographers. She's really done so much for her house. She really has a vision. I really admire her and really loved working with her. She's super inspiring. IA: What changes now? Because once again, it's a man designing the women's collection. Maria Grazia had a real connection with women — and with a very strong, diverse female customer base. How do you make sure that connection is preserved? DA: Maria Grazia created a beautiful body of work and did so much for women. And Jonathan designs both womenswear and menswear. He also has many women in his team. As you know, when you have a studio, you have designers across all categories — bags, ready-to-wear, haute couture, shoes — and each category often has its own dedicated designers. It's a collective effort. There are also many women who inspire him. And yes, of course, it will be different — but I think that's what's interesting. And it's also my responsibility, as CEO, to know when it's time for change — and to make that change happen. IA: It took some time for all of this to be revealed ... the news had been circulating in the industry for a while — there was a lot of speculation that these changes were happening. Why did you decide to announce things in stages? Why did it take so long? DA: It's a good question. Well, we talked a lot with Maria Grazia, and we thought that it would be great for her last show to take place in Rome, her hometown. I think for her, it means a lot personally. She wanted it to be something joyful and so we agreed that we would announce that she decided to leave after her show in Rome — and not before. So out of respect for her, we decided to do that. That's why it took a little bit of time. What Luxury Customers Want IA: The luxury industry is experiencing a sharp downturn, as luxury customers' preferences are changing. From your perspective, how are they changing? What are luxury customers — particularly women — looking for now? DA: You know, in every industry, you have cycles. And it's in the tougher moments that big innovations or inventions happen. If you take the history of Christian Dior — the New Look was created in 1947, after the war. It was something totally new. So I think that, yes, big inventions often come during these cycles. As for the luxury customer — it's hard to generalise — but I think they're looking for authenticity. Quality is something that's extremely important: quality in the manufacturing, in the products. And also, having products that are iconic. We have a lot of iconic products, like the Bar jacket, the Lady Dior, just to name a few. So yes, everything moves in cycles, and I'm sure new things are going to be invented and created. IA: What is it that Jonathan offers for this critical moment when the industry needs innovation and creativity? DA: You know him very well. He's very in tune with his generation. He's very connected — especially with young people. He speaks to a wide audience. He's passionate about craft, about art — and he's proven that at Loewe. I think he's also going to surprise you, and everyone… and even me, maybe! I can't say too much about what he's going to do, but I think his vision, his passion for craft, and also for leather goods — is going to be something very exciting in the years to come. And you know, when you have a creative change, it always takes a little bit of time to really see the new vision, the new direction for a designer. As I was saying earlier with the first show of Maria Grazia — the T-shirt, the jeans, the Bar jacket — it takes a couple of seasons. You don't necessarily understand it immediately. But when you look back at all her collections, you start to understand it better. IA: One thing that's become a touchpoint for the industry is pricing. There's a lot of pushback from customers now. Brands like Dior have increased their prices a lot over the last few years. Have we reached a limit on that? DA: Yes, I agree with you. The pricing strategy is a big question. I think that prices can be increased if you have an increase in quality as well, an improvement in the product. So if you increase the quality of your product, you can increase the price. Now, there is also some inflation in the cost of materials. The production costs are higher every year. The leather costs more, as well as the metallic accessories. There's always inflation in different parts of the product. It's up to every house to decide what to do as a pricing. For us, I think, increasing pricing should be linked to an increase in quality. And recently we've had some new people come to Dior, to focus on this. We have [Deputy CEO] Pierre-Emmanuel Angeloglou, whom I worked with at Vuitton. He arrived at Dior on April 15. We also have a new industrial director Nicolas Carré who comes from Louis Vuitton, and chief industrial officer Giorgio Striano looking over all the activities. Of course, Jonathan is also going to bring a lot of newness with his creativity. It's hard to speak about his creations, I think he should speak about it, it's going to be better said that way. IA: Earlier, you said all industries have cycles. In your view, is the current issue cyclical, or is there also a structural issue in the way the luxury industry works that needs to be addressed? DA: I'm very optimistic about the future, and about this new direction and vision that Jonathan is bringing — especially in terms of connecting with customers. As I was saying earlier, it's all about the product — but stores are also extremely important. The service, the decoration of the stores — it's all part of the mix. We're opening a store in New York in July, on the corner of Madison and 57th. That's going to be a very big message for the American market. It will be a beautiful store, almost the size of the Avenue Montaigne store. We're also opening a store on Rodeo Drive in September — so this year, in terms of retail, is really the year of the American market for Dior. Having those stores — like Avenue Montaigne, and the new ones in New York and Rodeo Drive — is extremely important for the development of our maison. They give a full vision of the brand: the men's collection, the women's collection, perfume, jewellery, and even some restaurants. It's where you really understand the full Dior universe. And I think the attention to service, the way you're welcomed into the store — is going to be very, very important for us. You know, Dior still has very big potential. The name alone is magical. Jean Cocteau said: 'ce nom magique qui melange Dieu et or' IA: A mix of god and gold? DA: Yes, Dior is a magical name that is known all over the world. We've grown a lot, but there's still a lot more growth potential at Dior. This interview has been edited for length and clarity. Disclosure: LVMH is part of a group of investors who, together, hold a minority interest in The Business of Fashion. All investors have signed shareholders' documentation guaranteeing BoF's complete editorial independence.


Business of Fashion
2 hours ago
- Business of Fashion
Explainer: How Retailers Can Fight a New Wave of Cyberattacks
Last week, Victoria's Secret went dark. On May 28, the lingerie giant shut down its website following a 'security incident,' the company said in a statement. (It did not confirm what caused the disruption). While the site was only down for two days, it likely cost Victoria's Secret millions in sales, adding another hurdle to its ongoing turnaround plan under new leader Hillary Super. The company's stock dropped as much as 8 percent the day it closed its site. It was just the latest technological dustup in a wave of cyberattacks on some of fashion's biggest brands and retailers. Bloomberg reported that in January hackers accessed some of Dior's customer data, then in April, UK-based high street retailer Marks & Spencer was forced to stop taking online orders after a security breach and in May, Harrods briefly restricted website access after hackers attempted to break into its systems. For years, the threat of security breaches — where individuals and organisations hack systems to access customer data such as contact information and credit card details — have haunted companies across industries, from Target to MGM Resorts. The frequency of these attacks is only growing: In 2024, the number of individuals and groups targeting companies' systems that cybersecurity consultancy S-RM engaged with across 600 incidents grew 96 percent year over year. These attacks can be extremely detrimental to a company's bottom line: Marks & Spencer still hasn't reopened its e-commerce operations, and doesn't expect to do so until July. The incident will likely end up costing the company as much as £300 million ($404 million) in lost profits. But the impact can be even further-reaching. Many cyber criminals require companies to pay multi-million dollar ransoms to regain access to their networks and even once the attack is over, retailers must work to avoid sustaining lasting reputational damage. The recent uptick in activity puts an extra burden on retailers to tighten existing cybersecurity processes or invest in additional tools that could chip away at profits. 'From a business perspective, it's nothing if not unfair [to the companies impacted by it],' said Simeon Siegel, managing director and senior analyst of retail and e-commerce at BMO Capital Markets. In the event of a cyber attack, companies have 'to balance short term fixes, while ensuring they don't have [long-term] implications,' he added. BoF breaks down what leaves fashion businesses vulnerable to cyberattacks and how they can protect themselves. How does this happen? Cyberattacks are typically orchestrated by groups that find and exploit a company's technological shortcomings. The culprit can often be difficult to trace, because even when law enforcement tracks them down, individuals can splinter into other smaller organisations. Criminals can also act individually by finding hacking tools on the dark web, said Christian Beckner, vice president of retail technology and cybersecurity at NRF. The tactics range in their level of sophistication. One of the common ways hackers infiltrate a company's systems is through 'phishing' — the dreaded emails where, posing as a company executive, they encourage employees to click a link that, if opened, can give them access to an organisation's entire data network. They can also use employee voice impersonation tools to target a company's customer service call centres, Beckner said. 'If one employee accidentally clicks a link in an email, it may not matter how protected and up-to-date your technology is,' Siegel said. 'Human error can supersede the most advanced technology.' Cyberattackers will target any industry with high transaction volumes, making fashion an appealing target. Plus, because most retail giants operate their e-commerce storefronts on years-old custom platforms that are likely outdated, they are particularly vulnerable, said Juan Pellerano-Rendón, chief marketing officer at e-commerce software start-up Swap. 'A lot of times these larger conglomerates have IT teams, and they're updating their website regularly, but security might not always be at the top of their list,' Pellerano-Rendón added. Retailers that operate with thin margins have historically been slower to invest in cybersecurity over tools like a website redesign that can immediately drive revenue, said Sam Rubin, senior vice president of consulting and threat intelligence for Unit 42 at cybersecurity firm Palo Alto Networks. 'You could spend several million dollars on cybersecurity and feel safer and be safer, but what's going to show up on your P&L is greater operating expenses without a necessarily highly visible tangible benefit,' Rubin said. 'Sometimes that does get neglected in favor of driving top line growth in business.' How should retailers respond? When a company is hacked, they often have no choice but to shut down services until they can find the culprit and boot them out of their network. Preventing an initial cyberattack can be a near impossible task as cyber criminals' tools become more advanced and accessible. Many retailers have increased cybersecurity measures in recent years, specifically around payment processing, Beckner said. Customers' financial information wasn't compromised in many of the recent attacks, which is the scariest violation for many customers and therefore a natural priority for companies to prevent. To lower the risk of repeat offenses, retailers have to 'assess where there might be existing vulnerabilities in your IT systems and services, and patch and upgrade those where they existed,' Beckner added, including adding multi-step authentications for company log-ins and conducting additional training for employees across the organisation. The latest run of cybersecurity hiccups could also push major retailers to make big personnel changes such as hiring heads of security (if they don't have them already), according to Pellerano-Rendón. They might also consider using more e-commerce services from software giants like Shopify that routinely update their software, making it more difficult to infiltrate, he added. Companies can institute drills where they work with third party firms to simulate an attack to better assess the strength of their existing systems and what additional processes they need to implement, said Steve Ross, director of cybersecurity, Americas at S-RM. In the aftermath of an attack, retailers also must do damage control in order to make sure their customers feel safe buying from them again. Shoppers today are aware that technology violations occur and are outside of a company's control, 'and not necessarily that Victoria's Secret or Marks & Spencer has betrayed their trust in any way,' Pellerano-Rendón said. Still, retailers need to tell customers whose personal information may have been compromised exactly which steps they've taken to protect their data down the line. 'It really comes down to making sure you're communicating … and having that plan in place to quickly bounce back,' Beckner said.