For Spring Summer '026, Stone Island presents a visual sequence constructed from the brand’s research matrix, centred on navigation as both function and cultural reference. Sailing is approached not as lifestyle, but as a system of orientation and movement - its most recognisable sign being the compass: a device for direction, measurement, and continuous recalibration.

This navigation trajectory, initiated in the 1980s and still evolving, frames the Stone Island Spring Summer '026 collection. Shot on board a sailing vessel along the Ligurian coastline, the garments are observed in active conditions - wind, salt, glare - before transitioning to the shoreline, where surfaces, textures, and light further articulate their material properties.

A controlled patina runs throughout the imagery. The interaction between engineered elements - sailcloth geometries, rigging tension - and natural forces generates a consistent visual field. Within this context, the SS '026 selection emphasises precision, surface treatment, and functional integrity - core parameters of the Stone Island design methodology.

4100005: Hollow Fibre Nylon Indigo-TC + Marmo Corrosion Anorak in compact nylon constructed with hollow-core fibres, engineered to reduce weight while maintaining volume.

The finished garment undergoes a proprietary indigo dyeing process, with the addition of specific resins to stabilise pigment absorption. This is followed by an enzyme wash and a secondary “marmo” corrosion treatment—an industrial process applied to indigo substrates, generating an irregular, marbled surface with high chromatic depth. Treated with anti-drop formulation.

Hood with visor and fixed tape drawstring. Half-zip fastening. Pouch pocket with angled openings and snap closure. Back yoke construction. Stone Island Denim Research badge on left sleeve. Elasticated cuffs. Fixed tape drawstring at hem.

B100002: Water Reactive Faded Camo Shiny Nylon Mid-length swim shorts in shiny nylon featuring a water-reactive camouflage pattern engineered to activate upon contact with water. Garment dyed to achieve tonal variation and depth.

Vertical hand pockets. Rear pocket with flap and concealed hook-and-loop fastening. Stone Island logo print on lower left leg. Elasticated waistband with internal drawstring. Loose fit.

1200038: Nylon Metal in ECONYL® Overshirt in Nylon Metal, evolved through the use of ECONYL® regenerated yarns. Pre- and post-consumer nylon waste is recovered and depolymerised to recreate a fibre with equivalent structural and performance characteristics to virgin nylon.

The finished garment is subjected to a complex double-dye procedure, enhancing the material’s iridescent and metallic surface response.

2100002: Combed Organic Cotton Jersey Short-sleeve T-shirt in combed organic cotton jersey featuring “Erosion” print and “Uneven Cold Dyeing” treatment. The garment is dyed on the reverse side through a low-temperature process in small-scale vessels, generating an irregular chromatic distribution. Colour fixation is achieved through heat catalysis in dedicated ovens, resulting in unique, non-repeatable outcomes for each piece.

Ribbed neckline. Stone Island logo print on chest. Large back print with text, Compass logo, and textured graphic.

G2 Esports, one of the world's leading esports and entertainment brands, has appointed former Tommy Hilfiger, Nike and Calvin Klein merchandising manager, Pétronille Grein, as its new head of product.

Grein will be responsible for leading G2’s product strategy, driving global presence with “commercially and creatively impactful collections,” building on the brand’s previous collaborations with Ralph Lauren, Warner Bros, Smiley, and Solo Leveling.

Joining the esports brand from Tommy Hilfiger, Grein led the kidswear merchandising strategy for the EMEA, where she worked alongside the fashion house’s design, product development, planning, and buying teams to spearhead seasonal planning from concept to in-market execution, alongside managing line architecture, pricing, and margin targets to coincide with brand and commercial goals.

Prior to joining Tommy Hilfiger, Grein held senior merchandising roles at Calvin Klein and Nike, shaping global strategies for women’s swimwear and sportswear.

Sabrina Ratih, chief operating officer at G2, said in a statement: “We are thrilled to welcome Pétronille as our new head of product. Her extensive experience and background in merchandising and product strategy within fashion will be invaluable as G2 continues to disrupt the esports fashion space.

“As we continue to evolve into a next-generation sports and entertainment brand, strengthening our product function is a key priority. Pétronille’s leadership and proven track record of building and driving growth will play a central role in scaling our offerings and creating deeper, more meaningful connections with our global community, and reinforce our position as a leader at the intersection of esports and lifestyle through product.”

Grein added: “Transitioning from the world of fashion to the booming esports and gaming space is incredibly exciting, especially at a time when we’re seeing major mainstream brands helping to shape the industry. G2 has always stood at the intersection of performance, culture, and entertainment, and I’m excited to help translate that into products that fans truly love.

“The goal is to create experiences that feel as dynamic and expressive as the community itself, setting new standards not just within esports, but across digital entertainment as a whole.”

Spanish streetwear brand Eme Studios has announced plans to open its first permanent store outside of Spain on London’s Carnaby Street.

The Spanish-born brand, founded in 2018, operates stores in Madrid, Barcelona, and Valencia, and trades in more than 100 countries. The UK opening is part of the brand’s strategic expansion plans, which also include a permanent store planned in Amsterdam and a long-term pop-up in New York.

In London, the brand has signed up for a 1,500 square foot unit at 57 Carnaby Street, which will house a curated collection of men’s, women’s, and unisex pieces, including knitwear, jackets, and other apparel.

Gabriel Morón, co-owner of Eme Studios, said in a statement: “Expanding into the UK has always been a goal for us, so securing a location that aligned with our vision was crucial. Carnaby Street offers a global platform and attracts the type of audience that resonates with our unique aesthetic.

“The success we have seen both online and in Spain has demonstrated the brand’s long-term potential, and establishing a presence in Soho is instrumental in solidifying our position in one of the most competitive retail markets.”

William Oliver, director of retail and restaurant leasing at Shaftesbury Capital, added: “Eme Studios complements our existing brand mix at the southern gateway into Carnaby Street, with its culture-driven clothing matching consumer demand. Given the success of Edikted, Tala, Sheep Inc, and other digitally native brands, it is clear why Carnaby Street and Soho continue to be the first choice for these best-in-class retailers.”

The two-week copyright trial between Shein and Temu kicked off in the UK’s High Court today, unveiling rising tensions over business rights between the online Chinese retail competitors.

According to Reuters, Shein accused Temu of copyright infringement on an “industrial scale”, while Temu countered that Shein’s legal pursuit was merely an attempt to stifle competition rather than protect intellectual property.

Shein first filed the case against Temu in 2023 alleging that its competitor had used thousands of its images to market clothing items that either bore resemblance or were direct copies of Shein’s own products.

In court, Shein’s lawyer Benet Brandreth said Temu sought to “piggy-back” on an established competitor, adding: “This was an attempt to steal a march on an existing participant in the market”.

Temu has denied the allegations, with its lawyer, Charlotte May, stating that the company’s merchants had obtained the required consent to use the images.

In response, Temu is seeking damages in a counter-claim after it said it was forced to remove thousands of product listings following an injunction by Shein.

A separate portion of the case is due to go to trial next year, and will explore if Shein had broken consumer law by securing exclusive agreements with fast fashion suppliers.

INTERSPORT, a global leader in sporting goods retail, is launching its new global brand campaign under the message: “Your Passion. Your Place. Make It Your Game.”

The campaign celebrates the unifying power of sport and reinforces INTERSPORT as the common ground connecting people across cultures, communities and performance levels whether it’s a young player practising in the garden, a street baller finding their rhythm, a run club meeting after work, or a professional athlete performing on the world stage - INTERSPORT is where their passion finds its place.

Four global athletes telling one connected story

The campaign is anchored by a dynamic group of athletes whose personalities and playing styles represent the many faces of passion in sport. Their stories echo those of everyday athletes each with their own journey, passion and routine, reminding us that regardless of level, we all share the same love of sport. Each athlete brings their own personality and passion to the game just like the countless everyday players who train, compete and express themselves in their own way.

The athletes featured in the campaign, namely Joshua Kimmich, Frenkie De Jong, Bradley Barcola and Sandy Baltimore, appear thanks to the support of INTERSPORT’s key brand partners - including Nike, adidas and PUMA - who provided access to their players. The campaign also showcases footwear, apparel and equipment from leading brands stocked at INTERSPORT such as ASICS, Brooks, Under Armour, New Balance and our own private label brand, energetics.

“I love how sport lets everyone express themselves in their own way, from street players to pros. That energy is exactly what this campaign celebrates”, said adidas player, Bradley Barcola.

The campaign brings together Running, Sportstyle and Football within a single multicategory storytelling platform. Running content showcases the latest footwear and apparel designed to inspire people at every level, while football influences shape the emotional tone throughout the season.

Alongside this, Sportstyle highlights the cultural side of sport - how it influences everyday life, creativity and self-expression - while Football and broader multicategory storytelling connect committed football players, passionate followers and families who enjoy the game in their own ways.

This integrated approach reinforces INTERSPORT’s role as one of the world’s most accessible, community rooted sports retailers connecting people to sport wherever and however they choose to play.

Reflecting the shared passion that unites players at every level, PUMA’s Sandy Baltimore added “What I love about football is that it belongs to everyone - kids, fans, gamers, players. Seeing that passion reflected in this campaign is really inspiring.” The campaign will be rolled out across television, digital platforms, social media, ecommerce, in‑store environments, radio and out-of-home advertising.

Each touchpoint brings to life INTERSPORT’s ‘Heart of Sport’ positioning by focusing on real stories, real people and the emotional connection that sport creates.

The new campaign strengthens INTERSPORT’s long-term ambition to further deepen connections with sports communities worldwide, enhancing omnichannel impact and reinforcing INTERSPORT’s role as the world’s leading multicategory sports specialist.

This summer, INTERSPORT will also activate immersive consumer experiences across key European cities. Dedicated INTERSPORT Clubhouses designed as spaces for fans, families and communities to come together will open in Paris and Berlin, offering product showcases, athlete moments, and community events.

Luxury jeweller Tiffany & Co.is extending its partnership with the Council of Fashion Designers of America (CFDA) by adding a jewellery design scholarship award alongside the second cycle of its Tiffany & Co. x CFDA Jewellery Designer Award, a programme dedicated to elevating the next generation of American jewellery designers.

The 2026-2027 cycle will add a dedicated 25,000 US dollar scholarship and a summer internship for one early-career jewellery design student, expanding Tiffany & Co.’s reach from emerging designers to students just beginning their creative journeys. The scholarship is being established with the CFDA Scholarship Fund, which has supported more than 400 student designers. Applications will open on May 14 via the CFDA’s website.

The move builds on the success of the inaugural Tiffany & Co. x CFDA Jewellery Designer Award last year, which was won by Jameel Mohammed, who will serve as a member of the Selection Committee for cycle two.

This year’s Tiffany & Co. x CFDA Jewellery Designer Award will provide finalists with funding to produce a 3 to 5-piece collection, supported by creative mentorship and a multi-week learning experience centred on craft and material exploration.

Finalists will receive one-on-one mentorship with Tiffany & Co.’s design team and will present their collections to the selection committee at a culminating award ceremony at Tiffany & Co.’s Fifth Avenue flagship in New York City. One recipient will be awarded a 50,000 US grant and a one-year fellowship on the Tiffany design team. Applications for the award programme will close on June 1.

Steven Kolb, chief executive officer and president at CFDA, said in a statement: "The Tiffany & Co. x CFDA Jewellery Designer Award marks a meaningful expansion of what this program represents, not just for emerging designers, but for students at the very start of their creative journey.

“At the CFDA, we believe that creativity is the driving force behind American fashion, and this award is a testament to that shared belief.”

Fairly Made, a French traceability platform, is venturing into the US with plans to open an office in New York and the appointment of a director for the North American region.

Sydney Ellis confirmed her new position at Fairly Made on LinkedIn, where she said: “Over the past decade, I’ve worked at the intersection of sustainability and business within the fashion industry, and this role feels like a natural next step in my commitment to supporting responsible growth and meaningful, industry-wide progress.”

Ellis joins the company from Cerofy, where she was serving as head of sustainability and product strategy. She has also held similar roles in the realm of sustainability consultancy for the likes of Wright Track Strategy, a consulting firm she was the owner of; Net Impact; Columbia University; and Tomorrow.

Her role has become more clear in a report by WWD, to which Fairly Made confirmed the opening of its New York office. The media outlet also noted that partnerships with US clients like Another Tomorrow and G-III Apparel Group have further contributed to the regional build out of the business.

In approaching the US market, Fairly Made has taken into account an increasingly complex environment that differs greatly from Europe. According to the firm, North America is more focused on working conditions and social compliance, a traceability in relation to sourcing integrity, and a fragmented regulation landscape differing by state.

It is also suggested that for US brands the adoption of digital product passports may differ from Europe, taking on a more flexible and decentralised approach instead of the EU’s set framework. Fairly Made’s co-founder Laure Betsch said the company has a technology infrastructure that can shift depending on contrasting systems.

Betsch added that Fairly Made’s focus for now is on strategic partnerships that are intentional. The goal is to double the North American client base over the next year, yet prioritising quality over scale.

The National Council of Textile Organisations (NCTO) has named Amy Bircher Bruyn as the new chair of the organisation. Bruyn currently serves as chief executive officer and founder of MMI Textiles, an industrial and custom textile supplier.

She will be joined at the helm of NCTO by the organisation’s new vice chair, Jay Todd, the CEO and managing partner of Service Thread, an industrial yarn and sewing thread manufacturer.

In addition to Bruyn and Todd’s appointments, NCTO has further elected chairs for each of its five councils.

Among those appointed were Lenzing Fibers’ David Adkins, who will oversee the Fiber Council; Tim Manson of Meridian Speciality Yarn Group, who will chair the Yarn Council; Milliken & Company’s Allen Jacoby, the new chair of the Fabric and Home Products Council; Gabrielle Ferrara of Ferrara will take on the Finished Textiles and Apparel Products Council; and Todd Bassett of Fi-Tech for the Industry Support Council.

Speaking on the new appointments, NCTO president and CEO, Kim Glas, thanked Bruyn and Todd for stepping into their new roles, particularly amid a challenging environment with leadership being key to advancing policies and strengthening customs enforcement.

The organisation is also looking to refine tariff policies, expand the Berry Amendment and America-made procurement, and grow the Western Hemisphere co-production chain.

A shift in leadership is underway at the Copenhagen International Fashion Fair (CIFF); Shane Baron has been promoted as the new co-director of the Danish trade event, emphasising a continued commitment to partners and community.

Baron has been with CIFF for over three years, during which time he has demonstrated a level of dedication, structure, and drive, a press release said.

In a statement, director of CIFF, Sofie Dolva, called Baron’s promotion a “natural next step”, adding: “His commitment to CIFF, our partners, and the long-term development of our platform has been outstanding.

“As we continue to evolve CIFF into a year-round ecosystem, it’s essential to have strong leadership that understands both the commercial and relational side of our industry.”

The announcement coincides with the further appointment of Josefine Cramer as marketing director. Cramer has previously worked with Copenhagen Fashion Week and also founded consulting firm Koaso Group, where she specialises in elevating luxury brands.

At CIFF, she is expected to bring both strategic insight and an understanding of brand building in the present day.

The new appointments come amid a period of change at the bi-annual fair, which is preparing to launch its first Parisian showroom later this year; has launched a new podcast platform, CIFF Media; and is set to host a series of pop-ups in key markets.

Organisers said: “This is not just a team update; it’s a reflection of where CIFF is heading. We are building a more connected, more relevant, and more resilient platform for the future of fashion.”

The latest chapter of the Players Collection, co-created with athletes shaping sports culture today. The Oakley Players Collection moves forward with new signature series from Team Oakley Athletes Jaylen Brown and Kylian Mbappé, icons who don't just play the game, but shape the culture around sport by setting the tone, rewriting narratives, and building communities. Jaylen Brown’s head-to-toe collection, which includes both eyewear and sportswear, introduces an exclusive cocoa brown palette creating a distinct and recognizable identity, with Brown’s personal logo embedded across key pieces.

Anchored by the Oakley Highland Jaylen Brown Signature Series frame with Oakley’s Prizm™ Ruby Lenses, the collection extends into sportswear bringing together elevated aesthetics and purposeful construction. Designed in collaboration with the Team Oakley athlete and rooted in versatility, each piece is built to move seamlessly across environments, from urban settings to outdoor conditions, combining modular layering, functional detailing, and advanced materials.

The collection includes the Latitude Soar Parka, Reserve Momento Vest, Latitude Veil Tee, Reserve Momento Cargo Short, Reserve Spacer Pants, Meridian Low Ext, Latitude Solar Cap and Reserve Utility bag.

“For me, everything is connected: performance, creativity, identity,” says Brown. “It’s how you prepare, how you think, how you show up.”

Next up in the Players line-up is Kylian Mbappé’s signature eyewear, shaped by the mindset that propelled his rise, fearless and unapologetic. Inspired by the Oakley De Soto, the Kylian Mbappé Signature Series Permian features a bold, deep-set lens construction, finished with Prizm™ Road Lenses. The frame is detailed with Mbappé’s logo embedded on the lens, while the coordinates of Bondy are etched along the temple, a subtle reference to his origins and journey. The result is a statement piece designed to express individuality with intent.

“Style is a signature. These glasses are more than an accessory - they carry my roots, reflect my journey, and define how I move forward” says Mbappé. “It starts before kickoff: the way you arrive, the energy you bring, the presence you carry”.

The Players Collection is available online, select Oakley retail locations and partners worldwide.

Interview

The rules of retail recruitment have fundamentally changed. In 2026, talent is no longer looking solely for a paycheck; it is looking for purpose, values and long-term growth. To understand how brands can adapt to a new era shaped by geopolitical uncertainty, changing workforce expectations and AI integration, FashionUnited spoke with François Rico, Head-hunter, fashion and luxury specialist at Retail Conseil. From the reality of the so-called “loyalty shortage” to the importance of authentic leadership, Rico shares his perspective on building resilient retail teams.

The retail industry is moving at a breakneck pace. From your perspective, is the current market facing a labour shortage or a ‘loyalty shortage’?

François Rico: I don’t believe there is a labour shortage. What we are seeing is a change in workforce expectations, which I believe is very valuable. Today’s talent wants purpose and genuine values. Brands that offer this to both customers and employees attract strong people and retain them. When the mission is clear, everyone wins.

What are the primary shifts defining the market as we move through 2026?

The market is currently marked by uncertainty and limited visibility. There is more fear of change because of global tensions, such as the conflict in Iran, which affects local markets in the Gulf countries, but also China and the US. With a weaker dollar, many brands have frozen different projects. Let’s hope that greater stability in the second half of the year can create a positive effect by September.

How are digital transformation and AI-driven tools changing what companies look for? Is the human touch losing its value?

I don’t think so. In our industry, particularly luxury goods and hospitality, AI is a useful tool to support business operations in many areas, and companies need teammates who can integrate it. However, the human touch remains the cornerstone of experiential businesses.

Where is the biggest disconnect between what retailers think they need and what the talent pool is actually offering?

We are here to help both sides adjust. We continuously advise our clients and candidates on how to adapt. Companies that respond to the search for meaning at work, offer decent packages and invest in their people usually win. We help make that match happen through information, analysis and our understanding of retail trends.

Beyond raising salaries, how can companies attract top-tier talent?

Authenticity and meaning in the workplace. There is no longer room for greenwashing or fake values. Customers and employees want real values. People want to learn, grow, find a work-life balance, receive recognition and feel aligned with their company’s values.

In an era of automated hiring, why does a People Specialist still matter?

It saves time and leads to higher quality assessments. Screening a résumé with keywords is not enough. A candidate’s motivation, drivers and potential cannot be fully automated.

For a store-level professional looking to transition into a Head Office role, what is the ‘missing link’?

Head office roles often require technical expertise, for example in supply chain, merchandising or controlling. The most transferable asset is client experience and business unit management. In these cases, leadership, agility and the ability to replicate successful practices are essential.

What are the most common mistakes you see during the interview process today?

Inconsistent storytelling. When a candidate's narrative doesn't align, it eventually self-reveals.

Everyone talks about ‘cultural fit’. How can a company actually measure it during a short interview?

There are many ways to identify cultural fit during an interview: attitude, mindset, values and motivations can all be compared with a company’s DNA. The better I know my client, the more efficient and relevant the assessment will be. We always take time to understand our clients’ values and purpose.

If you had to pick three non-negotiable traits for a retail leader today, what would they be?

Leadership, vision, and mindset.

How can a smarter recruitment strategy reduce turnover?

It is all about projection. Once all aspects of a personality are assessed, we need to project the candidate into the client’s environment and evaluate what will work, what will not, and how quickly it will succeed. We cover the trial period of our placements, so it is in our interest to ensure the fit is right.

If you could dispel one common myth about starting a career in retail, what would it be?

The perception of retail careers has changed a lot. I believe many smart young professionals now understand the benefits of starting in retail, whether they want to stay in stores or later move into head office positions.

A tribute to personal fulfillment, the Haute Wellness Dior line – designed by Cordelia de Castellane – brings together creations dedicated to sports and well-being*. It is composed of a routine devised around three pillars: gentle physical exercise, mindfulness, and sleep.

Blending comfort and a graphic conception, cannage – the House’s signature motif – is incorporated in gold thread on each piece, in shades of blue and ivory.

The fitness set celebrates the art of movement: three elastic bands, a yoga brick, rings, and weights.

A yoga mat, a Pilates mat, and charming water bottles complete the set. Wellness essentials prolong this interlude of calm with a silk pillowcase and sleep mask. As an ultimate surprise, the 5 Minutes Journal is an invitation to refocus and nourish the mind with thought-provoking questions and inspiring quotes.

All these accessories are conceived for moments of rejuvenation synonymous with joy and freedom.

Los Angeles-based Brochu Walker, known for its "quiet luxury" aesthetic, is set to open its debut international flagship in Seoul, South Korea, in July, as part of the brand’s global evolution strategy. Brochu Walker has secured a 7,152 square foot store at Apgujeong-ro 42-gil 26, Gangnam-gu in Seoul, which will house five floors, including two floors for retail and a VIP private suite.

Set to open on July 18, the flagship is being designed by Seoul-based Blurker Design Studio as “a sanctuary,” placing an emphasis on natural materials, soft light, and architectural balance. Key design elements will include Italian marble, quartz, natural oak and Olive trees.

In a statement, the brand said the space will aim to “invite a calmer, more intentional way of experiencing the brand”.

Karine Dubner, chief executive officer and chief creative officer of Brochu Walker, who acquired the company in 2013, said that Seoul was chosen as its first international market as it is a “natural extension of the brand's California roots,” and that the flagship will be a designed as “a fusion between California ease and Korean heritage, a space that feels warm, personal, and quietly confident”.

Brochu Walker selects South Korea for debut international store

Dubner added: “Seoul is one of the most influential fashion markets in Asia today. The customer is incredibly discerning, she values quiet luxury, premium materials, and pieces that feel personal rather than loud.

“In Korea, how you dress is a form of respect, whether you’re meeting, working, or dating. That emotional relationship with apparel mirrors how we design: pieces meant to be lived in, versatile, and worn with intention. Seoul isn’t just an expansion for us, it’s a conversation we’ve been wanting to have for a long time.”

Alongside the flagship expansion, Brochu Walker also announced Korean actress Cha Joo Young as the brand’s first Korean ambassador, highlighting the importance of this market for the brand.

Brochu Walker operates several boutiques across the US, including Carmel and Montecito in California, Westport in Connecticut, Southampton in New York and Buckhead Village in Atlanta, Georgia.

Alongside its Seoul store, the brand is planning to open new stores in Nashville, Tennessee, and Austin, Texas, in late 2026.

OLYMP Bezner KG, based in Bietigheim-Bissingen, Germany, has published its 2025 sustainability report. The family-owned company is continuing its voluntary reporting on sustainability activities across environmental, social, and governance areas, a practice it began ten years ago. The latest report documents the internationally renowned apparel manufacturer's intensive commitment to sustainability. It also serves as a clear statement of its corporate responsibility during challenging times.

“Responsibility only becomes a value when it is fulfilled.” This quote from Mark Bezner, owner and chief executive officer of OLYMP Bezner KG, shapes the newly published report and defines the apparel specialist's identity for the years ahead. The continued commitment to sustainability is proving to be a successful model, particularly in light of the ongoing global crises affecting the economy and society during the 2025 reporting year. “We are convinced that sustainability and responsibility make a significant contribution to overcoming the challenges of our time,” says Johann Trischberger, chief operating officer of OLYMP Bezner KG. “For too long, companies have focused on regulations and the associated expenses. The primary goal of sustainability is to protect our environment and climate while taking responsibility for people. This is essential for us and future generations to look forward to a liveable future,” Trischberger explains, describing OLYMP's motivation.

Through this voluntary reporting, the company deliberately allows for comparison with other firms that have mandatory reporting obligations. It transparently documents the impact of its business activities on the environment and society. The comprehensive sustainability statement is aligned with the European Corporate Sustainability Reporting Directive (CSRD) and discloses the data points specified by the European Sustainability Reporting Standards (ESRS), where available.

The 2025 report focuses on ecological and social criteria in product development and manufacturing. OLYMP relies on close collaboration with its long-standing partners in the global supply chain to promote climate and environmental protection, as well as fairer working conditions. The Swabian family-owned company is also meeting the changing needs of its customers. More sustainable product features are becoming increasingly important purchasing criteria, fostering long-term brand loyalty among target audiences. From autumn 2026, OLYMP will pursue this path more consistently. The company will communicate these attributes on every item through optimised product information and textile labelling based on recognised and reliable certifications.

Since 2014, OLYMP has regularly informed the public through a Social and Responsibility Report on the working condition standards within its supply chain and how these are ensured and monitored. Since 2019, OLYMP has also transparently reported on the carbon footprint of its Bietigheim-Bissingen headquarters in a dedicated site report. Both documents were consolidated into the first OLYMP Sustainability Report in 2021. While the fashion brand's sustainability reports for 2022 and 2023 were based on the Global Reporting Initiative (GRI) standards, the 2024 and 2025 reports are aligned with the CSRD.

The new OLYMP 2025 Sustainability Report is available on the OLYMP website.

For autumn/winter 2026, Nordic lifestyle brand Arket continues its exploration of archetypal clothing. The womenswear and menswear collections are based on a shared focus on durability and materiality, with layering as a key tool for creating wardrobes that integrate harmoniously into everyday life.

It begins with the materials: wool, cashmere, leather and silk, sourced from long-standing suppliers. High-quality outerwear fabrics, including Melton wool from the Italian mill Emmettex, dense cottons and supple leather, are complemented by lighter qualities such as fluid wools for tailoring and fine, tactile knitwear. The womenswear collection introduces feather-light silk organza and a fine, ribbed silk and wool jersey in a new line of underpinnings. A ribbed jersey made from soil-less cotton, grown through hydroponic farming to reduce water consumption and land impact, is featured in the essentials.

Tailored jackets fall from a sharply defined shoulder into a relaxed line. Knitwear explores new proportions. Cable knits become more compact for a closer, contemporary fit, while oversized roll-necks feature wider and higher collars that sit softly against the neck. Silhouettes evolve gently. In the womenswear collection, the combination of a stand-up collar and a distinct A-line remains central, bringing structure to a minimalist expression in outerwear and lighter layers. Trousers move between wide, straight shapes and slimmer, slightly flared lines, either to emphasise volume or as a balancing element.

The autumn/winter 2026 collection will be available from August 2026.

Alvanon, a leading sizing technology company for the fashion industry, has previewed the world's first luxury and designer phygital sizing solution; the Specialty Catwalk Series. Luxury brands, including Armani, attended the spectacular preview show, “The Intelligent Atelier,” hosted by Alvanon in collaboration with D-house Laboratorio Urbano at CoFactory in Milan, Italy.

The Specialty Catwalk Series pairs physical mannequins with matching digital “twin” avatars generated from global body scan data specific to couture runways. The series accurately and consistently represents the standard body size and shape of male and female models used by luxury designer brands. These innovative forms will enable designers to work seamlessly across digital and physical environments, improving efficiency, consistency, collaboration and creative flexibility. Alvanon's Catwalk Sizing Series will be available to order from Monday 18th May 2026.

Sara Canali, Alvanon’s market development, Italy and Switzerland, explained, "Luxury and premium brands need a foundational body standard that supports the unique attention to detail brought by expert craftspeople. This new catwalk series gives designers the digital and physical tools they need to experiment and develop their ideas without relying exclusively on fit models and physical prototypes.”

The preview opened with a panel conversation between Marion Eugster, 3D apparel designer at Grand Studio; Matteo Secoli, president and CEO of Instituto Secoli; and Antonio Iavazzo, head of costume department at Teatro alla Scala. They shared their expertise and insight into using accurate foundational body data to inspire consistent sizing and good fit; especially in an era of agentic commerce.

"Our students need to learn and work with the latest and most accurate tools. It is exciting to see how Alvanon has evolved into the physical and AI worlds to enable our industry to build and maintain consistent body-data foundations and empower us to improve processes and workflows," explained Matteo Secoli, president and CEO of Instituto Secoli.

Marion Eugster, 3D apparel designer at Grand Studio agreed, "Alvanon’s consistent sizing tools improve workflow across the development process from brand to freelancers to vendors while building consumer trust in the fit experience. If we all work to one body it makes communication easier, accelerates decision making, speed to market and generates brand loyalty."

Even in the extreme world of high performance costume couture, a foundational body standard delivers significant benefits to workflows. "Introducing Alvanon's foundational tools into our Sartoria del Teatro alla Scala is transforming our creative and fit processes," explained Antonio Iavazzo, head of costume department at Teatro alla Scala. "Our master tailors create up to 300 garments per play; each is handcrafted but the process must be industrialised and standard bodies allow us to work faster and more efficiently."

Claras Materials LLC has launched in the US as a specialist supply chain business focused on post-consumer textile raw materials for the region’s growing fibre-to-fibre and chemical recycling markets.

The North Carolina-based company said it aims to address ongoing supply challenges facing textile recyclers, particularly around securing consistent, sorted and processing-ready feedstock at commercial scale.

Claras Materials will source post-consumer textiles from global used clothing markets and sort materials based on fibre composition before processing. The company will use near-infrared sorting technology to create single-fibre bales, including polyester, cotton and wool categories, alongside mixed-fibre materials for mechanical recycling.

The business said hardware such as buttons and zips will be removed before bailing to ensure materials arrive ready for recycling facilities.

Patrick Mullen, who leads the company as general manager, has more than 35 years of experience in textile recycling and fibre sourcing.

In a statement, Mullen said: “The technology to recycle post-consumer textiles at scale exists. What’s missing is a reliable supply.”

The company said processing operations will be announced later, with commercial operations expected to begin in 2027. Claras Materials is currently in discussions with recycling partners as the textile industry continues to invest in circularity and fibre recovery infrastructure.

British luxury retailer Flannels, part of the Frasers Group, has opened a three-week Mexican-inspired womenswear showcase at its Oxford Street flagship in London.

The ‘House of Summer’ curated pop-up, open until May 23, showcases a multi-sensory resort environment inspired by Tulum, Mexico, in the retailer’s basement, designed “to evoke the mood, texture, and escapism of a summer vacation”.

The immersive setting aims to inspire consumers on a “discovery” journey with a curated edit of international womenswear and accessories labels, which have been chosen for having “a distinct design language and a shared commitment to modern femininity, craftsmanship, materiality, and considered production,” explains Flannels in the press release.

Leading the line-up is Desierto, the Mexican handmade accessories label available to buy in the UK exclusively at the pop-up, known for its shell bags and individually handcrafted jewelled pieces. Each design in the edit has been crafted using local materials and traditional techniques.

Other designers were chosen for offering a “global perspective on resort dressing,” including Ukrainian designer Anna October, who explores fluid femininity through soft structure and movement, and LA-based Cult Gaia, known for its signature sculptural silhouettes and statement accessories.

For minimal and contemporary design, the pop-up showcases Clea and Nima, whose collections centre on clean lines and understated luxury, alongside Devon Windsor’s beach-to-city wardrobe, and the refined, travel-ready pieces of Isabel Beachwear.

Brazilian label Nau injects colour, craft, and energy into the space, while European designers such as Magda Butrym, Paris Texas, and The Andamane “bring a balance of romanticism, statement footwear, and modern sensuality”.

Completing the line-up is Uma Wang, which offers an artistic, textural approach shaped by east meets west influences, and emerging label Voranida, which delivers a directional, detail-driven perspective.

Natalie Dickson, head of women's luxury brand partnerships at Frasers Group, said: “This pop-up is about creating a moment of discovery for our womenswear customers, bringing together a global mix of designers to offer a fresh perspective on femininity and escapism.

“Inspired by the craftsmanship behind exclusive brands like Desierto to established names within our edit, we really want the customer to experience this through our lens, bringing a sense of Tulum beach to Oxford Street, and dressing them for all summer occasions, from yacht parties to poolside drinks and weddings.”

Sportswear giant Nike is at the centre of a consumer-fronted class action lawsuit over allegations that it was withholding refunds on tariffs and raising prices.

In the lawsuit, filed with the US district court in Oregon, consumers claimed that Nike could "recover the same tariff payments twice – once from consumers through higher prices and again from the federal government through tariff refunds”.

The filing comes after a ruling from the Supreme Court determined that global tariffs imposed by President Trump last year were illegal, and that impacted companies were entitled to refunds as a result.

According to the suit, Nike had responded to the tariff increase by raising prices on a selection of products, including footwear and accessories, by two to ten dollars.

Those involved in the proceedings argued that Nike could pocket “significant” refunds as it had “no legally binding commitment” to return any tariff-related surcharges to customers.

The complaint stated: “Unless restrained by this court, Nike stands to recover the same tariff payments twice – once from consumers through higher prices and again from the federal government through tariff refunds.”

Nike is among a growing number of companies, such as EssilorLuxottica, the owner of Ray-Ban, facing similar lawsuits over claims regarding tariff refunds.

Nike is yet to comment publicly on its own lawsuit. The company’s fiscal quarter ended August 2026 is believed to be the last period that tariffs are expected to serve as a year-on-year headwind, management said in an investor call earlier this year.

British heritage brand Paul Smith has appointed Zia Zareem-Slade as its new managing director. Zareem-Slade transitions to the independent fashion house from her most recent role as chief executive officer of British jewellery brand Annoushka.

The appointment, effective May 2026, marks a strategic addition to the Paul Smith executive team. Zareem-Slade announced the move via a professional social media platform LinkedIn, noting that the business is built on “curiosity, originality, and a healthy refusal to take itself too seriously.”

Strategic leadership and retail expertise

Zareem-Slade brings extensive experience in the luxury and high-end retail sectors to the London-based company. Prior to her two-year tenure at Annoushka, she served as chief creative officer at Hauser & Wirth for over two years.

Her professional background includes significant roles at major British retailers. Zareem-Slade spent nearly eight years at Fortnum & Mason as customer experience director.

She also previously held the position of head of online at Selfridges. These roles highlight a career focused on customer insight and digital strategy within the premium market.

Experience in digital transformation

Before moving into leadership roles at luxury houses, Zareem-Slade developed a robust background in E-commerce and experience planning. She served as E-commerce manager at MFI UK LTD for five years starting in 2000.

Following this, she spent over five years at EMC Consulting, formerly known as Conchango, where she advised major clients including River Island and Tesco.com. Her expertise in customer journeys and digital integration aligns with the current industry focus on omnichannel excellence.

Zareem-Slade continues to serve as a non executive director for Bold Tendencies Community Interest Company, a role she has held since November 2020. Her move to Paul Smith comes as the brand continues to operate as one of the few remaining large-scale independent fashion businesses in the UK.

Luxury department store Harvey Nichols has launched a new wellness destination on the fourth floor of the Knightsbridge store, as part of the ongoing evolution of its flagship to “reflect the changing priorities of modern luxury customers”.

The renovated floor aims to offer an “holistic approach to modern wellbeing,” bringing together fashion, fitness, nutrition and beauty services, with a Pilates studio sitting alongside aesthetic and therapeutic beauty services, and a curated athleisure and wellness edit.

At the heart of the space is ‘Pilates in the Clouds,’ a state-of-the-art Reformer Pilates studio, which overlooks the rooftops of Knightsbridge, and is the only studio in London offering Cadillac classes and private full apparatus sessions.

The floor is also home to the new Harvey Nichols Clinic, a premium suite of aesthetic and therapeutic treatments from leading experts, including Dr Motox, known for offering non-evasive injectables, fillers and facials, alongside 111Cryo’s sub-zero cryotherapy chamber, Reviv’s IV infusions and vitamin injection boosters, and lymphatic drainage treatments by Dimple Amani.

In addition, the clinic will also be the exclusive London location for advanced laser treatments from specialist LaserHQ.

Completing the destination is a selection of athleisure brands, including Vuori, Tala, Literary Sport, Adidas and New Balance, as well as a wellness edit, featuring Smoov functional smoothies and a Healf retail offering.

Lucy McPhail, beauty director at Harvey Nichols, said in a statement: “Wellbeing has become a core part of how modern luxury is defined by our customers. The launch of the new fourth floor creates a destination that brings together beauty, aesthetic treatments, fitness, nutrition and fashion in one cohesive space, marking an important step in the continued evolution of our Knightsbridge flagship.”

Bottega Veneta presents Fall 2026, shot in Venice under the creative direction of Louise Trotter. Captured by British photographer Chris Rhodes, the images offer an unfiltered, intimate perspective on the city. An everyday backdrop of vintage wallpaper and terrazzo flooring brings the collection’s craft into full focus.

Finding new ways of visualising Venice, the campaign unfolds through a continuous interplay between private and metropolitan, digital and analogue, day and night. Fragments of life in Venice reflect a dynamic living environment, where heritage and contemporary expression continue to meet.

Fall 2026 traces the evolution of Bottega Veneta designs under Louise Trotter. Named after the very first store in New York, the Madison shoulder bag is reimagined in the original Intrecciato weave. Elaborating on the house’s signature forms, Barbara tote’s modern silhouette and Veneta’s archival spirit are presented in new seasonal hues and finishes.

ESSDM Sevilla de Moda has announced the launch of a new postgraduate programme focused on haute couture techniques, expanding its role in specialised fashion education through the Cátedra de Moda Andaluza.

The new Master’s programme, titled Máster en Técnicas de Alta Costura: Artesanía y Moda de Autor, will begin in October 2026 and aims to combine advanced technical training with the preservation of traditional craftsmanship. According to the school, the course is designed to support both creative development and the internationalisation of Andalusian fashion design.

The academic team includes designers Manuel Amador and Adrián Castillo as lead instructors, alongside a series of masterclasses delivered by established figures in Spanish fashion including Nicolás Montenegro, Fernando Claro, Antonio García, Inma Linares, José Hidalgo and Manolo Giraldo.

Course modules will cover haute couture pattern cutting and draping, artisanal embroidery and luxury fabric manipulation, bespoke tailoring techniques, and atelier management. Organisers say the curriculum is intended to strengthen technical expertise while maintaining traditional methods of garment construction and craftsmanship.

The programme forms part of a broader strategy launched through the Cátedra de Moda Andaluza in 2024, which focuses on research, innovation and international collaboration within fashion education. ESSDM stated that more than 500 students from different countries have already participated in related initiatives, contributing to Seville’s positioning as a centre for author-led and artisanal fashion training.

For fashion educators, the programme reflects growing interest in combining heritage craft skills with contemporary luxury market knowledge, particularly as institutions seek to balance cultural preservation with evolving industry demands.

As UK temperatures slowly begin to rise, new TikTok search data reveals growing demand for warm-weather styling, with searches for “sleeveless dress outfits” increasing as shoppers look for easy, breathable looks for summer. The trend reflects a shift towards lightweight, throw-on dressing, as consumers seek outfit inspiration that works for both everyday wear and seasonal occasions.

In response, Yours Clothing is spotlighting real customer looks and community-led styling through user-generated content, showcasing how sleeveless dresses are being worn across a range of body types, occasions and personal styles.

A spokesperson from Yours Clothing said: “As the weather warms up, we’re seeing more customers searching for simple, breathable outfits that still feel confident and put-together. Sleeveless dresses are a key part of that, but what’s really driving engagement is how they’re styled in real life. Customers want to see relatable outfit inspiration - not just product, but how pieces actually look and feel when worn.”

Real Outfit Inspiration: Sleeveless Dresses Styled by the Yours Community

From casual daytime looks to holiday-ready outfits, Yours Clothing highlights how real bodies are styling sleeveless dresses this season:

Lightweight maxi dresses paired with sandals for everyday wear

Easy throw-on holiday dresses for beach-to-bar dressing

Key Trend: The Shift Towards Real-Life Outfit Inspiration

According to Yours Clothing, the rise in searches such as “sleeveless dress outfits” reflects a broader shift towards outfit-led and community-driven fashion inspiration, with shoppers increasingly turning to platforms like TikTok for styling ideas.

By amplifying customer voices and showcasing real outfit styling, Yours Clothing aims to provide more inclusive, practical inspiration that reflects how women actually dress in warmer weather.

Swiss haute horlogerie manufacturer Audemars Piguet is strengthening its commitment to premium sport by entering the professional padel circuit through a dual strategic alliance. The brand becomes the official timekeeper of the Qatar Airways Premier Padel Tour and, at the same time, has signed a collaboration with Spain's Agustín Tapia, the current world number one.

As part of the agreement, Audemars Piguet will have a presence throughout the international circuit season with on-court clocks, branding at tournaments and visibility in global broadcasts. With this move, the brand aims to strengthen its positioning in what they consider “one of the fastest-growing sports with the greatest international potential”.

The move aligns with the company's strategy to consolidate its presence in areas linked to luxury, performance and exclusivity.

Through sport, Audemars Piguet seeks to expand its connection with new global audiences and strengthen its visibility in key markets through high-impact media platforms, according to a press release shared by the company.

Madrid – Late last week, new information emerged about the legal battle initiated by the US-based The Estée Lauder Companies against British perfumer Jo Malone and Spanish fashion giant, the Inditex Group. The company accuses the perfumer and the fashion group of infringing the rights of the Jo Malone London brand, which has been owned by Estée Lauder since 1999. This is in the context of the long-term collaboration between Zara, the group's main chain, and British perfumer Jo Malone and her new perfume house, Jo Loves.

To provide some context, and following details previously reported by FashionUnited at the time of the lawsuit's filing in early March, Malone founded her eponymous perfume house around 1990. After achieving considerable name recognition, fame and reputation, she reached an agreement with the US beauty multinational The Estée Lauder Companies to sell it in 1999. The deal was closed for an undisclosed amount, estimated to be around 100 million dollars. Its terms included the founder remaining with the company as creative director. However, Malone left this role in 2006 under a non-compete clause that restricted her from returning to the perfume and beauty sector for a period of five years.

Once that period had passed, Malone decided to return to her passion for the world of scents by founding her new fragrance house, Jo Loves, in 2011. With this new label, she quickly regained popularity, as was natural given the name she had built in the industry. She began to compete directly with her former fragrance brand. Her new olfactory creations are sold for between 120 and 150 pounds for 100 ml bottles, compared to the 150 to 200 euros price range for Jo Malone London's offerings. This price difference is minor. It becomes even more favourable for Jo Loves when considering that its creations are sold as perfumes, while Jo Malone London's are sold as cologne and intense cologne. This implies a lower proportion of the essences that provide longevity to the fragrances.

The Inditex Group (Inditex) played a decisive role in this particular and then-incipient war in the perfume world. In 2019, it established a long-term collaboration agreement between Zara, its main fashion chain, and the British perfumer's new fragrance house, Jo Loves. The collaboration focuses on the development and commercialisation of various scented products, including scented candles, room diffusers and, of course, fragrances and perfumes. All these products feature original scents. The fragrances, with collections for both men and women, are sold at prices ranging from 29.95 to 35.95 euros.

With these, Zara and Inditex have not only enriched their beauty universe but also helped to give visibility to Malone's new business venture, separate from the Jo Malone London house, which, as a brand, remains in the hands of Estée Lauder. Inditex has tried to safeguard this action by consistently presenting it as a collaborative initiative between Zara, Malone and her brand Jo Loves. Each product, both physically and online, is labelled as “created by Jo Malone CBE, founder of Jo Loves”.

Inditex rejects allegations

Despite this clarification, The Estée Lauder Companies maintains that the long-term collaboration has infringed upon the rights of the Jo Malone London brand, which the US beauty multinational acquired in 1999. For this reason, as was revealed in early March, the company decided to file a lawsuit in the UK against Malone for breach of contract, registered trademark infringement, passing off and consumer deception. The lawsuit was extended to include Jo Loves, her new commercial brand, and the British subsidiary of Inditex. Both parties have now responded, denying the alleged illicit behaviour attributed to them by the US company.

The Spanish company has modified the note on some items from the Jo Loves collaboration, which is the main argument in The Estée Lauder Companies' lawsuit. The text has been changed from “created by Jo Malone CBE, founder of Jo Loves” to “in collaboration with the perfumer Ms. Jo Malone CBE, founder of Jo Loves”. In its defence filed with the UK High Court and reported by Reuters, Inditex alleges that it has never infringed upon the rights of Estée Lauder or its Jo Malone London brand. This was an expected argument. Inditex also maintains that the company has always adhered to the exact terms recommended by the US group for mentioning the perfumer in their collaboration. On this matter, the Spanish company states that in August 2020, they received a complaint from Estée Lauder regarding the use of Jo Malone's name in a post on Zara's official account on the Chinese social network Weibo.

The Spanish company's defence states that Estée Lauder's own legal team later acknowledged that this claim was within legally permissible limits. They recommended that Zara should in any case be careful to specify that its collaboration was not with the Jo Malone London brand, but with the perfumer Jo Malone. She could be identified under the terms “Jo Malone CBE”, “Ms Jo Malone”, “Ms Malone” or “Jo”, but never as the founder of the Jo Malone brand. Inditex maintains that these terms have been complied with at all times, both in the marketing of the collaboration's products in brick and mortar stores and online. They therefore deny the accusations of brand rights infringement and unfair competition. As an additional note, they also reject the "cheap" label that Estée Lauder used to describe their perfumes in its lawsuit.

Perfumer Jo Malone hits back at The Estée Lauder

Meanwhile, the British perfumer responded a month ago via her Instagram account, where she regularly promotes the olfactory creations she develops for Zara, regarding the lawsuit filed against her and Inditex by Estée Lauder. She rejected the legal implications of the complaint at the time, stressing that both parties had done everything possible to ensure it was understood that the collaboration had nothing to do with the Jo Malone London company. She continues to maintain this defence. Now, as she has pointed out through the same channel, she also accuses Estée Lauder of trying to prevent her from using her own name, thereby violating the terms of the 1999 sale of Jo Malone London.

“Estée Lauder cannot stop me from being Jo Malone, the renowned perfumer and personality with my own prestige and reputation,” Malone stated in a statement released on her social media channels. “While I sold the company called Jo Malone London Limited and the Jo Malone trademark to Estée Lauder 27 years ago, I obviously did not sell my name.” In this regard, she details, “the contract with Estée Lauder allows me to use my own name in a personal capacity, which I have been doing for Jo Loves for 15 years.”

Following the same dynamic, “the collaboration with Zara has been ongoing for seven years” under the same terms, “and its packaging does nothing more than identify me, Jo Malone CBE and founder of Jo Loves, as the perfumer.” With this lawsuit, the British perfumer adds, “Estée Lauder is trying to prevent me from identifying myself as Jo Malone even in circumstances where I am clearly doing so in a personal capacity,” and “for that reason, I am defending myself in the High Court.”

UK-based footwear retailer Shoe Zone has announced its interim results for the 26 weeks ended March 28, 2026, revealing a decline in revenue and a widened loss as macroeconomic volatility continues to impact consumer spending.

The retailer reported total revenue of 62.93 million pounds (85.53 million dollars) for the first half, representing a 12 percent decrease from the 71.49 million pounds achieved during the same period in 2025. This decline was largely driven by a reduction in the store estate, with the company trading out of 19 fewer locations compared to 12 months ago.

Performance across retail channels

Store revenue fell by 14.1 percent to 45.80 million pounds. By the end of the period, Shoe Zone operated 259 stores, down from 269 at the 2025 fiscal year end. The portfolio now comprises 206 new format stores and 53 original format stores.

Digital revenue also saw a contraction, decreasing 6 percent to 17.08 million pounds compared to 18.20 million pounds in the first half of 2025. The company noted that digital trading conditions mirrored those seen on the high street, though it continues to invest in infrastructure, including a new mobile app and a presence on TikTok Shop.

The adjusted loss before tax widened to 5.31 million pounds from a loss of 2.60 million pounds in H1 25.

Shoe Zone chairman, Charles Smith, attributed the performance to a “very challenging trading environment” characterized by weak consumer confidence and global economic volatility.

Operational adjustments and outlook

Gross profit margin decreased to 11.8 percent from 15.4 percent in the prior year. Shoe Zone finance director, Terry Boot, highlighted that the company is right-sizing its operations, including plans to exit three of the six leases at its distribution centre.

Looking ahead, the board has revised its full-year expectations. Following an update on April 22, 2026, the company now forecasts an adjusted loss before tax of between one million pounds and two million pounds for the full year. Smith noted that footfall remains low following recent budget announcements and ongoing geopolitical tensions in the Middle East.

British retailer Marks & Spencer (M&S) has announced a conditional agreement to acquire a 437,000 square foot fully automated fashion distribution centre located in Lichfield. The facility, previously operated by British online fashion retailer Asos, is scheduled to become operational within the M&S network in 2027.

The acquisition is expected to create 600 jobs and serves as a primary driver for the strategic acceleration of the retailer’s fashion, home, and beauty divisions. By increasing logistical capacity, the hub will facilitate faster order processing to support the long-term objective of doubling the size of the company’s online fashion business.

Strategic investment in supply chain transformation

M&S managing director for fashion, home and beauty, John Lyttle, stated that the acquisition is a critical component of the digital growth strategy. “As we transform M&S fashion, home and beauty, our ambition is to double online sales,” Lyttle said.

Lyttle noted that the 24/7 distribution network requires additional capacity to serve customers more efficiently. The managing director emphasised that the acquisition represents a disciplined use of capital, providing necessary infrastructure at a significantly lower cost than a new build project.

Supply chain transformation remains a strategic priority for M&S as it seeks to shorten lead times from suppliers to distribution centres and ultimately to the end consumer. The retailer views the optimisation of these processes as a key lever for driving online growth and improving long-term profit margins.

Currently, M&S operates a diverse portfolio including food and stylish fashion, home, and beauty products. These are distributed through its UK brick and mortar stores, international franchise partners, and its e-commerce platform.

Report

During this year's Shanghai Fashion Week, Promas, the organisation for the promotion of menswear in France and abroad, supported Ludovic de Saint Sernin, Coltesse, EgonLab and Baziszt in their approach to the Chinese market. Initial findings reveal distinct strategies, balancing business development, local integration and collection adjustments.

As part of the operations led by Promas, and reported by Hervé Huchet, the Fédération Française des Industries du Vêtement Masculin (FFIVM) organised the second edition of the Boarding Pass* programme and its first showroom (Showroom List) in Shanghai from March 27 to 31, 2026.

This session supported four fashion brands: the eponymous labels of Ludovic de Saint Sernin and Florent Coltesse; Egon Lab, represented by Florentin Glémarec and Kevin Nompeix; and Baziszt, founded by the duo Jean-Marc Fellous (formerly PR) and Zied Ben Amor. FashionUnited followed them as they explored this market.

Retail tour: a place for French brands in Shanghai's multi-brand stores

The tour began at Galeries Lafayette Shanghai. The team then visited Le Monde de Shanghai, ENG and Assemblée by Réel.

The impression from these visits is that French brands have a limited presence in these stores. There is a clear discrepancy between the signage and the actual labels on the products. In contrast, Belgian brands like Dries Van Noten and Walter Van Beirendonck, as well as British brands, are more widely stocked.

This selection is likely due to a strong preference in Shanghai, and by extension China, for what is considered cute or Keai (the Chinese translation of kawaii). The city is filled with charms, trinkets and pendants, extending accessories into the emotional realm of the “kidult” consumer (half-child, half-adult).

Conversely, there is a more minimalist trend, driven by the local brand Icicle. Some boutiques, such as LabelHood, perfectly embody this aesthetic.

“French design embodies the latest trends from a global fashion capital: elegant, natural and cool,” said Lingteng Ou, co-founder of Le Monde de Shanghai (LMDS). He cited Botter, Coperni, Courrèges, Casablanca, Goossens and Lanvin, a portfolio that mixes French houses with Parisian brands of international standing.

A French brand showroom at the heart of the local creative scene

The showroom for the invited French brands was located in the former French Concession (89 Wuyuan Road, Xuhui district). This neighbourhood, with its plane tree-lined streets, is considered Shanghai's equivalent of the Marais.

Located on the first floor of a low-rise residential building, a world away from the skyscrapers that dominate Shanghai's collective imagination, its location signified a desire to embed within an ecosystem of independent fashion and experiential retail. This reflects a trend-setting position rather than a mass-market approach.

According to Anne-Laure Oval, a strategic development consultant at ALBO Conseil and a business speaker for the Boarding Pass programme, the Chinese market is both mature and growing. It is driven by a young population still developing its fashion identity. Far from being saturated, the market still offers real potential for French designers, provided they adapt their positioning between volume, image and more exclusive offerings.

Promas: connecting French fashion designers with Chinese buyers

With Shanghai Fashion Week taking place concurrently, many buyers attended to discover these brands, including Summer Rise; Solsol; LMDS; Galeries Lafayette Shanghai; Mods Store; Maison Daglian; Refresh; Look Now; The Balencing; IT Men; Labelhood; and ENG.

As explained by Hervé Huchet, international director of the FFIVM, this programme primarily aims to strengthen the visibility and reputation of brands in targeted markets. This is achieved through press and influencer initiatives to foster their local emergence.

Bazișt benefited from this dynamic, a brand FashionUnited will revisit in the future. Bazișt met with local journalists and influencers, some of whom, according to the founders, were already familiar with its world.

For some, their reputation had already spread far beyond national borders and the Great Firewall, a system for filtering and controlling online content**. For instance, Ludovic de Saint Sernin, who attended via the List showroom, had never been to China before. Yet, his name was so well-known that a party was organised in his honour at Heim, an underground electronic music club. The event was attended by the vanguard of Chinese youth, as well as Simon Porte-Jacquemus and Haider Ackermann.

The commercial reality will be determined in October during the second edition of Boarding Pass Shanghai and its next showroom. Nevertheless, FashionUnited noted that the participating brands reported satisfactory initial feedback.

Ludovic de Saint Sernin: a trunk show for the October 2026 showroom

“I particularly enjoyed the environment, the kindness of the people, the culture and the food,” Ludovic de Saint Sernin told FashionUnited. “The Federation was very supportive, and the showroom went very well. It was the first time visitors could see the pieces in person, touch them, appreciate the quality of the materials and try on the fits.”

Nicolas Leoni, head of business development for Ludovic de Saint Sernin, detailed an agreement with LDMS: “The idea is to bring them couture or made-to-order pieces for the next List Shanghai session, which they can present to their VIP clients during a trunk show.”

EgonLab: towards a dedicated brand extension for the Chinese market

According to Hervé Huchet, 'Made in France' is not the most decisive factor in China. Brands can produce locally if it aligns with their development goals. They also have the option to establish collaborations with Chinese brands and manufacturers. In this context, organisations like Bonjour Brand connect French designers with local companies, fostering co-creation and collection development.

EgonLab is a case in point. Having already established a market in South Korea and Japan, its autumn/winter 2026/2027 collection was selected by five stores. Other buyers will travel to Paris in June for Paris Fashion Week.

Furthermore, the brand has formalised plans to launch a collection dedicated to the Chinese market. “We will work with Chinese stylists and photographers and manufacture in factories here,” explained Florentin Glémarec and Kevin Nompeix in unison. “We will maintain our DNA while offering a collection tailored to their needs.”

The duo took advantage of the trip to visit a factory and shoot their campaign on the streets of Shanghai, employing an inclusive casting approach with individuals who have unconventional profiles.

Coltesse: encouraging feedback to structure its development in China

For Coltesse, it was also a first experience: “We are here to introduce ourselves, but then the discussions happen in Chinese***,” the brand's designer confided. “The goal is to make contact and build relationships. I listened to what the buyers said about my collection with the aim of refining my offer according to their needs.”

This feedback highlighted the need to enhance the product's clarity, particularly through more distinct details and materials. He also emphasised the challenge of differentiation in a highly competitive market, where brand visibility depends as much on the product as on its presence on local platforms.

While he had no specific sales expectations, he still attracted the interest of LabelHood. More than just a store, Labelhood operates as an integrated platform, combining retail, incubation and visibility during Shanghai Fashion Week. For a brand like Coltesse, being stocked there means gaining access to an ecosystem that can accelerate its visibility and market entry with local players.

These initial findings confirm the value of engaging with the Chinese market on its own turf, rather than waiting for buyers in Paris. Commercial success, however, will be a long-term game, with the next edition in Shanghai in October 2026 being a key milestone.

*As a reminder, Boarding Pass is a selective one-year support programme for brands with high creative potential. It combines almost full financial support with a strategic diagnosis, including follow-up coaching and masterclasses. Each mission includes local meetings and retail tours to accelerate their international development.

** While Instagram is the leading social network for fashion in the West, Chinese consumers use Red Book or WeChat to stay informed.

*** The interface between the French brands and the Chinese market was managed by Envision Worldwide.

Florence Julienne travelled to Shanghai as a guest of the Fédération Française des Industries du Vêtement Masculin

Rio de Janeiro Fashion Week (April 14–18, 2026) marked a significant return to the Brazilian fashion calendar after a ten-year hiatus, with the aim of repositioning the city as an international fashion hub and drawing global buyers.

To streamline the national schedule and reduce overlap, organizers IMM shifted São Paulo Fashion Week to the latter half of the year, reserving the first half for Rio. Strongly supported by the city government as part of a broader economic development strategy, the event was projected to generate approximately R$100 million (20 million US dollars) and welcomed around 30,000 visitors.

On the runway, collections moved beyond traditional beachwear, with designers presenting more refined, versatile silhouettes designed to resonate with a broader, international market buying for spring or fall.

Black Minimalism

The presence of black, minimal, and architectural ensembles on the runways marked an intentional shift by designers, moving past traditional vibrant stereotypes, to redefine Brazilian fashion.

Dendezeiro SS27 by Hisan Silva and Pedro Batalha

A black, asymmetric one-shouldered midi-dress featuring a prominent side cut-out and a thigh-high slit.

Handred SS27 by André Namitala

A black shantung silk single-sleeve, high necked blouse and skirt with a fuchsia-colored bubble hem.

Normando SS27

A sleek, black, off-the-shoulder gown with an asymmetric draped silhouette and a high side slit.

Karoline Vitto SS27

A black, asymmetric short-sleeved top with a cutout at the shoulder and a draped silhouette with a high-waisted, maxi skirt that gathers at the waist.

Suits

There was a prevalence of men's style suits on the runways, proving that Rio’s designers have leaned into the global shift toward ‘structured sophistication.’ They reimagined the classic men’s suit; focusing on quality and moving away from years of streetwear dominance.

Aluf SS27 by Ana Luisa Fernandes

A cream-colored button-down shirt with short sleeves and knotted cuff details, high-waisted, wide-leg pleated trousers with a belted waist, tie, vest and jacket, all in grey or red pinstripes.

Apartamento 03 SS27 by Luiz Claudio Silva

An oversized white blazer with a green pinstripe, gold-toned hardware and floral embellishments at the shoulder, with a matching vest and pants.

Helo Rocha SS27

A white pussy-bow blouse under a three-piece cream-colored suit: an oversized one-button blazer with structured shoulders, a vest with m.o.p. buttons, and wide-leg pleated trousers.

Lucas Leao SS27

An oversized beige blazer with structured, padded shoulders and notch lapels, layered over a light-colored turtleneck with matching wide-leg pleated trousers and a white ostrich feather fringed tutu.

Openweave Textures

Crochet, lattice knits and other open-weave textures are part of Rio’s fashion identity. Cover-ups that go from day to evening, reinforce a ‘coastal luxury’ mood of elevated craftsmanship.

Angela Brito SS27

A textured, straw-colored asymmetric mini dress with intricate open-weave and crochet details.

Apartamento 03 SS27 by Luiz Cláudio Silva

A white, structured sleeveless midi dress layered under an intricate, oversized netting overlay made of silver-toned fringe and metallic accents.

Blue Man SS27 by Sharon Azulay

A halter-style, asymmetric green dress with a side cutout in handcrafted crochet mesh with fringe and an orange patchworked section.

Patricia Viera SS27

A blue crochet net midi dress with gold floral appliqués, over a blue bodice and crochet knit navy and blue briefs.

One Shouldered Swimsuits

Brazil is well-known for its high-quality swimwear, most often associated with ‘barely-there bikinis’.However, this season, Rio designers proved they create maillots and two-pieces to suit all body types. One shouldered silhouettes looked especially fresh.

Karoline Vitto SS27

A one-shouldered candy pink swimsuit with a thin spaghetti strap and a side cut-out and silver metallic accents.

Blue Man SS27 by Sharon Azulay

The bikini features a one-shoulder top with a braided strap and low-rise bottoms with unique double-braided side cutouts in a blue and white batik-style print.

Lenny Niemeyer SS27

A black one shouldered swimsuit and a teardrop-shaped cutout on the chest. A mosaic embellishment accented the shoulder and the side.

Salinas SS27

A brown bikini with an asymmetric, one-shouldered top with a hand-embroidered bird motif crafted with crystals, and matching bottoms.

Opulent Maximalism

While the minimalist movement was significant, Rio also embraced opulent maximalism that celebrated Brazilian heritage. These highly decorated styles showed off the meticulous nature of artisanal craftsmanship.

Lenny Niemeyer SS27

A black turtleneck and skirt decorated with long, ombre-effect blue and black filaments that resemble feathers.

Isabel Capeto SS27

A white textured crop top with a yellow and white striped hem and large black bows at the sides and a voluminous, floor-length skirt with intricate embroidery and feathered, raffia-like material in shades of pink, yellow, and orange.

Lucas Leao SS27

A sleeveless midi-length dress of yellow and caramel "plumes" that are fabric cutouts created using 3D printing and laser cutting.

MISCI by Airon Martin

A sleeveless, floor-length gown with a fitted, open-knit bodice that transitions into a voluminous, feathery skirt.

Climate adaptation is a supply chain issue and cannot be solved by a single brand. This was one of the messages delivered by Azzurra Morelli, ceo of Pellemoda (Holding Morelli), an Italian luxury manufacturing company and benefit corporation committed to integrating sustainability into its industrial processes. She spoke during the Global fashion summit, an international forum dedicated to sustainability in the fashion system, which took place in Copenhagen from May five to seven.

In her speech, Azzurra Morelli focused on the need to address climate adaptation as a supply chain issue, not as the responsibility of a single brand or supplier. “Climate adaptation cannot be solved company by company: it must be addressed as a challenge for the entire value chain,” the manager reiterated. She stressed that the future of luxury depends on the ability of production chains to maintain industrial continuity in a global scenario characterised by growing climate, energy and geopolitical instability.

Morelli focuses on climate adaptation as a supply chain issue

According to Morelli, the concept of adaptation must evolve from a simple issue of regulatory compliance to a genuine industrial strategy for the future competitiveness of 'Made in Italy'. This approach is particularly relevant for the Italian fashion system, which is based on a highly specialised network of brands, manufacturers, production districts, artisans and technology companies. “Resilience is not built in brands alone, but in the factories, laboratories, industrial districts and companies that transform materials every day,” she explained.

Vice president of Confindustria Toscana Centro e Costa with responsibility for gender equality and corporate culture, and a representative of Confindustria Moda, Azzurra Morelli is now internationally recognised as the face of a new generation of entrepreneurs. She is capable of leading the responsible transformation of the fashion system by combining manufacturing tradition, innovation and sustainability.

Azzurra Morelli’s participation was part of the “Climate adaptation in luxury value chains” panel. The panel was a strategic discussion dedicated to new resilient production models, the climate challenges affecting luxury supply chains and concrete solutions to ensure continuity, innovation and sustainability in the fashion sector.

Particular attention was paid to the issue of water and the vulnerability of textile and tanning supply chains to the effects of climate change. Morelli highlighted how water, energy and raw materials are now strategic elements for ensuring production continuity and economic competitiveness. In this context, she reiterated the importance of collective resource governance, based on public-private partnerships, shared metrics and technological innovation.

Strategic priorities discussed

In outlining a practical roadmap for the future of luxury supply chains, Morelli identified four strategic priorities: harmonising standards between brands and suppliers; digitalisation and traceability through tools like the Digital Product Passport; developing public-private partnerships; and the concrete experimentation of circular and resilient models.

Moderated by Guy Morgan, director of sustainability for Chanel's fashion division, the panel included international figures such as Leonardo Volpi, general director of Volfoni Spa, and Tilly Leeman, corporate sustainability research lead at Global Water Intelligence.

UK fashion sales returned to growth in the latest week, with total like-for-like (LFL) sales rising +3.07% over a period that included the early May bank holiday, according to the latest BDO High Street Sales Tracker. The result comes off a positive base of +2.80% for the same week last year.

Online demand drove the entire fashion uplift. Non-store fashion sales jumped +11.25%, marking a fourth consecutive week of growth in the channel, against a negative comparison base of -5.71% a year earlier. Store fashion sales fell -1.09%, pulling back from a strong +8.04% base last year.

The pattern mirrors a wider channel divergence across the high street. Total LFL sales rose +3.14% against a soft +0.25% base, with total non-store LFL up +8.45% — also a fourth consecutive weekly increase — while total store LFL grew a more modest +1.36% from a positive +2.83% base. The week marked the second consecutive period of positive sales across stores, non-store and all three retail categories of lifestyle, fashion, and homewares.

Springboard footfall data points to a continued reluctance to visit traditional shopping streets. Overall footfall slipped -0.8%, with high street footfall down -2.0% and shopping centre traffic flat. Retail parks were the only physical format to grow, with footfall up +1.1%.

Weather conditions shifted from mixed late-April patterns into a warm early-May heat spike before turning cooler and wetter over the bank holiday weekend. The brief warm spell may have supported online demand for spring/summer collections while keeping high street traffic subdued. The persistent outperformance of non-store fashion suggests the channel shift is structural rather than weather-driven.

UK retail footfall declined in April as consumer confidence weakened amid ongoing conflict in the Middle East, according to new data from the British Retail Consortium (BRC).

Figures from BRC-Sensormatic showed total UK footfall fell 11 percent year-on-year in the four weeks to May 2, reversing the 2.4 percent increase recorded in March.

High streets saw footfall decline by 9.2 percent, retail parks recorded a 9 percent drop, and shopping centre visits also fell 10 percent. The BRC said all UK regions reported declines, with Northern Ireland seeing the sharpest fall at 14 percent.

The organisation noted that Easter timing distorted year-on-year comparisons, as the holiday fell in March this year and in April last year. However, when March and April figures are combined to smooth the Easter impact, total UK footfall was still down 3.9 percent.

Commenting on the data, BRC chief executive, Helen Dickinson, said: "The ongoing conflict in the Middle East pushed consumer confidence to new lows, prompting consumers to make fewer trips to the shops. While footfall declined in every city, London proved reasonably resilient during the tube strikes, as people adapted, finding alternative routes into the capital."

She added that retailers are now hoping warmer weather and upcoming sporting events will help support store traffic in the months ahead, though warned that inflation concerns could continue to impact consumer spending.

Administrators for Quiz have confirmed that the retailer’s stores will remain open through the month of May as efforts to wind down stock continue.

Interpath, which was appointed to oversee Quiz’s proceedings earlier this year, is continuing to review the trading situation as well as the supply of new stock from distribution centres to stores.

Quiz’s future has remained in limbo since the company fell into administration on February 5, at which time 109 redundancies among the head office and distribution centre were confirmed.

The company had cited several headwinds that made for challenging trade conditions, despite stronger than anticipated sales towards the end of last year.

Its 40 stores and seven concessions–the latter of which are not part of the administration process–across the UK and Ireland have remained operational, while its website shuttered upon Interpath’s appointment.

Just a week after the filing, Interpath confirmed the commencement of additional clearance discounts across all remaining stock, and continued to urgently call on parties that may be interested in acquiring Quiz’s stores, store operations, and infrastructure.

YKK Corporation (Headquarters: Chiyoda-ku, Tokyo; President: Koichi Matsushima; hereafter, YKK) has joined ZDHC (Zero Discharge of Hazardous Chemicals) as a Signatory Supplier as of May 2026.

ZDHC is a global organization centered on the textile and apparel industry, with the objective of eliminating hazardous chemicals from manufacturing processes and promoting the responsible management of chemicals. Its signatories include leading apparel brands, companies across the supply chain, and third-party verification and testing organizations worldwide*. Through collaboration across the entire value chain, ZDHC works to establish common standards for chemical management and to drive industry-wide efforts toward the elimination of hazardous chemicals.

YKK has long been strengthening chemical management in its products and manufacturing processes based on its own standards, which are aligned with ZDHC’s publicly available policies. As environmental impact reduction and occupational safety in manufacturing processes become increasingly important, YKK determined that enhancing the effectiveness of these initiatives requires greater transparency and the establishment of common, industry-wide standards. YKK therefore decided to join ZDHC.

Through its membership in ZDHC, YKK will contribute to advancing chemical management across the industry while supporting the realization of a sustainable society that balances reduced environmental impact with the assurance of occupational safety.

Comment from Mai Mizubayashi, Vice President, Sustainability Department, YKK Corporation

The YKK Philosophy of the Cycle of goodness® “No one prospers without rendering benefit to others,” is deeply connected to the concept of sustainability. Challenges related to chemicals used in manufacturing processes cannot be fundamentally addressed by the efforts of a single company alone. By joining ZDHC, we aim to further strengthen collaboration with our customers, suppliers, and verification bodies, and to steadily advance improvements in chemical management toward the realization of a circular economy.

JD Sports has said it is planning to close around 175 Hibbett stores over the next three years as part of an ongoing optimisation of its North American footprint.

Speaking during the company’s fourth-quarter earnings call, chief executive Régis Schultz said the retailer is focusing on closing smaller and lower-performing stores while prioritising larger locations with stronger sales potential.

Schultz said the stores being eyed are mainly lower-volume locations with a legacy sporting goods offer that no longer aligns with the group’s wider strategy. The strategy follows JD Sports’ acquisition of Hibbett in 2024 in a deal valued at 1.11 billion dollars.

The optimisation programme had already begun last year, when the company initiated 61 store closures and 44 new openings, ending the year 2025 with 982 Hibbett locations.

The update came as JD Sports reported a 11.7 percent increase in annual net sales to 12.7 billion pounds. However, profit before tax and adjusting items fell 7.7 percent to 852 million pounds. Apparel sales rose 5 percent, while footwear sales remained flat.

North America has officially overtaken the UK as the largest region for JD Sports, now accounting for 38 percent of total sales. Revenue has been supported by the annualisation of the Hibbett acquisition, a report stated

Looking ahead, the company said it expects muted market conditions in fiscal 2027 and forecast flat organic sales growth for the year.

After successful editions covering the EU and Americas, non-profit Global Fashion Agenda (GFA) has released its GFA Policy Matrix: Asia. The resource is designed to map sustainability and social matters related legislation in the fashion industry across the region and focuses on eight major manufacturing countries: Bangladesh, Cambodia, China, India, Indonesia, Pakistan, Turkey and Vietnam.

In view of policy and legislation information that can be dispersed, the new GFA PolicyMatrix: Asia aims to provide an accessible overview of policy developments in the area, with plans to expand its scope in the future to more countries.

“The launch of the GFA Policy Matrix Asia marks an important step in strengthening our strategic work across the region. As we continue implementing the Circular Fashion Partnerships on the ground, we gain critical insights into what enables circular systems to succeed. This resource complements that experience by mapping textile-related sustainability policies in key manufacturing regions of Asia, where legislation is evolving rapidly,” commented GFA CEO Federica Marchionni in a statement.

Structure of the GFA Policy Matrix Asia

The Policy Matrix is structured around the five key priorities outlined in the Fashion CEO Agenda: respectful and secure work environments, better wage systems, resource stewardship, smart material choices and circular systems. Under each priority, it is based on the status of the policy initiatives, with those enacted and in force mentioned first, followed by ongoing initiatives, those undergoing revisions, non-policy and upcoming initiatives.

Each entry for a specific policy effort is supported by a summary of its main objectives and main provisions. It also lists key policymakers and stakeholders (if available) to highlight the actors involved in its development as well as insights into the key players shaping the regulatory landscape. A clearly visible status box provides information on completion, updates and amendments at a glance.

A section with additional information lists relevant resources such as links to handbooks and other useful information, including stakeholder positions, media coverage and reports.

What do the five key priorities cover?

Respectful and secure work environments

Knowing where to look when handling a particular issue is half the work done. Thus, an overview of the main themes for each priority is helpful; some may overlap. The section on respectful and secure work environments, for example, touches on themes like due diligence, occupational hazards, working conditions, worker health and safety, sick pay, hazardous chemicals, discrimination, human rights violations, forced labour and slavery, human trafficking, grievance mechanisms, female workforces, gender equality, gender-based violence, financial inclusion, financial empowerment, job retention, job security, social protection, Covid-19 implications on workers, supply chain visibility, transparency and purchasing practices.

In this area, the matrix highlights a transition toward modernised labour codes and mandatory due diligence. Notable updates include India’s New Labour Code (2025), which consolidates 29 fragmented laws to improve worker protections, and Indonesia’s upcoming Mandatory Human Rights Due Diligence bill.

Better wage systems

The section on better wage systems includes themes like due diligence, fair wage systems, payment systems, minimum wage, living wage, transparent wage data, purchasing practices, wage setting, collective bargaining, unions, wage theft, grievance mechanisms, wage protection schemes, labour protection, social protection schemes, enforceable brand agreements, informal economy, sub-contractors, slavery and human trafficking.

Wage protections are being reinforced through statutory frameworks like Cambodia's 2018 Law on Minimum Wage, which set new rates for the garment sector effective January 2025, and India’s Code on Wages (2019).

Resource stewardship

The resource stewardship section covers themes like water, water availability, water stress, water scarcity, energy, fossil fuel consumption, carbon taxation, energy transition, renewable energy, science-based targets, chemical use, chemical pollution, hazardous chemicals – textile leather processing/ dying processes, biodiversity, natural resource use, virgin material extraction, land restoration, sustainable land management, regenerative agriculture, deforestation, land use, transparency, recapturing waste streams and traceability tools.

The section focuses on decoupling value creation from environmental degradation through stricter pollution controls and climate commitments. The report documents significant legislative actions such as Indonesia’s Regulation No. 12 (2025) on wastewater standards and Turkey’s first comprehensive Climate Law (2025), which establishes a national Emissions Trading System. Furthermore, several countries, including Bangladesh, Pakistan, and China, have submitted updated Nationally Determined Contributions (NDC 3.0) for 2025 to accelerate economy-wide decarbonisation.

Smart material choices

Smart material choices is also an important priority, covering themes like fibre growing and harvesting, mono-cropping, regenerative agriculture, natural fibres, biodegradable, organic productions, land use, soil health, chemical use, synthetic fibres, fossil fuel-based fibres, microfibres, microplastics, recycled materials, biomaterials, animal welfare and fur trade.

Thus, this priority emphasises responsible sourcing and consumer safety through technical standards and labelling. Recent developments include Turkey’s 2025 Labeling Requirements for animal-origin components and India’s upcoming mandatory labelling rules for apparel, which will require full fibre composition disclosure. These initiatives aim to prevent misleading claims and align regional production with global sustainability and transparency standards, such as digital product passports.

Circular systems

Last but not least, the section on circular systems touches on textile recycling, textile reuse, linear system, product lifecycle, durability, recyclability, mono materiality, circular systems, circular business models, product disassembly, post-consumer textiles, material streams, upcycling, overstock, deadstock, textile sorting, extended producer responsibility (epr), movement of waste, scaling technologies.

Regarding this section, the report tracks the shift from linear to closed-loop models where waste is eliminated and materials are continuously circulated. Key policy efforts include China’s Implementation Opinions on Accelerating the Recycling of Waste Textiles (2022) and Vietnam’s National Action Plan for Circular Economy (2025). These frameworks prioritise the integration of informal waste sectors into the formal economy and promote the “4Rs” (reduce, reuse, recycle, recover) to manage industrial textile scraps.

Finally, the matrix identifies several upcoming initiatives set to shape the industry through 2027 and beyond. These include India’s Tex-Eco Initiative and National Fibre Scheme (2026-2031), which focus on green markets and raw material self-reliance, as well as Cambodia’s first dedicated Occupational Safety and Health Law. By consolidating these disparate policy developments, the GFA provides a roadmap for stakeholders to navigate the rapid regulatory shifts occurring within Asia's influential textile and garment production hubs.

Conclusion

In view of a rise of textile-specific strategies in the region and targeted sustainability regulations as well as circular economy initiatives, the GFA Policy Matrix Asia is a useful tool that should help industry stakeholders navigate a rapidly evolving policy landscape, especially considering increasing recognition of textiles as a strategic sector for social and environmental transitions.

The fashion brand bugatti from Herford is bringing its Spring/Summer 2026 campaign theme “Capri” directly to the point of sale with around 35 pop-up areas. Under the guiding motto “Ho voglia di Capri,” selected retail partners are transformed into a summery brand world that combines a Mediterranean lifestyle with a high-quality, modern retail presentation.

The spaces are characterized by light materials, travertine looks, Mediterranean decorative elements such as lemons, and large-scale campaign visuals. In combination with a reduced product presentation in natural tones and shades of blue, this creates a curated shopping environment that goes beyond pure product display. Two concepts are used – bugatti Main and bugatti Gold – tailored to the respective collection lines.

The pop-up areas are being placed across Germany, Austria, Switzerland and Italy with strategically important partners such as Loeb Bern, Baltz Bochum, Braun Moers, La Rinascente Italia, as well as in selected top locations of Wöhrl and Peek & Cloppenburg Düsseldorf. The rollout began in mid-February and will continue as a roadshow through June. Additional POS activations, such as Limoncello bars, generate further attention and footfall.

Initial results show increased brand awareness, positive sales performance, and strong feedback from retail partners.

“With the pop-up areas, we consistently bring our campaign idea to the point of sale and create an emotional connection between brand, product, and customer. Our ambition is not only to offer merchandise to our retail partners, but a holistic experience that drives traffic and has a lasting impact,” adds Florian Wortmann, Chief Brand & Commercial Officer at bugatti.

At the same time, the pop-up concepts serve as inspiration for longterm space solutions and underline the importance of emotional brand staging in wholesale.

This month, Helsinki is preparing for a new edition of its annual Fashion in Helsinki event. With an official schedule running May 26 to 30, the occasion is overflowing with independent, young, and in some cases well-established talent from the region, underlining the city’s status as a growing fashion capital.

While many of these locations prioritise marketable, commercial trade, Finland has taken a starkly different path. Brands like Marimekko are among only a few to have punctuated the international market, and names like Rolf Ekroth and Latimmier may spark some recognition beyond the Nordic borders. Yet for Helsinki in Fashion, the focus on emerging names is intentional.

A design-centric industry

Compared to other countries in Scandinavia typically driven by commercially-successful fashion machines, Finland’s own industry is concentrated on design. According to Martta Louekari, the communications director of Juni Communication & Production, designers tend to create a vision for the brand before building a team around it, as opposed to relying on branding agencies and experienced founders. The system is comparable to that of Antwerp, following a model rooted in heritage craftsmanship and tailoring.

Akin to the Belgian fashion capital, the Finnish event has been built on the foundations of the local industry’s own singularities and hallmarks. Organisers have only strengthened this resolve as global interest becomes more wide-reaching. “Formerly, this country and its history was known for architecture and product design, but today, fashion is definitely one of the most interesting design principles coming from Finland,” Louekari told FashionUnited. “There are so many exciting things going on at the moment, and new brands are developing so fast.”

Commerciality in the context of individualised businesses

Commercial success isn’t one of the core values of Fashion in Helsinki, largely due to the individualised approaches of local creatives. Louekari notes that the strength of design talent in the region is palpable, with many graduates from Aalto University’s fashion department going on to work in large-scale luxury houses. Some of this talent occasionally returns to Finland, leveraging accumulated knowledge to launch their own labels. The number of such brands has accelerated in recent years, with Louekari stating that there are many that are less than five years old.

Retaining an identity so intrinsically ingrained in the avant garde is common, preserving a quality that runs deep in Finnish design history, evident in architecture and artisanal work as much as it is in fashion. “The question is how do you build a brand around these topics,” Louekari said. “We have some success stories of commercially recognised brands, but a shift we are seeing now is from young designers born directly into the internet era. The way they work and how the commercial side of a brand is built is new.”

Many of these designers opt to work solely in drops instead of seasonal collections, while sales may mainly be made through social media or their own channels, like an independent webstore. As a result, a new generation of vastly independent brands have emerged working in formats that fit them, rather than bending to the constraints of international systems; a far cry from the industries of traditional fashion regions.

Efforts to bolster global outreach can be seen in partnerships with other events like Copenhagen Fashion Week, for which Fashion in Helsinki has served as a knowledge partner. The Danish counterpart operates in a completely different commercial world to Finland, yet adheres to the same values surrounding emerging designer support and sustainability focus. Louekari said that while the collaboration has been very fruitful, connecting brands with buyers and other stakeholders, the two events have contrasting missions in terms of commerciality.

Marimekko as a staple of design heritage

Finland’s fashion heritage is also celebrated in the event, however. Ahead of Fashion in Helsinki’s launch, Marimekko Day, an occasion now over 30 years old, honours one of the country’s most iconic designer labels. This same remains true this year, when, on May 22, a series of fashion shows will be held at Esplanadi Park, ringing in the summer season.

For many in Finland, Marimekko is a brand they grew up with, associated with childhood memories and reflective of a historic design legacy. “It’s important in the sense of nostalgia,” Louekari said. “But it’s also a brand that has done well in communicating the Finnish lifestyle and our connection to nature into commercial products.”

The means in which Marimekko operates mirrors the intimacy of Finland’s design community, where everyone knows everyone. Louekari’s sister, for example, has worked with the brand for over 20 years as a pattern maker, while Vuokko Eskolin-Nurmesniemi, the founder of the Vuokko label, also previously worked under the brand, and is credited with creating the Jokapoika shirt, one of Marimekko’s foundational styles.

When hosting an event within this compact space, Louekari said ensuring a consistency in quality, design and concept when curating the schedule has been key. Maintaining a balance between global names like Marimekko and emerging voices from Aalto University or other platforms is a central challenge, and is carried out in varying presentation formats, from exhibitions to collective fashion shows.

Fashion in Helsinki 2026 schedule

Four of the events this year look to spotlight a selection of recently graduated or new designers. The KOE26 show on May 26 will showcase the collections of 10 graduated designers exploring varying themes. The following day, the Fashion in Helsinki Presentation at Seurasaari will platform 11 emerging Finnish designers, each bringing a fresh perspective to Nordic fashion. This is then followed by the Aalto Graduation Show, a runway and exhibition featuring the work of BA and MA fashion students. Finally, the Evol fashion show will debut a new concept to promote its platform for creative talent.

These sit alongside runway shows, installations and presentations by brands like Christian Chirayu by Oliver Ahlmark; material-driven label Studio Lamea; Sofia Ilmonen, a modular garment designer; Otsamo, a brand focused on modern tailoring and craftsmanship; Vain, a former Copenhagen Fashion Week participant; and Alex Luonto, a fashion artist who will be hosting a show accompanied by the exhibition ‘The Blueprint’.

Various exhibitions at partnered museums then complement the schedule, adding to the goal of spotlighting new talent. On the opening day, the Museum of Architecture and Design’s Craft Punk exhibition, curated by Fashion Community Helsinki and Juha Vehmaanperä, will turn into a fashion evening and guided tour. The Exhibition Generation 2026 at Amos Rex museum, meanwhile, is hosting a triennial of 50 young multimedia artists as well as a pop-up gallery store, ‘SS26 Space’.

“Fashion is so much about conceptual collections and treating fashion as an art form, it has always made sense to collaborate,” Louekari said, adding that many of these museums have remained collaborators and partners to Fashion in Helsinki for extended durations.

Third edition of Finnish Fashion Awards

To honour the industry as a whole, Helsinki in Fashion established the Finnish Fashion Awards, a relatively new ceremony that is coming into its third edition. The initiative aims to recognise players spanning all corners of the local community, from makeup artists to those overseeing sustainable implementation and retail. “We realised that on top of designers we should also acknowledge the value of work in other areas, and celebrate those as well,” Louekari said.

This year will see the introduction of the Designer of the Year category, an addition to the existing Talent Prize yet with a sharper focus on creative vision and craftsmanship. The awards will also collaborate with music event Flow Festival on the Style Icon of the Year award, recognising content creators. “It’s really nice to celebrate the industry together and invite everybody in one evening to see each other and network,” Louekari added.

Jake Hall, the founder of menswear brand Prévu Studio and former The Only Way is Essex (Towie) star, has passed away aged 35. According to media reports, Hall died in a holiday villa in Majorca after “a tragic accident” that led to fatal head injuries.

Hall first garnered acclaim when joining the Towie cast in 2015. The same year he launched Prévu Studio, which was later sold to JD Sports in 2021 and acquired by Frasers Group 2022.

The brand later fell into administration in 2023 and Hall went on to launch a new fashion brand, ‘By Jake Hall’. This label fell into liquidation in 2025. Hall had since moved beyond fashion into the art world, and had become known for his paintings inspired by Majorca, where he grew up.

Members of both the fashion industry and Towie have shared condolences and tributes in light of Hall’s passing.

Alongside pictures, PrettyLittleThing boss Umar Kamani shared on social media that he would miss his friend, adding: “I looked up to you so much for so many reasons, I wish you knew how much I loved you, I really hope I showed you my love clearly.”

Kamani ended the message stating: “I hope you look down and see the love and adoration the world had for you, something I know you wanted so much yet you always had it. Light up paradise my friend, I love you so much.”

Celebrity fashion stylist E.J. King responded to Hall’s latest Instagram post to share memories of his time with the late designer, stating: “You live life with no regrets and so much freedom. You captivated people everywhere you went, your light brought so much brightness to a room.”

Alessio Lillocci is the new creative director of menswear brand Canali. The label announced today that the appointment marks a further step in the brand's evolution, which has long been an international benchmark for contemporary men's tailoring.

Designer to oversee and strengthen brand identity

The designer's curriculum includes extensive experience with brands such as Brunello Cucinelli and Prada. He will be responsible for overseeing and strengthening the brand's identity, ensuring stylistic and qualitative consistency between the creative vision, product and Canali's DNA throughout the development of its collections. “His contribution will be central to consolidating and interpreting the brand's aesthetic codes in a modern way,” the management stressed.

“We are happy to welcome Alessio,” commented Stefano Canali, ceo and president of Canali. “His experience, sensitivity and deep knowledge of the menswear world will be important assets for the future of the brand. He will be supported by our style and product teams, with whom he will work to shape a new yet coherent vision of the Canali identity.”

Born in Umbria, the designer now lives between Milan and Perugia. Lillocci took his first steps into the fashion world in his mother's tailoring workshop, where he immediately developed a sensitivity for craftsmanship and garment construction. The designer began his career in product development and the style department, gaining over 20 years of experience with leading Italian menswear brands.

“Joining Canali is a great honour for me. It is a brand that fully represents the excellence and Italian sartorial mastery of menswear, where a culture of product, quality and attention to detail are concrete, daily pillars. Here, all the ingredients are in place to build an authentic and coherent creative path, capable of evolving while respecting the brand's DNA,” explained Lillocci.

At a time when the UK is increasingly focusing on creative education to meet the growing demand for skills in the cultural and creative industries, NABA, Nuova Accademia di Belle Arti, announces the appointment of Diego Mattiolo as School Director and Head of Education of its new London campus, with courses starting in the 2026/2027 Academic Year.

The UK continues to confirm its position as one of the world’s leading destinations for higher education, attracting 685,565 international students in the 2024/25 academic year, with London standing out as a global hub where international students make up around 24% of the total student population, and Asia remaining the largest source region . Academic institutions and industry alike are now called upon to develop educational models capable of bridging the gap between theoretical learning and applied skills. This move represents a strategic step in the evolution of NABA’s educational model, an extension of a well-established approach that enables the Academy to position itself within an ideal environment to nurture new talent and contribute to the development of contemporary creativity, in line with its purpose: Through Artistic Intelligence we nurture people to design a new tomorrow. Building on the experience and heritage of its Milan and Rome campuses, NABA brings to London a distinctive element: Italian know-how, globally recognised in the fields of design, fashion and visual arts. Not only as cultural heritage, but as a design-driven approach that integrates research, experimentation and making. This competitive advantage translates into an educational model that combines creative vision with practical application, particularly relevant in a market such as the UK, which is strongly focused on graduate employability. This excellence has been recently recognised by the QS World University Rankings® by Subject Art & Design 2026, where NABA entered the Top 50 for the first time, ranking 41st globally and confirming its position as the leading Italian Academy of Fine Arts in the field.

Diego Mattiolo, School Director and Head of Education at NABA London, commented: “At a time when the creative sector requires increasingly integrated skill sets, taking on this role represents a significant opportunity to contribute to the development of NABA’s London campus within one of the most dynamic and stimulating contexts for creativity and artistic professions. Our goal is to build an international learning environment, enriched by the care and craftsmanship typical of Italian expertise—an inclusive, project-driven approach. We position ourselves as a new, student-focused offering, capable of connecting students directly with the professional world, nurturing their talent and preparing them to face continuously evolving challenges.”

An international profile leading the London campus

With over ten years of international experience in academic management, Diego Mattiolo brings to NABA strong expertise in leading multicultural teams and developing dynamic, student-centred learning environments. In his previous role as School Director at EF International Language Campuses in London, he successfully led key growth initiatives, helping to maintain high teaching standards and deliver distinctive educational experiences. His appointment is a key factor in positioning the new London campus: his strong roots in the UK context, combined with a global vision of education, will be instrumental in enhancing NABA’s identity and effectively adapting its educational model to the needs of an international audience.

Learning by doing and qualified education in dialogue with industry

From September 2026, the campus will offer Bachelor’s degrees in Design, Fashion Design and Fashion Marketing Management. Small class sizes (lab practical classes up to 28 students, theoretical classes up to 40 students) enable direct and continuous interaction with faculty, supporting a highly personalised approach, a true “white-glove” education focused on individual development and the exploration of each student’s creative talent. Alongside theoretical learning, hands-on experience plays a central role in developing practical skills for real-world application through the Design Lab, Fashion Design Lab and Textile & Knitwear Lab.

These spaces allow students to engage with leading industry players, work on real briefs and gain insight into professional methodologies and dynamics. The academic offering is defined by an interdisciplinary, project-based approach, built around the “learning by doing” model. Within the London landscape, this also translates into an accessible and merit-driven education, with scholarships of up to £7,000 depending on the eligibility round and awarded to students who demonstrate commitment and talent. The scholarship is awarded as a tuition fee reduction for the first year of study. It will be continued into the second and third years of the programme, subject to the recipient meeting the required academic progression and performance criteria set by the Academy.

London and Here East: a strategic hub for education, innovation and creativity

NABA’s London campus is located within Here East, an innovation hub home to over 6,500 professionals, tech companies, startups and creative institutions. More than just a campus, Here East is an ecosystem where education, industry and research coexist. For students, this means direct access to an international network and tangible opportunities to engage with the professional world—transforming their academic journey into an immersive, real-world experience. Organisations based within the hub include Liverpool Media Academy, Studio Wayne McGregor, Sports Interactive and The Trampery on the Gantry.In particular, the proximity to the V&A East Storehouse will offer students the opportunity to access collections, interact with artworks and explore curatorial and research practices, strengthening the connection between education and the cultural sector.

New programmes and pathways for an international audience

Completing the London campus offering, the Academy introduces new programmes designed for those approaching creative education. The Integrated Foundation Programme will include a one-week experience at the Rome campus, giving students the opportunity to immerse themselves in the Italian cultural context through academic workshops, events and local activities, strengthening the link with Made in Italy while broadening their global perspective.

Studying at NABA also means joining an international community of over 6,000 students from more than 100 countries. From summer 2027, the London campus will expand its offer with Summer Courses – English Art Summer Camps: a month-long programme combining English language learning with artistic and design activities, integrating classroom lessons with hands-on experiences and urban exploration. Additional services include Career Service, visa support and counselling. Upon completion of the Bachelor’s programmes, students will be awarded a BA (Hons) Degree accredited by Regent’s University London.

Sustainability and innovation as educational drivers

NABA’s London campus has been designed as a highly innovative space, with a strong focus on digital technologies and sustainability, in line with the Academy’s manifesto. Sustainability is an integral part of both the learning experience and the educational model: through concrete projects, students are encouraged to engage with contemporary environmental challenges, developing a responsible, future-oriented mindset focused on circular economy principles, waste reduction and the responsible use of resources. This commitment is also reflected in campus operations, with over 50% of energy sourced from renewables, alongside energy-saving and recycling solutions, and in an inclusive approach that promotes accessibility, participation and the value of diversity.

Net sales for Safilo reached 272.9 million euros (320.5 million dollars) in the first quarter of 2026, an increase of 0.4 percent at constant exchange rates.

“The first quarter of 2026 confirmed the continuity and strength of our operational and financial performance. Our resilient business model is supported by a solid brand portfolio and effective commercial action. This has continued to drive positive sales trends in North America and major European markets,” commented Angelo Trocchia, chief executive officer of Safilo, in a statement.

European Q1 sales reach 130 million euros, up 1.4 percent

As previously mentioned, in the first three months, Safilo recorded net sales of 272.9 million euros, an increase of 0.4 percent at constant exchange rates. At current exchange rates, sales saw a decline of 4.5 percent, primarily due to the depreciation of the US dollar against the euro during the period.

First-quarter sales showed a trend broadly in line with the performance recorded in the fourth quarter of 2025. This confirms a significant continuity of business dynamics by geographical area. The performance was driven by the continued recovery in North America and the resilience of major European markets. Sales in Asia-Pacific and the Middle East, however, continued to be the main factors slowing overall growth.

In Europe, sales in the first quarter of 2026 reached 129.9 million euros, up 1.4 percent at constant exchange rates and 0.8 percent at current exchange rates. "The performance continued to benefit from positive demand in the group's main markets, with France, Italy, and Germany recording solid trends in both the independent opticians' channel and with key accounts," the management specified in the note.

The start of the year also saw "the encouraging launch of the new Victoria Beckham eyewear collection, which largely offset the impact of the deconsolidation of the lens business," the note continued.

In North America, sales in the first quarter of 2026 amounted to 109.7 million euros, an increase of 2.3 percent at constant exchange rates. At current exchange rates, revenues recorded a decline of 7.7 percent, due to the average depreciation of the dollar against the euro of approximately 11 percent.

In Asia-Pacific, sales in the first quarter of 2026 stood at 11.8 million euros, down 13.6 percent at constant exchange rates and 18.0 percent at current exchange rates. The performance was affected by a particularly challenging comparison base with the first quarter of the previous year. It was also impacted by the continuation of more cautious demand, as already observed in the fourth quarter of 2025. In China, the sales trend was influenced by the timing of the Chinese New Year. January was positive before the holidays, followed by a weak February and a partial recovery in March.

In the rest of the world, sales in the first quarter of 2026 stood at 21.5 million euros, down 6.3 percent at constant exchange rates and 9.1 percent at current exchange rates, in a complex market context. The performance was mainly penalised by weak trends in the Middle East. This followed the rapid escalation of geopolitical tensions in the area, which affected business activity from March onwards.

The US luxury resale platform The RealReal has reported a strong financial performance for the first quarter ended March 31, 2026. The company experienced double-digit growth across its primary metrics, driven by an expanding active buyer base and increased demand for authenticated second-hand fashion.

Gross merchandise value (GMV) for the first quarter reached 606 million dollars, representing an increase of 24 percent compared to the same period in 2025. Total revenue rose by 19 percent to 190 million dollars, supported by an 18 percent growth in consignment revenue and a 26 percent increase in direct revenue year-over-year.

Profitability and operational efficiency

The US-based marketplace saw its adjusted EBITDA improve by 9 million dollars compared to the first quarter of 2025, reaching 13.10 million dollars. This figure represents 6.90 percent of total revenue, a significant margin expansion from the 2.60 percent recorded in the prior year period.

Gross profit for the period was 141 million dollars, an increase of 21 million dollars over the previous year. However, gross margin saw a slight contraction of 50 percentage points to 74.50 percent. Net income for the quarter stood at 39 million dollars, compared to 62 million dollars in the same period in 2025.

The RealReal president and chief executive officer, Rati Levesque, noted that the results were a product of disciplined execution across three strategic pillars: unlocking supply, service obsession, and operational excellence. “The strength of our platform — our customer relationships, our data, our brand, and our scale — was on display in the first quarter,” Levesque stated.

Shifting buyer demographics and outlook for 2026

The platform reported that its trailing 12 months active buyer count rose 10 percent compared to the first quarter of 2025. Average order value (AOV) also saw a notable rise, climbing 15 percent to 646 dollars. Non-GAAP basic and diluted net loss attributable to common shareholders was 0.01 dollars per share, an improvement from the 0.08 dollars loss reported in the prior year.

Following the performance in the first quarter, the company has increased its full year guidance based on market conditions as of May 7, 2026. For the second quarter (Q2) of 2026, the company expects GMV to fall between 590 million dollars and 600 million dollars, with total revenue projected between 186 million dollars and 189 million dollars.

For the full year 2026, the group now forecasts GMV in the range of 2.42 billion dollars to 2.47 billion dollars. Total revenue for the year is anticipated to reach between 770 million dollars and 784 million dollars, while adjusted EBITDA is expected to land between 59 million dollars and 67 million dollars.

Primark has celebrated ten years in Italy. Its first store opened at Il Centro in Arese. On this occasion, the management announced a new investment of 22 million euros for the opening of three new stores. The company will create 300 new jobs as part of its continued expansion in Italy.

Primark expands store network in Italy

“This new phase of growth represents much more than a simple expansion of our retail network for us,” emphasised Luca Ciuffreda, director of Primark Italy, in a note. “With this ten-year celebration, we want to thank our colleagues and our customers who have been at the heart of our growth journey so far.”

The new stores will open in Cremona (Centro Commerciale Cremona Po’), Ancona (Grotte Center) and Gorizia (Tiare Shopping centre).

The chain currently operates 20 stores throughout Italy and employs over 5,000 people. The three new stores announced today, along with the five recently announced stores opening in Naples (two stores), Rome, Parma and Genoa, will bring Primark's network in Italy to a total of 28 stores in the coming years.

Primark arrived in Italy in 2016 with its first store at Il Centro in Arese, which opened with a team of 390 colleagues. Just eight months later, it opened its second store in Brescia.

First logistics hub in Italy

The company is also proceeding with the construction of its first logistics hub in Italy. Located in Alessandria, the hub will create more than 200 jobs and support the expanding network of stores nationwide. In collaboration with its partner Segri, the work is scheduled for completion by the end of November 2026, with operations starting in 2027.

Primark operates more than 485 stores in 19 countries across Europe, the US and the Middle East.

Canadian fashion house Aritzia has reported that its real estate expansion strategy served as a primary catalyst for its record-breaking financial performance in the fourth quarter and full fiscal year ended March 1, 2026. The company reached net revenue of 1.19 billion Canadian dollars (0.87 billion dollars) in the final quarter, up 36.2 percent, driven by a significant increase in retail square footage and high-performing new boutiques.

The group reported that comparable sales grew 27.7 percent, bolstered by a 37.8 percent revenue surge in the US, which now accounts for 63.7 percent of total net revenue. In Canada, net revenue increased 24.3 percent to 431.2 million Canadian dollars. Over the past 12 months, the Vancouver-based company grew its retail square footage in the mid-teens, opening 14 new boutiques and repositioning four existing locations. In the fourth quarter (Q4) alone, Aritzia launched five new boutiques in the US and completed one repositioning in Quebec.

Real estate yields rapid returns

The company’s investment in brick and mortar locations has demonstrated efficiency in capital recovery. In fiscal 2026, new boutiques opened in the US were tracking to achieve a payback period of less than one year. This performance surpasses the internal target of 12 to 18 months previously set by the group. During the fourth quarter, retail net revenue rose 35 percent to 698.2 million Canadian dollars, while digital net revenue increased 29.2 percent to 488.3 million Canadian dollars.

For the full year 2026, net revenue increased 35.2 percent to 3.70 billion Canadian dollars. Net income reached 381.8 million Canadian dollars, an 83.8 percent increase and adjusted EBITDA rose 59 percent to 646.2 million Canadian dollars.

“Our real estate strategy continues to yield exceptional results,” stated Jennifer Wong, chief executive officer. “Our boutiques enhance brand recognition, drive new client acquisition, and support digital growth, particularly in new markets.”

The synergy between physical and digital channels remains evident. Digital net revenue increased 29 percent during the quarter, following a 48 percent growth rate in the same period last year. Management maintains that physical boutiques act as a driver for the company’s digital presence, reinforcing its omnichannel approach.

Focus on United States market

Looking ahead to fiscal 2027, Aritzia has confirmed a robust pipeline of 12 to 13 new boutiques and four to five repositions. The expansion remains heavily weighted toward the US, with only one new boutique planned for Canada, located in Vancouver.

The company will enter four new markets this year, including Birmingham, Fort Worth, New Orleans and St. Louis. Additional openings are scheduled across the US in locations such as Atlanta, Dallas, Cleveland, Las Vegas, Carlsbad, and various sites in Florida and Texas.

Strategic growth levers and outlook

Aritzia has achieved its Fiscal 2027 revenue target of 3.5 to 3.8 billion Canadian dollars one year early, finishing fiscal 2026 with 3.70 billion dollars in net revenue. Wong identified geographic expansion as the most consistent and predictable driver of this growth. Aritzia expects continued momentum into the first quarter of fiscal 2027, following a positive response to its spring/summer 2026 (SS26) assortment. For the upcoming fiscal year, the company projects net revenue between 4.4 billion Canadian dollars and 4.6 billion Canadian dollars, representing anticipated growth of 19 percent to 24 percent.

The company continues to advance its three strategic growth levers: geographic expansion, digital growth and increased brand awareness. To support this trajectory, Aritzia is investing in infrastructure, including the construction of a new distribution centre in British Columbia.

“Our proven real estate expansion strategy continues to be our most consistent, predictable driver of growth,” Wong concluded. The company plans to unveil its next long term strategic roadmap in the autumn.

Brazilian footwear giant Alpargatas recorded its highest nominal quarterly EBITDA in history during the first quarter of 2026, supported by strong volume growth in its flagship Havaianas brand. The company achieved an adjusted EBITDA of 299.50 million reais (60.55 million dollars), representing an expansion of 5.50 percentage points compared to the same period in 2025.

In the quarter, Havaianas net revenue totaled 1.2 billion reais, representing an increase of 12.5 percent, driven by growth across all operations. Havaianas Brazil, net revenue for the quarter reached 909.1 million reais, with growth of 13.2 percent, while international net revenue for the quarter reached 307.5 million reais, up 10.2 percent.

Havaianas Brazil expands market share

In its domestic market, Havaianas Brazil sold 54.90 million pairs, an increase of 7.60 percent compared to the first quarter of 2025. Net revenue for the Brazilian operation rose 13.20 percent to reach 909.10 million reais.

Gross margins in Brazil reached a record 49.50 percent for a first quarter, benefiting from manufacturing productivity and a more favourable product mix.

The Havaianas international operation showed signs of scale recovery, with sales volumes increasing by 14.80 percent to 6.60 million pairs. Performance was particularly strong in Europe, where volumes grew by 18 percent to 3.50 million pairs, marking the sixth consecutive quarter of positive trends for the region.

In the US, the company is transitioning to a new business model involving distributor intermediation. While this change resulted in a 3 percentage point decline in international gross margin to 61.80 percent, it significantly reduced operating expenses. US volumes rose 161.40 percent to 1.20 million pairs as the new partner built up inventory for the upcoming season.

Distributor markets in Asia Pacific, the Middle East, and Africa saw a 17.40 percent decline in volume, primarily due to geopolitical conflicts impacting sales in Israel. Despite these challenges, international EBITDA grew 88.60 percent to 62.20 million reais.

Rothy’s faces margin pressure from import tariffs

The US-based sustainable footwear brand Rothy’s, in which Alpargatas holds a 48.80 percent stake, reported a 7.80 percent increase in net sales to 46.80 million dollars. Growth was supported by the expansion of its retail network to 36 stores and higher penetration in business-to-business (B2B) channels.

However, Rothy’s recorded an EBITDA loss of 2.20 million dollars for the quarter. Profitability was hindered by a 5.40 percentage point decline in gross margin, largely due to the 4.80 percentage point impact of US import tariffs on products brought from China during 2025. Adverse weather conditions also forced temporary store closures, which limited the brand’s ability to dilute fixed costs.

Looking ahead, management intends to focus on sustainable expansion in Brazil and the gradual recovery of international volumes as the new US business model matures.

LVMH has generated 500 million euros in revenue from recycling and repairs. This represents ten million products repaired, refilled, or taken back in 2025 across all of the group's houses. It is the first quantified assessment of the gains achieved under its Corporate Social Responsibility (CSR) policy and Life 360 programme.

These figures were unveiled during a conference at the Cheval Blanc hotel, attended by Hélène Valade, environment development director at LVMH, and Christelle Capdupuy, sustainable development director at Louis Vuitton.

The 500 million euros from repairs and refills remain modest on a group-wide scale, accounting for 0.6 percent of turnover. However, the figure is symbolically significant. It materialises the transition to a circular model in monetary terms and aims to demonstrate that creative circularity and profitability are not mutually exclusive.

Additional revenue generated by repair, refill, and product take-back services

LVMH now precisely quantifies what it gains from repairing items rather than selling new ones. In 2025, repair, refill, and take-back services alone generated 500 million euros in additional revenue from ten million repaired products.

Specifically, the ten million products involved were either repaired in workshops, equipped with a refill system, or taken back by the houses. At Louis Vuitton, client advisors are trained to discuss repairs, and information on the origin of raw materials is available on the website or in-store.

Among the drivers of this profitable circularity, refills hold a unique position. The example of a cream with a patented design, shown during the conference, illustrates the strategy: the refillable object can become as aesthetically pleasing as a new product, if not more so.

“‘New’ does not mean ‘brand new’,” summarises Hélène Valade, environment development director at LVMH. “It could be a magnificent bag that has been completely reworked to give it a new look. I think there is a real need among some consumers for this new service.”

Finance's role in creative circularity: a gradual business model shift

Valade explains that finance has become a major ally. LVMH's 75 chief financial officers now work with sustainable development managers. At Céline, the cost of carbon is integrated into investment decisions, while at Dior, the transition plan is subject to financial planning. This convergence allows for the reporting of environmental data covering 99.9 percent of the group's financial scope.

LVMH is also learning to quantify the cost of inaction. Consuming less water and using less energy immediately results in savings. Furthermore, the group reports that 41 percent of the materials used in its products and packaging are now sourced from recycling.

Items made from deadstock or recycled materials do not sell for less, but sometimes sell faster. A cotton bag made from 3,000 linear metres of unused stock sold out as a limited edition, becoming 'highly desirable' due to its rarity. Similarly, the fashion show that recycled unsold items, realised by Kevin Germanier, proved that circularity could be a source of profitable creativity.

Creative circularity: a tool for loyalty and securing brand value

One benefit that LVMH has not yet converted into euros remains: consolidating trust in its brands. “This is the bet I have been making for 20 years,” states Valade. “Behind all of this, there are very strong societal shifts. If a company does not embrace them, it is not able to embody this responsibility at the product level.”

“Circularity thus becomes an ingredient for loyalty. A customer who has trust will return for another purchase. Repair is therefore not a cost centre, but a driver of brand preference,” concludes Christelle Capdupuy, sustainable development director at Louis Vuitton.

If there is one profession in fashion where emotional intelligence reigns supreme, this is it. Far from clichés, sales advisors embody the most vibrant and perhaps the most human face of this vast industry. To paint a multifaceted portrait of this hands-on profession, FashionUnited chose to speak with those who approach sales as a place for personal growth and specialised expertise.

Following our conversation with Léa Siboni, a sales advisor for the luxury brand The Row, and Mathilde Robard from the concept store Centre Commercial, we meet with Ruven Taieb, manager of the Rendel Records boutique in Paris.

How do you describe your profession?

When you work at Rendel, you are both an advisor to our clients – listening to them to offer solutions tailored to their desires and personality – and a brand ambassador. The founders rely on us to represent this family-run house and convey all its expertise.

What was your first sales position like?

My first sales job was in clothing. I was at fashion school and worked part-time as an advisor for a French suit brand.

Do you have fond memories of your first sales job interview?

Always a bit stressful! Nothing replaces on-the-job experience for training and development.

What is the best advice a manager or mentor gave you when you started?

My father once told me: “You already have the no. It’s the yes we’re going for.” It’s a phrase that still stays with me today: to dare, to move forward, and to stand out.

What gets you up in the morning?

The challenge. Every day is a new opportunity to do better with my team and to pass that energy on to the clients. A good atmosphere in the boutique is felt immediately.

What does the “joy of selling” look like?

Human contact. Exchanging ideas, discovering shared passions, creating a real connection. When a client feels comfortable, trusts us, and leaves satisfied, that’s when it all makes sense.

What is the most memorable sale you have ever closed?

During the Rendel Café pop-up, a client bought pairs for everyone in the boutique – like a round at the bar – even though he didn't know anyone. It amounted to more than 15 items. An incredible moment.

Any favourite clients?

Yes, of course. The regulars with whom we build a real relationship, but also simply the respectful clients. A hello and a goodbye count for a lot.

What technical skill have you honed the most over the years?

Product knowledge: manufacturing, materials, screws... It’s essential for building real credibility and establishing trust.

Qualities you are most proud of?

Interpersonal skills and organisation. Knowing how to build connections while keeping a structured boutique is key.

How do you train your eye?

Constantly observe: faces, complexions, styles. It is also important to stay connected to fashion and culture to always offer something that is right and current.

What is unexpected about the job?

People often think that selling is just about selling a product. In reality, it’s mostly about understanding a person. There is real work of listening, psychology, and precision behind every piece of advice. A good advisor doesn't sell, they create an experience and a lasting relationship.

This interview was conducted in writing.

Paris - Identifying an untapped niche and responding to it with a coherent offering is the trajectory illustrated by Baziszt, an independent French brand positioned in men's bohemian chic.

The success story of Baziszt began with a realisation: a segment in the menswear market was vacant, that of bohemian chic. “In that beach party, wedding, and anniversary scene, a bit Mykonos, a bit Saint-Tropez, there was nothing for men,” the brand's founding duo explained to FashionUnited. The duo consists of Zied Ben Amor, a former data engineer with a passion for cabinets of curiosities, and Jean-Marc Fellous, a former PR professional renowned in the Parisian fashion scene.

“During the Covid-19 crisis, we were in Australia, stuck in a hotel. There was household linen, all hand-embroidered with cross-stitch. We had the idea to create a brand for men.”

The first capsule of hand-embroidered shirts was launched in June 2022. From then on, everything moved very quickly with the addition of trousers, jackets, knitwear and shoes.

Besides a style rooted in craftsmanship, functional clothing and inspiration from nature such as insects, birds and dried flowers, the offering is transgenerational. “We have 25-year-old men who love our product, others who are 60, and women aged 40 to 50. The same shirt looks good on all three.”

“People who like our world rarely buy just one piece. We have an average basket of at least four or five items,” the duo added. As a result, Baziszt's turnover grew rapidly. In two and a half years, the brand's turnover went from 50,000 euros to 2.5 million euros.

Production: hand-embroidered shirts priced between 350 and 650 euros

Production is located entirely in India and Peru. Suppliers are spread across several major cities: Delhi, Bangalore, Jaipur and Mumbai. The same supplier provides the fabric and handles manufacturing.

In terms of materials, Baziszt focuses on responsible textiles: hemp, hand-woven fabrics and vegetable dyes.

The brand works exclusively with small family-run factories and cooperatives, often artisan collectives, particularly women. To ensure good working conditions, the two founders visit their partners twice a year. “We work with India for its expertise, not because it is cheap. It is expensive,” they asserted.

Distribution: nearly 120 points of sale, a boutique in Paris and pop-ups in resort destinations

Initially, Jean-Marc Fellous and Zied Ben Amor did not hesitate to approach the first buyers themselves. Today, their brand has a distribution network of over 100 multi-brand stores across Europe (France, Italy), Asia (South Korea, Japan, China) and the US. Outside of France and Portugal, the 247 showroom now handles their wholesale and distribution.

In October 2025, they opened their own boutique in Paris at 16 rue Saint-Roch, on the corner of rue Saint-Honoré. They plan to open a second one on Paris's Left Bank, in the Saint-Germain-des-Prés district, as well as pop-ups in destinations that match their aesthetic, such as Saint-Tropez, Mykonos and Ibiza.

Communication: from Joe Jonas to participation in the Boarding Pass Shanghai programme

The media trigger came when Joe Jonas, the Jonas Brothers singer with 13 million followers, became a customer. “When Joe Jonas was at the Hotel du Cap-Eden-Roc, he bought seven or eight pieces and sent us a private message on Instagram. That triggered something very powerful for the brand.”

In autumn 2025, a collaboration initiated by Sezane allowed them to broaden their expertise. “It was an opportunity to create womenswear, kidswear and lifestyle products. If it had been menswear, we wouldn't have done it.”

In China, they gained special exposure through their participation in “Boarding Pass”, an operation led by Promas in Shanghai in April 2026, aiming to help French brands emerge in the domestic market. “Chinese influencers posted on Red Book (the local fashion equivalent of Instagram), which brought us a huge amount of traffic.”

The trajectory of Baziszt demonstrates that a clear positioning, backed by a coherent product offering and targeted distribution, can still allow a young, independent brand to establish itself in a saturated fashion market.

In today’s fashion landscape, responsibility and performance are no longer opposing forces — they are inseparable. As brands face increasing pressure to align sustainability goals with speed, pricing accuracy and commercial success, data has become a strategic asset. This is where Lectra, a global leader in industrial intelligence solutions, empowers fashion brands to make responsibility measurable and actionable. As an industrial technology solution provider, Lectra’s unique offering spans the five core areas of the fashion value chain—Create, Manufacture, Market, Collaborate, and Traceability—brought together through fully integrated solutions.

A compelling example is ArmedAngels, the Cologne-based sustainable fashion brand known for its strong ethical commitments. To support responsible growth while maintaining competitiveness, ArmedAngels chose Lectra’s Retviews solution. Within the Market domain, Retviews is an AI-powered fashion market intelligence solution designed to transform market complexity into clear, shared insights.  Discover how ArmedAngels uses Retviews.

From responsibility to confident, data-driven decisions

ArmedAngels’ ambition was clear: align pricing, assortment and collection strategies with its values—without slowing down teams or relying on fragmented data. Before Retviews, teams spent a significant amount of time manually collecting and consolidating information, limiting their ability to react quickly and collaborate efficiently across the organization.

With Retviews, Lectra provided a single, transparent source of market intelligence, enabling ArmedAngels to access real-time, holistic insights into competitors, pricing structures, assortment depth and market positioning. This shift fundamentally changed how decisions were made: pricing and assortment strategies are now grounded in shared data, visible and understandable to all teams.

“It’s not just about numbers. It’s about confidence. Everyone can see the reasoning behind each decision,” explains a senior leader at ArmedAngels.

Smarter decisions, faster execution

By automating data collection and competitive benchmarking, Retviews has significantly reduced manual workload, freeing teams to focus on strategic analysis rather than operational tasks. Designers, merchandising and product teams can now work from the same factual base, accelerating alignment and improving decision quality across the brand.

This data-driven approach strengthens ArmedAngels’ ability to plan balanced collections, optimize pricing strategies and anticipate market shifts—all while enabling decisions that align with its sustainability commitments. The result is faster insight, improved internal confidence and a more agile organization capable of scaling responsibly.

“We spend less time doing the manual work and more time applying intelligence to create new ideas and opportunities,” adds the same senior leader, highlighting the operational impact of the collaboration.

A collaboration built on trust

Beyond technology, the collaboration highlights Lectra’s longterm commitment to supporting customer performance and growth. ArmedAngels emphasizes the smooth rollout, dedicated support and human expertise behind Retviews—key factors in ensuring adoption and lasting value across teams.

Today, Retviews is seen not simply as a tool, but as an extension of ArmedAngels’ teams—supporting confident decision-making, cross-functional collaboration and responsible growth.

For fashion brands navigating uncertainty, rising sustainability demands and competitive pressure, the ArmedAngels success story demonstrates how Lectra transforms data into a powerful driver of performance, transparency and trust.

Netherlands - Zulk B.V., the parent company of Dutch swimwear brands Cyell and Beachlife, is acquiring the brands of the German company Adolf Riedl Gmbh & Co. Kg. These will continue under the new company name Sunflair Gmbh. Marloes Heijmans, the CEO of both brands, announced the news on LinkedIn.

The acquisition includes four brands: Sunflair, Olympia, Wavebreaker and Sunmarin. “This strengthens our position in the European swimwear market and allows us to continue building a strong international future,” writes Heijmans. This is her first acquisition for the group.

A management change took place five years after the brands merged in 2013. Heijmans became managing director of Beach House B.V. and María Aracil became managing director of Cyell B.V. Heijmans has led both since 2020.

Cyell was founded in 1995 and has 124 points-of-sale, the majority of which are in the Benelux region. Beachlife was launched in 1972 and is sold in 150 locations, including one in Italy and one in Wales (Great Britain).

Adolf Riedl was founded in 1947 in the southern state of Bavaria. The company was declared insolvent in November. At that time, it employed around 120 people.

Superdry co-founder James Holder was sentenced to eight years in prison by a UK court on Thursday for raping a woman in May 2022.

Holder, 54, was found guilty last week by a jury at Gloucester Crown Court (south-west England) of raping the woman when he accompanied her to her flat after meeting her in a bar.

He had pleaded not guilty and attended Thursday's hearing from the prison where he is being held.

Announcing the sentence, the judge stated that Holder had demonstrated a “sense of omnipotence”, believing he “could do whatever he wanted” in “disregard” of the victim's feelings.

Holder founded the Superdry brand with Julian Dunkerton in 2003, which they developed in the UK and then internationally. He was notably in charge of creative direction until he left the group in 2016.

Harvey Nichols has appointed Shaun Donnelly as buying director for non-apparel and menswear. Donnelly confirmed the news in a post on LinkedIn, where he said he was “happy to share” he was starting the new role and looked forward to “driving the next phase of growth across menswear, footwear and accessories with an incredible team”.

Donnelly steps into the position after serving as head of footwear and accessories at Harvey Nichols for the past year. Prior to joining the retailer, he worked as a freelance consultant specialising in footwear, product and commercial strategy for brands and retailers.

He also previously spent more than 10 years at Kurt Geiger, holding senior buying roles including head of multi-brand buying for department store concessions and head of men’s buying and design.

The move comes as luxury retailers continue to strengthen menswear and accessories categories amid growing consumer demand for premium fashion and lifestyle products. Donnelly’s experience across buying, design and brand strategy is expected to support Harvey Nichols’ continued development across its menswear and non-apparel offer.

British menswear label Wax London has opened its first pop-up at Harrods, marking a new stage in the brand’s retail expansion.

Located inside the Knightsbridge department store, the pop-up has been designed as a dedicated brand environment featuring custom-built wardrobes, a large digital display screen and illuminated branding. The space aims to reflect Wax London’s focus on texture, craftsmanship and contemporary menswear design.

Alongside the launch, the brand has introduced an exclusive Harrods limited-edition of its Tellaro knitwear style, which has been reworked in an ecru colourway with beige stripe detailing and crochet-inspired knit textures. Only 50 units of the style will be available, priced at 165 pounds.

Roger Wightman described the Harrods opening as a “landmark moment” for the business, adding that the pop-up was designed to reflect the brand’s identity and approach to craft.

The launch strengthens Wax London’s physical retail presence on the back of store openings in London and Leeds, seasonal events in the US and Asia, and a growth in wholesale capabilities over the past year.

US luxury group Tapestry, the parent company of Coach and Kate Spade New York, reported a significant increase in revenue and earnings for the fiscal third quarter ended March 28, 2026. The group achieved double-digit growth across its core brands, bolstered by a 21 percent increase in net sales to 1.92 billion dollars.

The performance has led the group to revise its annual guidance upwards, now expecting revenue in the area of 7.95 billion dollars. This trajectory reflects the impact of the Amplify strategy, which focuses on digital acceleration and consumer engagement.

Global demand fuels leathergoods performance

The fiscal third quarter saw Tapestry acquire over 2.4 million new customers globally. Notably, Gen Z consumers represented over 35 percent of this new cohort. This demographic shift was accompanied by a robust performance in the leathergoods category, particularly at Coach. Handbag units for the brand rose more than 20 percent, while average unit retail (AUR) increased at a low-double-digit rate.

Geographic expansion remained a key driver of the quarter’s results. On a pro forma constant currency basis, North America saw gains of 20 percent, while Europe increased by 21 percent. The Asia-Pacific (APAC) region recorded a 30 percent rise, with Greater China specifically growing by 55 percent.

Direct-to-consumer and digital acceleration

Total direct-to-consumer (D2C) revenue increased by 23 percent on a pro forma constant currency basis. This growth was spearheaded by a 25 percent rise in digital sales and a 20 percent increase in global brick and mortar sales.

Tapestry chief executive officer, Joanne Crevoiserat, attributed the results to disciplined execution. “Our third quarter outperformance reflects the compounding benefits of our Amplify strategy, as we bring creativity, craftsmanship, and value to more consumers around the world,” Crevoiserat stated.

Financial results and margin expansion

Gross profit reached 1.48 billion dollars with a gross margin of 76.9 percent, an 80 basis point increase compared to the previous year. Operating income on a non-GAAP basis was 430 million dollars, resulting in an operating margin of 22.4 percent. This represents a significant expansion from the 17.5 percent margin reported in the prior year.

Net income for the period was 344 million dollars, with earnings per diluted share (EPS) of 1.65 dollars on a GAAP basis. On a year-over-year (YoY) basis, this is a substantial increase from the 203 million dollars in net income recorded in the same period last year.

Shareholder returns and updated guidance

Based on current momentum, Tapestry expects to return 1.6 billion dollars to shareholders in fiscal 2026 through dividends and share repurchases. The board of directors declared a quarterly cash dividend of 0.40 dollars per common share, payable on June 22, 2026. The group also expects to buy back approximately 1.3 billion dollars in common stock over the fiscal year.

For the full fiscal year 2026, Tapestry anticipates an operating margin of approximately 23 percent, which is an expansion of roughly 300 basis points YoY. The group projects EPS to be in the area of 6.95 dollars, representing growth of over 35 percent compared to the previous fiscal year.

Contemporary womenswear label Atelier Ninety Five has launched exclusively at Selfridges, marking the brand’s first retail partnership and physical store presence.

The launch introduces the brand to Selfridges’ international luxury customer base with a curated edit from its SS26 collection, including lace co-ords, draped jersey pieces, relaxed tailoring, satin tanks and linen trousers, reflecting the label’s “Rework. Restyle. Rewear.” positioning.

Founder Melissa Bell described the partnership as a major milestone for the business, adding: “[Selfridges has] always been a place I’ve admired - from shopping there with my first pay cheque to now seeing the brand on the floor. The idea of someone walking out with Atelier Ninety Five in that iconic yellow bag genuinely means everything.”

The company said it intentionally kept the collection focused on key hero products to maintain brand identity and creative control as it expands into wholesale.

The Selfridges launch follows strong growth for the label, with sales up 52 percent year-on-year and website sessions increasing 238 percent. Orders rose 49 percent, while returning customers were up 66 percent. The brand also reported strong early demand for new products, with its suede bomber jacket and oversized trench coat both selling out on launch day.

US apparel group Kontoor Brands Inc. has started the new 2026 financial year with surprisingly strong results. Alongside the latest figures, the group also announced on Thursday its plan to separate from the Lee brand.

Several parties have already expressed interest in the denim label as part of the sales process already initiated, according to a statement. A binding agreement for the sale of the brand is expected to be concluded within the current year.

CEO and chairman Scott Baxter explained the reasons for the decision. “Our decision to divest Lee allows us to focus more sharply on opportunities with the greatest potential to maximise shareholder returns by aligning Kontoor's brand portfolio towards a higher growth profile,” he explained in a statement.

Wrangler and Helly Hansen brands exceed expectations

In light of these plans, Lee has already been classified as a discontinued operation in the current quarterly report. Revenue from continuing operations amounted to 613.3 million US dollars for the period from January to March. This represented an increase of 45 percent compared to the same period last year. Adjusted for currency fluctuations, revenue grew by 39 percent.

Outdoor specialist Helly Hansen, acquired last year, was a significant contributor to the strong growth, contributing 165.5 million US dollars to group revenue. Revenue for the core brand Wrangler grew by four percent (plus 2 percent on a currency-neutral basis) to 435.8 million US dollars.

Group more than doubles its quarterly profit

The group also made significant progress in its earnings. Adjusted operating profit from continuing operations increased by 60 percent compared to the same period last year, reaching 86.8 million US dollars. Net profit from continuing operations jumped from 10.2 million to 61.0 million US dollars.

The reported net profit, which includes earnings contributions from Lee, amounted to 92.4 million US dollars. This was more than double the figure from the prior-year quarter, when it stood at 42.9 million US dollars.

Management updates its annual forecast

In light of the plans to sell Lee and the unexpectedly strong performance of the remaining brands, management has updated its annual forecast. It now expects revenue from continuing operations to be between 2.66 and 2.70 billion US dollars. Adjusted earnings per share from continuing operations is projected to reach 5.15 to 5.25 US dollars.

The group also announced a new share buyback programme. This programme authorises the purchase of its own shares up to a total value of 750 million US dollars.

Dior is celebrating the arrival of its autumn 2026 collection in stores with a gigantic cake. The French fashion house has transformed a pop-up space in front of the Deji Plaza in Nanjing, China, into a visual feast.

The pop-up is designed in the shape of a huge, sliced cake topped with an oversized strawberry and cherries, Dior announced. The interior also embraces the patisserie concept. Glass and ceramic cakes adorn the shelves, showcasing the collection. Enhanced with stucco and moiré, the decor is reminiscent of the Palace of Versailles in Paris.

The sugary-sweet pop-up is open until the end of June. In addition to this spectacular retail experience, Dior is also integrating its cake theme into its flagships. For example, the installations adorn the windows and spaces of the Milan boutiques on Corso Venezia and in the Galleria Vittorio Emanuele II.

Speaking at the Global Fashion Summit in May 2026, Pamela Anderson, ambassador for jewellery brand Pandora, spoke out in favour of animals. She believes that activism, even when romanticised, is a personal choice. It is also a concrete struggle that has already succeeded in creating laws and making a difference.

Responding to a question from Emily Chan of British Vogue about animal protection in fashion, Anderson explained: “My father was a hunter. He always told me, ‘Never go in the shed’. So of course, that was the first thing I wanted to do. My friends and I opened the door. I discovered a dead deer, hanging upside down, headless, its blood slowly dripping into a bucket. The moment I understood what I was seeing, everything changed. It was over.

“I remember going to my father, my little pigtails sticking up, and making him promise he would never do it again. He kept his word. He never hunted again. That was, in truth, my very first act of activism.”

Anderson added that she has always felt a closeness to animals. She sometimes trusted them more than humans. When she gained a media platform through her role in the series Baywatch, she realised that these vulnerable beings had no voice and offered them hers.

Pamela Anderson defines herself as a romantic activist

“It has been wonderful to partner with different NGOs and associations doing good work, to speak out all over the world, and to help get laws passed where there were none,” the actress added. “We can also make these choices privately. Nowadays, when you go to a restaurant, there is always a vegan option. We no longer need to raise our hands to say, ‘Excuse me, I need this or that’. These options are now part of our culture.”

Once seen as a fun game, activism has become her way of “leaving an impact on this world”. Anderson is now a global ambassador for Pandora, not only for its lab-grown diamonds – a showcase for the brand's sustainability commitments – but also for her deep-seated convictions. By choosing to partner with such a sincere activist, Pandora is indirectly committing to animal protection, a cause the actress has always championed.

Digital showrooms were meant to modernise wholesale.

Yet many fashion brands experience:

• Disconnected systems
• Manual data reconciliation
• Incomplete pricing logic
• Excel-like interfaces
• High infrastructure costs
• Lack of real sales control

The showroom looks digital.
Wholesale remains fragmented.

Why?
Because most digital showroom solutions modernise presentation — not structure and execution.

And structure is where real value is created.

Disconnected worlds: Preorder, B2B and reorder

In many organisations, the following systems operate separately:

• Preorder system
• B2B portal
• ERP
• Reorder management

This leads to:

• Inconsistent data states
• Fragmented customer history
• Manual coordination
• Double data entry
• Lack of process continuity

Preorder runs in one tool.
B2B replenishment runs in another.
Reorder insights sit inside ERP.

This is not integrated wholesale control — it is system fragmentation.

A modern wholesale platform must unify preorder, reorder and B2B within one coherent architecture.

Unreliable data synchronisation – especially in sales apps

Many digital showroom vendors also provide a sales app.
In practice, brands often face:

• Delayed synchronisation
• Outdated pricing
• Missing customer-specific conditions
• Inconsistent SKU data
• Offline errors

Sales teams lose trust in the system.
And return to Excel.

Professional wholesale software must:

• Ensure real-time synchronisation
• Accurately reflect pricing and customer conditions
• Provide stable offline functionality
• Eliminate manual post-meeting corrections

Without this, digital transformation remains cosmetic.

Complex pricing and customer logic is not fully reflected

Wholesale is structurally complex.
There are:

• Individual customer price lists
• Volume-based discounts
• Currency variations
• Key account agreements
• Seasonal conditions
• Market-specific exceptions

Many digital showrooms simplify or partially ignore this complexity.

The result:

• Incorrect prices during meetings
• Manual recalculations
• Error-prone orders
• Reduced buyer confidence

The best wholesale software reflects real-world pricing logic completely and ERP-consistently.
Anything less creates friction.

Interfaces that feel like spreadsheets

Another underestimated issue is usability.
Many wholesale systems resemble spreadsheets:

• Overloaded masks
• Technical interfaces
• Unintuitive navigation
• No clear user experience

This feels:

• Outdated
• Uninspiring
• Not aligned with premium brands

Wholesale software should not feel like Excel.
Especially in fashion, brand perception matters.

Modern wholesale systems must combine structural depth with premium user experience.

High infrastructure and maintenance costs

Many traditional showroom solutions require:

• Local servers
• Special hardware
• Complex hosting setups
• Costly maintenance

This increases:

• Total cost of ownership
• IT dependency
• Scaling limitations
• Technical complexity

Modern wholesale software must be:

• Cloud-based
• Scalable
• Upgrade-safe
• Free of hardware dependency

FIRE: structurally different

FIRE was not designed as a digital presentation layer.
It was built as a structured wholesale sales execution and control platform.

Preorder, reorder and B2B are not separate modules.
They operate within one integrated system.

Unified architecture instead of system breaks

Within FIRE:

• Preorder and B2B are fully connected
• Reorder is embedded in the overall control logic
• Pricing and customer data are ERP-consistent
• The sales app is synchronised in real time
• One central data foundation exists

No parallel data worlds.
No conflicting information.
No duplicated maintenance.

Middleware as stable integration backbone

FIRE operates with an active middleware layer:

• ERP remains the transactional backbone
• CRM remains the relationship layer
• FIRE becomes the structured execution and control layer

This ensures:

• Clean data flows
• Stable synchronisation
• No Excel workarounds
• Architectural clarity
• Long-term scalability

Modern, high-performance user experience

FIRE combines structure with experience.
It delivers:

• Modern, high-performance interfaces
• Clear collection architecture
• Intuitive navigation
• Consistent global brand presentation
• Fast system responsiveness
• Professional sales app usability

It does not feel like an ERP extension.
It feels like a powerful, modern wholesale platform.

Structure in the backend.
Strength in the frontend.

Data across the entire wholesale journey

A decisive difference lies in data capture.

FIRE collects structured information across the full wholesale journey:

• Preparation
• Sales meeting
• Preorder decision
• Post-meeting adjustments
• Reorder activation
• Long-term customer development

Captured data includes:

• Selected SKUs
• Rejected styles
• Assortment modifications
• Size curve adjustments
• Reorder triggers
• Market reactions
• Customer-specific preferences

This enables:

• Longitudinal decision tracking
• Cross-market comparison
• More accurate forecasting
• Smarter allocation
• Future-ready, data-driven steering

Wholesale becomes controllable — not just visible.

Executive summary

Classic digital showrooms fail due to:

• Disconnected processes
• Inconsistent data
• Incomplete pricing logic
• Spreadsheet-like interfaces
• Technical complexity
• Lack of real control

If you are evaluating the best wholesale software, the decisive question is simple:
Does your system merely display products — or does it structure, control and optimise your wholesale business?

FIRE connects:

• Preorder
• Reorder
• B2B
• Pricing and customer logic
• Middleware integration
• Cloud architecture
• Premium user experience
• Structured data capture

Within one unified wholesale control platform.
That is how FIRE does it better.

FAQ – Digital Showrooms and Wholesale Platforms

Why do many digital showrooms fail in fashion wholesale?
Many digital showroom solutions focus primarily on visual presentation rather than operational sales processes. While they display collections effectively, they often lack integration with preorder workflows, reorder management and ERP systems. This fragmentation limits their strategic value.

What challenges arise from fragmented wholesale systems?
When preorder tools, B2B portals, ERP systems and reorder management operate separately, companies often face inconsistent data, manual coordination and limited transparency. These inefficiencies slow down decision-making and reduce operational efficiency.

Why is a digital showroom alone not enough for wholesale sales?
A digital showroom can display collections, but wholesale sales require additional capabilities. Structured preorder processes, variant selection, order management and performance tracking are essential to convert product presentations into measurable revenue.

What capabilities should a modern wholesale platform provide?
A modern wholesale platform should combine digital collection presentation with structured preorder workflows, reorder management and ERP integration. It should also capture sales interactions and provide real-time insights into market performance.

Why is accurate pricing logic critical in wholesale systems?
Wholesale pricing often includes customer-specific agreements, discounts and market-based conditions. If digital systems cannot represent this complexity accurately, sales teams may present incorrect prices, which can lead to errors and reduced customer trust.

How can integrated platforms improve wholesale sales execution?
Integrated platforms connect presentation, ordering and analytics within a single system. This enables sales teams to work with consistent data, reduces manual coordination and improves decision-making across markets.

What role does structured data play in wholesale management?
Structured data allows brands to analyse sales decisions, buyer behaviour and product performance. These insights support better forecasting, smarter allocation strategies and long-term growth.

How does FIRE differ from traditional digital showrooms?
Unlike many showroom tools, FIRE integrates presentation, preorder workflows, reorder processes and performance analytics into a single architecture. This creates a structured environment for managing the entire wholesale sales lifecycle.

Why are cloud-based wholesale platforms becoming standard?
Cloud-based platforms offer scalability, reduced infrastructure costs and easier system maintenance. They also enable global teams to access the same real-time data environment.

How does structured sales data support future AI applications?
Artificial intelligence relies on structured datasets to analyse patterns and generate predictions. When wholesale interactions and decisions are captured systematically, AI models can identify demand trends and improve forecasting accuracy.

About FIRE

FIRE is the leading wholesale sales, preorder, reorder and control platform for fashion brands and seasonal B2B organisations.

As a structured execution layer between ERP, CRM and market interaction, FIRE enables:

• Structured preorder and reorder workflows
• Full integration of complex pricing and customer logic
• Real-time synchronisation
• Active middleware-based integration
• Data capture across the entire wholesale journey
• Private cloud SaaS architecture without hardware dependency
• Premium digital brand and product experience

Experience how wholesale works when structure, data and experience align:
https://www.fire-digital.com/en/products/products/overview

American denim and lifestyle brand Levi's has unveiled a new collaboration with The Football Association and the England National Team ahead of this summer’s FIFA World Cup.

The Levi’s England Collection is part of the brand’s Football Federation partnerships, which also include Mexico, the USA, and France, as part of the Levi’s ongoing strategy to bring together heritage design and contemporary fan expression ahead of the football World Cup, taking place in the US, Canada, and Mexico.

The five-piece capsule collection is inspired by the “passion and ritual of English football fandom,” explains the brand, and is rooted in the red and white of the England National Team, featuring the team’s ‘Three Lions’ symbol.

The collection includes Levi’s Type II Trucker Jacket, featuring a bold back patch inspired by federation branding, and the Type III Jacket with the crest positioned front and centre. These sit alongside Red 478 Baggy Shorts, a bandana and a red tote, which have all been designed to be worn together or styled individually.

Leo Gamboa, vice president of global collaborations at Levi’s, said in a statement: “With England, we wanted every detail of the collection and campaign to feel true to the culture.

“Partnering with such an iconic football federation was a natural fit, and featuring 194 brought an authentic, London-rooted perspective. We can’t wait to see fans wear these pieces throughout the tournament this summer.”

The Levi’s England Collection is available at select Levi’s retail stores and online at levi.com. Prices range from 27 to 170 pounds / 30 to 190 US dollars.

The global football merchandise market is projected to see significant growth between 2025 and 2035, driven by major sportswear companies including Adidas, Nike and Puma. The expansion is being fuelled by digital retail innovation, global fan engagement and the increasing commercialisation of sports culture.

While the report focuses on market performance, it also highlights important implications for fashion and retail education, particularly in how future professionals are trained for a rapidly evolving industry.

Blurring lines between fashion, sport and technology

Football merchandise has evolved beyond traditional kits and fanwear into a broader lifestyle category, combining performance design, streetwear aesthetics and digital commerce strategies. This shift is reshaping the skills required of designers and merchandisers, who must now understand branding, consumer behaviour and omnichannel retail.

For fashion education, this means greater emphasis on interdisciplinary learning—where students are trained not only in design, but also in areas such as data-driven marketing, e-commerce platforms and global supply chains.

Digital retail reshaping curricula

The growth of online retail and direct-to-consumer strategies is a key driver of the market. As brands expand their digital ecosystems, future designers and fashion business graduates are expected to be fluent in digital tools, virtual merchandising and customer experience design.

Educational institutions are increasingly integrating these elements into curricula, reflecting the need for graduates who can operate across both physical and digital retail environments.

Industry partnerships and career pathways

With major brands leading innovation in football merchandise, there is growing potential for collaboration between industry and education. Internships, live projects and sponsored programmes are becoming essential in preparing students for careers that sit at the intersection of fashion, sport and technology.

The sector’s growth also opens new career pathways—not only in design, but in product development, licensing, sustainability and global brand management.

Preparing future talent

As the football merchandise market continues to expand globally, it underscores a broader transformation within fashion education. Training future designers now requires a more holistic approach—one that combines creativity with commercial awareness, digital expertise and an understanding of global fan-driven markets.

Luxury platform Farfetch has introduced a new premium service designed to elevate the customer experience through immersive brand pages and faster delivery. ‘Farfetch First’ is initially launching across Europe, including in the UK, Germany, France, Italy, and Switzerland, with a phased global rollout due to follow.

The service offers users a free upgrade to next-day delivery and an end-to-end customer experience that looks to elevate the proposition for brand partners joining the programme. In a bid to further underline reliability and speed of service, thousands of luxury items are expected to become available under the Farfetch First banner.

Its launch is complemented by a brand campaign, ‘The Wait is Over’, which is deployed across a series of stills and videos. The creative is overseen by Matthew Whitehouse, head of editorial content and creative at Farfetch, who sought to showcase everyday moments in a playful way.

Speaking on the service, Stephen Eggleston, chief commercial officer at Farfetch, said: “Through Farfetch First, we provide luxury brands with an elevated digital presence, enhancing their unique storytelling and meeting the expectations of global customers, who view time as an essential dimension of a truly unique shopping experience. Farfetch First is set to become the benchmark for reliability and impeccable service in luxury.”

The introduction of the new service comes as the e-tailer’s owner, Coupang, continues to explore ways to improve performance. In 2023, Farfetch was facing mounting financial concerns, with its UK business alone reporting 805.5 million pounds in annual losses. This then narrowed into 2024, when the company’s loss after tax sat at 471.4 million pounds.

Turnaround efforts appear to be paying off. In the fourth quarter of 2025, Coupang reported Farfetch’s first quarterly positive year-over-year revenue growth since acquiring the luxury platform. Coupang CEO and chairman, Bom Kim, said at the time that there was a “real opportunity to create value for luxury customers around the world by combining Farfetch’s vast assortment with a white glove shipping and returns experience”.

Interview

British brand Never Fully Dressed (NFD) is testing the waters in the Netherlands. The label, known for its colourful prints and 'multi-way' styling, is opening up its first pop-up in the well-known shopping area Nine Streets (De Negen Straatjes). Founder Lucy Aylen tells FashionUnited all that you need to know about the retail presence.

Why is now the right time for a pop-up in the Netherlands?

We have seen steady online growth in the Netherlands as a key market for us, with a highly engaged customer that already knows and loves the brand. Having shot with Netherlands-based influencer Lizzy vd Ligt, we saw a real appetite for in-person experiences. This felt like the perfect moment to meet the community where they are. With Amsterdam having a strong fashion identity and openness to expressive style the brand alignment was already there.

What made you choose the Nine Streets area in Amsterdam?

The Nine Streets has a really unique, independent spirit mirroring our own brand values. The mix of curated boutiques, creativity and a more personal shopping experience felt like the perfect space for our first pop up store in the Netherlands.

To what extent is this pop-up a test to see whether a permanent store in the Netherlands would be relevant?

This is definitely an opportunity for us to learn more about our Dutch community in a real life setting. While we have online data, there’s nothing quite like connecting face-to-face with our community.

You offer sizes ranging from UK 6 to UK 28. How does that inclusivity translate into the inventory of a temporary pop-up? Will the full size range be physically available in-store?

Inclusivity is at the core of NFD; it’s really important to us that the pop-up reflects that too. We have the full size range in the space and where we cannot hold multiple lines we will make it easy for the customer to order in store for home delivery.

Are there specific items or collections that you expect will resonate particularly well with the Amsterdam/Dutch market compared to the UK or the US?

Our European customer is similar in the way they shop; they love effortless, head to toe outfits which can be styled with individual creativity. We find our day-to-night styles and layering staples resonate best, with the inclusion of our bold prints across all for statement styling.

What defines success for this pop-up? Are you mainly looking at sales figures, or are brand awareness and community growth in the Benelux equally important?

For us success is about building in person connections, meeting our community while introducing the brand to new customers through a creative pop-up space. Growing brand awareness and strengthening our sense of community are key goals alongside commercial performance across the region and beyond.

The brand is known for its bold prints and designs. Will this aesthetic also be reflected in the pop-up space itself?

The pop-up space will be a physical extension of the brand - bold, colourful, fun and full of feel-good vibes, taking May and June’s print story accents throughout the design.

How many stores does Never Fully Dressed currently have, and what are your future retail ambitions?

NFD stores are currently in East London and New York, both are spaces that bring the brand to life amongst UK and US communities through joyful, feel-good, inclusive dressing. Future retail ambitions include East and Central London stores, as well as an increase in permanent stores across the US .

What have you learned so far from operating your own physical stores?

The value of real life connections and empowerment. Our stores are a real reflection of who we are which comes to life through our community in person. They are safe spaces for women to shop and embrace their own personal style while feeling represented. Starting as a market stall NFD grew to the brand it is today through community and honesty. Our customers are so amazing at giving feedback which we take on board and implement across all areas from design, production, merch to launch.

The pop-up is open from the 7th of May until the 17th of May on Keizersgracht 349 in Amsterdam.

UK retail footfall recorded a month-on-month increase in April, bolstered by warmer weather, Easter trading, bank holidays and major events including the London Marathon, according to new data from MRI Software.

Across all UK retail destinations, footfall rose 2 percent between 5 April and 2 May 2026 compared with the previous month. High streets saw the strongest performance, with visits increasing 4.5 percent, while retail parks remained broadly flat at -0.1 percent and shopping centres declined 1 percent.

In contrast to monthly improvement, year-on-year figures remained weaker, potentially due to the earlier date of Easter this year. Overall footfall fell 1.9 percent compared with April 2025, with high streets down 1.8 percent, retail parks down 1.7 percent and shopping centres down 2.4 percent.

The report highlighted that consumer visits are increasingly linked to seasonal moments, events and leisure activity rather than underlying demand. Coastal towns performed particularly strongly, recording an 8.8 percent month-on-month rise in visits as warmer weather boosted day trips and hospitality spending.

Central London experienced some disruption during tube strikes in the third week of April, yet footfall rebounded later in the month as the London Marathon boosted activity across the capital. MRI Software reported footfall surged 20.1 percent week-on-week on the Sunday of the event.

Jenni Matthews, retail analyst at MRI Software, said April reflected a broader shift in shopper behaviour, with consumers making “fewer, more purposeful trips” while expecting greater value and experience from physical retail destinations.

The report also pointed to the growing importance of retail and leisure integration, particularly for high streets benefiting from events, hospitality and social-led visits. Looking ahead, MRI Software said upcoming summer events, including the FIFA World Cup, music festivals and local activations, are expected to support further footfall growth in the coming months.

In a decisive blow to the European “grey market,” the European Anti-Fraud Office (OLAF) confirmed on 6th May 2026 the successful conclusion of a coordinated strike against a sophisticated smuggling network. Working in tandem with Polish and Spanish customs officials, OLAF investigators intercepted a rail corridor originating in China that was being used to funnel illicit goods into the heart of Europe. The operation culminated in the seizure of three massive shipping containers in Poland, containing approximately 70,000 kilograms of textiles that were never intended for legitimate retail shelves.

“Diversion schemes that abuse transit procedures undermine fair competition, deprive public budgets of revenue and put honest businesses at a disadvantage. This operation shows the importance of close cooperation between OLAF and national customs authorities to protect the EU market and ensure that transit procedures and customs rules are respected,” commented OLAF’s director-general Petr Klement in a statement.

“Textile Diversion Scheme” exploits “transit procedure”

How did the scheme work? The criminal network utilised a strategic loophole known as the T1 Transit Procedure, which allows non-EU goods to travel across the continent duty-free, provided they are destined for a final market outside the European Union. In this specific scheme, the cargo was officially declared for export to Africa via Spanish ports. However, investigators discovered that while the digital tracking systems falsely confirmed the arrival of the goods in Spain to close the transit record, the physical containers were being illegally diverted and unloaded in Europe. This manoeuvre allowed the smugglers to bypass the high customs duties designed to protect domestic manufacturers.

Broader context: larger crackdown in Poland

The recent seizure is part of an intensifying offensive against trade fraud at the EU’s eastern borders. It follows a landmark OLAF report from late April 2026, which exposed a massive VAT and customs ring operating on the Polish-Belarusian border. That wider investigation, which led to the detention of nine suspects, revealed a systemic abuse of “Customs Procedure 42”—a mechanism for deferring taxes that fraudsters exploited to the tune of 118 million euros in evaded duties and 79 million euros in lost VAT. These combined efforts signal a zero-tolerance approach to the shell companies and falsified documents that have long plagued the sector.

Key takeaway

For the global garment industry, these enforcement actions represent a significant shift toward data-driven policing. OLAF’s ability to identify suspicious trade patterns through real-time analytics means that “transit” shipments are now under unprecedented scrutiny.

While this crackdown levels the playing field for honest businesses by removing low-cost, smuggled competition, it also serves as a warning for legitimate brands: supply chain transparency is no longer just a sustainability goal, but a legal necessity to avoid the delays and disruptions of an increasingly vigilant European customs net.

Lectra, a specialist in technological solutions for the fashion industry, unveiled its financial results for the first quarter of 2026 at the end of April. The company reported a decline in revenue amidst an unstable global macroeconomic climate. This was partially offset by the strength of its software subscriptions.

Revenue impacted by trade tensions

During the first quarter of 2026, Lectra recorded revenue of 113.2 million euros (133.2 million dollars). This marks a 16 percent decrease on a reported basis compared to the same period last year. Recurring EBITDA amounted to 12.1 million euros, representing a margin of 10.6 percent. Net income stood at 0.5 million euros.

This financial contraction is mainly due to a 44 percent decline in non-recurring revenue, directly linked to lower sales of physical equipment. The company highlighted that equipment orders fell by 25 percent on a reported basis compared to the first quarter of 2025. As the company noted in its report, this period served as a particularly high basis for comparison for the fashion sector and the Asia-Pacific region. This was because it preceded the announcement of new customs duties in the US.

Growth supported by recurring revenue

Despite the slowdown in hardware sales, Lectra's business model shows structural stability thanks to the growing strength of its services. Recurring revenue increased by 1 percent, driven in particular by strong 14 percent growth in SaaS software subscriptions. Annual Recurring Revenue (ARR) reached 100.6 million euros on March 31, 2026, representing a 3 percent increase on a like-for-like basis.

Lectra anticipates a significant rebound in the second quarter, supported by an equipment order backlog valued at 24.6 million euros. The company also reiterated the objectives of its 2026-2028 strategic roadmap, aiming for an average annual growth in SaaS ARR of approximately 15 percent. Finally, at the combined general meeting scheduled for the end of April 2026, the board of directors will propose a dividend of 0.35 euros per share.

This article was partially written with the support of an artificial intelligence tool before being completed and edited by a FashionUnited journalist.

Capezio, a globally renowned dance footwear, apparel and accessories brand with over 140 years of heritage, has chosen Bleckmann, specialist in supply chain management for fashion and lifestyle brands, to support its expansion across European markets. The brand selected Bleckmann as its third-party logistics (3PL) provider for warehousing and distribution due to its extensive carrier network, dedicated category expertise and scalable capacity – providing the strategic agility for future growth.

Following an onboarding process completed in just two months, including full IT and operational integration, Capezio is now live at Bleckmann’s strategically located distribution centre in Venlo, the Netherlands. This marks a significant milestone in the brand’s European ambitions and its commitment to delivering exceptional value and customer experience to dancers around the world.

Localised fulfilment to support streamlined growth

After more than 30 years of fulfilling orders to EU markets from the UK, Capezio was looking for a specialised solution that could deliver a faster, more consistent fulfilment experience. Centralising and consolidating its European logistics operations at Bleckmann’s facility will enable the brand to deliver customer-facing and operational improvements. “We’re not only closer to our customers, but we can also provide a more tailored service through Bleckmann’s ‘Local Heroes’ last-mile concept”, explained Arron Delamare, Director of Operations at Capezio. “This gives us access to the best-fit carrier per region with one contract and point of contact, so we can offer the best service levels across the board.”

Operational integration is central to the value that Bleckmann’s solution provides, enabling Capezio to deliver on its promises to customers while realising significant efficiency benefits. Bringing warehousing and transportation under one roof reduces the number of touchpoints across the supply chain, enabling faster, more accurate information flow into Capezio’s own systems. This mitigates the risk of errors from managing multiple partners and dependencies. “The Capezio partnership demonstrates the simplicity gained by working with one partner”, said Maxim Sion, Sales Manager at Bleckmann. “It unlocks a better experience for customers and frees the team to focus on growth.”

Operational alignment for efficiency and scale

Critical to the effectiveness of the partnership was a strong alignment between Bleckmann’s established fashion and lifestyle expertise and Capezio’s operational needs. With a catalogue of around 40,000 SKUs, the brand operates with considerable product complexity, and finding a partner equipped to handle that from day one was a priority. “Because of Bleckmann’s unparalleled expertise, their systems and ways of working already mirrored what we needed”, added Delamare. “Whether it’s managing complex individual order combinations or efficiently dealing with waving for seasonal- specific stock and peak demand, we were able to hit the ground running with all the tools required.”

A partnership built for ambitious growth

Importantly, Bleckmann’s flexible warehousing capacity and agile fulfilment network provide the scalability required to meet Capezio’s ambitious European growth trajectory. And for Delamare, it is not only the operational capabilities that have impressed. “Visiting multiple Bleckmann sites, what struck me was the consistency – not just in terms of standards, processes and data, but also in the attitude and energy of the team at every level”, he said. “That tells you a lot about a business, and it’s reflected in the strategic support we’ve received. The partnership unlocks a clear path to achieving economies of scale and impactful process improvements – benefits we can pass on to our customers.”

Amsterdam-based fashion label Martan has been named the grand winner of the Visa Young Creators: Recycle the Runway programme by Global Fashion Agenda (GFA) and Visa, according to a press release. GFA is a non-profit organisation focused on making the fashion industry more sustainable. The announcement was made during the Global Fashion Summit: Copenhagen Edition 2026 in Copenhagen.

The fashion brand was selected from a group of emerging designers working with circular business models within the fashion industry. Martan focuses on reusing discarded hotel linen for high-end ready-to-wear collections.

Focus on circular production

According to the press release, Martan's production process includes sorting, dyeing and customising existing textiles. The organisers stated that the brand was selected based on its combination of design quality, a circular business model and the potential to scale the concept further.

As the winner, Martan will receive 20,000 euros for further investment in the company, supplemented by coaching, guidance and international industry visibility. The label will also participate in a co-creation initiative by GFA, along with the four other prize winners. Within this programme, Martan will be paired with Re&Up, a company specialising in recycling textile fibres, to further develop circular design solutions from concept to final product.

The Recycle the Runway programme supports creative entrepreneurs active in circular fashion concepts such as resale; repair; rental; refilling; return systems and redistribution. The initiative aims to help develop circular ideas into scalable business models.

A professional jury, consisting of representatives from GFA, Visa Europe, Vogue, the British Fashion Council and Ebay, selected 15 winners. Five participants received a Prize Winner title and were invited to attend the Global Fashion Summit. Martan was ultimately chosen as the main winner due to its combination of design quality, its circular business model and its potential for further scaling.

Gap Inc. has appointed a former advisor of Old Navy to the role of chief customer officer of the brand. Michael Francis will take up the executive position alongside the role of head of marketing shared services for the group.

Francis has previously served as president of JCPenney, chief marketing officer at Target, and chief global brand officer at Dreamworks Animation. He has also advised organisations such as Walmart on brand strategy and business transformation.

At Old Navy, where he will report to brand CEO Haio Barbeito, Francis has been tasked with leading end-to-end customer strategy, strengthening brand storytelling, customer engagement, and customer experience.

In a statement, Barbeito said Old Navy had “real momentum” and that Francis brought a “rare combination of strategic vision, creative instinct and commercial rigor” to the role.

He added: “As we continue to evolve the brand, Michael will help sharpen how we show up for customers and strengthen every connection they have with Old Navy.”

As head of marketing shared services for Gap, Francis will also have responsibility for media strategy and execution, with the goal of advancing integrated marketing capabilities across the group’s brands for the next phase of growth.

Francis said he was honoured to join Old Navy “at such an exciting moment”, adding that there was an “enormous opportunity ahead”.

He continued: “I’m excited to partner with Haio and the team to build on that momentum, elevate the customer experience and tell stories that are distinctive, modern and unmistakably Old Navy.”

To strengthen its market presence and accelerate growth across the EMEA region, the Nidecker Group today announced a strategic partnership that appoints OneTurn as the lead distribution and regional operations partner for the skateboarding brands etnies, éS and Emerica.

Under the partnership, OneTurn will oversee wholesale operations, e-commerce, regional marketing, and apparel development for the brands across the region. The brands remain owned by the Nidecker Group and continue to operate as part of the company’s global portfolio of boardsports brands.

Founded in 1887, the Nidecker Group is a family-owned company led by brothers Henry, Xavier and Cédric Nidecker, with a long history of building authentic brands within board sports. Following the group’s expansion into skateboarding, the partnership with OneTurn represents an important step in strengthening the presence of etnies, éS and Emerica across the EMEA markets.

Headquartered in Anglet, France, OneTurn was founded by industry veterans Joost Grootswagers and Antoine Lanusse. The company operates a dedicated platform for boardsports and lifestyle brands, bringing together expertise in wholesale, retail operations, e-commerce and brand development across key international markets. OneTurn currently powers the European presence of Volcom, Spyder, and Aspen Collection. 

Through this partnership, OneTurn will support the continued development of  etnies, éS and Emerica by strengthening relationships with key wholesale partners, expanding direct-to-consumer channels, and building regional marketing and apparel initiatives tailored to skateboarding communities across EMEA.

“We are proud to partner with OneTurn to lead our EMEA business for etnies, éS and Emerica,” said the Nidecker brothers, Henry, Xavier and Cédric. “These brands sit at the heart of skate footwear, and we are deeply committed to building them for the long term. Our partnership with OneTurn sharpens that focus—allowing us to lead product and global marketing, while OneTurn drives accelerated growth across the EMEA region. We’re proud to join forces with Joost, Antoine and the entire OneTurn team as we elevate these brands and shape the next chapter together.”

Joost Grootswagers, Founder of OneTurn, added: “We are proud to welcome etnies  éS and Emerica into the OneTurn platform. These are authentic skate brands with real heritage, and they fit naturally alongside our existing portfolio. Our priority is to support retailers, strengthen local market execution and build long-term relevance for the brands across Europe.”

Pierre-André Senizergues, Founder of etnies, éS and Emerica, said he has “full confidence in Joost and his team” as they take on this important role for the region. He added: “With his deep knowledge of the brands, the market, and the culture of skateboarding, I believe Joost is well positioned to guide etnies, éS and Emerica successfully in the EMEA region. This partnership ensures continuity and confidence for retailers, partners, and consumers, while staying true to the skateboarding heritage that has defined these brands from the beginning.”

The collaboration reflects a shared commitment to support long-term growth for the brands while maintaining their deep roots in skateboarding culture, with the partnership launching through Fall 2026 deliveries and continuing into the Spring 2027 pre-order season.

GMYT Fashion Academy has inducted 21 new students into its 2026 cohort, marking a milestone in its ongoing efforts to combine fashion training with entrepreneurship education.

The induction ceremony, held on May 4, reflects the institution’s broader mission to equip young creatives with both design skills and business knowledge. According to organisers, the new intake represents a new generation of “emerging entrepreneurs” being prepared for careers that extend beyond traditional fashion roles.

Expanding fashion education beyond design

Speaking at the event, founder Princess Kelechi Oghene emphasised that the programme is designed to go “beyond the fashion industry,” encouraging students to develop entrepreneurial thinking alongside technical ability.

This approach reflects a growing shift in fashion education globally, where institutions are increasingly integrating business training, innovation and career development into their curricula. Rather than focusing solely on garment construction or aesthetics, programmes are evolving to prepare students for roles as founders, freelancers and creative entrepreneurs.

Education as a pathway to economic development

The academy positions its training as a tool for socio-economic impact, aiming to create employment opportunities and support youth empowerment through skill acquisition. The induction highlights how fashion education can function not only as creative training, but also as a driver of small business development and economic participation.

Industry speakers at the event contributed additional insights, offering guidance on career pathways and reinforcing the importance of combining creativity with practical knowledge. This type of engagement underscores the role of industry exposure within education, helping students understand real-world expectations early in their training.

Preparing future designers as entrepreneurs

By embedding entrepreneurship into its teaching model, GMYT aligns with a broader transformation in fashion education—one that recognises the need for graduates to be adaptable, commercially aware and self-sufficient.

As the fashion industry continues to evolve, initiatives like this highlight how education providers are redefining what it means to train a designer: not only as a creative professional, but as a business-minded innovator capable of building and sustaining a career in a competitive global market.

From an early career leap to New York to her role shaping future luxury leaders, Amy Johns' journey is defined by curiosity, adaptability and a deep understanding of the fashion industry today.

How did you begin your career in the industry and were there any early moments that particularly stand out to you?

I started my career in New York where I moved to complete an internship with Anna Sui before my undergraduate studies had officially ended back in the UK. Not something I would necessarily endorse but it turned out to be a fantastic experience and really ignited the beginnings of my career within luxury fashion.

That experience particularly stands out to me for reasons that many of our students can relate to. I moved to a new city to follow a dream of working in fashion and it was both terrifying and exciting at the same time. It pushed me outside of my comfort zone very early in my career and I have absolutely no regrets.

It also gave me an early insight into the energy, creativity and pace of the industry. That experience stayed with me and shaped the way I think about opportunities, risk-taking and growth.

What skills or perspectives did you develop in your career that continue to influence your work as a course leader at Vogue College?

I would say I fall into the category of a lifelong learner, perhaps a typical millennial trait but I strongly believe you can never know enough. Curiosity can take you far both professionally and personally and I think it is crucial to remain curious about your subject area, your interests and the world around you. You never know where your next opportunity might come from.

One of the most valuable skills I developed early in my career was learning Excel while working in the merchandising team at Burberry. At the time, I found it really challenging. Working with numbers was not something I naturally gravitated toward and I had not planned to develop a career in merchandising.

However, those skills have stayed with me ever since. I still use Excel daily in my current role, whether for course planning or managing projects. It also allows me to better support students who are interested in analytical roles within the industry. That experience taught me something important- the skills that challenge you the most early in your career often become the ones that shape you the most.

What excites you most about teaching the next generation of fashion and luxury professionals?

What excites me most is being part of our students’ journeys into an industry they genuinely love. Whether that is directly through teaching, mentoring or behind the scenes developing curriculum, I really enjoy seeing how students grow in confidence throughout their time with us.

It is incredibly rewarding to watch them develop their ideas, navigate challenges and ultimately feel proud of what they achieve. Supporting them as they discover what truly aligns with their own values, interests and career ambitions is something I find particularly meaningful.

It is the part of my own journey that I am eternally grateful for, the people who supported me along the way. I love being able to play that role for future luxury leaders.

What conversations or shifts in the worlds of fashion and luxury do you find compelling right now?

I’m finding the shift toward accountability around health and lifestyle particularly interesting right now. Consumers are becoming more intentional about how they live, what they buy and how luxury fits into their overall well-being. There’s a growing focus on longevity, quality and thoughtful consumption which aligns closely with luxury values.

I’m also enjoying the resurgence of heirloom accessories within styling. In many ways, these are luxury investment pieces renamed and repackaged but vintage and heritage items bring a sense of individuality and a finished feel to the ongoing minimalist luxury trend. It reflects a move toward quieter, more considered expressions of luxury.

If you could sit in on your own class as a student, what would you be most excited to explore?

If I could sit in on my own class as a student, I would be most excited to explore trend analysis. I find it fascinating to trace how cultural shifts, consumer behavior and industry changes shape the luxury landscape over time.

I particularly enjoy sessions where students develop their own perspectives and begin connecting insights across different sectors. It’s rewarding to see them build confidence in interpreting what is happening in the market and forming their own informed viewpoints. These skills are invaluable, especially in luxury, where understanding context and nuance is key to strong decision making.

How does the MA International Luxury Business program help students bridge the gap between luxury brand heritage and modern business strategy?

The MA International Luxury Business program helps students understand that heritage and innovation are not opposing forces but complementary elements of successful luxury brands. We encourage students to explore the foundations of luxury, including craftsmanship, storytelling and brand legacy while also examining how brands evolve in response to changing consumer expectations.

Through industry projects, case studies and strategic thinking exercises, students learn how to balance tradition with innovation. This prepares them to make thoughtful decisions that respect brand heritage while ensuring relevance in a modern, global luxury landscape.

If your students took just one mindset from your classroom into their careers, what would you hope it would be?

If my students took just one mindset from my classroom, I would hope it would be curiosity. The luxury industry is constantly evolving and being open to learning and exploring new ideas is essential for long-term success.

I encourage students to ask questions, challenge assumptions and remain open to different perspectives. Curiosity not only supports professional growth but also helps individuals find roles that truly align with their interests and values. It is something that has shaped my own career and I believe it is one of the most valuable qualities future luxury leaders can develop.

Study luxury through a global, strategic and cultural lens at Vogue College of Fashion

OTB Group, the parent company of brands including Diesel, Jil Sander, Maison Margiela, Marni, and Viktor&Rolf, is teaming up with Google Cloud to launch a new AI-enhanced and “hyper-personalised” shopping experience using the technology giant’s virtual try-on API.

The initiative aims to bridge physical and digital shopping experiences by utilising Google Cloud’s generative AI to empower client advisors with digital styling tools to offer customers a hyper-realistic 360-degree visual preview of the product, which they can try on virtually, before encouraging them to book an in-store appointment to “experience the products first hand”.

The technology will launch with Diesel and Jil Sander across the US and European markets, before expanding in the coming months to Marni and Maison Margiela, followed by a rollout to additional markets.

Renzo Rosso, chairman and founder of OTB Group, said in a statement: "I have always believed in technology as a strategic lever to enhance human talent, at the service of people and creativity. In this context, Artificial Intelligence represents an extraordinary opportunity to make the customer experience more advanced, engaging and personalised.

“Together with Google Cloud, we have implemented a Virtual Try-On solution that introduces a new personalised shopping experience and provides our teams with more effective tools to deliver outstanding service and build closer relationships with clients. This project brings to life a vision I have been nurturing for over three years, made possible thanks to Google's best-in-class expertise in AI. I am confident this is the natural direction for the evolution of e-commerce and clienteling, and a key driver of growth for the future of the fashion industry."

The technology leverages Google’s Gemini Enterprise Agent Platform and Gemini models.

In addition, beyond the virtual fitting, the fashion group will also encourage customers to use AI image editing, built with Google's Nano Banana, to place themselves within Diesel's and Jil Sander's latest campaigns or fashion events, and then bring those images to life with video generated by Google's video creation LLM, Veo.

Matt Renner, president and chief revenue officer at Google Cloud, added: "Technology is at its best when it solves real-world challenges for the customer.

"This collaboration demonstrates how Google Cloud's AI can elevate the role of the retail team beyond automating tasks. By integrating Google Cloud's Virtual Try-On, OTB Group is pushing past standard transactions to provide client advisors with the AI tools needed to deliver deeply personal, confident shopping experiences at a global scale."

The EU textile system is at a critical crossroads. Today, less than 1% of discarded garments are recycled into new garments, despite EU-wide obligations for separate collection.

In response, Global Fashion Agenda (GFA) is launching the 2030 Circularity Blueprint, in partnership with ReHubs. This ambitious initiative is designed to support the transformation of the EU textile ecosystem to advance textile-to-textile recycling and drive the transition to a circular economy. The Blueprint will be officially presented at the Global Fashion Summit: Copenhagen Edition on 6 May - one of the world’s leading forums for sustainability in fashion - bringing together industry leaders, policymakers, and innovators to accelerate collective action.

Building on the ambitions of GFA’s 2020 Circular Fashion System Commitment and grounded in robust industry and value chain engagement, the Blueprint identifies and addresses the systemic fragmentation that has long hindered progress. It introduces a coordinated roadmap to close collection gaps, align stakeholders, and unlock the estimated €8–11 billion Capital Expenditure required to build Europe’s textile-to-textile recycling infrastructure.

Accelerating System-Level Change

The 2030 Circularity Blueprint sets out a clear implementation pathway - presenting eight interconnected intervention areas that have been designed to address systemic barriers in a coordinated way:

Systemic Conditions:

1. Shared Framework for Circular & Sustainable Materials
2. Textile Waste Intelligence Platform
3. Demand Signal Initiative: Long-Term Offtake Commitments

Value Chain Interventions

4. Designing for the Loop: Circularity at Product Design Stage
5. Closing the Collection Gap: Effective Textile Collection Systems
6. Closing the Sorting Investment Gap: Demand Certainty for Sorters
7. Pre-Sorting & Feedstock Preparation: Regional Hub Infrastructure
8. Recycling Infrastructure at Scale: A Coordinated CAPEX Roadmap

When implemented correctly, the eight interventions are designed to create a system that turns voluntary ambition into investment-grade infrastructure and scalable industrial capacity by 2030, with the ambition to reach a target of 2.7 million tonnes of textile-to-textile recycling capacity by 2035.

As part of the 2030 Circularity Blueprint, GFA and ReHubs will bring two collaborative programmes to life. The first, led by ReHubs, centres on the 'Textile Waste Intelligence Platform'. The second tackles the critical challenge of closing the collection and sorting gap.

A Collaborative Path Forward

The 2030 Circularity Blueprint is designed as a dynamic, collaborative ecosystem, bringing together stakeholders across the value chain to co-create solutions, share ownership, and track progress. It will require coordinated, cohesive effort from all stakeholders - across brands, sorters, recyclers, infrastructure operators, and policymakers - working in alignment rather than in parallel. The intervention areas will be advanced in partnership with other organisations ready to lead and invest.

Call to Action:

GFA and ReHubs are actively seeking funding, partnerships, and contributions to bring the full 2030 Circularity Blueprint to life. Organisations are invited to lead and support the remaining intervention areas critical to achieving Europe’s circular textile ambitions.

To further catalyse progress, GFA is issuing a Call to Action for a Targeted Policy Incentive Framework, with concrete suggestions on how to unlock the secondary raw materials market in the EU. While demand for recycled feedstock is rising, cost remains a key barrier: recycled inputs currently command a premium ranging from approximately 20% to as much as double the price of virgin materials. Addressing this will require stronger demand through public procurement, more harmonised and fit-for-purpose Extended Producer Responsibility (EPR) systems across countries, clearer requirements for the use of recycled materials, and increased investment in recycling infrastructure.

Recognising that scaling circular textiles requires aligning economic drivers with policy ambition, the proposal sets out targeted incentive measures across EU legislative and financial instruments. It urges the European Commission to integrate these across existing and forthcoming frameworks, while encouraging Member States to operationalise them at national level, ensuring that circular solutions can compete and scale in practice.

Federica Marchionni, CEO, GFA, says: "The vision for a textile circular economy is clear, and innovation is gaining ground. Yet progress is stalled by supply–demand deadlocks, compounded by a fragmented landscape where initiatives and stakeholders operate in silos, often unaware of their interdependence. Furthermore, without precise incentives to align efforts and investment, progress cannot move at the pace required.

Evan Wiener, Interim COO and Board Advisor to ReHubs, says: “Unlocking textile circularity at scale requires the full value chain to move together. ReHubs brings leading organisations from across the textile recycling value chain to the same table to align interests, orchestrate investment, and turn fragmented efforts into a functioning ecosystem. This collaborative initiative directly supports our strategy to industrialise textile-to-textile recycling and break the supply–demand deadlock at scale.”

The 2030 Circularity Blueprint aims to change that—identifying key bottlenecks and leveraging interconnections to unlock the potential of the circular value chain: turning ambition into tangible progress.

Review

On May 6, 2026, Kevin Germanier for the LVMH group opened the Global Fashion Summit in Copenhagen with the 'surprise' show of a haute couture collection. It was created using unsold stock from seven houses within the group led by Bernard Arnault, reinventing creative processes and establishing the 'art of deconstruction' as a new luxury industry.

The collection had already been shown at the close of Paris Haute Couture Week in January 2026. Here at the Global Fashion Summit, the aim was to turn words into action with an excerpt from that show.

After explaining the “Joining Forces” strategy, which FashionUnited will revisit, Hélène Valade, environment development director at LVMH, introduced the project. It was developed with Swiss fashion designer Kevin Germanier, who specialises in upcycling.

Germanier x LVMH show highlights the 'art of deconstruction'

Disassembling, unpicking, unbuttoning, unravelling, unscrewing, dismantling and reconstructing existing garments. “Essentially, the creative process is completely changing its nature,” explained Hélène Valade after the conference.

“This process is longer and more complex than working with deadstock,” remarked Kevin Germanier. “For obvious reasons, you cannot select an exclusive print chosen by a house or use logos or already engraved metal parts. They must be reinvented without being destroyed. Sometimes, you just have to un-embroider them.”

“We have started working on repairs, which is still very new,” added Valade. “We are considering a partnership with a repair school. Some houses already have dedicated repair training because this craft is different from that of ‘making’. It is exactly the same for the skills mobilised by Kevin.”

Next show announced for Haute Couture July 2026

Some pieces from the show were made from outfits linked to the Paris 2024 Olympics and the Berluti brand. The latter requested that certain identifiable elements, such as the patinated collar, remain visible in these new creations.

This is proof that the mindset of the group's houses is evolving. Following the show, some have reportedly started their own discussions about upcycling existing pieces as a driver of new creativity.

“Through this experience, there is a desire to familiarise all the teams with another way of working, as part of a profound transformation of practices,” noted Valade.

“Essentially, we need to build a new industry,” stated Germanier. “It is a double win that brings visibility both outside the group and internally. This aspect is crucial.”

At this stage, the project is conceived as an evolving process rather than an immediately marketable standalone brand. The extra work involved in the 'art of deconstruction' generates additional costs. This is partly offset by not having to purchase raw materials.

A new presentation of this upcycling work is scheduled for July, during the Paris Haute Couture Week in July 2026.

The Women’s National Basketball Association (WNBA) have signed a new multi-year deal with Skechers to make the American footwear brand an official partner with the league. The partnership will kick off for the WNBA’s milestone 30th season and will bring Skechers basketball footwear to the forefront.

David Weinberg, chief operating officer at Skechers, said in a statement: “Partnering with the WNBA illustrates our long-term commitment to promoting women’s basketball and elevating the athletes who are enthusiastic about the game at every level.

“Skechers has been part of the basketball community for several seasons, and now fans will see our innovative footwear take centre stage in the WNBA for the first time. We look forward to leveraging the league’s exploding popularity to help grow the sport while introducing our signature Comfort That Performs to even more athletes around the world.”

The move expands upon Skechers ongoing support for women’s sports, as well as its involvement in women’s basketball. In 2024, forward Rickea Jackson, who was recently traded to the Chicago Sky, became the first athlete to play in Skechers basketball footwear in the WNBA. Skechers expanded its roster in 2025, adding Washington Mystics forward Kiki Iriafen and shooting guard Jackie Young, who won her third WNBA championship with the Las Vegas Aces last season.

Colie Edison, chief growth officer at WNBA, added: “This partnership reflects the growing demand from global brands to connect with WNBA fans worldwide. We look forward to collaborating with Skechers to create unique fan experiences, deepen engagement, and elevate the players who power our league.”

“For me, it’s all about staying comfortable and locked in, and Skechers gave me that all the way through our championship run last season,” Young said. “This season is going to be special, and it feels like the perfect time for Skechers to make it official. I can’t wait to see more players in the S on the court soon.”

Skechers offers several basketball styles, designed for athletes of all skill levels, including the "fast and responsive" SKX Nexus, the flexible SKX Full-Court Press, the lightweight SKX Resagrip, featuring advanced cushioning, and the SKX Reign, designed for elevation and intense traction.

Austrian fiber producer Lenzing has reported a positive net result for the first quarter of 2026. This marks a financial recovery for the group following three consecutive negative quarters throughout 2025.

The group achieved a net profit of 24 million euros (28.24 million dollars) for the period ending March 31, 2026. While this figure is lower than the 31.70 million euros recorded in the first quarter of 2025, it represents a significant stabilization of operational development.

Revenue and earnings performanceRevenues for the first quarter of 2026 reached 615.70 million euros, a decrease of 10.80% compared to the 690.20 million euros generated in the prior-year period. Management attributed this decline to lower fiber sales volumes and pricing, alongside reduced pulp prices. The reduction in fiber volumes was partly due to deliberate production management.

This included the temporary curtailment of less profitable production lines to align with a strategic focus on value-generating growth.

EBITDA amounted to 116.30 million euros. The EBITDA margin stood at 18.90 percent, down from 22.60 percent in the first quarter of 2025. Lenzing chief financial officer (CFO), Mathias Breuer, stated: “During the first quarter of 2026, we further stabilized our operational development and returned to a positive net result after economically challenging previous quarters”.

The group is continuing its holistic performance program, which achieved savings of more than 200 million euros during the 2025 financial year. This transformation aims to structurally strengthen profitability and resilience through operational excellence and energy optimization.

Acquisition of TreeToTextile and outlook

In February 2026, Lenzing acquired a majority stake in Swedish fiber developer TreeToTextile. This move is intended to advance the group's premiumization strategy and its position in the market for next-generation specialty fibers. The initial consolidation of TreeToTextile resulted in a one-time positive effect from negative goodwill, which supported EBITDA for the quarter. Total positive one-off effects for the period reached 25.70 million euros.

Despite the return to profit, the market environment remains characterized by geopolitical tensions and volatile energy prices. Key risks include the Middle East conflict, which is expected to drive increases in raw material prices and inflation. Due to these ongoing uncertainties, Lenzing stated that a reliable forecast for the full 2026 financial year is currently not possible.

JD Institute of Fashion Technology has received accreditation from the Global Standardization and Accreditation Agency (GSAAA), a development that highlights ongoing efforts to formalise quality standards within fashion and design education.

The accreditation recognises the institute’s academic framework, curriculum structure and teaching methodologies, positioning it among institutions seeking to align creative education with global benchmarks. It also reflects a broader trend in fashion education toward increased accountability and standardisation.

Raising standards in fashion education

Accreditation from GSAAA signals that the institute meets specific criteria related to course delivery, faculty expertise and infrastructure. For students, this can translate into greater confidence in the quality of education, as well as improved recognition of qualifications in both domestic and international contexts.

The move comes at a time when fashion education is expanding rapidly, particularly in emerging markets, creating a need for clearer quality assurance frameworks. Institutions are increasingly seeking external validation to ensure their programmes remain competitive and relevant.

Aligning education with industry needs

A key focus of the accreditation process is the alignment between academic training and industry expectations. Programmes are evaluated on their ability to equip students with practical skills, technical knowledge and exposure to current trends, including digital tools and evolving design practices.

This reflects a wider shift in fashion education, where institutions are expected to prepare students not only creatively but also professionally, ensuring they can transition effectively into the workforce.

Global outlook for future designers

By obtaining international accreditation, JD Institute strengthens its position within the global education landscape, offering students pathways that extend beyond local markets. The recognition may also encourage further collaboration with international institutions and industry partners.

As the fashion sector continues to evolve, developments such as GSAAA accreditation highlight the growing importance of structured, globally recognised education systems in preparing the next generation of designers.

British sports fashion powerhouse JD Sports Fashion has reported a resilient performance for the 52 weeks ended January 31, 2026, despite what it described as a tough global industry backdrop. The group achieved total sales of 12.66 billion pounds (17.22 billion dollars), representing an 11.7 percent increase at constant currency and organic sales increase of 2.1 percent.

For the 2026/27 financial year (FY27), the group has provided a wider profit guidance range of 750 million pounds to 850 million pounds to reflect ongoing macroeconomic uncertainty.

North America becomes largest regional market, apparel category drives growth

North America has officially overtaken the UK as the largest region for JD Group, now accounting for 38 percent of total sales. Revenue in the region reached 4.78 billion pounds, supported by the annualization of the Hibbett acquisition. Operating profit in North America reached 353 million pounds, representing 40 percent of the group total. Organic online sales in the region grew by 12.2 percent, a result the group attributed to improved ranging and technology platforms.

Group performance was supported by growth in all regions except the UK. While reported revenue climbed 10.5 percent, profit before tax and adjusting items (PBTAI) decreased by 7.7 percent to 852 million pounds. Statutory profit before tax fell 12 percent to 629 million pounds, impacted by higher operating costs and investment in infrastructure.

Europe also delivered a resilient performance with organic sales growth of 4.2 percent to 4.25 billion pounds, and Asia Pacific, representing 4 percent of Group sales exited the year with positive LFL momentum. Overall, Asia Pacific delivered organic sales growth of 8.5 percent and LFL sales of 0.4 percent. The company ended FY26 with 4,811 stores worldwide in 36 countries.

While like-for-like (LFL) sales declined by 2.1 percent across the group, the apparel category remained a strong performer with organic growth of approximately 5 percent year-over-year (YoY). Yanmei Tang, AVP at Third Bridge noted that the shift into apparel is worth watching. "The category typically has higher margins than footwear, and if executed well, could support profitability even as overall growth remains weak," Tang said.

Footwear sales remained flat on an organic basis as the industry transitioned between product cycles. However, JD Group chief executive officer, Régis Schultz, noted encouraging momentum in the running category.

Strategic focus on omnichannel and artificial intelligence

The group is advancing its Beyond Physical Retail pillar by completing a global e-commerce re-platforming. Following successful roll-outs in North America and Italy, the UK and the rest of Europe are scheduled for upgrades later in 2026.

JD Group is also accelerating the adoption of artificial intelligence (AI). The company is embedding AI into its operating model to improve discoverability through agentic AI platforms and optimize merchandising decisions such as markdown timing.

While sustainability is increasingly impacting fashion economics, executive attention is paradoxically dropping. A new report, “Fashion CFO Agenda 2026”, argues that sustainability is no longer just a “high visibility” topic but a core financial discipline essential for long-term company resilience. It has been co-authored by Global Fashion Agenda (GFA) and Boston Consulting Group (BCG) and was presented yesterday as part of the ongoing Global Fashion Summit.

The boardroom practice is different, however, and the report highlights a critical disconnect in the industry: As research has shown, sustainability mentions in earnings calls have declined by roughly one-third since 2022, as leaders shift focus toward immediate pressures like AI adoption and geopolitical volatility. The report shows why embedding sustainability into finance should become a CFO imperative.

Sustainability priorities vs. budget pressures

Sustainability is now a material factor reshaping the cost structures of fashion companies through intensifying financial implications. Climate-driven disruptions have already caused price spikes of up to twofold for raw materials like cotton and wool. As Mango CFO Margarita Salvans observes, the focus has moved from “if” to “how”—specifically, “how we balance sustainability priorities within budget pressure”. Integrating these factors into corporate finance is presented as a prerequisite for mastering risk and unlocking new value.

A major looming financial pressure is the implementation of Extended Producer Responsibility (EPR) for textiles, which shifts end-of-life costs to producers. In the EU, member states must establish these systems by April 2028. For a large mass-fashion player, EPR fees could lead to a 1.1 percent increase in cost of goods sold (COGS) and a 4 percent decrease in net profit by 2030, according to the report. To mitigate this, it suggests “eco-modulation,” where fees are adjusted to reward circular or lower-impact designs.

Unlocking value and efficiency

Despite the costs, the report identifies significant economic upsides to sustainable practices. Approximately 70 percent of fashion-sector greenhouse gas (GHG) emissions could be reduced at low cost or even with cost savings, such as switching to renewable power, it argues. Furthermore, circular business models (CBMs) like resale and rental are outperforming the overall market, with second-hand fashion projected to grow at a 10 percent compound annual growth rate (CAGR) through 2030. According to the report, these models provide a pathway to decouple revenue from resource use while diversifying income streams.

The CFO's role is evolving into the strategic custodian of financial resilience, separate from but complementary to the chief sustainability officer (CSO). While the CSO sets the direction, the CFO enables execution by hardwiring sustainability into financial control, planning and strategic capital allocation. “When you start measuring impact, you uncover inefficiencies,” notes Adam Karlsson, CFO of the H&M Group, highlighting how sustainability data reveals hidden operational waste.

Four approaches to prioritisation

Given that short-term budget pressure is the leading barrier to investment, the report outlines four financial approaches to guide prioritisation: risk mitigator, cost optimiser, commercial driver and transformation enabler. Companies should select an approach based on their maturity and ambition, moving from a focus on compliance to embedding sustainability into core strategy. Dorte Rye Olsen of Bestseller emphasises that (double) materiality assessments remain “an essential tool in ensuring we allocate resources and capital where we deliver the greatest impact”.

Effective deployment of capital is essential for scaling innovation, such as next-gen materials and textile-to-textile recycling. The H&M Group, for example, used its “New Growth & Ventures” function to become a majority owner of resale platform Sellpy, which saw its turnover more than double between 2022 and 2025. The report suggests using advanced mechanisms like sustainability-adjusted hurdle rates or internal carbon pricing to better reflect the long-term benefits of these strategic investments.

Ultimately, the CFO cannot succeed in isolation; success requires both internal alignment and external collaboration. Internally, strong CFO-CSO alignment and board buy-in are critical for navigating trade-offs. Externally, initiatives like the Future Supplier Initiative (FSI) demonstrate how brands can collectively de-risk supplier capital expenditure through blended finance structures.

“For most companies, investments in sustainability are still largely driven by economic fundamentals such as cost predictability, supply security and effective risk management. However, as market mechanisms and regulatory frameworks increasingly internalise these factors, a stronger foundation is emerging for sustainability investments to become a natural and integral part of core business strategy,” concludes Engin Mete, chief growth strategy officer and CFO of Re&Up.

Shortcomings

Despite the report’s compelling financial logic, a potential flaw in the argumentation lies in the tension between long-term resilience and the immediate survival of low-margin players. While the report suggests that 70 percent of emissions can be abated at a low cost, the direct savings often accrue to suppliers, leaving brands to rely on “indirect benefits” that may not materialise quickly enough to offset the 4 percent net profit erosion predicted from EPR fees.

Furthermore, the transition from a “risk mitigator” to a “transformation enabler” assumes a level of capital flexibility that the report itself acknowledges is currently restricted by short-term budget pressure—the leading barrier to investment. By framing the decline in executive attention as a “fundamental disconnect,” the authors risk underestimating the very real possibility that for some companies, the immediate cost of sustainability implementation may outpace the speed of value capture in a softening market.

I had read about its history, its role on the Silk Road and the sheer scale of its territory, yet arriving in Almaty surpassed all expectations. The city unfolds at the foot of an imposing mountain range, which constantly frames an urban skyline dominated by modern glass skyscrapers.

The latest edition of Fashion Week Almaty took place from April 28 to 30 in the former Kazakh capital, backed by major sponsor VISA. It brought together 18 designers from Kazakhstan, Azerbaijan, Armenia, Hungary and Morocco, positioning the city as the epicentre of a creative conversation on identity and cultural transformation in Central Asia.

The event's proposal directly engages with this idea of ongoing transformation. Kazakhstan is presented not just as a heritage, but as an open dialogue between what it was, what it is and what it aspires to be. This exchange of perspectives—both internal and external—is where the concept for this edition is articulated, under the theme “seeing and being seen”.

“It is the recognition that our identity is formed here and now, in the eyes of others and in our own reflection,” explained Bauyrzhan Shadibekov, CEO of Visa Fashion Week Almaty, referring to the country's current creative moment.

Our identity is formed here

Maison ARTC, the “house of culture” founded by Moroccan designer and artist Artsi Ifrach and recognised with the Fashion Trust Arabia award in 2022, was one of the standout presences at this edition in Almaty.

Ifrach's work offers a reflection on how cultural identities are constructed and projected in global circulation. This is a particularly relevant issue in a context where, he argues, fashion is no longer exclusive to the major capitals but is beginning to be built from other creative hubs.

Artsi Ifrach deliberately distances himself from mass production, placing his work in a territory closer to art. His unique pieces exist at the intersection of fashion, performance, photography and material archive. The use of repurposed textiles and collaboration with artisans is not presented as an added discursive gesture, but as the very core of his practice. Each collection is understood almost as a moving exhibition, where fashion functions as a narrative and critical medium.

Cultural bridges

The internationalisation of Visa Fashion Week Almaty was also strengthened by its collaboration with Budapest Central European Fashion Week, which brought the brand Nanushka to the stage with its “Sacred Utility” collection.

Within this network of influences, Italian fashion has also found fertile ground for dialogue, making its presence in Central Asia more than just a commercial expansion. From an institutional perspective, the Italian Trade Agency in Almaty is establishing itself as a strategic bridge between the two creative ecosystems.

Its work is not limited to introducing Italian brands to the Kazakh market. It also facilitates the reverse flow of talent, connecting local designers and companies with the Italian training and production system.

The result is a process of co-evolution where fashion acts as a tool for cultural diplomacy, knowledge transfer and the construction of new professional identities.

Evolution towards a global ecosystem

Danara Usmanova, commercial director of Saks Fifth Avenue Almaty, also explained during one of the organised talks how Kazakhstan's fashion industry is undergoing a transformation through spaces like Saks Fifth Avenue in Almaty and Astana.

"It is no longer just about creativity,” she noted, “but about supporting emerging designers in understanding international standards, production processes and commercial communication tools.” This change reflects a shift from a more local, artistic fashion scene to a more structured industry capable of scaling and projecting itself beyond the country's borders.

In this context, the first night of the event—a Traditional Gala organised by Saken Zhaksybayev and the Fashion Bureau at the Almaty Theatre under the concept “Made in Kazakhstan. Made with Love”—focused on national identity and local craftsmanship.

Attendees transformed the new Almaty Theatre into a veritable social runway, with carefully chosen pieces that created a collective celebration of dress.

More than an isolated phenomenon, the event's street style established itself as a parallel chapter within the Fashion Week narrative. Throughout each day, the many photographers who gathered at the location, the Atakent Exhibition Center, captured images of attendees at various points around the venue. This turned the observation of styles into an almost choreographed dynamic.

Five key proposals

This balance between tradition and experimentation is giving rise to a unique creative language, capable of positioning itself on the international map beyond being merely "emerging".

Here is a selection of five brands that encapsulate some of the most relevant directions observed at Visa Fashion Week Almaty.

ZhSaken (Kazakhstan)

Saken Zhaksybayev, founder of the Fashion Bureau and a key figure in the event's organisation, closed the three days of shows with a proposal that served as a statement of principles. In “Art Is Not Enough”, fashion occupies an intermediate territory between the intuitive and the conscious, with an aesthetic inspired by the energy of contemporary art biennials.

The result is a pop surrealism where the contrast between classic feminine codes and sport-inspired accessories articulates a deliberately hybrid narrative. Gingham checks, urban-inspired graphics and amplified volumes are used to challenge the notion of luxury, shifting it towards a more playful, even ironic, territory.

The collection is articulated through contrasts. Architectural structures are set against bursts of red and deep blue, while transparencies coexist with dense textures. The result is a series of looks that seem to be in a constant state of transformation, as if each were an autonomous gesture within a larger manifesto on creative freedom.

Mariko (Kazakhstan)

Mari Airapetyan transforms migratory memory into textile form. “Urmia” articulates a precise balance between craftsmanship and contemporary design, using crochet, long fringes and highly tactile fabrics that add density to clean silhouettes.

The collection is defined by a quiet sophistication. A neutral colour base is interrupted by vibrant orange and purple accents, highlighting a formal investigation focused on materiality. Far from nostalgic, the proposal reconfigures traditional codes with a distinctly modern logic.

YesYes! (Kazakhstan)

Winner of the sixth edition of the Next Designer Award empowered by Visa, Esmukhan Esbolat—at the helm of YesYes!—presents one of the most conceptually solid proposals of the season with “BITPEYTIN TOY”.

Drawing on rural imagery and the festive iconography of the 2000s, the designer reformulates traditional Kazakh celebrations from a critical perspective. The “brilliant chaos” of the 'toys' (celebrations) is deconstructed and reinterpreted through an aesthetic that incorporates cyberpunk references: neon palettes, exaggerated volumes in materials like feathers and accessories that conceal the face.

The result is a visual narrative that oscillates between nostalgic and dystopian, projecting a vision of haute couture infused with contemporary cultural tensions.

Sako (Kazakhstan)

Saltanat Abdildaeva's debut is constructed as an intimate exploration of the process of self-acceptance. Through a visual language based on contrasts, the designer juxtaposes rigid graphic structures with soft volumes and almost exaggerated floral embellishments.

The transition from monochrome black to a more expressive palette serves as a metaphor for the development of one's own identity. The result is a collection that translates personal experience into a very interesting proposal.

Manuk Aleksanyan (Armenia)

From Armenia, Manuk Aleksanyan offers a reflection on the suggestive power of belief. “Effect Placebo” is articulated through a dark maximalism that combines grunge codes with gestures typical of the artistic avant-garde. Rigid silhouettes, surfaces adorned with large-format sequins, feathers and graffiti create a proposal with a strong theatrical charge. Aleksanyan thus positions himself in a territory that shuns the conventional to explore a raw, theatrical and decidedly provocative visual identity.

Fashion-Enter Ltd (FEL), a British clothing manufacturer and the organiser of Leicester Made & Regions, has been awarded the King’s Award for Enterprise 2026 in the Sustainable Development category.

The award recognises the organisation’s efforts in sustainability integration within fashion manufacturing and education, specifically in the implementation of technology and the endorsement of ‘Made in the UK’ production.

FEL follows an “ethical” micro-factory model that prioritises low-volume and “environmentally-conscious production”, initiated alongside apprenticeship programmes and garment repair and repurposing initiatives.

The Royal accolade is approved by His Majesty The King following recommendation by the Prime Minister, Keir Starmer, and includes an invite to a Royal reception, where FEL will be presented with the award by a Lord-Lieutenant. The company will also be entitled to use the King’s Awards emblem for the next five years.

In a statement, Jenny Holloway, CEO of FEL, expressed how proud she was of the team for their hard work and passion. “The King’s Award is a testament to our collective effort to push boundaries and build a sustainable, forward-thinking company that is relevant to today’s dynamic fashion environment,” she added.

Much of FEL’s efforts in recent years have been centred around reviving the reputation of manufacturing hubs like Leicester, where “overinflated” allegations of exploitative practices have caused widespread impact on the livelihoods of factories and workers.

Now, FEL has bolstered efforts to motivate and urge British brands to commit to ordering from such factories in a push for localisation and onshoring, which has gained traction due to complications surrounding international supply chains.

Sportswear brand Castore has secured a 90 million pound facility with banking partners as it continues to pursue global expansion and rollout a growth strategy. The company said it would use the funding to facilitate new retail openings across the UK, as well as support growth into the Middle East and Asia.

In a statement, Mark Rowan, global relationship director at HSBC UK, which was joined by BNP Paribas and Lloyds in the funding round, said: “Castore has demonstrated impressive growth since its launch and continues to build a strong presence both in the UK and internationally.

“It’s fantastic to be among the banking partners to support the business with this funding, which will provide the support needed to execute its ambitious expansion plans and long-term growth strategy.”

Founded in 2015, Castore is now targeting a turnover of more than 300 million pounds over the next financial year, a mission it intends to achieve through investments into digital infrastructure and analytics capabilities.

Beyond retail expansion, Castore has also been growing its presence through M&A, having specifically snapped up British premium brand Belstaff in a deal last year. At the time, Castore said it was planning to drive future growth through both companies, while steering Belstaff specifically back to profitability.

Speaking on the latest funding, Castore’s co-founder, Tom Beahon, said: “Our ambition for Castore is to continue to offer our growing customer base sportswear that is committed to performance, innovation and premium quality.

“This new funding provides us with the flexibility and ability to accelerate our retail rollout, expand into new international markets and continue to grow the brand in the UK and overseas. We are excited about the next chapter of growth and the opportunity to strengthen our position as a leading global sportswear brand.”

Steve Madden has reported an 18 percent increase in revenue for the first quarter of 2026, reaching 653.1 million dollars, supported by growth in direct-to-consumer and contributions from Kurt Geiger.

Net income rose to 71.8 million dollars, compared to 40.4 million dollars in the same period last year. However, adjusted net income declined to 32.1 million dollars, reflecting higher operating costs during the quarter.

Gross profit margin increased to 54.7 percent, while operating expenses rose to 39.5 percent of revenue. Adjusted operating income fell to 46.3 million dollars, compared to 56.1 million dollars a year earlier.

In wholesale, revenue increased slightly by 1 percent to 443.6 million dollars. Excluding Kurt Geiger, wholesale sales declined by 8.2 percent, with footwear down 12 percent. Accessories and apparel showed growth of 15.1 percent, though this was flat when excluding the acquired brand.

Direct-to-consumer was the strongest channel, with revenue rising 83.8 percent to 206 million dollars. Excluding Kurt Geiger, DTC grew 8 percent. The company also reported higher margins in the segment, supported by pricing and channel mix.

The group ended the quarter with 387 stores, alongside e-commerce operations and international concessions.

Chairman and CEO Edward Rosenfeld said demand remained healthy across brands, driven by product and marketing. He added: “While earnings declined in the first quarter, we expect to return to earnings growth in the second quarter and deliver strong top- and bottom-line growth for the full year.

“Looking out further, we are confident that our powerful brands, proven business model and talented team position us to deliver sustainable growth for years to come.”

For the full year, the company raised its revenue outlook and now expects sales to increase between 10 and 12 percent, with projected earnings per share in the range of 2.55 to 2.65 dollars.

Madrid – Following its initial investment in the Valencia-based company in early 2019, US investment firm Carlyle has reportedly decided to fully divest from Jeanologia. Carlyle also holds investments in other prominent Spanish and fashion sector companies, such as Codorniu and the Italian brand Golden Goose. Jeanologia specialises in eco-efficient technological solutions for the textile industry, and Carlyle currently controls approximately 40 percent of its share capital.

The Financial Times reported the terms of Carlyle's entry into Jeanologia's capital in early March 2019. The respected British financial publication stated that the US private equity firm had acquired 40 percent of the Valencia-based company. This transaction, according to sources close to the acquisition, valued the company at approximately 150 million euros. Based on these figures, Carlyle's purchase of the 40 percent stake in Jeanologia would be valued at around 60 million euros.

Just three days after the financial media broke the story, Carlyle confirmed the transaction without specifying the exact terms or the percentage of Jeanologia's capital it had acquired. The firm did clarify, however, that the purchase was limited to a significant minority stake. This stake was not acquired from the company or its founding family, the Silla Vidal family, but from the Spanish private equity firm MCH Private Equity.

MCH had entered the Valencia-based company in December 2015, acquiring a 35 percent stake for approximately 20 million euros. It was reported at the time that MCH would retain a minority share in Jeanologia. The firm later decided to sell this remaining stake, leaving the Silla Vidal family as the majority shareholder and Carlyle as the key minority shareholder.

At the time, Enrique Silla, chief executive officer of Jeanologia, stated: “Carlyle's entry into Jeanologia's capital will help us advance towards our aspirational goal of eliminating wastewater in the textile industry by 2023, making the manufacturing of traditional blue jeans an industrial and technological standard.”

Alex Wagenberg, managing director of The Carlyle Group, added: “We look forward to supporting Jeanologia's explosive growth by developing its innovative product range and future business opportunities.” The company closed the 2019 financial year—the last to be completed before the effects of the Covid-19 pandemic—with sales of approximately 104.48 million euros (a 3.38 percent year-over-year decrease) and a net profit of around 28.7 million euros (a 13.29 percent decrease).

Seeking a buyer for 40 percent of Jeanologia

Since then, with Carlyle remaining a key minority investor, the Valencia-based company has not fully realised the potential the investment firm saw in 2019. Compared to the declining figures at the end of that year, the Valencian textile company closed its 2024 financial year with a turnover of approximately 45 million euros (a 17.2 percent year-over-year increase) and a net profit of around 4.3 million euros (a 43.33 percent increase). While these results show positive growth compared to 2023, the company's revenue remains 56.93 percent below 2019 levels, and its profits are 85 percent lower.

In this context, Carlyle has reportedly decided to fully divest from the Valencia-based company, which specialises in eco-efficient technologies for the textile industry, specifically for manufacturing denim garments and fabrics. Since its founding in Valencia in 1994, its technologies have been implemented into the value chains of major fashion brands and houses, including Levi’s; Uniqlo; Gap; Inditex; American Eagle; Abercrombie & Fitch; Mango; Chanel; Prada; Balenciaga and Guess.

The Spanish company estimates that its technologies are currently used to produce more than 40 percent of all jeans manufactured worldwide. This operational scale, however, does not appear to be reflected in the company's financial statements. Coinciding with its 30th anniversary in 2025, Jeanologia announced it was preparing to open a new chapter of development by “integrating artificial intelligence, robotics and advanced automation to create smarter, more precise and efficient processes”.

For this new chapter, which began to take shape in 2026 with the launch of “Billy”—presented as “the first artificial intelligence developed specifically for denim design”—the company's founders aim to continue leading Jeanologia with their 60 percent stake. This was reported by sources close to the company to the financial publication Expansión. The publication also reported that Carlyle has hired Banco Santander to act as a financial advisor and prepare the sale process for the 40 percent stake still held by the US investment firm.

As the warmth of the new season sets in, women's dressing has taken a clear new direction. The structured, fitted styles that dominated recent years are making way for something looser, lighter, and more relaxed. The tiered dress is at the center of it. Built from horizontal layers of fabric, each slightly wider than the one above, the silhouette creates natural volume and movement toward the hem.

Across runways, street style, and retail floors, it is emerging as one of the strongest trends of the spring/summer season, pieces that look considered and stylish without requiring much effort to wear. Here, FashionUnited takes a closer look at the driving forces behind this trend.

The silhouette

The tiered dress works because it balances volume with simplicity. Key details driving the trend include multi-layered skirt constructions, balloon or three-quarter sleeves, and clean necklines, typically a V-neck, that keep the overall look grounded despite the generous proportions. It is a silhouette that moves well, photographs well, and works across a wide range of occasions, from daytime to dinner.

The fabric

Volume only works in warmer months if the fabric is right. Cotton voile has become the go-to material for this silhouette, it is light, breathable, and has enough natural drape to make layered constructions fall properly without adding weight. The focus on natural fibers also gives the trend longevity, responding to a broader and ongoing consumer shift toward materials that feel good and come with a straightforward product story.

One dress, multiple occasions

Part of what is making this trend commercially strong is how wearable these pieces actually are. A well-executed tiered maxi dress functions as a complete outfit on its own, no styling complexity required. That versatility is resonating with consumers who want pieces that work hard across their wardrobe, and it makes the category easy to communicate at retail level too.

ZENGGI's take on the trend

Amsterdam-based label ZENGGI offers a strong example of how this trend translates into a concrete product. Their Cotton Voile Layered Dress, is made from 100 percent pure cotton voile and brings together the defining elements of the silhouette: a V-neckline, balloon sleeves, and a three-tier skirt that gives the dress its characteristic sweep and movement.

Available in Black and Spring Green, it covers both a versatile, season-neutral option and a more directional summer colorway. It is a clean, well-considered execution of a trend that has real staying power this season and a useful reference point for understanding where the layered dress category is heading.

In Pictures Salomon is opening its third store in New York City today, as the French outdoor specialist brand continues to push ahead with its growth strategy for North America.

Located on the Upper West Side, near the iconic Central Park, the store spans 812 feet and features clean, modern interiors with natural elements throughout, in reference to Salomon’s mountain sports heritage.

“The opening of our Upper West Side brand store represents another important step in our North America retail expansion plan, " said LeeAnn Fallon, VP of retail, Salomon North America, in a statement. “New York City is where performance meets culture. It’s a proving ground for brand relevance and a catalyst for global growth. The Upper West Side store will be a place for consumers to connect with like-minded people who have a passion for the outdoors and a strong connection to their community.”

In addition, the new store features a dedicated performance section, the largest of all its stores in NYC, which includes its full collection of running apparel and accessories, next to its sportstyle assortment, as the retail location aims to serve the neighborhood’s active running community and local clientele. The opening of the new store coincides with the launch of two new Salomon products launching on May 6, a GRVL Concept Shoe and Pink Pack, both of which are available for sale at the Upper West Side store. 

The GRVL Concept Shoe is a hybrid running shoe that combines the energy return of a road "super shoe" with the grip of a trail shoe. It features a PEBA supercritical foam midsole and dual full-length carbon blades that deliver soft landings, high rebound, and a smooth, propulsive run across mixed terrain. The Pink Pack is a refresh of core Salomon styles, the ACS Pro, Speedcross 3, XT-Whisper, and RX Marie-Jeanne, with a tonal, minimal, and boldly unexpected look.

To mark the opening of the new store, Salomon is hosting a community run at 7 am, where runners can try out shoes and have a sneak preview of the store before it opens at 11 am. The Upper West Side store opening is in line with Salomon’s recent appointment of Laura Stauth, who came on board as senior vice president of sales for its North American division in March.

Stauth’s appointment is intended to accelerate the brand's performance-led business across footwear, apparel, and accessories. Salomon's North American strategy remains focused on leading in performance categories, and strengthening its executive team underlines its commitment to scaling responsibly while serving athletes who demand technical excellence.

In Pictures Lifestyle brand Lilly Pulitzer has partnered with children's wear brand Janie and Jack to launch a limited-edition collection.

The Lilly Pulitzer x Janie and Jack collection features 25 styles for children, women, and men that showcase Lilly Pulitzer's signature vibrant prints and bright colors on Janie and Jack's favored silhouettes. Uniting two iconic American brands, the collection draws on Lilly Pulitzer's heritage of bold colors and print-led design, offering a modern take on coastal family dressing. 

“Lilly Pulitzer has always led with print — using color and pattern to define an American way of dressing," said Mira Fain, chief creative officer of Lilly Pulitzer, in a statement. “This collaboration with Janie and Jack gave us the opportunity to return to our archives and reimagine some of our most iconic prints through a modern, multi-generational lens. By expanding the collection to include babies, boys, and an expansive girls offering — alongside coordinated styles for women and men — we're extending the legacy of Lilly print to an entirely new generation, while keeping the spirit of joyful dressing at the core.”

The collaborative collection includes four prints, three of which are for the entire family. The fourth, On Parade, is exclusive to children and recolours an earlier Lilly Pulitzer print. Much of the capsule collection is designed around ‘Ship to Shore’, an archival print reworked for a fresh, summer-ready take on the brand's coastal aesthetic.

“From the start, we were inspired by the joy and optimism that Lilly Pulitzer prints bring to summer dressing,” said Lexi Tawes, chief product officer at Janie and Jack, in a statement. “Our team looked to Lilly's archives as well as refreshed artwork to create a collection that feels both nostalgic and fresh. By pairing Lilly's iconic prints with Janie and Jack's polished silhouettes, we designed pieces that celebrate coordinated family style — from baby to parents. It's a collection that captures the magic of summer and the special moments families share together.”

The Lilly Pulitzer x Janie and Jack collection is now available for sale at lillypulitzer.com, janieandjack.com, in addition to retail locations from both brands nationwide and select wholesale partners, with prices ranging between 24 and 99 US dollars.

To celebrate the launch of its Summer Resort 2026 selection, Boss is teaming up with Soho House for a two-week pop-up at Miami Pool House from May 1-14, transforming it into Boss Summer Club: an unmissable poolside destination. This will include event activations throughout May across music, wellness, and dining and followed by events at Soho Beach House Miami.

Located on the border of Wynwood and Edgewater, a design district known for its galleries, museums and street art, Miami Pool House’s creative atmosphere sets the scene for a collaboration that showcases Boss’s vibrant Summer Resort selection, alongside its expertise in precision tailoring.

At Miami Pool House, Boss Summer Club will offer a premium, sun‑soaked oasis, where members can discover the Boss way of life in an immersive setting that blends product, styling, and atmosphere. An exclusive poolside branded area will feature a shoppable pop-up with curated product displays, while a dedicated experience space will bring the story of a Boss summer to life. From May 14-31, members can also experience the Boss Summer Club at Soho Beach House Miami, Soho House’s oceanfront outpost in the city, through special events and experiences that further capture the spirit of Boss Summer Resort 2026.

Cultural program highlights across the Houses include a Miami Grand Prix™ kick-off party with Ja Rule, race weekend screenings, and a finale party with Chloé Caillet. Members and guests will also enjoy sets from Walshy Fire of Major Lazer, a One Night Only dinner with Argentinian chef Deborah De Corral, and expert wellness workshops with Case Kenny and Brittany Berger.

This partnership creates immersive, memorable moments of engagement, inviting guests to step into the world of Boss through relaxation, community, and celebration. In Miami, Boss reinforces its position not only as a fashion authority, but as a global lifestyle brand that shapes how Boss fans live and socialize.

The celebration of Boss’s 2026 resortwear launch kicked off on May 3 with an exclusive dinner and after-party at Miami Pool House. Guests, including Boss brand ambassador Aleksander Aamodt Kilde, Mikaela Shiffrin, Chase Stokes, Emilia Mernes. Robbie G.K., June Diane Raphael, Matthew Broome, Greta Onieogou, Antoni Porowski, Delilah Belle Hamlin, and Eva Ruíz. All wore Boss looks for the occasion.

The Boss Summer Resort 2026 selection delivers smart, coordinated looks, premium swimwear, select linen pieces, refined summer tailoring separates, and on-point holiday-ready accessories – a complete wardrobe for sun, city, and everything in between. 

Menswear comes in a cool, modern palette of white, lavender blue, sandstone glow, grey mélange, and grisaille, while womenswear leans into sun-drenched shades of mocha, lavender, white, rose, and brown. Every look is built to meet the dress code effortlessly – looking just as strong on the beach as it does in the city, from poolside to rooftop bar.

Boss and Soho House will continue with their collaboration later this year to provide members unique, only-at-Soho House highlights during key cultural moments and tennis events

The Boss Summer Resort styles will be available at Boss stores worldwide, on the website, and via wholesale partners.

Danish fashion conglomerate Bestseller has announced it is investing 3 million US dollars in the Regenerative Fund for Nature to support regenerative agriculture projects in South Africa’s Eastern Cape.

The funds will be used to support local sheep farmers and shepherds, aiding them with land regeneration and enhancing overall living conditions in South Africa. The Regenerative Fund for Nature was established by Conservation International and Kering in 2021, with Spanish fast-fashion conglomerate Inditex joining in 2023. Bestseller is the latest company to be joining the initiative as a partner.

“The contribution reflects our aim to support the raw material landscapes that are important both for nature, for the people who live off them and for our industry,” said Dorte Rye Olsen, Head of Sustainability at Bestseller, in a statement. “Through the Regenerative Fund for Nature, we participate in a long-term collaboration, where initiatives are developed over time and in close interaction with local actors.”

Conservation International has been working with local partners for several years now in the Eastern Cape to bring back and protect traditional grazing methods that protect the environment while improving living conditions for locals.

“Over the past five years, our work in the Eastern Cape has shown measurable benefits for the shepherds and their land,” said Virginia Keesee, who leads Conservation International's global fashion and nature initiatives. “Bestseller's support will help us spread the impact across the region.”

An Ireland-based watchdog has launched an investigation into Infinite Styles Services Co. Ltd., the Irish arm of Shein, over concerns of its handling of EU customer data.

The Data Protection Commission (DPC) has opened the investigation under the Data Protection Act 2018, and has said it will examine how Shein Ireland transfers personal data of EU and EEA users to China. The DPC will assess whether the company complies with key requirements under the General Data Protection Regulation (GDPR).

The inquiry will focus on three main areas: how personal data is processed under GDPR principles, whether Shein Ireland meets transparency requirements when collecting user data, and whether its international data transfers comply with rules governing transfers to third countries.

The move builds on increasing regulatory attention towards cross-border data flows, particularly in relation to China, which have become a growing focus for European authorities.

Deputy commissioner, Graham Doyle, said: “When an individual’s personal data is transferred to a country outside the EU, the GDPR requires that this personal data is afforded essentially the same protections as it would within the EU.”

Update May 6 2:45pm CEST: Shein has issued a statement to FashionUnited in response to the DPC investigation. ""We take our data protection obligations extremely seriously and are fully committed to complying with the GDPR and all applicable data protection laws. Ensuring the security of our customers' personal data is a top priority for our business.

"We have been actively engaging with the DPC in recent months on our data protection approach, including a number of important ongoing initiatives that reflect our commitment to maintaining the highest standards in data handling. We look forward to presenting that work as part of this process."

As summer dressing shifts towards ease and wearability, customer reviews from Yours Clothing reveal that shoppers are placing increasing importance on how clothes feel, fit and function in real life - particularly when it comes to finding styles that work across different body types and occasions.

Rather than chasing trends, customers are consistently highlighting comfort, quality and versatility as the deciding factors in their purchases - particularly across key summer categories including dresses, tops and lightweight separates.

Across multiple product reviews, several themes are emerging as priorities for shoppers this season:

• Fabric feel – soft, breathable materials that work in warmer weather
• Fit and shape – pieces that offer comfort without compromising on style
• Versatility – inclusive styles designed to work seamlessly across everyday wear, holidays and special occasions
• Value for money – quality pieces that feel worth the investment

Real Feedback From Customers

Customers are consistently using similar language when describing their favourite summer pieces:

• “Nice feeling fabric”
• “Fabric feels nice and good value for money”
• “Lovely top. Good quality, great length.”
• “Lovely quality and very versatile cover up.”
• “Lovely fit, lovely fabric and affordable dress. Stylish and a good fit.”
• “Would definitely recommend. Fits perfectly, looks and feels nice.”

A spokesperson from Yours Clothing said: “What’s coming through strongly in customer feedback is the importance of how clothing performs in everyday life. Shoppers are looking for pieces that feel comfortable, fit well and can be worn in different ways for an inclusive feel. It’s less about trend-led dressing and more about finding styles that genuinely work for them.”

The findings reflect a broader move towards practical, confidence-led dressing, with customers favouring styles that offer both ease and reliability.

As summer approaches, this demand is expected to continue, with shoppers increasingly investing in pieces that deliver on comfort, versatility and long-term wearability.

Madrid – As part of its sustained commitment to the Spanish and Portuguese markets, Primark's management for Iberia has just announced an investment of over 85 million euros (100 million dollars) in its businesses in both countries. These funds will be used for the refurbishment of part of its current store portfolio and for the opening of new establishments. For Spain, this move also commemorates the 20th anniversary of the chain's operations in the country.

Primark plans new stores in Spain

This is the first new investment in its Spanish operations announced by Primark since completing its last investment programme. That initiative was announced in late 2022 for an estimated two-year period to be completed by the end of 2024. During that time, the fashion chain committed to investments of around 100 million euros for both the renovation and expansion of its stores and the opening of eight new establishments.

Its parent company, Associated British Foods (ABF), has currently initiated a demerger plan that is expected to conclude in 2027. The chain ultimately surpassed these objectives, adding more openings than planned and postponing some initially announced as part of that investment programme. As a result, it grew from 56 stores in Spain at the end of 2022 to 67 after the opening of its store in the Jaén Plaza shopping centre in Jaén last September. It currently operates this number of stores across the country, following the inauguration of a total of 11 new stores between 2022 and 2025.

Expansion in Portugal on the agenda

Meanwhile, regarding Portugal, the chain announced a 40 million euro investment programme in 2024. These funds were also designated for the expansion and updating of its retail network, including one expansion project and four new openings. This is all part of an equally firm commitment to the Portuguese market, where Primark currently operates 13 establishments. This network of stores, like the one in Spain, will be renovated and expanded as a result of this new investment programme. Primark estimates this will help generate more than 300 new direct jobs across the Iberian Peninsula.

“This is a historic moment for Primark on the Iberian Peninsula,” remarked Carlos Inácio, director general of Primark for Iberia. “This investment reflects our confidence in these markets and our long-term commitment to Spain and Portugal. In Spain, as we celebrate 20 years since our first store, we are proud of the connection we have forged with our customers and communities. We are now focused on investing in our existing stores to ensure we continue to offer an exceptional shopping experience for many years to come.” He added, “In Portugal, where the company continues to grow in popularity, we are building on recent momentum to expand our presence and reach new locations.”

Details of the Spain and Portugal retail expansion plans

Breaking down this investment programme, the chain's management specifies that of the 85 million euros committed, 40 million will be invested in Primark's business in Spain. The company first entered the country 20 years ago with the opening of a store in Madrid's Plenilunio shopping centre. It currently operates 67 points of sale and plans to end the year with 68 active establishments following the opening of a new store in the Los Alfares shopping centre in Talavera de la Reina. This will be Primark's second establishment in the province of Toledo. The store will launch as part of this investment programme, which will also see a total of 11 update and refurbishment projects. These will specifically target Primark stores in the Abacenter (Albacete); Puerta Europa (Algeciras); Espacio Mediterráneo (Cartagena); Splau (Cornellà de Llobregat); Miramar (Fuengirola); La Morea (Pamplona); Gran Plaza (Roquetas de Mar); Valle Real (Santander); As Cancelas (Santiago de Compostela); El Boulevard de Vitoria-Gasteiz (Vitoria); and Puerto Venecia (Zaragoza) shopping centres.

In turn, the remaining 45 million euros committed as part of this Iberian investment programme will be allocated by Primark to its business in Portugal. The company is celebrating 17 years of activity in the country. The British-Irish chain plans to expand its store in the Forum Coimbra shopping centre and undertake four new openings. These stores will open in Oporto, Vila Nova de Gaia, Castelo Branco and Setúbal. Notably, this includes the first high street store Primark will open in Portugal, located in the historic Palladium building on Rua de Santa Catarina in Oporto.

“In 2026, it will be 20 years since Primark opened its first store in Spain,” Primark detailed. “To celebrate this milestone, the chain will invest 40 million euros in new and existing stores to ensure its customers continue to enjoy an exceptional shopping experience.” The 11 renovation projects are particularly noteworthy. They “reflect Primark's strategy of reinvesting in its stores to offer the best customer experience” and “will include an optimised spatial layout, refreshed decor and a modern design in line with the latest store concept, as well as the introduction of self-service checkouts.” These same key elements will characterise the investments in Portugal. In this country, Primark will focus on continued growth with the four previously announced opening projects for a market “where the company has been consolidating its presence and building a strong customer base for 17 years.”

German lifestyle brand Kapten & Son, known for its minimalistic and functional backpacks and travel essentials, is strengthening its UK presence with its first dedicated fulfilment operation in the country to bypass post-Brexit friction and accelerate growth in the region.

In a statement, the European premium brand said the logistics investment reflects the brand’s rapid UK growth and its ambition to become the go-to backpack brand for British consumers and will dramatically reduce delivery times from 7 business days to just 1–3 business days.

Previously, the brand fulfilled orders from Germany, but with the post-Brexit challenges that many European brands face when operating in the UK, such as customs complexities and border delays, it felt that the longer shipping times didn’t reflect the premium experience Kapten & Son stands for.

The new UK fulfilment operation is delivered in partnership with third-party logistics provider Quivo.

Michael Rawson, UK country manager at Kapten & Son, said: "Every decision we've made in the UK has been about removing barriers between our customers and the products they love.

"First, we solved the customs issue [by introducing a DDP (Delivered Duty Paid) shipping solution], and now we're solving speed. With a UK warehouse, British customers will receive their orders in days, not weeks. This is us planting our flag and saying: we're here, we're committed, and we want to be the UK's favourite backpack brand."

Kapten & Son adds that the UK represents one of its “most exciting growth markets,” with strong performance across direct-to-consumer, retail, and business-to-business channels, boosted by the recent opening of its flagship store in Seven Dials, Covent Garden.

Amazon announced Tuesday it would invest more than 15 billion euros (18 billion dollars) in France over the next three years, creating more than 7,000 jobs, according to a statement sent to AFP.

The investment would support the construction of new logistics sites, the development of cloud and artificial intelligence capabilities, and consolidation of existing networks, Amazon stated.

It marks the online retail giant's largest investment in France to date, the company said, adding to the more than 30 billion euros already invested in the country since 2010.

It will result "in faster deliveries, a wider selection and low prices accessible throughout France, and a reduced environmental footprint thanks to a local logistics network," said Jean-Baptiste Thomas, managing director of Amazon in France, in the statement.

France is the third international market that Amazon entered outside the US, after Germany and the UK.

The British Retail Consortium (BRC) has called on the UK government to act on rising domestic cost pressures, as new polling shows growing concern among consumers over the impact of the Middle East conflict on prices.

Research commissioned by the BRC found that 80 percent of people are worried the conflict will lead to higher food prices, while 73 percent expect the cost of other products to rise. Concern is also mounting around household energy bills, with 81 percent of respondents expecting increases, alongside 76 percent worried about fuel costs.

The warning comes as retailers continue to absorb higher costs across supply chains. Rising gas and electricity prices, meanwhile, are increasing production, shipping and distribution expenses, creating further pressure for businesses already managing higher operating costs.

The BRC said retailers have taken on 6.5 billion pounds in additional employment costs over the past two years due to higher employer National Insurance contributions and increases to the National Living Wage. This is in addition to a 1.6 billion pound packaging tax and further regulatory changes expected under the Employment Rights Act and the proposed Nutrient Profiling Model.

The organisation has urged ministers to address costs within government control, including removing non-commodity energy charges from business electricity bills, delaying implementation of the Nutrient Profiling Model and reviewing overlapping packaging levies.

Helen Dickinson, chief executive of the BRC, said rising global instability was adding to domestic policy costs already facing retailers. She said government action would help retailers manage pricing pressures and support efforts to keep costs affordable for consumers in the months ahead.

Pinterest, the visual discovery engine, has appointed former X (Twitter) executive Greg Owens as vice president of international enterprise sales to drive global growth across EMEA, Latin America, and Asia-Pacific.

Based in Dublin, Owens will report to Lee Brown, Pinterest’s chief business officer, who joined earlier this year to oversee the company’s global monetisation strategy. Owen has been brought on to focus on accelerating revenue from international markets, which currently only represent 25 percent of Pinterest’s total revenue despite more than 80 percent of its active monthly users being based outside of North America.

In its most recent quarterly earnings, Pinterest shared that it has seen 10 quarters of consecutive double-digit user growth, contributing to 631 million global monthly users, with international markets driving revenue growth of 27 percent year-over-year for Europe and 59 percent year-over-year for the rest of the world.

Pinterest believes that there is a "significant growth opportunity" to drive global growth as the company scales its full-funnel advertising platform and shopping capabilities globally.

Commenting on the appointment, Brown said in a statement: “Over the past several quarters, our international business has proven that Pinterest's value proposition resonates far beyond the US market.

“To truly unlock this growth, we need world-class leadership, and Greg’s combination of commercial rigour and international operating experience is exactly what we need for this next chapter."

Owens added: "Pinterest is continuing to establish itself as a leading visual search and discovery platform, particularly for a new generation of users. What energises me most about this role is the opportunity to scale the platform’s monetisation across global markets while helping millions of people find inspiration and take action.

“I look forward to working with Lee and the entire team to deepen our relationships with international partners and unlock the platform's full potential for brands worldwide."

A long-running trademark dispute between Adidas and Thom Browne has moved closer to a conclusion, after a US appeals court upheld an earlier ruling in favour of the luxury label.

In a decision issued on April 29, the US Court of Appeals for the Second Circuit confirmed that the case would not be reopened, backing a 2023 jury verdict which found Thom Browne not liable for trademark infringement.

The case began in 2021, when Adidas accused Thom Browne of infringing its signature stripe trademarks through similar designs used on activewear. A jury later ruled in favour of Thom Browne, and the decision was upheld by a district court.

Adidas sought to revisit the case after obtaining internal emails from separate UK litigation, which it argued showed concerns within Thom Browne about similarities to Adidas’ designs. The company claimed this amounted to new evidence and requested the judgment be set aside.

However, the appeals court has now ruled that the emails were not sufficient to change the outcome of the case. It found that the materials reflected internal opinions rather than evidence of consumer confusion, which is central to trademark disputes.

The court also stated that the emails were not directly related to the products examined during the trial and would not have altered the jury’s decision.

In addition, the court rejected claims of misconduct in the handling of evidence, concluding that any issues were the result of negligence rather than intentional wrongdoing.